We found 74922 price guide item(s) matching your search

2 pairs of Vintage leather riding boots, 1 pair with stamp to inside "Thrussell & Son Ltd, Hunting Book Makers, 28 Sidley Street, Cambridge, Established 1340", no size, sole heel to toe 28cm, and a 2nd unmarked pair, no size, heel to toe 27.5cm

TWO FRAMED SETS OF SIX TILES DEPICTING HUNTING SCENES

FIVE FRAMED HUNTING PRINT SCENES

A COPPER, COILED HUNTING HORN

A HUNTING KNIFE IN A LEATHER SHEATH

Coalport mask head jug and a hunting scene set of three. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)

A group of Beswick pottery animals, comprising hunting scene dogs, foal, a fox, dapple grey foal and pony, two sheep, sheep dog, terrier. (a quantity)

A brass hunting horn, 107cm long, with red and yellow rope border.

After George Stratton Ferrier RSW. Hunting scene, In The Moorlands, print, limited edition, 16/500, numbered in pencil to margin, 46cm x 71cm, framed and glazed.

JURASSIC PARK (1993) - Velociraptor Claw - A velociraptor claw from Steven Spielberg's Jurassic Park. The velociraptors used their sharp claws to attack their prey and to tap on the kitchen floor while hunting Lex (Ariana Richards) and Tim Murphy (Joseph Mazzello). This claw, created by key artist Rob Hinderstein at Stan Winston Studio, is made of highly detailed cast resin, painted brown and black with gray highlights, and features an embedded metal rod for plugging it into the puppet. The claw exhibits some scuffing and foam residue where it would have been attached to the foot. Dimensions: 6.25" x 5" x 1.5" (16 cm x 12.75 cm x 4 cm)Estimate: $6,000 - 12,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

Saqui & Lawrence, London. A gold hunting cased watch, 1926. Movement: lever escapement, 15 jewels, no. 334012. Dial: white enamel, Roman numerals, subsidiary seconds. Case: 9ct gold, gold cuvette, no. 7704, maker’s mark B.B, Chester hallmark for 1926. Signed: dial Dimensions: diameter 54mm. £300-£500 --- Condition Report Movement: fully wound and not running, balance rotates freely Dial: a couple of small cracks. Case: scuffs throughout, indentation to the band, lacking glass. Gross weight: 119.4gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense.

J. W. Benson. A gold half-hunting cased watch, 1928. Movement: lever escapement, 15 jewels, no. 19383. Dial: white enamel, Roman numerals, subsidiary seconds. Case: 9ct gold, gold cuvette, aperture with blue enamel Roman numerals, no. 9182, London hallmark for 1928. Signed: case and dial. Dimensions: diameter 46mm. £200-£300 --- Condition Report Movement: running at the time of cataloguing. Dial: in good condition. Case: scuffs throughout, indentations to the back and band, glass lacking to the aperture, scratches to the enamel numerals. Gross weight: 71gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense.

LOUIS XV: (1710-1774) King of France 1715-74. A rare and interesting full manuscript letter in the hand of the King, A.L.S. `Louis´, one page, 4to, Compiegne, 21st September 1766, to Ferdinand Duke of Parma, in French. The King states `Mon petit fils, est-il vrai que le Prince de Brunville ressemble à votre pauvre père, je le croirais assez par ses portraits, et par tout ce qu´on m´en a dit. J´ai encore eu un bon rhume, mais il va mieux depuis que j´ai pris du petit lait pendant deux jours... L´été nous est revenu, et j´ai eu plus chaud hier à la chasse que je n´en avais encore eu de cette année, cela fera grand bien à la vendange´ (Translation: "My grandson, is it true that the Prince de Brunville resembles your poor father, I would believe it from his portraits, and from everything that I have been told about him. I had a bad cold again, but it's better since I took whey for two days...Summer has returned to us, and I was suffering the heat yesterday while hunting more than I have been earlier this year, it will do a lot of good for the harvest...") Further Louis XV announces his immediate travelling plans, saying `Nous partons tous d´ici dans le courant de cette semaine, ainsi ma précieuse lettre sera datée de Versailles...´ (Translation: "We are all leaving here during this week, so my precious letter will be dated from Versailles...") To a postscriptum at the base of the letter Louis XV states `Nous eumes hier une belle cérémonie qui est celle de l´ordination qui fut faite par l´év[êque] de Soissons dans la chapelle, il y avait vingt-neuf ordinants´ (Translation: "Yesterday we had a beautiful ceremony which was that of the ordination which was carried out by the Bishop of Soissons in the chapel, there were twenty-nine ordinants") With blank integral leaf. Bearing to the verso the addressee in the King´s hand `A mon frere, et petit fils Ferdinand infant d´Espagne, duc de Parme et de Plaisance´, also bearing a very attractive royal crowned red wax seal in fine condition. VG Ferdinand I (1751-1802) Duke of Parma and Piacenza 1765-1802. Grandson of King of Spain Philip V

PUCCINI GIACOMO: (1858-1924) Italian Composer. A very good A.L.S, G. Puccini, one page, oblong 8vo when letter-envelope is unfolded, Viareggio, 17th March 1923, on his printed stationery letter-envelope, to Maria Bianca Ginori, in Italian. The letter bears to the upper left corner the red printed text "Viareggio - Via Buonarroti" and to ht everso the red printed name "Giacomo Puccini". Puccini states in part `Cara introvabile Signorina, da Cortina [d´ampezzo] poi piu niente si seppe di Lei - O dove s´era e s´è ficcata? - Dove mi pare - Ha ragione - Dunque le ho spedito l´inno di Roma perché lo faccia pervenire alla Principessa...´ (Translation: "Dear unfindable Miss, since Cortina [d´Ampezzo] and then nothing is known of you - Where are you and where did you go? - Wherever I like - You are right - Well, I sent you the hymne of Rome so you can forward it to the Princess...") Further Puccini makes a curious statement `Io sono qui solo - Sono gaio come un cipresso...´ (Translation: "I am here alone - I am as gay as a cypress...") Addressed to the verso in Puccini´s hand to Maria Bianca Ginori, at the Ginori Palace, in Florence. Also bearing few postmarks and stamped. G Maria Bianca Ginori-Lisci (1897- ?) daughter of Puccini´s friend Count Carlo Ginori-Lisci with whom he shared his passions, go hunting and the automobile, and to whom Puccini dedicated his opera La Boheme.The hymne of Rome Puccini refers to would later become the Fascist one.

CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist, discovered the Tomb of Tutankhamun in 1923. An excellent group of three typescript manuscripts, unsigned, by Howard Carter, with many annotations, additions and corrections in his hand, being the text for three lectures (two on the discovery of Tutankhamun's tomb and a third on the subject of colour), forty-eight pages (total), small 4to, n.p. (London?), n.d. (c.1924, 1930 & 1934). The first typescript manuscript commences 'We had almost given up in dispair (sic), and would have done, were it not for the fact that in nearing the tomb of Ramses VI (sic) we found a very intriguing buried heap of flint boulders which suggested the proximity of a tomb. Why had they been placed there?......They were of a kind usually selected by the Ancient Egyptians for filling in the entrance of a tomb, but there was nothing of the kind underneath them......In October, 1922, I returned to Luxor to make this final effort.....I set my Egyptian staff to work, about 120 men and boys in all.....When in four days we made the discovery which surpassed our wildest hopes. How well I remember that fourth day. I arrived early in the morning on the scene of the action......the work of clearing continued feverishly throughout the rest of the day......then, with ill-suppressed excitement, I watched the descending steps, one by one, as they were revealed, Our work progressed, and at the level of the twelfth step there was disclosed the upper part of a doorway, blocked, plastered and sealed. It was a thrilling moment for an excavator, alone, save for his native workmen, after years of unproductive labour, on the threshold of what might prove to be a magnificent discovery. Amything, literally anything, might lie beyond that sealed door and it needed all my self control to keep from breaking down the blocking of that doorway, and investigating then and there......I sent a runner into Luxor with a cable telling Lord Carnarvon, then in London, the good news. Little knowing that had I gone a few centimetres deeper in that excavation, the name of Tut.ankh.Amen upon the seals of that doorway would have told me the secret - that almost ephemeral king, Tut.ankh.Amen......had made his grave in the Valley of the Tombs of the Kings' and continues 'The decisive moment had arrived. With almost trembling hands I made a tiny breech in the upper left hand corner.....A lighted candle was then applied, the ever necessary test and precaution against possible foul gasses, and then, widening the hole a little, I inserted the candle and peered in.......gradually ones eyes became accustomed to the dim light, details of the room within emerged slowly, strange animals, statues and gold - everywhere the glint of gold. For the moment - an eternity it must have seemed to others standing by - I was amazed, when Lord Carnarvon, unable to stand the suspense any longer, inquired anxiously, "Can you see anything?" it was [all] I could do to answer, "Yes, wonderful things"'. The second typescript manuscript is entitled The Royal Burial and Innermost Treasury and dated May 1930, and states, in part, 'Our work in the Antechamber was finished.....We were ready at last to penetrate the mystery of the sealed door.....When a hole sufficiently large was made to see in, an astonishing sight was revealed, for there, within a metre of the doorway, stretching as far as one could see, and blocking the entrance of the chamber, stood what to all appearances was a wall of gold. We were at the entrance of the actual Burial Chamber of the King, and that which barred our way was the side of an immense gilt shrine, built to cover and protect the sarcophagus......before us, was one of the Great Golden Shrines beneath which Kings of Egypt were laid.......a surprise awaited us, for an open door, leading eastwards from the Burial Chamber, led to yet another chamber......this proved to be the Innermost Treasury. From where we stood, a glance sufficed to tell us that there within this small chamber lay perhaps the greatest treasures of the tomb'. Interspersed between the text of both manuscripts are a number of pages detailing the slides which Carter used to illustrate his lectures, including images of the Valley of the Tombs of the Kings, the excavations, the discovery of the tomb, the more important objects found in the antechamber (including a painting of a hunting scene, Carter noting in his own hand that 'Such scenes are naturally the works of a Court painter - doing homage to the young monarch. For such a slender youth, un-armed, save for the bow and arrow, to attack a group of fierce lions & lionesses, is hardly tenable'), the coffins, the raising of the lid of the sarcophagus, and much more. The final, third typescript manuscript is for a lecture entitled Colour which Carter delivered at the Victoria and Albert Museum on 17th October 1934 and commences 'The normal visual apparatus of the eye enables us to distinguish not only differences of form of objects looked upon, but difference in character of the light received from them, which we name colour. Form is intellectual; colour emotional. Colour is the property of form, that is to say, only decorative. Colour does not define an object, but it instils a sensation and a feeling. Thus, in art and ornamental design, form is perhaps more important than colour, but excellence in both is the most important' and continues with a fascinating discussion of colour from artistic and scientific perspectives, also making a reference to the Valley of the Kings, and quoting Sir Joshua Reynolds. The manuscripts are contained together within a limp bound ring leaf binder and a few of the pages are loose. A wonderful series of manuscript lectures, particularly for their first-hand accounts of the most famous discovery in the history of Egyptology. Some light staining and minor age wear, otherwise generally VGIn 1924 Howard Carter made a tour of Great Britain, France, Spain and the United States of America, delivering a series of illustrated lectures on the excavation of Tutankhamun's tomb. In New York and other American cities Carter's meetings were attended by large and enthusiastic audiences, sparking American Egyptomania, and President Calvin Coolidge requested a private lecture.

PUCCINI GIACOMO: (1858-1924) Italian composer. A.L.S., `G.Puccini´, to one side of a postcard, Monaco, 1st April 1917, to his brother-in-law Raffaello Franceschini, in Italian. Puccini in a friendly way reports on his next travelling plans, stating, in part, `Parto per Milano e dopo Pasqua saró di nuovo Torre...´ (Translation: ''I leave and go to Milan and after Easter I will return to Torre...") Puccini is about to leave Milan and travels to Milan where he has to deal with Ricordi, and intends to be back after Easter in his at Torre del Lago. Addressed in Puccini´s hand to Franceschini in Pescia, Toscana. The postcard shows to the front an attractive colour paintingt image of Monaco. GRaffaello Franceschini (1854-1942) husband of Puccini´s one-year younger sister, Ramelde Puccini (1859-1912). Franceschini was working as tax collector in Pescia. Puccini and his brother-in-law maintained a long-time friendly relationship, and used to share the hunting journeys.

WILLIAMS ROBIN: (1951-2014) American actor and comedian, Academy Award winner for Best Supporting Actor in 1997 for his role as Dr. Sean Maguire in Good Will Hunting. Signed colour 8 x 10 photograph of Williams standing in a three-quarter length pose wearing an aloha shirt and with a beach umbrella in his hands. Signed ('Greetings, Robin Williams') in bold blue ink to the base of the image, his surname running across a darker area. An ink annotation to the verso in the hand of a collector indicates that the autograph was obtained in person at the Hotel du Cap-Eden-Roc in Antibes on 14th May 1997 during the Cannes Film Festival. EX

A box of pictures and prints including ornate gilt-framed fox hunting print, etc.

Jiří Kolář, Czech 1914-2002 -  Hunting, 1970; collage, signed with initials and dated lower right 'JK 70', 31.5 x 45.3 cm (ARR) Provenance: with Abermarle Gallery, London, cat. no.73 (according to the label attached to the reverse of the frame); private collection Note: Kolář was a Czech poet, writer and artist, his work often critical of the oppressive communist state in his home country. He would become a member of the existentialist group  Skupina 42, alongside Jindřich Chalupecký, Ivan Blatný, Josef Kainar, Jiřina Hauková and Kamil Lhoták. In his collages he sought a disruptive effect, reflecting this fragility of the world around him. Kolář would eventually emigrate to Western Europe in the 1970s, finally settling in Paris. A large number of Kolar’s works are now in public collections, including with the Tate. His work was first exhibited in 1937 and has been shown internationally in museums including at the Guggenheim Museum, New York in 1975, the Museo Nacional Centro de Arte Reina Sofia, Madrid in 1996 and most recently at the National Gallery of Prague in 2018. 

° ° Emily Eden (1797-1869) - PORTRAITS OF THE PRINCES & PEOPLE OF INDIA. AN EXTREMELY RARE COPY OF THE BEST ISSUE. Hand coloured lithographed title mounted on card, list of plates and 27 hand coloured lithographed plates, heightened with bodycolour and gum-Arabic, by Lowes-Dickinson after Eden, printed by Charles Hullmandel and mounted on 24 card mounts with ink borders ruled by hand and 24 leaves of commentary text, published by J. Dickinson & Son, London,1844, with letterpress titles and captions on paper mounted on each verso, each interleaved with blank guard sheets.Unbound, as issued, in original purple morocco-back and cloth portfolio, upper cover blocked in gilt ‘Hon.E.Eden’s India Part.1’ around an integral vignette illustration of a snake coiled around an egg. 55.5 x 44.5cm. Not in Abbey.Estimate £25,000-35,000A scarce coloured edition of Emily Eden's major work, one of just a handful of copies published in this particular format. Emily Eden, the seventh daughter of William Eden, first baron Auckland, accompanied her brother, George Eden, 1st Earl of Auckland (1784-1849), during his tenure as Governor-General of India from 1835 to 1842. A gifted amateur artist and writer, Eden documented her experiences in India through letters and an extensive collection of sketches. Upon her return to England in 1842, Eden privately arranged for the printing of her images as a portfolio of 24 lithographs, known as "Portraits," which was published in 1844 in four parts. While the majority of copies were issued without colouration, a select few, including the present edition, were beautifully hand-coloured. In addition to the "Portraits," Eden's journal, "Up the Country: Letters Written to her Sister from the Upper Provinces of India," was published in 1866.The "Portraits" by Eden feature detailed depictions and accompanying textual descriptions of various Indian rulers and their families, whom Lord Auckland encountered during his term in office. Initially residing in Calcutta, Lord Auckland and his entourage travelled through the Upper Provinces from October 1837 to February 1840, engaging with princely subjects. Notable individuals met and portrayed by Eden during this tour included the Maharaja Ranjit Singh, founder of the Sikh empire and ruler of the Punjab until his death in 1839, his second son, the Maharaja Sher Singh, ruler of the Punjab 1841-1843, the Raja of Nahun, the Raja of Patiala, and Raja Hira Singh, son of the Prime Minister of the Punjab. The richness and splendour of the Indian Princes are deftly captured in this fine work.Depictions also include servants attached to Government House, and their families, part of a 12,000-strong retinue accompanying Lord Auckland and party up the country. There are additional depictions of figures that Emily Eden observed along the way - Pathans, Tibetans and others.Portraits of the Princes and Peoples of India - Front and rear boards faded, especially to 10cm. strip to right side of front board.List of Plates with some loss and tears to right side.Title borders browned, coloured image good.The plates - with very few exceptions the images are remarkably bright and unaffected by spotting, as are the captions mounted verso.Plate borders are spotted, as are the areas surrounding the captions.Worming noted to top right margin of plate 14 Commentary leaves generally good - a few with close tears to margins. Page 19 repaired lower right.PROVENANCE: Purchased from Sotheby’s Grosvenor Galleries, 1985, thence private collection Sussex. The list of plates is as follows (using contemporary spelling in some cases): The son of the Nawab of Banda (frontispiece). Dost Muhammad Khan, ruler of Afghanistan, and family. Maharajah Sher Singh, 'the present sovereign of the Sikhs'. Hindoo Fakeer. Two Jemadars, Calcutta (two plates on one card). Akalees, 'being very wild in appearance, and turbulent characters'. The Rajah of Patiala. Rajah Heera Singh. Rajah Hindoo Rao. A Patiala horseman. A young hill Rajah, from the area around Simla. Falconers, servants of the King of Oudh. Servants of Raja Khurruk Singh. The late Maharajah Ranjit Singh, 'in his usual attitude and dress'. The horse and groom, and the jewels of Ranjit Singh, including the Koh-i-Noor (two plates on one card). Hunting leopards of the King of Oudh with attendants. Arab servants of Sir Alexander Burnes. A fakeer at an encampment. A Hindoo student at Calcutta and a girl, the daughter of a servant (two plates on one card). Purtab Singh, a Sikh prince, murdered at Lahore. A Shootr-Suwar, a camel despatch rider. The Rajah of Nahun and sons; Anund Musseeh, a convert to Christianity (two plates on one card). Tibetan tartars, traders, sketched at Simla. A Zemindar and a Pathan. Lord Auckland receiving the Rajah of Nahun in Durbar.***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Set of Three Small Reproduction Hunting Prints, 18.5x15cms

Seven reproduction hunting knives including Carl Linder and Tree Brand, some in original boxes

Four various Hanwei Bowie type hunting knives in original boxes

Four various antler handled hunting knives with blades by Solingen

Large 19th Century harvest tankard, relief moulded with hunting dogs and figures, silver plated cover, 17cm highSlightly misshapen lid, otherwise in good condition

Joy Hawken, set of four hunting prints relating to the Pytchley Hunt,signed in pencil, numbered limited editions 34/285,various sizes, mounted and framed.Qty: 4

Richard Barnard, Castle Ashby, watercolour; another watercolour The Water Babies by the same artist, and G R Reeve after Henry Alken, A Hunting Phaeton and A Sporting Tandem, hand-colour aquatints, late impressions.

Hunting related books and prints, a Vanity Fair Spy print of Champion Jockey Fred Archer; after Lionel Edwards a coloured print,m The Pytchley - The R101 over Tally-Ho Gorse; after Andrew Haslen a limited edition print 351/850 of an Otter; three Horse and Hound year books 1968-1972; John Masefield, Reynard The Fox; Country Life Fox Hunting Companion 1978; Robert Colville, By Permission of The Master; Hon. J W Fortescue, The Story of a Red-Deer; rolled prints in a tube.

Two reproduction county maps of Leicestershire and Northamptonshire, various hunting prints, by John Carter, Diane Breeze, etc, and a quantity of Snaffles related greeting cards.

An Indian silk painting of an elephant facing left, tiger hunting deer scene to cover, peacock head-ornament, 18x19cm.

Vintage Puma 'White Hunter' hunting knife, 29cm overall length.

Collection of seven Russian oil paintings c1960-70 including landscapes, hunting scene, etc, largest 60cm by 78cm, including frame.

A Limited-Edition coloured etching by Henry Wilkinson of a fox-hunting scene, signed (Ltd. ed no. 78/150), 27cm x 36cm; together with various other decorative pictures.

A salt glazed flagon or tankard, late 18th to early 19th century, possibly Mortlake, depicting tavern and hunting scenes, with a brass cover, 24cm highCondition ReportCracks to the base and a hairline crack to the body. The lid does not sit flat. No apparent chips or losses. Total height 24cm, to top of tankard 21cm.

A Meissen porcelain figure late 19th century, of a gentleman with a French horn and hunting dog, painted crossed swords mark, impressed no 630328.5cm hightogether with a Sitzendof porcelain figure, of a putto on a mythical sea creature, painted marks,12cm high (2)Condition ReportNo chips or cracks to either example.

A Victorian walnut stool, mid-19th century, the rectangular top upholstered in needlepoint fabric decorated with hunting scenes, raised on turned baluster supports, 95cm wide61cm deep49cm highCondition ReportThe frame sound, and upholstery sunk and cover needs to be restitched - minor blemishes to frame.

A group of three walking sticks, 19th century, comprising a silver-topped example, embossed with a hunting scene, 88cm high, another silver-mounted example, Birmingham 1897, 89.5cm high, and a carved example, the handle carved with a man, to entwined snakes, 93cm high (3)Condition ReportKnicks and wear throughout. Split to the base of the carved snake example.

PAIR OF GREEN PORCELAIN HUNTING SCENE VASES 39CMS (H) APPROX

Mixed Lot: Chinese ceramics, hunting horn, trinket boxes etc

An album of postcards, fox hunting themes

Imperial German Hunting Association Long Service Medal. Maker marked "Carl Poellath, Schrobenhausen". Complete with original ribbon and pin.

Hunting Cutlass with single edged plain blade 700mm in length. No makers mark. Leather washer to blade. Brass Clamshell guard along with 105mm wide crossguard. Wire bound horn grip. Overall length 710mm. No scabbard.

Silver mounted Hunting Cutlass with fullered decorated engraved blade 554mm in length. Floral decoration along with a figure. Latin inscription. Clamshell and D shaped guard. Fluted Bone grip. Overall length 687mm. No scabbard.

An Excellent Condition, Kral .22 Air Rifle with 4 x 40 Telescopic Sight Complete with Gun Bag, Bipod & Pellets. Rifle is a very accurate full power hunting/sporting rifle. 114cm Length including sound suppressor. UK Mainland Sales Only

° ° British Sports and Sportsmen; Cricket and Football, 1917, Shooting and Deerstalking 1913, Hunting 1912, Past and Present 1908 (vol. I only)

A George V silver biscuit server, a Dutch white metal combination fork and spoon and a late Victorian silver hunting horn, by Sampson Mordan & Co, London, 1900?, 30.2cm.

Two antler-handled hunting knives and three other knives Antler-handled knives some corrosion to blades; Mitchell of Sheffield annd and Melhuish of Holborn; blades15.7cm and 15cm from top to crossguards.

A collection of mixed tea wares to include Royal Imperial Bone China decorated with fox hunting scene. [W] NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.

A collection of dinner wares and a small quantity of plates decorated with hunting scenes. [2]. [W] NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.

After John Frederick Herring Sr (1795-1865, British), coloured lithographs, Four fox hunting illustrations, of Country Sporting interest, comprising 'Full Cry', 'Breaking Cover', 'The Meet', & 'The Death', all displayed within moulded gilt wood frames, mounted, and under glass, measuring 33cm x 58cm, & 58cm x 85cm overall (4)

After R L Harvey (1888-1973) a coloured print depicting a hunting scene, rustically framed in oak 84 x 63 cm sold along with a similar countryside print after Davifd Tenniers 82 x 69 cm

Trinket Box: Hand Painted Hunting Scene, Stamped E S 1861 (Circa 1890) - Erdmann Schlegelmilch Porcelain FactoryThis trinket box features a decorative hand-painted hunting scene and is stamped with the mark E S 1861, indicating it was produced around 1890. The factory responsible for its creation is the Erdmann Schlegelmilch Porcelain Factory, which was established in Suhl, Thuringia, Germany in 1861 by Leonard Schlegelmilch and his two brothers. The factory was named in honor of their father, Erdmann. After Leonard's death in 1899, his son Julius Martin took over the business, which grew steadily until the start of World War I. Despite efforts to keep the factory going after the war, it was ultimately closed in 1937 due to the economic challenges of the Great Depression.

Silver Hunting Flasks w/Leather Cases - one with a silver hallmarked lid+ collar - Birmingham 1901

Antique Copper & Silver Plated w/a Deer Motif, possibly hunting interest? 25cm diameter

Pair of Very Large Royal Dux Farming & Hunting figures - both have a degree of AF

Hunting and Shooting Assortment of Early Hardback Books, 23 volume collection, comprising many collectable items, incl. 'Harehunters All' ,a numbered/signed Burrow's Press publication

TWO HORSE RIDING ENGRAVINGS Pieter de Jode the Younger (1606 - after 1674), after Abraham van Diepenbeeck (1596 - 1675), from Duke of Newcastle, Methode et invention nouvelle de dresser les chevaux, Antwerp, 1658. Together with J. Charlton, 'Sketches in The Hunting Field. No. II - The Rivals,' from 'Supplement to The Graphic' February 16th, 1878. 51 x 38cm, and 43 x 29cm Condition: Condition Report 'La Methode Nouvelle' has central text section marked out in black ink, the lacquer gilding on the frame has occasional splitting, particularly at exterior sides and lower corners. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Doxa watch with hunting scene. Silver plated. Anti Magnètique.Early 20th century. Diametr 7 cm. The watch is fully functional after service. Belgian antique pocket watch. Doxa watch. Liège 1905. Medaille D'or Milan 1906.

Rare matchbox, silver cigaretter case. With beautiful decoration. A main motive - Hunting. Silver 84 marked Petersburg, Russian Empire. The period of reign of Nicholas II. The size 13,5 x 5,5 cm and weight 117 gr. Niello losses.

A 20th century brass & copper hunting horn [94cm]