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Lot 118
A collection of single malt and blended whiskey, comprising of: Glenfiddich Pure Single Malt Scotch Whiskey special reserve, 1L, 86 proof; Royal & Ancient Golf Club of St Andrews No.1 Blended Whiskey, 70cl, 40%; McGibbon’s Special Reserve Blended Scotch Whiskey, the small batch bottling, boxed and with stopper, in the manner of a golf club head; Bushmills Special Old Black Bush Irish Whiskey, 70cl, 40%, in presentation tube; Haig’s Dimple Scotch Whiskey, boxed, approx. 70cl, 70 proof; and a bottle of Stag’s Breath Fine Whiskey and Fermented Comb Honey Liqueur, boxed, 70cl, 19.8%. (6)
Lot 156
A Quantity of Militaria, including an Edwardian conical glass spirit flask with silver bayonet fixing cover and pull-off tumbler cup in a pigskin case with saddle strap, hallmarks for London 1905, a large pewter hip flask, two pairs of Eton wool socks, two silk escape maps,a leather travelling brush and comb case -lacks brush, a cricketer's belt with brass clasp, a brocade belt with gilt metal clasp applied with a crowned fouled anchor, a Naval officer's dress belt, seven navy cap tallies, and various navy trade insignia; also, a collection of German copies of early 20th century comic hunting related postcards displayed in four glazed frames.
Lot 1076
Football programmes, a collection of 30+ single sheet & four page programmes inc. reserves, cup replays, Youth Cup, re-arranged fixtures etc, noted Fulham v Brentford 1949/50 Fr (ss), Crystal Palace Reserves v Northampton Res 50/1 (ss), Crystal Palace Res v Southend Res 52/3 (Comb. Cup, ss), Everton v Stoke City FA Youth Cup 64/5 (ss), Man. Utd v Fulham 62/3 (4 page rearranged fixture, token removed), Scunthorpe v Sunderland FA Youth Cup semi final 66/7 etc (mixed condition, fair/gd, several with scores & tc noted)
Lot 34
A Victorian silver dressing table brush, chased with cherubs amongst flowers and foliate scrolls, Chester 1899; other silver mounted dressing table brushes; a silver mounted hob-nail cut dressing table jar, Birmingham 1915; a silver hafted glove stretcher, Birmingham 1905; a silver mounted comb (6)
Lot 111
THE PERSONAL EFFECTS OF METHODIST MISSIONARY MISS ANNIE ELIZABETH TOOKEY, c. 1860-1874, including her Common Prayer Book, inscribed on the flyleaf 'Anne Bryan from her sincere friend Dr. Lady Leigh Sept. 28th 1854', printed prayer for Lady Leigh's son, Gilbert Leigh (who died in 1884 on the Big Horn Mountains), gilt tooled needle case, pin cushion, bone disc pin cushion, steel scissors, ribbons/edging lengths, cloth scraps, wood batons/stays, seashells and mineral specimens, small lace squares/roundels, black beaded lace veil, white lace veil, Indian silk shawl (A/F), shell bracelet (A/F), Oriental silk & bead mesh draw-string purse, several bone, coral and glass bead necklaces, tortoiseshell comb, papier-mâché paper wallet, glazed terracotta jar, all within small wood boxProvenance: Annie Elizabeth Tookey, Methodist Missionary c.1860-1874; lent to Borough of Nuneaton Museum & Gallery from c. 1969; thence by descent to Nottinghamshire vendor.Comments: all original condition.
Lot 406
A group of various mixed collectables comprising a small three piece bachelor's silver plated tea set, height of teapot 15cm, with wicker handle, an oak cased metronome by Paquet, a naked lady brass bottle opener, various mixed, mostly UK, coinage including some silver examples, and a cased silver plated brush and comb set (7).
Lot 26
A weighted silver 'Witchball' table lighter, William Comyns & Sons Ltd, London 1957, a cut glass scent bottle with foliate-chased silver hinged bun cover, an engine-turned four-piece brush set including mirror and comb, Sheffield 1954/55 (comb teeth a/f), a similar powder bowl Birmingham 1959, a Sheraton Revival silver-backed mirror and pair of brushes, Yard-O-Led silver pencil, penknife and other oddments, t/w an Austro-Hungarian .800 grade pair of fish-servers with loaded handles (slice marked on blade) and a bread-fork with .800 grade handle, an .800 grade foliate-engraved powder compact, a Victorian pair of pierced and engraved electroplated fish servers, ep bread-fork, etc. (box)
Lot 128
Asprey: a brown leather dressing case, fitted with a set of Art Deco silver gilt and 'Coffee and Cream' guilloche enamel toiletry items, including four brushes, hand-mirror and comb and seven floral cut glass jars (apparently complete), Asprey & Co, Birmingham 1934, to/w a leather necklace-box, the case sitting in the top of a leather suitcase with gilt brass fittings and canvas over-cover
Lot 94
A boxed silver child's hairbrush and mirror, the simulated mother of pearl backs painted with Japanese figures, also a silver-backed comb, Birmingham 1927, three silver napkin rings, a novelty 'scimitar' bookmark, a pair of salt ladles by Peter & William Bateman, London 1811 and another Georgian salt ladle to/w two electroplated napkin rings and two small spoons
Lot 95
Late Victorian silver plated vanity set, comprising mirror, two hair brushes, clothes brush and damaged comb, housed in a black leather and silk lined box. c/r the hand mirror, pair of hair brushes and clothes brush are all in reasonable condition, the tortoiseshell comb is brittle and the silver plated backing is oxidised.
Lot 479
AN ETCHED FULL ARMOUR IN 16TH CENTURY STYLE, 20TH CENTURY comprising close helmet with one-piece skull rising to a low comb, fitted with slotted visor, brow reinforce and lower bevor attached to it by common pivots, integral gorget, medially-ridged breastplate flanged outwards at its lower edge to receive a pair of tassets each of four lames; backplate, large symmetrical pauldrons, tubular vambraces with open cowters; gauntlets with pointed tubular cuffs (finger-lames with extensive losses); gutter-shaped cuisses terminating in winged poleyns; tubular greaves each fitted with integral sabaton, decorated throughout with etched designs including a mounted knight on the breastplate, a stylised coat-of-arms on the tassets, and the cuisses and greaves each embossed with a pair of bold vertical flutes at the front: on a wooden stand with base, 198.0 cm high
Lot 1608
PORTRÄTIST AUS DER MITTE DES XIX JAHRHUNDERTS "Dame mit Spitzencape und Einsteckkamm aus Schildpatt" Öl auf Leinwand, HxB: 25/21 cm. Krakeliert. Rahmen, HxB: 34/31 cm. | PORTRAITIST FROM THE MIDDLE OF THE XIX CENTURY ‘Lady with lace cape and tortoiseshell comb’Oil on canvas, HxW: 25/21 cm. Crackled. Frame, HxW: 34/31 cm.
Lot 6202
Hermann Thorens Sainte-Croix, Switzerland - 20th century Swiss musical box in a polished mahogany case with shield inlay to the lid, inner glazed viewing lid with a 52 tooth steel comb and brass cylinder playing four Austrian/German tunes, with original tune sheet, enclosed spring barrel with Geneva stopwork, stop and start button to the front. Wound from beneath.Dimensions: Height: 8cm Length/Width: 16cm Depth/Diameter: 10cm
Lot 6201
Swiss - 19th century musical box with three bells and butterfly's in sight, in a mahogany and ebonised box with contrasting decorative inlay to the lid and raised on pad feet, steel comb with 42 teeth playing 8 airs, crank wound going barrel with Geneva stopwork and tune indicator, stop/start and change/repeat functions, with a glazed viewing lid and original tune sheet.Dimensions: Height: 22cm Length/Width: 46cm Depth/Diameter: 26cmCondition Report:Mainspring winds but movement not running.
Lot 119
A Scottish Clan brooch for the Glass family, cast mermaid with a comb and brush, with motto 'Luctor, non mergor', by Medlock & Craik of Inverness, Edinburgh 1947, 35 x 30mm, 7.8gm.Arthur Medlock established a shop in 1876 in Inverness. In 1913, Medlock decided to pass on his business to James Craik. Under Craik's leadership, the business was rebranded as Medlock & Craik.The company specialised in Clan brooches and the Medlock & Craik - Edinburgh - INVSS hallmark, in various forms, was active from circa 1920-1959.
Lot 2315
A late 19th century, walnut cased Swiss music box playing eight airs. The marquetry inlaid hinged lid opening to reveal a six inch brass cylinder and combe, with Change/Repeat and Stop/Play levers and printed card to the inner lid, 42.5cm wide, also including a hand written note from the vendors Grand parents stating that the music box was originally a wedding present.Condition Report: Overall in good condition. The mechanism works when wound and all the teeth on the comb are intact and present. Escutcheon plate on front is possibly a later replacement. Please see extra photos on Ewbank's website.
Lot 54
JOSEPH MILNE (SCOTTISH 1857-1911) YACHTS ON THE SILVERY TAY Signed, oil on canvas 30.5cm x 46cm (12in x 18in) Joseph Milne was born in Aberdeen in February 1859. He was to become the eldest of 10 children. His father and uncle were both comb-makers. As a young child in the 1860s, his family moved to Edinburgh where he would later study at the Royal Scottish Academy (RSA) Life Class, winning the RSA Chalmers Prize in 1885. His first RSA exhibit was A Doorway in 1877 (no.126). He continued exhibiting at the RSA each year until 1902. He was a professional landscape artist all his career. Although he lived in Edinburgh for much of his life, Milne painted in Holland, near Sheffield, on the River Tyne, and in London, as well as in Scotland. His exhibits appeared at the RSA, the Royal Glasgow Institute and the Royal Academy. However, he seems to have had a strong connection to the River Tay and there are various examples of his River Tay paintings – from Perth, down river past Kinfauns and Newburgh, to Dundee and Tayport. His exhibit at the Royal Academy in London in 1892 (no. 970) was By the Banks of the Silvery Tay. Yachts on the Silvery Tay is consistent with Milne’s maritime pictures.In 1908 Milne and his family returned to Scotland after a period in London, and they settled in Dundee. Joseph’s eldest son was the artist John Maclauchlan Milne RSA; father and son painted together in Perthshire and Fife before Joseph’s early death in January 1911.We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for writing this catalogue note.
Lot 135
BOUCHERON: DIAMOND-SET 'MARGUERITE' EVENING PURSE, CIRCA 1960Of textured finish with a repeating marguerite daisy motif, the scalloped clasp set with a graduation of brilliant and single-cut diamonds, accented by two baguette-cut diamonds, opening to reveal a bevel-edged mirror and bakelite comb, signed Boucheron Paris, maker's mark for Raymond Soubrenie, French assay mark, diamonds approximately 3.95 carats total, length 16.0cm, suedette pouchFor further information on this lot please visit Bonhams.com
Lot 299
A group of silver items comprising a Victorian spectacles case with chatalaine belt clip and fob, a hinged silver purse, an Art Nouveau prayer book miniature with silver cover, with cherub detail, a pair of pin dishes, two small glove button hooks and a child's silver cased comb with engine turned decoration, 5.90toz total weight.
Lot 196
A SOUTH GERMAN BURGONET, CIRCA 1580-90 ‡ with rounded one-piece skull rising gently to a high file-roped medial comb and projecting forward to a narrow acutely-pointed peak, fitted at its lower edge with a matching neck-guard of one lame, and at each side with a hinged cheek-piece flanged outwards at it lower edge to serve as a continuation of the neck-guard and pierced at its centre with five small auditory holes in dice-formation, the whole formed at its main edges with finely file-roped inward turns accompanied by recessed borders, and fitted throughout with brass-capped constructional rivets and lining-rivets of iron retaining beneath their heads in the case of those encircling the neck and the brow, large rosette washers of brass, the left of the nape fitted with a fretted brass plaque bearing simple punched ornament (the right cheek-piece associated but probably from the same arsenal, the hinge of the right broken and that of the left repaired); 23.0 cm ProvenanceMorton and Angela Stern, New York, sold in this room 4th December 2013, lot 180Robert Brooker Collection
Lot 117
A FINE AND IMPORTANT NORTH ITALIAN ENGRAVED THREE-QUARTER CUIRASSIER ARMOUR, CIRCA 1620-30, PROBABLY BRESCIAcomprising Zischagge with one-piece skull rising to a low comb of inverted V-section, fitted at its nape with a plume-holder and at its apex with a bulbous finial on a large quatrefoil washer, projecting forward at the brow to an obtusely-pointed peak with a rectangular staple above it carrying a nasal with elaborately shaped finial and secured by a thumb-screw, and fitted at its rear with a pronounced flared neck-guard of four lames, the lowest of pointed ogee profile (disarticulated at right end), and at each side with a two-piece pendant cheek-piece, fitted at its centre with a domed rivet enclosed by eight radiating rectangular slots within a frame of circular ventilation-holes and stepped at the front top to accommodate the peak; collar of a single plate front and rear, fastened at the right by a stud and key-hole slot; heavy breastplate formed in one piece with a low medial ridge, struck with the proof mark of a bullet at the right of the chest, fitted at each side with a stud to receive a shoulder-strap and a further stud at its centre, a pierced stud at each side to receive a swivel-hook from the back-plate, flanged outward at its base to receive a pair of tassets each of fifteen lames divisible at the eighth; poleyns of four lames the second in each case fitted with a large centrally-puckered wing; backplate matching the breastplate, struck with the proof mark of a bullet, fitted at each shoulder with a leather strap reinforced with four iron scales, at the base with a hook at each side to engage the breastplate, and at its base with a broad culet of seven lames; a pair of full arm-defences comprising a pair of symmetrical pauldrons each of seven lames overlapping outwards from the third, connected by a turner to a pair of vambraces each formed of a tubular upper and lower cannon linked by a couter of four lames with a centrally puckered oval wing at the front, and enclosed at the inside of the elbow by ten lames overlapping inwards from the sixth, the lower cannon fastened at the front by a sprung stud; a pair of gauntlets each with a flared cuff closed at the inside, articulated by a wrist-plate to three metacarpal plates, a shaped knuckle-plate, a hinged thumb-defence and finger-lames (with small restorations); the principle borders of the armour formed with plain inward-turned edges, those of the base of the cullet roped, the whole decorated throughout with engraved trophies-of-arms within elaborate strapwork frames filled with pointié foliage, the turners and gauntlets each with trophies incorporating cannon and artillery tools, a running border of flowers at the principle edges, the secondary borders with a frieze-work of blind arcading, the breastplate with a Patriarchal Cross in the centre at the neck; the inside of the skull and the backplate painted with a white inventory number ‘45’, in clean, stable condition throughout (the bottom edge of the left poleyn with light pitting and small chips, the decoration of the culet with areas of wear, minor disarticulations, expertly releathered, some buckles restored): on a wooden stand with leather boots ProvenancePerhaps one of the group of armours purchased by Lord Somers in 1853, stated (incorrectly) to be of Emperor Charles V’s bodyguard and preserved in Milan for many years.Charles Somers-Cocks, 3rd Earl Somers (1819-83), Eastnor Castle, thence by descent LiteratureLady Henry Somerset, Eastnor Castle, London 1889, p. 22: ‘A three-quarter suit of Plate Armour, engraved with trophies of arms and fleur-de-lys’. A helmet of very similar form, decorated in the same style, is preserved in the former collection of the Dukes of Este at Konopiště, Czech Republic (inv. no. I.c.D-114, and illustrated Šáda 1986, p. 37, no. 18.t.) The specific inclusion of cannon and artillery tools such as ladles and sponges on the turners and gauntlets may suggest that this was intended for a senior officer of artillery. The Patriarchal Cross, also called the Cross of Lorraine, is probably a reference to the venerated relic of the True Cross in the cathedral at Brescia that is housed within a cross of the same form. Two morions of circa 1570-80, decorated with a similar cross along with the rampant lion of Brescia and attributed to the that town’s guard are respectively preserved in the Metropolitan Museum of Art, New York (acc. no. 14.25.532) and the Museo Civico L. Marzoli, Brescia (inv. no. 330). See Rossi and Di Carpegna 1969, p. 55 cat. no. 120. Another armour of this type, formerly in the collection of Tosio Martinengo, and now in the Museo Civico L. Marzoli, Brescia, is illustrated Rossi, p. 77, cat. No B67. The armour in Brescia has a close helmet in place of Zischagge, a matching stud in the centre of the chest, divisible tassets, enclosed elbows, and similar decoration throughout including the rampant lion of Brescia on the breastplate. A cuirass decorated in a similar manner and attributed to the ownership of one of the Counts Martinengo, is preserved in the Armeria Reale, Turin. See Boccia and Coelho, p. 526, nos. 445, 446 and 448. A slightly later cuirass in the Victoria and Albert Museum (inv. no. 5778-1859), is decorated in a related manner, with the conjoined initials ‘AM’, and a Count’s coronet above a Patriarchal Cross and Orb in the centre. The initials are similar to those on the ricasso of a left-hand dagger attributed to Pietro Antonio Martinengo, Count of Brescia (recorded 1644-1671), now preserved in the Art Institute of Chicago (ref. no. 1982.2150).
Lot 195
A NORTH GERMAN BURGONET, CIRCA 1560, PERHAPS BRUNSWICK ‡ with rounded one-piece skull rising to a tall, boldly-roped medial comb (internally patched at its apex), its base enclosed to either side by two raised ribs, the lower of which descends to a central cusp, and projecting forward to a narrow acutely-pointed peak, flanged outwards to an acutely-pointed neck-guard at the nape, fitted at each side with a hinged cheek-piece flanged outwards at it lower edge to serve as a continuation of the neck-guard and pierced at its centre with eight auditory holes around a central stellate hole and radiating incised lines, the whole formed at its main edges with boldly-roped inward turns accompanied by recessed borders within raised ribs enclosed by incised lines, and fitted throughout with brass-capped rivets with rosette washers, 25.4 cm high ProvenanceRobert Brooker Collection
Lot 118
A FINE AND WELL MATCHED COMPOSITE NORTH ITALIAN THREE-QUARTER ARMOUR WITH ETCHED DECORATION, CIRCA 1590comprising close helmet with rounded one-piece skull rising to a high roped medial comb (pierced at its apex for attachment of a plume, and showing a small patched repair) pierced with nine holes in rosette-formation at each side at the base, fitted at its nape with plume-holder, visor, upper bevor and lower bevor attached to it by common fluted pivots, the visor sloping forward to a centrally-divided vision-slit (lacking lifting-peg), the prow-shaped upper bevor pierced at its right with nine ventilation-holes and secured to the lower bevor at the same side by a pierced stud and swivel-hook (the latter replaced), and three gorget-plates front and rear (the lowest front lame cracked through and repaired); collar formed of a single deep plate front and rear, each struck with a small octopus-like mark and secured at the right by a stud and key-hole slot (small chips on the left); breastplate formed of a main plate of deep 'peascod' fashion, embossed with a pair of adorsed volutes beneath the neck-opening, fitted at its arm-openings with originally movable gussets, pierced with two holes at its right for a lance-rest, and flanged outwards at its lower edge to receive a fauld of one lame, fitted at each side with three straps supporting a pendent tasset of six lames (the fifth at the left with a small chip); one-piece backplate formed at its lower edge with a short biliobate flange, fitted at either side of the neck with a buckle (replaced) for a shoulder strap and at its waist with a belt (replaced); two pauldrons of asymmetrical design (not a pair), each embossed front and rear with a volute and formed of seven and eight lames respectively; vambraces of fully articulated tubular design, each fitted at its upper end with a turner of two lames, and at its elbow with a winged bracelet couter of three lames; two gauntlets (not a pair) each formed of a flared and pointed tubular cuff closed at the inside of the wrist by an overlapped join, four and five metacarpal-plates respectively, a knuckle-plate, the left decorated with a roped transverse rib, (thumb-and finger-scales missing); upper leg-defences each formed of a cuisse with a short gutter-shaped main plate fitted at its lower edge with a poleyn of four lames of which the second is formed at its outside with a large medially-puckered oval side-wing; the main edges of the armour formed with file-roped inward turns and recessed borders accompanied by narrow bands of cabling, and its surfaces decorated with etched designs including classical portrait rondels on the volutes of the breastplate, backplate and pauldrons, the latter each accompanied by a large cartouche front and back enclosing scenes from the Labours of Hercules, bands and borders of ornament consisting of trophies of arms within ropework borders all on a blackened and stippled ground and enclosed between narrower bands of guilloche, a number of secondary borders with slender frames of beadwork, and the principle elements painted with the early inventory number ‘29’ (small areas of pitting, the cuisses attached by rivets to the tassets, releathered) Stand not included ProvenanceOne of the group of armours purchased by Lord Somers in 1853, stated (incorrectly) to be of Emperor Charles V’s bodyguard and preserved in Milan for many years.Charles Somers Somers-Cocks, 3rd Earl Somers (1819-83), Eastnor Castle, thence by descent LiteratureLady Henry Somerset, Eastnor Castle, London 1889, p. 21: ‘On stands round the Hall are ranged thirty-three three-quarter suits of plate armour, each consisting of helmet, back and breast plates, lobster cuisses and knee-pieces, pauldrons, arm-pieces and gauntlets. This was the armour of the body-guard of the Emperor Charles V, and was preserved in Milan for many years, where it was purchased by Lord Somers in the year 1853.’ This armour would have been intended for use without greaves. The decoration is very well matched throughout, perhaps assembled from two, or a small number of armours from a series. A further pair of cuisses from this series are preserved in the Wallace Collection (inv. no. A293 & A294).
Lot 274
A FINE 40 BORE SARDINIAN MIQUELET GUN, LATE 17TH CENTURY ‡ with very long tapering slender barrel formed in two stages, the forward portion polygonal and the breech section octagonal, inlaid in engraved silver with scrolling foliage, a sun-in-splendour and a further mask over the breech and inscribed 'MFST' and 'MSC ' ahead, engraved tang, flat lock signed 'MMS' and finely chiselled with foliage and masks on the bridles, fitted with chiselled cock decorated with a mask on the top-jaw and steel en suite, trigger chiselled as a serpent, full stock encased in finely pierced and chiselled steel over the fore-end decorated with elaborate designs of foliage inhabited by naïve figures, rampant lions, serpents, further beasts and masks, the middle-section of wood carved with a matching design of foliage, slender flaring butt with a cylindrical comb all decorated en suite with the fore-end, long trigger-guard decorated with foliage and masks and open at the front, with no provision for a ramrod, and with large circular inventory tag 'C. P. Bedford 1366', 135.7 cm barrel ProvenanceE. A. Oxley, London, 1936Clay P. Bedford, Arizona, (inv. no. 1366)Stephen V. Grancsay LiteratureArms and Armor, A Loan Exhibition from the Collection of Stephen V. Grancsay, with important contributions by the Metropolitan Museum of Art, New York, and the John Woodman Higgins Armory, Worcester, Massachusetts, Allentown, Pennsylvania, 15th March - 14th June 1964, p. 80 ExhibitedAllentown, 1964 (see above) The initials probably those of Matteo II Franzini, recorded in Sarezzo and Gardone Val Trompia circa 1650-97. This gun is a notably fine example of this distinctive group, a comparable example, signed 'M.F.S.' on the barrel, is preserved in the Armeria Reale, Turin. See Bertolotto et al 1982, p. 389, cat. no. 305.
Lot 263
A SOUTH GERMAN BURGONET, NUREMBURG, EARLY 17TH CENTURY with rounded skull joined along the crest of a tall medial comb, fitted at the brow with a separate obtusely-pointed peak (its tip bent upwards), at its flanged lower edge with a neck-guard of one lame, and at each side with a hinged cheek-piece pierced at its centre with five small auditory holes in dice-formation and flanged outwards at its lower edge to continue the line of the neck-guard, the right cheek-piece stamped '188', the main edges of the helmet formed with file-roped inward turns, and retaining an early padded lining, 28.0 cm
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