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Click here to subscribe9th-10th century AD. An gilt-copper-alloy rectangular pendant, obverse decorated with inlaid motif of a bird, possibly a raven, with folded wings; remains of a thin silver plate to the reverse. Cf. Arbman, H. Birka I: Die Gräber, Uppsala, 1940 plate 95 item 9a-b. 5.03 grams, 25mm (1"). Fine condition.Property of an American collector; acquired 1980-2000.
4th-5th century AD. A gold mount in the form of a profile eagle's head with garnet and green stone (probably amazonite) cloisons, beaded wire rim and three attachment points. See Menghin, W. The Merovingian Period. Europe Without Borders, Berlin, 2007 item I.9.7.1 for similar. 7.28 grams, 35mm (1 1/2"). Extremely fine condition.Property of a private collector; acquired before 1975.
5th century AD. A flat-section gold hoop with beaded median band, square bezel with cluster of three granules to each shoulder, beaded wire rim and cell with inset garnet cloison. Cf. Hadjadj, R. Bagues Merovingiennes - Gaul du Nord, Paris, 2007 item 346 for type. 3.70 grams, 22mm overall, 17.53mm internal diameter (approximate size British O, USA 7 Europe 14.98 Japan 14) (1"). Extremely fine condition.Property of a European gentleman living East of London; acquired before 2000.
8th-10th century AD. A flat-section gold hoop with rolled edges, scooped slots with applied beaded wire and granules, raised median band with beaded wire to the edges, opposed bird-head motifs with punched pellet eyes. See Franceschi, G., Jorn, A. & Magnus, B. Fuglen, Dyret og Mennesket i Nordisk Jernalderkunst, vol.2 Borgen, 2005 item 4 for similar bird-head motifs. 14 grams, 25mm overall, 21.76mm internal diameter (approximate size British Y 1/2 USA 12 1/4 Europe 28.20 Japan 27) (1"). Property of a private collector; acquired before 1975.
10th-11th century AD. A bronze openwork mount in the form of an s-shaped beast decorated with panels of hatching interlaced with openwork tendrils, scrolled ends turning to form the frames for the attachment rivets; the design including hatched body panels of the earlier Jellinge style, with later mesh of tendrils and lentoid eye of the Ringerike Style. Cf. the enmeshed animal mount from Hertfordshire in Backhouse, J., Turner, D.H. and Webster, L. The Golden Age of Anglo-Saxon Art: 966-1066 London, 1984 item 107. 26 grams, 62mm (2 1/2"). Very fine condition. Very rare. From an important American collection; acquired 1990s. The Jellinge style takes its name from the ornament on a silver cup found in the north mound of the Danish royal site at Jelling, Jutland, in the burial chamber thought to be that of King Gorm, dated 958/59 AD from wooden fragments in the same site. The small cup stands on a pedestal foot and is decorated only around its bowl with a pair of interlaced animals. These beasts are typical of the Jellinge style with ornament ribbons and heads shown in profile. The long pigtail and spiral hip joint are also characteristic of the Jellinge style animals. These animals are descendants of those of the Broa style, by way of Borre. It seems to have evolved during the ninth century and was in fashion for most of the tenth century.
Late 7th-early 9th century AD. A gilt-bronze openwork bracket or fitting comprising: a D-shaped plaque with incised running zigzag to the upper face, waisted openwork plate formed as three cells flanked by S-coiled beasts; the upper beasts with one raised three-toed forelimb, D-shaped facing mask with pellet eyes, hatched detailing to the body, tribract to the shoulder, clubbed tail; the lower beasts similar with piscine details; the upper and lower cells D-shaped, the central one a lozenge, with a column of a hatched fish between; pierced at the upper corners and lower cell, two lateral pierced attachment lugs; ferrous remains, lug and part of a separate riveted bronze plate to the reverse. See Webster, L. & Backhouse, J. The Making of England. Anglo-Saxon Art and Culture AD 600-900 London, 1991; Wilson, D.M. Catalogue of Antiquities of the Later Saxon Period, Volume I: Anglo-Saxon Metalwork 700-1100 in the British Museum, London, 1964. Recorded with the Portable Antiquities Scheme with reference number DENO-4207C5; accompanied by a print out of the PAS report. 84 grams, 87mm (3 1/2"). Fine condition. Found Nottinghamshire, UK; 2013. The mount is unusual although its decoration and manufacturing technique point to an origin in Britain in the 7th-9th centuries. Its D-shaped upper face or ledge indicates that it is not the standard flat form of scabbard or harp fitting. The cells were probably intended to accept a glass inset gem or millefiori panel, although the inner panel of the central cell shows signs of having been gilded. The upper beasts show strong Irish influence in their design, which is found elsewhere in Northumbrian art in the 8th-9th century as for example on the brow fittings of the Coppergate helmet (Webster & Backhouse, item 47"). Similar heads in profile appear on the scabbard chapes from the St. Ninian's Isle Treasure (Wilson, plate IV"). The overall design of the piece is tentatively identified with the 'fish flanked by birds' motif seen for example in the Staffordshire Hoard, probably of later 7th century date.
An emerald and diamond cluster ring in 18ct yellow gold and platinum, the central oval cut 0.63ct emerald surrounded by round brilliant cut, claw set, diamonds. Size O / 7. Gross Weight 3g.With GCS certificate 5777-9633 which states that “Gemmological characteristics of this item are consistent with emeralds originating from Colombia” with “indications of moderate clarity enhancement”.
An antique Victorian Burmese ruby and diamond cluster ring in yellow gold, the central ruby weighing 1.35ct, surrounded by a ring of round cut diamonds, with scrolling designs to the shoulders. Estimated total diamond weight 0.70ct. Size M / 6. Gross Weight 3.1g. With GCS certificate 5777-8656 which states that “Gemmological characteristics of this item are consistent with rubies originating from Myanmar (Burma)” and that there are “No indications of heating”.
A believed original signature / autograph of Adolf Hitler. The ink signature being presented upon an original period sheet of headed paper 'Der Fuhrer Und Reichstanzler.' Mounted and framed alongside an accompanying period envelope with eagle emblem to top corner. Also mounted is a reproduction photograph of Hitler. Total size; 38cm x 47cm. NOTE: Given the nature of the item, buyers are reminded to satisfy themselves as to authenticity prior to bidding, and no guarantees can be offered. From an ex-museum collection, this piece was once on display to the general public.
A collection of assorted 20th century Civil Defence and related items to include; leather attache bag, 2x original Avon Fire Brigade wooden mounted crests, Avon & Somerset Constabulary badge, bugle with tassels, cigarette case & leather briefcase of Forest of Dean Masonic Lodge related item to include, ceremonial necklaces, ritual book etc.
An incredibly rare 20th century developmental (never issued for service) prototype L1A1 rifle bayonet. Complete with the original scabbard. The blade unmarked (as per the developmental versions). 35cm in length. POSTAGE: Worldwide postage / delivery available on all items. Combined postage available; UK £15.99+VAT, Ireland from £19.99+VAT, Europe from £19.99+VAT, USA / Canada from £30+VAT. Any other destinations please get in touch for a quote; info@eastbristol.co.uk. All quotes dependant upon location. Prices are per parcel (not per item).
A rare early 20th century c1920's African / Nigerian Hausa double edged dagger. Original leather and brass scabbard. The dagger with brass handle and decoration to blade. POSTAGE: Worldwide postage / delivery available on all items. Combined postage available; UK £15.99+VAT, Ireland from £19.99+VAT, Europe from £19.99+VAT, USA / Canada from £30+VAT. Any other destinations please get in touch for a quote; info@eastbristol.co.uk. All quotes dependant upon location. Prices are per parcel (not per item).
A late 19th / early 20th century bone handled patterned blade Spanish dagger. Crown to top of the handle. Markings worn, but ' Artil Fabrica' appears to recasse. 29cm long POSTAGE: Worldwide postage / delivery available on all items. Combined postage available; UK £15.99+VAT, Ireland from £19.99+VAT, Europe from £19.99+VAT, USA / Canada from £30+VAT. Any other destinations please get in touch for a quote; info@eastbristol.co.uk. All quotes dependant upon location. Prices are per parcel (not per item).
A 20th century Moroccan origin Jambiya dagger / knife. Within the original brass scabbard. Beautiful ebonised handle with mother of pearl inlay. 29cm long. POSTAGE: Worldwide postage / delivery available on all items. Combined postage available; UK £15.99+VAT, Ireland from £19.99+VAT, Europe from £19.99+VAT, USA / Canada from £30+VAT. Any other destinations please get in touch for a quote; info@eastbristol.co.uk. All quotes dependant upon location. Prices are per parcel (not per item).
An early 20th century Syrian made Jambiya dagger / knife. With a likely silver white metal handle, with scabbard. 28cm long. Decorated with symbols to blade. POSTAGE: Worldwide postage / delivery available on all items. Combined postage available; UK £15.99+VAT, Ireland from £19.99+VAT, Europe from £19.99+VAT, USA / Canada from £30+VAT. Any other destinations please get in touch for a quote; info@eastbristol.co.uk. All quotes dependant upon location. Prices are per parcel (not per item).
An 1860's pattern Navy .36 calibre six shot percussion cap revolver. The cylinder with naval engraving. Marked 'Colts Patent No. Sept 10th 1850.' Serial No. S638. Serial numbers to base, and interior lug of grip. Action appears free of movement and working order. NOTE: Given the nature of this item, buyers are reminded for the need to satisfy themselves as to condition / accuracy of item prior to bidding. Description amended as of 21:26 on 08.05.17 with new details.
An original retro 1970's Honda Express motorcycle / moped. Registration: BKK 911T, November 1978 first registered. 49cc original engine. Correct vinyl saddle fitted. Has recently undergone a complete rebuild, and part restoration (paint and decals). Vendor assures us engine is in working order, but does require attention (starts but stalls). V5C present. Given the nature of the item, buyers are reminded for the need to satisfy themselves as to condition prior to bidding.
A Chinese Tang Dynasty (618-907) polychromed ceramic figure of a warrior on square base, height 26cm and a further similar figure of a noble, height 27cm (2). CONDITION REPORT: Both figures have surface wear. The figure of the warrior has areas of flaking tot he paint and possible area of restoration to his neck. Some chips around the edges. The figure of a noble has got overall major losses to the paint and he is missing an item held in his right hand. Some surface wear and dirt with minor losses throughout.
A Japanese Meiji period ivory okimono modelled as a reclining gentleman reading a book, signed to base, length 9cm. CONDITION REPORT: There is a rectangular cut hole to the back of the figure where presumably something was attached which is now missing, some slight discolouration to the stained ivory. The item he is clutching in his right hand has a rough finish and is possibly and old break which has been ground down but overall in good order.
Formula 1 Memorabilia: A limited edition West McLaren Mercedes Benz and Mobil 'Edition Silver Arrows' presentation boxed set, 1998, comprising limited edition Tag Heuer watch number 167/500 with framed watch display case, (the watch unused, recently fitted with new battery and with case in separate box), twelve limited Edition Silver Arrows prints with printed title page and introduction, limited edition number 167/500, four with signatures of Mika Hakkinen, David Coulthard, Stirling Moss and Hans Hermann, the prints are interchangeable in the watch display frame, and a glazed cased display housing a 1:18 scale Mercerdes-Benz W196, two 1:43 scale 1998 Formula 1 team cars, and four original parts from a McLaren Mercedes MP4-13 comprising samples of Mobil Oil and Bridgestone tyre rubber and an engine component and a chassis component, fitted into a presentation case, never produced for resale.Provenance: This item was given to the vendor by Mobil/Mercedes and was produced only for McLaren team and sponsors for first Mercedes McLaren Constructors Championship win in 1998.
Formula 1 Memorabilia: An Aad van Koningshoven 1995 McLaren F1 print showing both McLaren's racing, the item being a rare piece, due to the print never being sold to the general public, signed by Mika Hakkinen and Mark Blundell, with humorous messages from both drivers.Provenance: the autographs on the print were obtained by the vendor personally.
Formula 1 Memorabilia: A 1998 British Grand Prix, Silverstone, Mobil 1 Paddock Club race board with signatures of the two McLaren drivers signed by Mika Hakkinen and David Coulthard, a unique Formula 1 item from the year McLaren won the both the Drivers (Mika Hakkinen) and the Constructors Championship.Provenance: the signatures were obtained by the vendor when Coulthard and Hakkinen came into Mobil 1's Paddock Club to brief the Mobil 1 team pre-race.
Vintage 14 Karat Yellow Gold Mounted Wise Owl Pendant with Ruby and Emerald Accents. Stamped 14K 585. Good condition. Measures 1-1/2" H, 1" W. Approx. weight: 12.1 grams. We Will Not Ship This Item Outside of the State of Florida. Anyone Having This Item Shipped Must Have a Florida Address or the Item will not be Shipped. We will Not Knowingly Sell Endangered Species outside of Legal Channels. Shipping $28.00 (estimate $50-$100)
A 1930's solitaire diamond and palladium dress ring, centrally claw-set with a Victorian cushion-cut diamond set above a square top carved with an eight-point star and further set to the corners with four small Victorian cut diamonds, the top with tapering open sides, estimated total diamond weight 0.90-1.00 carat, total item weight 3.58 grams
A reproduction stained wood dressing chest, comprising: an arched bevelled mirror over a base containing two flights of four drawers with black metal handles, raised on bracket feet; and a pair of matching bedside chests, each with two drawers and glass protectors.NBThis item matches with Lot 1022.
A RARE IRISH PROVINCIAL SILVER SOUP LADLE, Limerick c.1785, mark of Maurice Fitzgerald, the pointed taper handle engraved with initials, (c.217.7g). 38cm longMaurice Fitzgerald, Mary Street Limerick, working 1760-1817. He is possibly the Maurice Fitzgerald, son of James Fitzgerald (no address given), who was apprenticed to Vere Forster, a Dublin goldsmith in 1752. He obtained his freedom of Limerick in October 1774. He served as bailsman in the Tholsel Court in 1787 and 1789. His advertisement in the Limerick Herald, 7 December 1789, announced his moving 'to Bridge St (formerly Quay Lane) where Geo. Moore had his shop, and has received from London and Dublin a fashionable assortment of silver and plate work'. He leased part of his Rutland Street dwelling in 1815. He died in Rutland Street in May 1817 and was buried in St. John's; his wife predeceased him in November 1815. (Bowen and O'Brien, 2007 p203)Hallmarking was introduced to Ireland in 1637 in order to control the practices of goldsmiths which had become increasingly dubious due to a lack of an established body to monitor the craft as a whole in Ireland. King Charles I established the ‘Wardens and Company of Goldsmiths of our said City of Dublin’ with a charter that would match their counterpart in London in relation to powers of law. The standards of production in place in England were replicated in the assay office set up in Dublin in April 1638 where every piece of silver produced in the country was stamped with ‘The King’s Majesty Stamp called the Harp Crowned.’ A second mandatory mark identified the maker of the item, usually the goldsmith’s initials. Or at least that was the idea, but as with any rule there is always the exception. Limerick silversmiths managed to defy these sanctions which mostly applied to those practicing the craft within a three mile radius of Dublin rather than farther afield. It was expected that those working in provincial centres would follow suit, however the specifics were somewhat vague. Equally the physical distance and difficulty of travel in the 17th century largely discouraged Limerick silversmiths to send their wares, of which many were highly valuable goods, to the assay office in Dublin. As a city, Limerick had their own trade guilds with their own set of rules, whose privileged position created a monopoly over the commercial economy of the city. The practice continued well into the 18th century despite the fact that the situation became more delicate for Irish provincial silversmiths with the introduction of a duty tax of 6d. per ounce on all gold and silverwares wrought in Ireland. This manifest evasion was tolerated by the State who turned a blind eye to the various unsanctioned marks. When a Limerick silversmith struck his mark upon a piece it acted as their guarantee to the customer. These marks vary with a castle gateway and six or eight pointed star stamped on late 17th century items, while from 1710 onwards ‘STERLING’ appeared along with the silversmiths initials. As ‘STERLING’ is not technically a hallmark the accompanying maker’s initials took on the equivalent weight of an official stamp. By staking their reputation through putting forward their own name rather than using the relative safety of a standard mark assured by the assay office, this suggests that Limerick silversmiths took particular pride and confidence in the high quality of their work.
***PLEASE NOTE DATE SHOULD READ C.1807***A RARE IRISH PROVINCIAL BRIGHT CUT STRAINER SPOON BY CARDEN TERRY & JANE WILLIAMS, Cork c.1795, with bright cut star terminal and engraved with initials, (c.188.6g). 35cm longJane Williams, Goldsmith, Silversmith & Jeweller; third daughter (baptised 27th June 1773) of Carden Terry & Catherine Webb; married John Williams (q.v.), of Cork 6th August 1791; after his death she continued the business in Grand Parade in association with her father; many gold and silver assays in Dublin 1808-22; she died 17th April 1845. (Bowen and O’Brien, 2005 pp180-186)Female silversmiths have until recently been largely written out of the history of silver making in Ireland and Britain. With the exception of the highly prolific Hester Bateman, very little has been published about the work of these fascinating craftswomen. As with all decorative arts the skill of the item should be sufficient in justifying the importance of these women but unfortunately their talent has been largely excluded from texts dedicated to Georgian silversmiths. An awareness of what must have been an immense struggle for recognition and support of their work, alongside their male counterparts, is paramount. A common issue with promoting the reputation of female silversmiths is that they often worked in partnership with men, either husbands or fathers, and as a result it is difficult to ascertain, through misappropriation or otherwise, who was the true maker of the item. An issue such as this arises when confronted with the work of Cork silversmiths Carden Terry and his daughter Jane Williams (1771-1845) who worked with her father and husband in the late 18th century. Jane was married on 6 August 1791 in St Peter’s Church, Cork, to her father’s apprentice, John Williams (1771-1806), who entered into partnership as a silversmith with Carden Terry in 1795. Terry himself was born in 1742, to a notable Cork family and was apprenticed in 1758, setting up shop on at Main Street in 1765. His early work bore the mark CT, usually with the word ‘STERLING’, though technically not a hallmark it was normal for provincial Irish items. Up until the late 17th century silver items were mostly reserved for the church and the extremely wealthy. This began to change when silver prices dropped and for the first time the middle class could afford silver household objects. The trade had to adapt to the change from large ornate royal and ecclesiastical works to simple functional pieces. To meet this growing market wives and other female relatives of silversmiths were brought into the trade. Many of these women were hands on in the trade with younger girls brought in to finish and burnish the pieces. The silversmiths were extremely protective of their trade so they imposed a fine on anyone who brought a woman into the business that was not a close relative. Although women would have served their apprenticeship they would then have to work under their husband’s mark. They would only be in a position to register their mark when their husband died. Jane, who lived at Grand Parade, Cork, continued business as a silversmith after both the death of her husband in 1806 and that of her father in 1821. She holds the distinguished position of being the most well-known and prolific Irish female silversmith working in the late 18th and early 19th century.
A CHINESE POTTERY FIGURE OF A BACTRIAN CAMEL TANG DYNASTY 618-907 AD Standing four-square, his head raised, the straw-coloured glaze with caramel-coloured streaked details, 52cm.This item had a thermoluminescence test produced by Oxford Authentication UK Ltd., Sample No: C103c48, 27th February 2003.
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