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Click here to subscribeTwo silver vintage bracelets. The lot to include a vintage charm bracelet with a curb link chain and seven assorted white metal charms (church marked sterling silver) and a gate link bracelet with a heart pad lock clasp. Charm bracelet hallmarked Birmingham 1967, other marked sterling silver. Measures 7 inches. Weight 64.9g.
ATTRIBUTED TO HENRY JOSEPH ANTONISSEN (FLEMISH 1737-1794)HERDSMAN WITH CATTLE ON A COUNTRY ROAD Oil on canvas 52.7 x 66.2 cmProvenance:Dreweatts, 20th April 2017, lot 421Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Some surface dirt and slight discolouration of the varnish including signs of mould. A diagonal abrasion with corresponding paint loss above the roof of the central building (approx.. 8 cm in length), as well as in the corner lower left and on the left hand side of the gate. UV light reveals several retouches, including larger areas of approx.. 5 cm in the road below the central figure as well as in the sky on the right above the river. Condition Report Disclaimer
* Vanity Fair. A collection of 18 'double-page' caricatures, late 19th century, chromolithographic and photolithographic 'double-page' caricatures, after 'Guth', 'Lib', 'Spy', 'CB' and 'Bede', occasional duplicates, slight dust and finger soiling, occasional marginal closed tears, one copy of Tattersalls with more extensive spotting and dust soiling to the margins, each approximately 390 x 510 mmQTY: (18)NOTE:The prints consist of: Au Bois de Boulogne, Bench and Bar, At Rennes, The Lord Protect Us, The Lobby of the House of Commons 1886, The Winning Post, On the Terrace, At Cowes -The R. Y. S., A Fox Hunting Constellation (2 copies, one a proof before letters), Kirby Gate, A Masters' Meet, Tattersalls 1887, Newmarket 1885 (2 copies), He Might be Champion..., [and] The Champion of 1885 (2 billiard caricatures on one sheet), Heads of the Law [and] On the Heath.
[Furber, Robert]. Flora, oracuriouscollection of ye most Beautiful Flowers as they appear in their greatest perfection each Month of the Year, London: Printed for John Bowles at the Black Horse in Cornhill, circa 1750, engraved title and 12 engraved plates of vases of flowers by Parr, T. Bowles and J. Clark, on cream laid paper, all with fine attractive contemporary hand-colouring, each plate printed with a numbered list of the names of the various flowers at foot, plate size 35 x 24.5 cm, sheet size 43.5 x 28.8 cm, bound with Wilkes (Benjamin). Twelve New Designs of English Butterflies, [London]: Published by Benjn. Wilkes, June ye 15, 1742, engraved title and 12 engraved plates by H. Roberts on cream laid paper with watermark of a shield and fleur-de-lys with initials L V G, depicting various butterflies arranged in geometric patterns, plates of each work numbered to upper right corner from 17 to 41 in a contemporary hand in brown ink, plate size 35 x 28.5 cm, sheet size 43.5 x 28.8 cm, title and several plates close-cropped to left margin just touching platemark, very light soiling or handling marks to tltle of each work and some plates (generally in clean condition), contemporary half brown calf over marbled boards, some light wear and marks with upper joint cracked and lower joint starting at head, oblong folioQTY: (1)NOTE:Furber: Nissen BBI 678; Dunthorne 116. Wilkes: Freeman 3997; Lisney 181. Scarce. According to Lisney "It is unlikely that this work was distributed bound as a volume, but the plates were probably set out on Wilkes's stall for sale either singly or in sets of twelve".The first work extremely rare, if not unique: only one other (incomplete) copy of this edition of Furber's flower plates offered for sale at auction (Jeschske van Vliet, 15 April 2010, lot 243). This edition is a new version by John Bowles of Furber's Twelve Months of Flowers, after designs by Peter Casteels, first published in London in 1730. The plates are slightly smaller, in reverse, and have an engraved border.Furber was a nurseryman with gardens near Hyde Park Gate, in Kensington, and a churchwarden at St. Mary Abbot's, Kensington for many years. The Twelve Months of Flowers were originally issued as a luxurious catalogue for his stock: over 400 flowers are illustrated, and each is identified in the key below the picture, so that customers could easily order their requirements. Furber employed artists Pieter Casteels and Henry Fletcher to create the depictions of flowers. The work was reprinted several times in the eighteenth century, with later editions coloured (as here), partly to obscure the catalogue’s original intention while at the same time enhancing the decorative appeal of the plates.Wilkes' Twelve New Designs of English Butterflies, dedicated according to the title to 'the Worthy Members of the Aurelian Society...' is also scarce. "It is unlikely that this work was distributed bound as a volume, but the plates were probably set out on Wilkes's stall for sale either singly or in sets of twelve" (Lisney).
* Edwards (Lionel, 1878 - 1966). Fresh Hare? Lady Gifford's Harriers, 1903, black ink and pencil on paper, depicting hounds chasing a hare as a huntsman looks on, laid onto board, A.E. Johnson label to verso 'No. 395 Title Hunting Sketch by Lionel Edwards', sheet size 13.8 x 22.5 cm (5 3/8 x 8 7/8 ins), together with Ridge & Furrow The Quorn, black ink and pencil on sketch book leaf, depicting riders galloping across a field, one mounted rider approaching the gate to join the rest of the field, title in pencil to upper right, 17.6 x 24.8 cm (7 x 9 3/4 ins), plus 'Up Over', Devon & Somerset, black ink and pencil, depicting three hounds following the scent of a deer, title in pencil to lower left, slight loss to upper left corner, sheet size 22.8 x 17.3 cm (9 x 6 3/4 ins), and six other sheets containing various hunting scenes by Edwards including: From Church Spinney Hungarton (The Quorn), Ingarsby Old Hall, Deer Park Berkeley and 'To Ground!'QTY: (9)NOTE:Provenance. Consigned by the artist's descendents.
Various items of modern, vintage and antique costume jewellery to include silver gate bracelet, coin bracelet, necklaces, silver cross and chain, 9ct earrings, WWII medals, gentlemen's Heloisa wristwatch, mixed coinage, etc. CONDITION REPORT: Helosia watch in going order at time of cataloguing
A 9ct gold decorated bar and oval link gate bracelet, length 18cm, on a 9ct gold heart shaped padlock clasp, and a 9ct gold torque bangle, inside width 6cm, total weight 10.5g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
AN EARLY WORCESTER TEABOWL AND A SAUCER (2)Coleridge Collection, Circa 1756-58Each printed in brick-red with `The Milkmaid at the Gate', the reverse of the teabowl printed with a milking scene, teabowl 7cm diameter, saucer 12.5cm diameterTeabowl- triangular chip to the rim which forks into two haircracks each approx. 3cm length.Saucer- chip to the rim, approx. Icm. by 0.5cm. Haircrack to the rim, approx. 2.5cm lengthProvenanceThe Anthony &Marietta Coleridge CollectionThe teabowl withGus Brain, January 1988
A WORCESTER BELL-SHAPED COFFEE-CUP WITH WISHBONE HANDLEColeridge Collection, Circa 1758-60Printed in greyish-black with `The Milkmaid at the Gate', the reverse with a milking scene, 6cm highHaircrack to rim, approx. 3cm length. Small chip to rimProvenanceThe Anthony &Marietta Coleridge CollectionWith Gus Brain, December 1987
Late 20th century gate leg drop leaf table, open 137cm x 90cmPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.
A FINE GEORGE II MAHOGANY CASED CUFF PATTERN MONOCULAR MICROSCOPEJOHN CUFF, LONDON, MID 18th CENTURYThe body tube with stepped moulded shuttered eyepiece over ogee waist and objective tube incorporating marks for six positions on an exponential scale numbered 1 to 6, supported via a tapered collar set in a ring attached to a vertical slide moving against the fixed limb upright marked with six further positions for the respective objectives also numbered 1 to 6, with collar clamp to enable initial positioning and fine screw for focus adjustment, the concave-sided cruciform stage with central aperture fitted with a collar and slider clips to underside and with sockets for the various tools to two of the arms, the centre signed J. Cuff Maker LONDON, the base with socket and scroll-shaped bracket support over a shaped horizontal plate applied with a pivoted concave mirror assembly beneath the stage, the whole mounted on an ebonised cavetto moulded plinth incorporating drawer to front containing three (out of six) objectives numbered 2, 3 and 6, pivoted condenser lens, forceps, slider collar, specimen capsule and seven bone sliders, with original obelisk-shaped case with hinged brass carrying handle to the ogee-turned domed surmount over caddy moulded angles, the front with door opening to reveal internal apron drawer containing additional accessories including a brass frog plate and a bone cylinder containing mica slider inserts.The box 44cm (17.25ins) high with handle down, 21cm (8.25ins) square at the base. John Cuff is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as an optician and maker of optical instruments, microscopes, mathematical and philosophical instruments working in London 1731-70. Clifton notes that from 1737 until 1757 he was trading as a maker of 'Reflecting Microscopes and Spectacles against Sergeant's Inn Gate in Fleet Street', then 1757-58 at 'Double Microscope, three Pair of Golden Spectacles & Hadley's Quadrant opposite Salisbury Court in Fleet Street' and finally in 1764 at 'Strand, London'. The design of the present instrument came about through John Cuff's close association with the natural philosopher Henry Baker (1698-1774) whose frustration with the limitations of the Culpeper microscope identified the need for a new and improved instrument. In response to this in 1744 Cuff developed his 'new-constructed Double Microscope' which afforded 'improved accessibility for hand manipulation of the specimen by the microscopist'. Although his design proved very popular John Cuff was unable to make enough money to sustain his business hence he was declared bankrupt in 1750. A major contributing factor to him going out of business was strong competition from the eminent instrument maker, Benjamin Martin, who set-up shop next door to Cuff in Fleet Street. The demand for Cuff's microscope was subsequently mostly satisfied by Peter Dollond, who continued producing instruments to this design well into the second half of the century.
A RARE PAIR OF GEORGE III FIFTEEN-INCH LIBRARY TABLE GLOBESSOLD BY WATKINS AND SMITH, THE TERRESTRIAL DRAWN BY LEONARD CUSHEE, LONDON, CIRCA 1760The terrestrial sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating rococo cartouche inscribed A NEW, TERRESTRIAL, GLOBE, DRAWN, From the Best Authorities, over further panel applied with banner Sold by Watkins & Smith Opticians Charing, Cross LONDON to the North Pacific and extensively annotated with principal cities, towns, rivers, lakes, and other significant features, the oceans with all significant islands labelled, California is shown as a peninsula, north-west Canada labelled PARTS UNKNOWN, Australia and New Guinea shown as a single landmass and New Zealand labelled NEW ZEELAND with only a limited section of the west coast shown, the Pacific labelled the GREAT SOUTH SEA and with overlaid analemma of the equation of time, the Equator land Ecliptic lines graduated in minutes and the Meridian similarly divided; the celestial annotated with major constellations incorporating fanciful figural representations and stars graded in seven orders of magnitude, the Equator and Ecliptic both divided for minutes, with panel inscribed A NEW, CELESTIAL, GLOBE near the Equator and the upper hemisphere with panel inscribed NB The Stars on this Globe, are carefully laid down, from y'e accurate Observatio'ns, of Mr. Flamstead & Dr. Halley, each sphere with poles incorporating brass hour rings and pivots for mounting within brass meridian circles divided for degrees, resting in wooden stands with matching hand coloured paper horizon rings each graduated in degrees 0-90 in two directions from both the East and West points of the compass within days-of-the-month and houses of the Zodiac with names and symbols, the stands each with four curved quadrant supports for the horizon ring over squat ring-turned upright issuing three cabriole supports with pointed pad feet, (both spheres with historic damage and repair).The globes and stands 66cm (26ins) high, 51cm (20ins) diameter. The partnership between Francis Watkins and William Hill is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from Charing Cross, London, 1763-74. A 15-inch terrestrial globe by Leonard Cushee apparently identical to the present lot except for having his name within the lower part of the title cartouche (and now in a later stand) was sold at Bonhams, London The Connoisseur's Library Sale 15thnd February 2022 (lot 102) for £14,000. From this the terrestrial globe in the present lot can be attributed to Leonard Cushee no doubt supplied to Watkins and Smith for retail. Leonard Cushee appears to have predominantly supplied 2.5 inch pocket globes as examples in this size do appear at auction from time to time, however his full-sized table globes appear to be very rare. Leonard Compere Cushee is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as a 'globe engraver' working 'Opposite the Temple Gate, Fleet St.' London in 1761. He was apprenticed to the distinguished globe maker Nathaniel Hill who had a workshop at 'The Globe and Sun, Chancery Lane' and it is possible that he was either the brother or cousin of an E. Cushee who succeeded Hill at that address.The Celestial globe is probably an updated version of one drawn in the Cushee/Hill workshops at Chancery Lane, perhaps even by Nathaniel Hill's master, Richard Cushee (1694-1731), who is known to have produced both terrestrial and celestial globes in this size. Condition Report: Terrestrial - The sphere has had historic repairs to address heavy cracking/bruising around the equator. This includes noticeable filling above Australia and to the 'Great South Sea'. There is lesser filling and general unevenness to the surface where these repairs have been undertaken. The South pivot also has some cracking/filling and overpainting and the 'Eastern Ocean' has a pound coin-sized filled repair. Faults otherwise are limited to relatively minor bumps, scuffs and varnish wear; the colour is a nice light/golden brown hue and the printing nice and strong. The horizon papers are in good original condition however the angled joints in the frame are visible (in the form of angled lines). The stand is in sound original condition. Two of the quadrant supports have historic glued cracks near the base where they join the turned upright; as a the upper surface is fitted with an iron cruciform brace (as is the other stand) there are no structural issues. The stand has overall surface wear/rubbing hence would benefit from a good polish.Celestial - The sphere has had historic repairs including an area of filling/overpainting around 4 inches across near the top pivot (just behind Perseus); there is another much smaller filled section just above Hercules. The Horizon also has some historic cracking/movement which has been repaired - these cracks extend around one third of the circumference. The top pivot area has some filling/repair and the base pivot shows some slight cracking movement. Damage to the sphere is otherwise limited slight surface rubbing and other minor age-related blemishes. The horizon ring has cracking and some localised filling to the papers due to movement in the frame beneath. The stand is generally in sound condition although one of the legs has become a loose at some pint causing a small chip/loss to the shoulder and another to the lower edge; a section of the turning behind the joint has also been re-glued. As with the terrestrial the stand would benefit from a good polish. The turnings to the posts of the stands are made in two sections and have a central rod to allow the spheres to revolve; there is some slight variation in design between the two globes at this point.Generally an interesting and particularly rare pair of globes in honest 'country house' condition including historic repairs. Although they would probably benefit from further work to improve the appearance of some of these repairs they are probably best left as is.Please see/request further images which form part of the condition report.Condition Report Disclaimer
France F.A. pennant issued for the U-23 international v England, played at Ashton Gate, Bristol, 17th October 1956,large red, white and purple satin pennant with embroidered crest and inscription, gold fringe and hanging bar, blue reverse, 51 by 40cm., overall good with ink stain on upper section and fadedMatch ended in a 0-0 draw.
VICTORIAN & LATER PINCHBECK, SILVER & COSTUME JEWELLERY, vintage jewellery box with coinage and collectable contents and two circular boxes, jewellery includes a gate link bracelet with padlock clasp, silver and enamel mother brooch, pinchbeck locket and a cross, silver watch chain and fob, 9ct on silver cufflinks, Hollywood necklace and numerous other interesting items
INGEBORG LUNDIN (Sweden, 1921-1992) for ORREFORS. Sweden, ca. 1960Translucent blown glass.Signed on the reverse base Orrefors D. 3877/231.Wear due to use and the passage of time.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 36.5 cm (height); 18 cm (diameter).Swedish Orrefors glassware vase, circular in shape with carved geometric decoration. Designed in the 1960s by Ingeborg Lundin. Lundin studied at the Stockholm School of Art, where she also worked as a drawing teacher. She was employed at the Orrefors glassworks in 1947 as a designer, where she worked with both utilitarian and art glass.She was awarded the Lunning Prize in 1954 and a gold medal at the Milan Triennale in 1957, which brought her international fame. Lundin is represented, among others, in the National Museum in Stockholm and the Röhsska Museum.The Swedish glassworks Orrefors owes its name to the village of Småland where it was founded, a place of craft and industrial production since the 18th century. In the 20th century, the name Orrefors would become synonymous with good Swedish glass. In 1897, the merchant Johan August Samuelson bought the village's complex of smithies and sawmills and introduced glass production the following year, initially producing everyday household and medical glassware, such as bottles and jars. When Consul Johan Ekman became the new owner of Orrefors in 1913, he appointed Albert Ahlin to run the glassworks facilities. Ahlin initiated a new era in Swedish glass production when he acquired the Sandvik glassworks under the Orrefors umbrella and brought in skilled craftsmen and designers to develop new collections. In 1914, Orrefors began to manufacture glass. Soon after, master glassmakers Simon Gate and Edward Hald joined the company to design new designs and shapes, focusing on engraving and overlay techniques. They also began experimenting with the innovative Graal technique, developed at Orrefors by master glassblower Knut Bergqvist. In 1917, Gate and Hald introduced figurative engraved patterns. Orrefors' reputation for excellence spread internationally in the mid-1920s; first as a result of Orrefors' presentation at the Gothenburg Exhibition in 1923, and then through participation in the historic Exposition Internationale des Arts Décoratifs in Paris in 1925, where Orrefors and the artists themselves were awarded the Grand Prix. In 1928, the designer-artist Vicke Lindstrand joined Orrefors and introduced a more sculptural and modernist aesthetic. Following Orrefors and Lindstrand's success at the 1930 Stockholm Exhibition, the company became increasingly associated with simple, subtle forms in the post-war period. In 1946, Orrefors hired architect-designer Carl Fagerlund to expand its glass lighting offering. Over the years, Orrefors designers developed a number of new glass manufacturing techniques. Vicke Lindstrand and Edvin Öhrström introduced Ariel in the 1930s, while in the 1940s Sven Palmqvist introduced the Kraka and Ravenna techniques. Nils Landberg's slender Tulpan (1957) and Ingeborg Lundin's delicate Äpplet (1955) - both icons of mid-century modern Swedish design - were created using the Fuga technique. The 1960s are associated with Gunnar Cyrén's Pop glass, and since the 1970s, designers such as Olle Alberius, Eva Englund, Lars Hellsten, Anne Nilsson, Erika Lagerbielke and Helen Krantz have contributed to Orrefors' rich heritage.
A GEORGIAN OAK GATE LEG TABLE, open width 130cm x closed width 46cm x depth 120cm x height 72cm (condition - ideal for restoration due to slightly warped timbers, splits surface marks and scratches) along with seven various chairs, to include an oak rush seated ladder back chair, a mahogany cane seated armchair, a white painted chair, a swivel office chair, and three other chairs (8)
A collection of approx. 90 LP records of 1960s/70s pop and rock, includes Beatles For Sale with outline mono on front cover in gate fold sleeve with flaps, Help with outline mono on front cover flipback gatefold sleeve, other Beatles LPs, Rolling Stones, U2, Roy Harper, Mike Oldfield, Helen Reddy, Fairport Convention, Free, Pink Floyd Wish You Were Here Dutch blue pressing, Pink Floyd The Wall signed by the cartoonist Gerald Scarfe, Jimi Hendrix etc.
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