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Lot 868
A 19th century Cantonese ivory fan, with embroidered silk, an early 20th century carved ivory elephant, a similar egg, and a netsuke (4) Condition report Report by GHSome small edge nicks and general slight discolouration to the fan.Ivory and silk generally in good condition and apparently free of damage.The netsuke has a chip and slight loss to one end.Other pieces generally good and without damage.Report by NGFan: sticks approx. 22 cm. Some small chips to carving on outside sticks. Piercing on inner sticks crude. Some sticks bent. Some small tears in silk and light fading.Egg approx. 4 cm high. Some black marks in body.Elephant: approx. 5 cm high. Ears rough. Character marks to base of front right foot, inscription to base of back right foot but is unclear.Netsuke: approx. 6 x 3.5 x 3 cm. Cracked and with possible chip to terminal of corn.
Lot 869
A 19th century oval bust portrait miniature, of a gentleman, watercolour, 7 x 6 cm, another oval portrait miniature of a lady, 7.5 x 6 cm, and a daguerreotype of a seated gentleman, 12 x 9 cm (3) Condition report Report by GHThe portrait of the gentleman generally good with some dirt but appears to mainly be attached to the underside of the glass. Very small white dot above the gentleman's head, possibly paint loss or a flake. No obvious major damage or restoration. The portrait of the lady is on paper and is a little faded with a damaged area at the bottom and general browning. The daguerreotype is extremely faded and mirror like.Report by GHThis is an original watercolour on ivory miniature.
Lot 575
Great Britain. A red binder housing an 1840 to 1900 mint and used collection. Includes twelve 1840 1d blacks (all used with faults); various 1841 1d reds including two with black numeral 2 and 6 Maltese crosses (faults), 1841 2d blue horizontal pair JI/JJ (three margins) used with ivory head; various 1870 1/2d Bantams mint and used; various surface printed including 1883 to 1884 values to 10s used (faults); 1897 to 1892 Jubilee various values mint to 1s and used to £1. Very mixed condition
Lot 574
Great Britain. An 1840 to 1947 mint and used collection on loose album pages and a stock card. Noted two 1840 1d blacks K-G and P-F used (faults); four 1841 2d blues (including H-F ivory head); twenty 1841 1d reds used (faults); range of later Victorian with duplication; various 1902 to 1910 used to 1s; 1924 to 1926 used with shades to 1s
Lot 330
Sydney S. Morrish (1836-1894, British) An elegant lady wearing a white silk dress and gloves, a bonnet with a pink parasol holding a Manchester terrier puppy, oil on canvas, framed, signed lower left and dated 1870, 55 x 40cmThis lively, spirited dog breed is a true terrier. Bred in Manchester, England, for the common man's sports of rat killing and rabbit coursing, he's got game and he loves to show it. The Gentleman's Terrier (as he is known in Victorian England) is not a sparring dog but loves a good chase, making him a flyball and agility expert.Though his looks suggest a miniature Doberman Pinscher or a large Miniature Pinscher, the Manchester Terrier is his own canine. A wee dog with a strong bark, he's got personality to burn: loyal, hearty, and a terrific watchdog who adores hanging out with his people. Among terriers, the Manchester is known to be one of the more well-mannered and responsive breeds and today spends his time as a terrific companion who can hold up his end of the conversation.The history of sunshades goes back thousands of years, but it was during the Italian Renaissance of the 16th century that umbrellas and parasols were introduced to Europe. At first the items were large, used interchangeably, and generally carried by a servant to protect the wealthy from the elements and sun. Some were heavy (made of leather) but silk, paper, and cotton grew in popularity. During the 1700s parasols had already evolved into a woman's fashion item, designed and decorated to match each promenade dress or walking suit, and was clearly defined as a sunshade; not for rain and snow. To make them collapsible developed around 1800, but ribs would break, paper tear, and the materials mildew if left damp. By the early Victorian era metallurgy had improved and alloy ribs were being used, nickel silver particularly popular. This type of thin strong metal was developed in Germany by craftsmen in an attempt to imitate the Chinese combination of copper, nickel and zinc, known as paktong.At the beginning of Queen Victoria's reign the parasols were quite plain, but by about 1850 tassels and frills grew in popularity. In each ensuing year the adornments became more ostentatious. If a dress had bows or flounces, the parasol could be adorned with the same decoration. This was a matter of taste, and ladies selected modest or extravagant versions for different circumstances, and based on what their income would allow. Of course it was only the wealthy who used parasols as a day-to-day accoutrement. A poor girl might have a simple parasol for church, or a Sunday afternoon stroll. It was during the 1850s the marquise parasol was developed, a style that tipped at the top, so a lady could hold the shaft straight and still shade her face well no matter the angle of the sun.During this time many houses featured racks (two horizontal parallel arms) for placing open parasols and umbrellas high overhead in front and back halls; ideal for implements that didn't close, could be damaged by constant opening and closing, or damp items. Parasol handles were usually straight, but some hooked examples exist. A plain parasol might have a wooden or metal pole with a bone handle, while the most expensive choices were of carved ivory shafts, decorated with inlaid jewels and gold banding. An in between version could be with carved horn and silver filigree accents. Throughout the Victorian era the handles grew longer, so "carriage" parasols were designed with a hinge in the middle to allow breakdown and ease of movement in tight spots.
Lot 332
German School, 17th century, Portrait of a merchant holding an ornate ivory staff, oil on canvas, 76 x 64cmThe Staff shown is possibly a carved ivory figure, its style suggests a date from the mid 17th century. The staff is likely to be Netherlandsih and seems to be related stylistically to cutlery handles of that date. It is quite possible that the merchant in the poirtrait was a master culter or even a skilled ivory carver who decided to be depicted with a staff showing one of his fine carved handles. The staff head seems to depict a woman surrounded by foliage, it may well be allegorical. With thanks to Dr Majorie Trusted FSA, senior curator of sculpture the Victoria and Albert Museum
Lot 515
A 1920s/30s ivory silk and lace possible wedding dress. The garment features lace sleeves, and lace inserts to the bodice and skirt. All is lined with fine silk. There are faint foxing marks throughout the dress. Approximate size 8-10. A further 1930s navy day dress with broad collar, size 12 (2)
Lot 563
A 1930s bias cut and fitted full length dress with sweetheart neckline and ruched bodice. The dress fastens with cloth covered buttons to back and a small waist level side fastening with hooks and eyes. The garment has been dyed giving a russett ground colour to the existing ivory raised texture of the fabric.. Size 8.
Lot 578
A 1940s ivory lace wedding dress. Garment features a sweetheart neckline with fitted bodice decorated with silver fluted beads.Slight drop waist to front of dress falling to a gathered net lined skirt. Side popper fastening. Some faint discolouring to some areas of garment although lace in good condition with no noticeable tears or holes. Comes with ivory underslip. Approximate size 8. A near perfect wax flower tiara to accompany. A further pale pink taffetta gown - possibly bridesmaids dress labelled 'Gordon Gowns', several foxing marks and approximate size 10. (4)
Lot 238
A 19th century carved Japanese ivory Netsuke modelled as a hunched cloaked figure wearing a large lotus leaf shaped hat over a highly expressive face with moving tongue, in his left hand he grasps a pot (his right hand now missing), 4.5cm high CONDITION REPORT: The right hand is completely missing, cracks to back, both sides and also the bottle in the hand, sold A/F. No signature found.
Lot 95
A good 19th Century five-piece silver plated Tea/Coffee Service comprising bullet-shaped Teapot, Coffee Pot, two-handled Sugar and two Cream Jugs (one with gilded interior), the tea and coffee pots having ornately carved ivory handles, each piece decorated repoussé style with foliate-style decoration, the Coffee Pot 23cm high
Lot 229
John Jukes (British, 1772-1851), Portrait Miniature of Mrs Edward Maitland, head and shoulders wearing a white dress and pearl necklace, painted on ivory and set within a rectangular black lacquer papier-mâché frame with oval gilt insert, contemporary hand written description verso, 5.5cm x 4.5cm CONDITION REPORT: No cracks detected, some surface scratches to ivory otherwise good.
Lot 462
A good pair of Sheraton revival satinwood and rosewood crossbanded serpentine sided Urn Stands, the galleried quarter veneered and rosewood crossbanded top above a pull out tea bowl rest with turned ivory handle, raised on slightly splaying square tapering legs decorated with harebell's and terminating in extremely slender spayed feet, each with original Bertram & Son paper label to underside, each 29cm wide x 69cm high
Lot 294
A George III period rosewood and boxwood strung Tea Caddy, the hinged lid opening to reveal central hand cut faceted glass dodecagon mixing bowl and flanked by two further tea containers with tin lining, two lion mask and ring carrying handles, an Anglesey style kite shaped ivory escutcheon and on compressed bun feet, 32cm wide
Lot 112
A 19th century Victorian chinoiserie decorated three-piece silver Tea Service, the Teapot's cast silver finial modelled as a Chinaman smoking a pipe, the fluted body with bright-cut engraving depicting vacant cartouches and floral Rococo-style decoration, assayed London 1846, makers mark for Edward, Edward Junior, John and William Barnard (registered Feb. 1829), total weight 1487g (approx.) CONDITION REPORT: Two handled Sugar - Some dark and slightly tarnished areas and tarnish to the gilded interior inside etc., otherwise appears in very good general original condition and order with no problems noted.Cream Jug - Some dark and slightly tarnished areas and tarnish to the gilded interior inside etc., otherwise appears in very good general original condition and order with no problems noted. Nice crisp engraving and original condition.Teapot - Appears in generally reasonable order although he front of the foot rim is now “up turned” and slightly kinked and out of shape but a good silversmith could probably rectify this with a minimum of effort. The main body spout handle and china man finial generally appear in good order with some natural striations to the two ivory insulators on the handle.
Lot 233
A 19th Century carved Japanese ivory Netsuke, modelled as a seated smiling character, a rat perched upon the sleeve of his outstretched right arm, two character signature to underside, 4cm high CONDITION REPORT: The finely carved piece is in very good general overall original condition with a natural darkening of the ivory over age and under a loop natural striations can be seen through the head/face area. The only damage noted is an extremely small pin head size piece away to the edge of the right hand higher rear hole.
Lot 235
A 19th Century carved Japanese ivory Netsuke modelled as a flattened hooded head mask, 3cm high, two character signature to underside CONDITION REPORT: Looking at the inside cavity from the back of the head some small cracking is noted emanating from the central hole. The surface has minor scratches and crazing etc., although no major problems noted.
Lot 236
A 19th Century carved Japanese ivory Netsuke modelled as a Samurai with katana sword and seated upon the back of a recumbent water buffalo, two character carved signature mark to underside, 3cm high CONDITION REPORT: No chips or pieces away or restoration noted , under a loop natural striations can be seen vertically along the back of the robe and there is also a small natural “crack” to the right hand side of approx 7/8mm.
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