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Click here to subscribeλ A group of three swords, comprising: an early 18th Century hanger, curved bi-fullered blade 25.5 in, cut steel hilt with flat openwork outer guard and slender knuckle bow, barley twist ivory hilt; a late 18th Century Infantry hanger, curved blade 28 in., with broad fuller, brass stirrup with urn pommel, reeded ivory grip; and a George III spadroon of naval type, straight blued and gilt blade 32 in., brass stirrup hilt, chequered ivory grip. [3]
Three 19th Century sword canes: the first with ivory pommel carved as a bust of the Duke of Wellington, malacca shaft, a straight pull revealing a 14 in. blade; the next with ivory top in the form of a fist holding a scroll, bamboo shaft, a straight pull revealing a 5.5 in. blade retaining traces of gilding; the last with turned ivory top, a stright pull revealing a 12 in. blued and gilt blade/ [3]
An Indian matchlock musket (torador), swamped sighted barrel 46 in., with bands and panels of gold koftgari to the muzzle and breech, full stock with moulded and gold painted decoration and sling swivels, steel side plates, characteristic slender kite-section butt with ivory butt cap, 19th Century.
Sarouk carpet, the ivory field with a sand coloured lobed medallion centred by a flowerhead, all on a pale blue ground with shrubs and trees, red lobed spandrels with arabesques, cartouche border, approximately 390 x 290cmPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A Kuba rug, East Caucasus , the indigo panelled field with two columns of six feathery guls, ivory tulip and stepped leaf border, rosette guard stripes, approximately 156 x 102cmPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A pair of late George III oval silkwork panels , circa 1800, representing summer and autumn, the former with a girl holding a swag of flowers and the other of a countrywoman holding a sickle, a sheaf of corn on her head, both mounted on oval ivory silk panels with a continuous border of flowers, in gilt gesso frames, each 43cm highPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
Ω A Continental walnut, rosewood, tortoiseshell and ivory cabinet on stand, late 17th/ early 18th century, Dutch or Flemish, gilt metal mounted throughout, the gallery with pierced brass inset panels and floral finials, the six drawers beneath decorated with geometric stringing and incised ivory marquetry panels depicting animals and buildings, with tortoiseshell backgrounds, the central door opening to four small drawers and profusely decorated with metal mounts and flanked by tortoiseshell veneered pilasters, on ebonised spherical and gilt metal claw feet, the conforming stand with three false drawer fronts, the incised ivory depicting people and animals, on turned and ebonised legs and stretchers and on turned feet, the cabinet 77cm high, 114cm wide, 40cm deep, the stand 97cm high, 120cm wide, 46cm deep Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω Attributed to Simon Troger, (German 1683 ~ 1768), a carved and stained wood and ivory model of David with the head of Goliath, circa 1750, the victor portrayed as standing and attired in loose leather armour in the Roman manner, his finely sculpted face with inset glass eyes, beneath a feather adorned hat, his left arm raised, his left foot resting on the severed head of Goliath, on carved and shaped wood base, 35.5cm high Simon Troger is considered to be one of the most prominent German sculptors of the late Baroque period. His figures and groups distinctively combined wood and ivory, with inset glass eyes, sometimes including details in metal. They were remarked upon as much for their expressive faces and theatrical poses (both of which are evident in this David), as much as they were for the technical skill employed in their production Troger trained in Merano and Innsbruck, followed by sojourns in Italy, Copenhagen and finally Munich -the city in which he opened his own highly productive workshop by 1727. Troger's composite figures represent beggars and large and complex religious or secular compositions, generally using more ivory than wood, although not in this case. Some of the more important figural groups and statuettes are held at the Castle of Rosenborg in Copenhagen, London's Victoria & Albert Museum, the Staatliche Museum in Berlin, and with a major collection held at the Bayerisches Nationalmuseum in Munich Literature: Theuerkauff, C., Nachmittelalterliche Elfenbeine, Die Bildewerke in Elfenbein des 16 - 19 Jahrhunderts, Staatlichemuseen Berlin, Band II, Berlin, 1986, pp. 268 - 273, Cat. NEUR 74 and 75 Trusted, M., Baroque and Later Ivories, Victoria and Albert Museum, V & A Publishing, 2013, pp. 101 - 104 Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A French carved ivory rectangular diptych panel, the Crucifiction, 14th century, traditionally portraying Christ on the Cross, flanked by the robed figures of Mary of Clopas, and Mary Magdalene, in recessed relief beneath a cusped and crocketed arch, with trefoils in the spandrels above, 9.5cm high, 5cm wide Comparative Literature: See Joseph Natanson, Gothic Ivories of the 13th & 14th centuries, Alec Tiranti Ltd, 1951, plate 35 for a very similar example. Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A Vizagapatam hardwood and ivory marquetry writing box , mid 18th century, on a George II Irish mahogany stand, circa 1750, the box decorated throughout with bands of lac heightened ivory marquetry depicting flowers and marquetry, the hinged top centred with a rectangular panel of conforming design, opening to a pair of small drawers, pigeon holes and a removable fitted tray section, the stand with a shaped frieze incorporating carved scrolls and centred by a central shell motif, above tapering cabriole legs surmounted by lappet carved terminals and terminating in carved claw and ball feet, 86cm high, 59cm wide, 42cm deep Provenance: Purchased by the current owner from a member of the Penrose family (Cooper Penrose), thence by descent through several generations, having previously been part of the furnishings of Woodhill House, Cork, Ireland. For an example of Vizagapatam furniture (writing and dressing table) with closely related design of ivory marquetry see Sothebys Important English Furniture, 6th June 2006, lot 331. An illustrated detail of a marquetry medallion of the writing and dressing table offered by Sotheby s demonstrates the marquetry motifs used to be remarkably similar to those decorating the current lot being offered. See also Sothebys, Important English Furniture, 22nd November 2006, lot 232 for a Vizagapatam writing box demonstrating very similar marquetry decoration. For related Irish stands, see James Peill and the Knight of Glin, 1rish Furniture, Yale University Press, 2007 Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A George III ivory veneered and ebony strung tea caddy, circa 1800, of octagonal section, the hinged pyramidal cover with gilt metal swing handle, the front with inset oval yellow metal panel, the interior with central divider and metal lined, 12.5cm high, 11cm wide Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A George IV or William IV tortoiseshell veneered, ivory banded and mother-of-pearl marquetry tea caddy, circa 1830, of rectangular form with canted angles, the hinged cover with graduated cavetto mouldings, the front with foliate inlay above gadrooning, on four ball feet, the interior with twin subsidiary covers, 16cm high, 17.5cm wide Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A Victorian pollard oak and ivory mounted collector's chest, circa 1860, attributed to Gillows, the foliate carved tablet frieze above fourteen drawers, with an ivory tablet and handles to each, flanked by hinged ribbon carved pilaster sections, on a carved inverted breakfront plinth base, 71cm high, 58cm wide, 26cm deep Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A German carved ivory figural panel depicting the Courtship of Apollo and Ceres, circa 1875, of curved rectilinear form, sculpted in high relief and in places in the round, the gods seated at centre, Apollo holding his lyre, Ceres crowned with wheat and holding a sheaf in her extended right hand and a sickle in her left; Apollo's attributes personifying the Arts to the left, with Ceres' attributes including putti with a cornucopia, and an attendant with a basket of produce to the right; with Cupid in flight above crowning a Bacchic Herm, and Juno, Mercury and other deities amongst distant clouds behind; 40cm wide, 16cm high Glazed and set into a carved and ebonised wood moulding frame, 54.5 x 29cm overall For very closely comparable examples of German ivory figural reliefs of the period, see: Christie's South Kensington, La Strada Romana - Works of Art from a Private Roman Collection, 14th May 2008, lot 175 Sotheby's New York, 19th Century Furniture, Sculpture, Ceramics, Silver and Works of Art, 21st October 2009, lot 185 Sotheby's Olympia, Silver, Miniatures & Vertu, 18th December 2003, lot 73 Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
A Chinese Canton carved ivory vase and cover, of campana form with twin dragon handles, the domed cover with a dragon and cloud finial, the body intricately carved in high relief with a continuous battle scene in a landscape with rocks, trees and buildings, above a knopped stem and stepped foot, carved with bands of lotus leaves and leafy scrolls, 26cm high.Provenance: Purchased by the present vendor at auction from Banks & Silvers, 6 May 1981, Oakhampton House, Dunley, Worcestershire, lot 447.Footnote: Oakhampton House in Dunley had been in the ownership of the Crane family since 1827, and was extensively modernised in 1883 at the behest of John Henry Crane who commissioned architect J.P.St Aubyn to carry out the work. The house was used by Banks & Silver as an auction venue during the early 1980s.
A Chinese Canton ivory card case, 19th Century, of rectangular form and carved in relief on all sides with figures in a terraced village amid rocks, trees and a river, the bottom corners with bats, the top edge with two dragons, the bottom edge with birds in clouds, the front side with a vacant lozenge cartouche, 9.5cm x 5.5cm.
A Chinese Canton ivory puzzle and case, 19th Century, the case of square form and carved in relief front and back with scenes of figures at leisure in village settings within 'bamboo' borders, the edges carved with dragons chasing a flaming pearl, the sliding top opening to reveal a six-piece openwork carved puzzle forming a rectangle and worked with lotus and other flowers and foliage, case 6cm x 6cm.
A Chinese ivory and paper painted fan, 19th Century, the guards and sticks carved with Chinese figures within European taste borders, the leaves painted in colours to one side with figures in garden settings and to the other with a rocky landscape and flowering plants, 29cm, together with a European taste painted ivory fan, with carved openwork sticks, the leaves painted with figures at leisure in a bucolic landscape, 28cm (2)
A large Japanese ivory and bone okimono of the Takarabune, Meiji period, the seven gods of fortune modelled seated, playing musical instruments or standing with their respective attributes on the open deck of an elaborate sailing ship, the single pole mast holding a large windblown sail, a number of objects including scrolls, fan, gourd, sack and baskets lying on the balustrade deck, the hull of simulated wood planks with a cockerel figurehead, some details inlaid with mother of pearl, on carved hardwood stand simulating a turbulent sea, 57cm high x 52cm long (64cm high on stand)
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