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Lot 488
Equestrian books, Car, English Fox Hunting; Leech and Brown, Mr Facey Romford's Hounds; Mr Sponges Sporting Tour; Fox Hunting Companion; Edwards The Horseman's Guide; etc; Football Programmes - various Manchester Utd, Man City, Tottenham, Sheffield Wednesday, Sheffield United, programmes from 1960 to early 90's including FA Cup draws, finals, mainly Sheffield United away matches; Sheffield United football programmes including various Lane Line Up programmes, mostly 1960's/1970s This lot is to be sold for charity, please be generous
Lot 314
Two trays of china to include: 19th Century moulded relief design jugs; Sir Walter Scott commemorative jug, W. Ridgway & Co Hanley jug 1885 with hunting scene, an early 19th Century jug decorated with deer and with impressed mark 'Chetham' and a Don pottery moulded floral rosette jug with lid, Mike Francis pottery blue and white bird and tree design jug, Admiral Nelson and Captain Berry jug, Belleek Irish porcelain jar with clover and impressed woven design, a plate with moulded flowers to the rim and printed and painted figural design to centre, ceramic model of a sheep, Art pottery pig money box, Newhall oriental design rice bowl etc. (2) (B.P. 21% + VAT)
Lot 95
19th century Spode blue and white transfer printed pearlware pottery drainer decorated with 'Hunting a Hog Deer'. 24.5cm wide approx. Printed and impressed marks bearing Audrey White Collection label and underglaze letter 'A', together with larger similar Spode pearlware pottery blue and white transfer printed drainer, titled verso 'Dooreahs Leading Out Dogs'. Printed and impressed marks to base with letter 'C' and Audrey White Collection label. 38.5cm wide approx. (2) (B.P. 21% + VAT) The larger drainer appears basically good, minor wear and frits in places, the smaller drainer has fine hair crack visible from underneath.
Lot 144
AN UNBOXED HORNBY TINPLATE CLOCKWORK SPEEDBOAT 'Swift', blue deck and cover, white deck with trim, with key but motor not working and has other damage and wear, an unboxed Hornby O gauge No.1 Rotary Snow Plough, N.E. grey livery with type 2 chassis, looks to have had some restoration, an unboxed unmarked O gauge L.M.S. tender, has some minor damage, quantity of playworn Britains and other hollowcast farm and wild animals and figures, to include hunting figures and dogs, paperboy figure, Britains farm carts and accessories etc., condition ranges from repainted/restored to playworn/damaged (2 boxes)
Lot 300
A GERMAN HUNTING ASSOCIATION SILVER PRESENTATION WAITER, the centre applied with the badge of the Reichsbund Deutsche Jagerschaft (German Hunting Association), engraved ‘JAGER FEST CARINHALL’ above and facsimile ‘Goring’ signature with ‘1.11.1938’ engraved below, stamped 800 verso, diameter 17.5cm, 198.7 grams (Condition Report: a few minor dints in the rim, otherwise good condition), Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request
Lot 48
SAM BOUGH RSA RSW (SCOTTISH 1822 - 1878), RIDING ACROSS THE SANDS oil on canvas, monogrammed and dated 1860 framed image size 31cm x 61cm, overall size 45cm x 76cm Label verso: St. Helier Galleries Ltd., Jersey. Provenance: Christies, London, March 2011, label verso. Note: Considered to be one of the most influential and prolific Scottish landscape painters of the 19th century, Sam Bough RSA was a self-taught artist who spent much of his career working in Scotland. Born in 1822 in Carlisle, Bough settled in Manchester where he worked as a scene painter in the Theatre Royal. After moving to Glasgow he continued to paint in the evenings whilst working at the New Princes Theatre, eventually building enough success to move to painting full-time. Bough's reputation as a topographical and landscape painter grew during the 1850's and by the time he resettled in Edinburgh he had established himself as a successful landscape artist. Whilst living in the capital he created some of his most important paintings. At this point in the 1950s, artistically he was reaping the rewards of many years working and sketching outside, most particularly amongst the ships and shores of the Clyde, Forth and the Fife coast. He had trained his eye sketching from nature across the countryside of the north of England and Scotland. Now able to commit to painting full-time, he was prolific and successful, and in one year, 1859, he submitted seven paintings to the Manchester Institute and a further ten to the Royal Scottish Academy. With a relaxed approach to life, one story tells of him submitting ten canvases to an exhibition, nine fully realised and one completely blank. When questioned over the blank canvas, he indicated that the exhibition was not for another two weeks, so he had plenty of time to work it up! Bough was as successful a painter in both oils and watercolours, and was committed to depicting a wide variety of landscape views and effects, urban and rural, bright days and dark storms. However, there are specific locations and landscapes that Bough returns to regularly in his work; the hustle and bustle of harbours and coastal towns, with the distinctive Newhaven harbour a particular favourite and the hunting Forest of Cadzow, near Hamilton. Generally associated with views of Scotland, he did also create a series of Italian views. In general, his spontaneity, loose technique and interest in capturing fleeting atmospheric effects, particularly cloud formations and weather, establishes him as an important predecessor of the Scottish Impressionists, paving the way for the development towards a freer, plein air style.
Lot 895
Full title: A German or Austrian basso relievo ivory plaque with a deer on a rock in a forest, late 19th C.Description:10,5 x 9 cmMost probably a hunting trophy. The iconography is of course also influenced by the deer as a symbol of the search for true happiness within the Christian tradition. Accompanied by a CITES certificate (N°2023/BE00714/CE).
Lot 250
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze dagger features a triangular blade that tapers to a point, exhibiting a design intended for effective thrusting and cutting actions. The hilt of the dagger is equipped with a flanged design to accept inlay, enabling the addition of decorative elements or materials to further enhance the dagger's visual allure. Bronze weapons were highly valued for their strength, durability, and superior cutting and thrusting capabilities compared to earlier stone and copper weapons. The development and use of bronze as a material for weaponry marked a technological advancement during this period, revolutionizing warfare and hunting practices. Size: L:315mm / W:35mm ; 150g Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.
Lot 252
Western Asiatic/Aegan, ca. 1200-700 BC.A cast bronze spearhead featuring a triangular-shaped blade with a pronounced midrib that runs down the center, lending both strength and rigidity to the weapon. The blade tapers to a sharp point, designed to penetrate armor and flesh with equal ease. The pronounced shaft provides a sturdy grip, while the long tapering tang allows for secure insertion onto a wooden pole, creating a formidable weapon that was instrumental in Bronze Age warfare. In the Bronze Age, the spear was the most common and effective weapon, used for hunting, fishing, and warfare. These small spears were utilitarian tools, invaluable in a wide range of everyday tasks, from hunting to defending one's community. Size: L:140mm / W:18mm ; 30g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 222
Ca. 2nd millennium BC. It depicts a bowman hunting a gazelle. An x-shaped star is found in the exergue. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz. Size: L:33.1mm / W:16.1mm ; 13.51g Provenance: Private London collection of an Ancient Art dealer; formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Lot 113
Ca. 100-300 AD.A bronze stag figurine. This captivating sculpture depicts the creature standing on all fours, capturing the vitality and grace of the stag in its lifelike pose. The body of the figurine is pierced transversely, suggesting the possibility of suspension, which may have allowed it to be displayed or worn as a personal adornment. The distinguishing feature of this bronze stag is its long, elegant neck, culminating in a head adorned with majestic antlers. The snout of the stag figurine exhibits meticulous attention to detail, with recessed nostrils, an open mouth, and expressive eyes, imbuing the sculpture with a sense of life and energy. Stags held a prominent place in Roman culture, where they were often associated with various deities, particularly those linked to wilderness, fertility, and hunting. Their representation in art and mythology underscored their symbolic significance, representing attributes such as courage, vitality, and the cycle of life. Stag imagery frequently appeared in religious iconography, decorative arts, and even military insignia, showcasing the enduring appeal and cultural importance of this noble creature. Size: L:48mm / W:55mm ; 50g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 220
Ca. 9th-8th century BC. It depicts a hero with a bow, hunting a gazelle. A lunar disc and several dots (Pleiades) are found in the exergue. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz. Size: L:45.6mm / W:16.7mm ; 23.86g Provenance: Private London collection of an Ancient Art dealer; formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Lot 267
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead boasting a captivating design, with a gracefully shaped blade. As the blade extends towards the lower section, it expands in width. The opposite end tapers to a finely pointed tip, optimized for piercing. Notably, both surfaces of the blade are adorned with a thick midrib, adding both structural strength and aesthetic appeal to the weapon. The tang of the spearhead, characterized by a rectangular-section shank, elegantly curves outward and culminates in a small circular pommel, providing a secure grip and a balanced weight distribution. Bronze spears played a significant role during the Bronze Age, revolutionizing warfare and hunting practices. Their introduction marked a remarkable technological advancement, as bronze offered superior strength, durability, and sharpness compared to earlier materials. These spears enabled ancient civilizations to enhance their offensive capabilities, providing them with versatile and effective weapon for combat and hunting purposes. Size: L:422mm / W:65mm ; 525g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
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74922 item(s)/page