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Lot 863
An unusual carved and painted oak side cabinet. Circa 1920, possibly incorporating some earlier timber, the carving probably by Frank Rosier. The frieze and drawer front with four hunting or poaching scenes, the cupboard door and angled sides with three Dutch style floral still lifes, the lower drawer above turned supports and a paneled shelf below, height 132cm, width 96cm, depth 42cm.Frank Rosier was a wood carver and cabinet maker, based in the early 20th century in Frant, East Sussex.By decent within the family.
Lot 796
A Doulton Lambeth stoneware jug 'Straight is the line of duty/curved is the line of beauty...' Height 20cm. Together with a collection of four pieces of Doulton Lambeth salt glazed pottery decorated with hunting scenes, comprising two jugs, a tankard, and a twin handled vase with hallmarked silver rim (5).
Lot 53
A very mixed lot of militaria etc, including a police truncheon painted with "VR" cypher (very worn), another with crowned "GR" cypher, a Boys Brigade pill box cap, a German silver mounted hunting horn, a bowie type hunting knife, two iron spear heads and a lance head, three swagger sticks, four sword scabbards and a bayonet scabbard, a scarlet sash, two pairs of overalls, a spotting telescope and bi-pod stand etc. £50-80
Lot 745
A FINE DUTCH VERRE ÉGLOMISÉ GOLD AND SILVER REVERSE ENGRAVED PICTURE ON GLASSBY JONAS ZEUNER (KASSEL, 1727-1814), LATE 18TH CENTURYdepicting a duck shoot beside a lake, a walled town in the background, inscribed ‘Zeuner. inv:’ lower left. in a moulded frame27.9 x 33.6cmCatalogue NoteJonas Zeuner was born in Kassel in 1727 and settled in Amsterdam in around 1750, although his first recorded works date from around 1770. He perfected techniques for decorating with engraved gold and silver leaf on a glass panel with additional reverse glass painting in oils. A similar pair of hunting scenes by Jonas Zeuner were sold by Christie's, New York, The Collector: English & European 18th & 19th century Furniture, Ceramics, Silver & Works of Art, 28th April-7th May 2020, Online, lot 239, for $30,000 (including fees).
Lot 600
AN OAK REFECTORY TABLEEARLY 18TH CENTURY AND LATERthe boarded top with cleated ends on rustic end supports united by a stretcher, together with an associated oak bench (2)76cm high, 69cm wide, 204cm long (max)ProvenanceFermyn Woods Hall, Northamptonshire. By family repute, the wood for the base of the table came from Rockingham Forset, the former Royal Hunting forest, in Northamptonshire.
Lot 12
⊕ Property from the Marie-Louise von Motesiczky Charitable Trust (lots 12-44) Introduction Marie-Louise von Motesiczky (1906-1996) grew up in Vienna, but when Austria was annexed by Germany in 1938 she and her mother fled via Holland to England where she lived and painted until she died in her ninetieth year. A seminal influence on her work was Max Beckmann (1884-1950) whom she met in 1920. She recalled: ‘A winged creature from Mars could not have made a greater impact on me’ and they remained in regular contact until the end of his life. Beckmann visited her in Paris, she attended his master classes in Frankfurt 1927-28 and they stayed in contact as far as possible during his exile in Holland from 1937-47, travelling to visit him and his wife ‘Quappi’ before they left for the United States. Marie-Louise had been born into a cultured Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange in Vienna, she counted the Todescos, and Ephrussis among her family circle, and her grandmother Anna was one of Freud’s early patients. Over time the family was stricken by tragedy and financial and political turmoil. Marie-Louise’s father died in a hunting accident in 1909, her mother’s income was reduced during the post First World War by high taxation and the failure of the family bank in 1932, and the Anschluss on 13 March 1938 impelled her to leave Vienna immediately with her mother. Her brother Karl did not do so, mistakenly thinking he could continue his studies and look after the family property. He was arrested in October 1942 for aiding Jewish refugees and deported to Auschwitz, dying of typhus on 25 June 1943. In London Marie-Louise reconnected with Oskar Kokoschka (1886-1980), a family friend from Vienna now similarly in exile. Kokoschka arranged for her work to be exhibited in London, including a show at the Czechoslovak Institute in 1944. It was in Britain that she found her own ‘voice’ as an artist, living in Amersham during the war years, then a rented flat in West Hampstead and finally a large house on Chesterford Gardens in Hampstead. Another figure central to her life for nearly thirty years was the Nobel prize-winning writer Elias Canetti (1905-94), who is commemorated on the plaque dedicated to the two of them at the house in Chesterford Gardens. But starting afresh in Britain proved challenging for Marie-Louise, and it was not until 1960 that she had a second solo show at the Beaux Arts Gallery. In contrast, on the Continent her work was exhibited in Amsterdam and The Hague in 1952, a canvas being purchased by the Stedelijk Museum; she showed in Munich (1954) and Düsseldorf (1955), and in the 1960s she enjoyed further shows in both Austria and Germany. Then, in 1985, her work was exhibited again in London at the Goethe-Institut. The catalogue included contributions by Tate curator Richard Calvocoressi, Gunther Busch, former director of the Kunsthalle in Bremen, and the renowned cultural historian and fellow émigré Sir Ernst Gombrich. The exhibition re-ignited interest in her work, and in the years that followed her work was shown across Europe. A centenary exhibition travelled from Britain to Germany and Austria in 2006-7, her biography written by Jill Lloyd was published in 2007, followed in 2009 by a catalogue raisonné compiled by Ines Schlenker. In 2019 the ‘Marie-Louise von Motesiczky Archive Gallery’ was inaugurated at Tate Britain where the archive of her papers, photographs and the bulk of her drawings and sketchbooks are held and fully catalogued online. Her work is now in the collections of national, regional, local and university museums in Britain, Ireland, Austria, Germany, Netherlands and the United States. A major self-portrait of 1959 is on display at the National Portrait Gallery in London, following its reopening in June 2023. Literature Reference: the full reference for Schlenker, abbreviated in lots 12-43, is: Ines Schlenker, Marie-Louise von Motesiczky, A Catalogue Raisonné of the Oil Paintings, London, 2009. The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust. MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) SELF-PORTRAIT watercolour and pastel on paper 11 x 16cm; 4 1/4 x 6 1/4in 31 x 39cm; 12 1/4 x 15 1/4in (framed)
Lot 248
A late 19th/early 20th century German 800 silver box, embossed with a hunting scene to the lid depicting figures on horseback with dogs, decorated to the sides with C-scrolls and flower heads and with a gilded interior, 2.2cm high x 9.8cm wide, 169.9 gramsIf there is no condition report shown, please request
Lot 265
Royal Paragon, EnglandCollection of nursery ceramics, Mickey Mouse Series, to include: 'Here's something to tickle you', octagonal bowl; 'Mickey's uninvited Guest.' small plate and 'Hunting the Moose' baby's plate (3) All with signs of wear consistent with age and use. All with firing imperfections.
Lot 185
A pair of gilt-brass mounted Continental porcelain Kakiemon bottle-flasks and covers, 19th century, pseudo red hunting horn marks for Chantilly, probably Samson, each painted with the ‘flying squirrel’ pattern, with a yellow squirrel eating berries above bound bullrush fences issuing meandering branches and flowers, on square plinth bases with canted corners and circular garlands, the covers with down-turned stiff leaves below the finials and attached with chains to the neck mount, 21cm high overall (2)Provenance: The George Farrow Collection.
Lot 56
PLEASE NOTE: INTERNET BIDDING FOR THIS LOT IS AVAILABLE ONLY VIA ROSEBERYS LIVE. ALL BIDDING ON THIS LOT IS SUBJECT TO A DEPOSIT WHICH MUST BE MADE BY 1700BST ON 1 OCTOBER. CONTACT CLIENT SERVICES FOR MORE INFORMATION AND TO REGISTER TO BIDA pair of rare extinct taxidermy New Zealand Huia birds (Heteralocha acutirostris), late 19th century, comprising full mount adults, the female perched above the male on a tree branch, on a naturalistic ebonised base with soil and grass, within a later glass dome, approx. 57cm high, 40cm wide, 32cm deep overall Provenance: Property of a Gentleman. Roseberys acknowledge the cultural and spiritual significance of the huia to Ngāti Huia, and to Aotearoa (New Zealand).We are grateful to Errol Fuller, author of Extinct Birds, Oxford University Press, 2000, and Barry Williams, author of The Last Huia, to be published later this year, for their help with authentication. Footnotes: Note: The extinct huia bird was a striking, large songbird native to the North Island of New Zealand, with deep metallic, bluish-black plumage, orange wattles and long white-tipped tail feathers. The female and male Huia had dramatically different bill sizes and shapes; the female beak being long, slender and curved while the male beak was stouter and shorter. The male used its shorter bill as an axe to dig into decaying wood to extract huhu larvae as well as other insects, while the female with its longer decurved bill could extract larvae from more solid wood. The huia bird was already a rare species before the arrival of Europeans to New Zealand. They were a sacred bird to the Māori, who prized the tail feathers and wore them as a mark of status. Often worn in the hair by Māori of rank, the twelve unique black and white-tipped tail feathers of the huia represented chieftainship (Rangatiratanga). The feathers were also gifted or traded between iwi (people) for other taonga (treasures) to create and maintain important tribal relationships. They were similarly given to non-Māori as a sign of respect and acknowledgement. Furthermore, the tail plumes became fashionable in Britain after the Duke of York was photographed wearing one during a 1901 visit to New Zealand which sparked a dramatic rise in the capture and hunting of the species.The logging and burning of native forests by European settlers in the nineteenth century to make way for farming in the lowlands of the North Island was also a major contributing factor to the decline in population and ultimate extinction of huia birds.The last accepted sighting was in 1907, but it is likely that a few huia birds persisted as late as the 1920s.Condition Report: In overall good condition. Has been recently sympathetically restored, with the wattles repainted and a repaired break to the right leg of the male. The plumage with some fading overall, to be expected with age and exposure to sunlight. One tail feather of the male, on the right side, is a lighter colour than the others and may possibly not be original to the bird although is from a huia bird. Some minor ruffling to the feathers on both birds. While the dome and groundwork are later, the branches are most likely from the original taxidermy case that would have housed these birds. It is possible that they were originally part of a larger taxidermy display.
Lot 402
An English walnut and parcel gilt trumeau mirror, of George II style, last quarter 19th century, the shaped moulded frame with oil on board of a hunting scene above rectangular mirror plate, 73 x 80cmCondition Report: bottom right corner joint is slightly loose, scratches and knocks throughout,
Lot 31
A pair of gilt-bronze mounted Sèvres style porcelain pedestals, late 19th century, of tapering rectangular form with verde antico marble plateaux, the central sections painted with 18th century hunting scenes with finely dressed figures on horseback with hounds in landscapes, each signed H. Desprez, the waisted blue-ground capitals and socles gilt with hunting trophies within scrolling foliage borders, each mounted with scrolling foliage, on rectangular verde antico marble plinth bases centred by masks of Hercules wearing the head and pelt of the Nemean lion, 117cm high overall, the marble tops 35.8 x 35.8cm (2)Footnotes: Note: a similar pair of Sèvres style porcelain and vert maurin marble pedestals sold at Christie's New York, 16 April 2015, lot 10 ($30,000).
Lot 362
A large and impressive German Black Forest cuckoo clock, the pediment having large stag-head draping 2 hunting rifles, above Gothic Roman numeral dial, encircled by hunting horn flanked by rabbit and bird, with acorn and oak leaf surround, with oak leaf pendulum and 3 pine cone weights, with Swiss musical movement playing Lara's Theme Edelweiss, case height 95cmOriginally purchased by the vendor in Boppard, Germany in the 1970s.
Lot 889
A George III longcase clock by R Wilson of Lincoln, the painted arch dial with hunting scene to the arch, painted floral spandrels and Roman numerals with date aperture and subsidiary seconds hand and signed R Wilson Lincoln, with eight-day movement and mahogany and oak case with inlaid boxwood decoration and crossbanding, with a broken arch pediment and ball ornament to the hood, 210cm high.
Lot 391
Collection of large Scale Airfix Kits Frog Aircraft and Vintage Games Puzzles and Jigsaws (qty), Airfix, series 8 'Mayflower', appears complete although sails are slightly damaged, 600 Scale Queen Elizabeth 2, appears unopened, Frog Spitfire in Balsa and card in camouflage green and tan, Cameo Handicraft wooden Galleon Kit, New Game of Card Soccer, appears complete with writing inside XMAS 1942 and W H Storey mini catalogue with price warning related to war time conditions, Chichester Jigsaw Puzzle, No 6 Heart of London and No 5 South-East England, Stephens New York Auto-Magic battery operated Picture Gun, in original box (dated 1937, no film, bulb tested ok, corrosion to one side of metal gun, Puzzles UPL, House Hunting, Puzzles in Pictures, Winners, Eupax Noises in the Dark, and Dennis Puzzled'em, all in original boxes, unboxed Lincoln Toys Hong Kong battery operated plastic Noddy Car (grubby, not tested , clean compartment), F-VG, boxes F-G (qty)
Lot 351
A fine 19th century hunting cane by Swaine and Co, London. A wood shaft topped with a fine embossed silver neck depicting a fox head amongst scrolling foliage. The engraved cartouche - " Henry La.... Esq from WM 1859." Antler horn handle (loop missing) replaced ferrule (79cm) Swaine was established in 1750 as a whip and saddlery makers. The house of Swaine is one of the worlds oldest heritage brands serving the British royal family.
Lot 1906
Thomas Sutherland After Henry Alken - A set of four hunting prints titled 'The Leicestershire Covers', to include: 'The Meeting, Kirby Gate', 'Breaking Cover, Billesdon Coplow', Full Cry, Whifsendine Pasture' and 'The Death, View of Kettleby', all hand-coloured aquatints, published by S & L Fuller, 1824, 28.5 x 75 cm, glazed and framed as a set (4)
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74922 item(s)/page