A good early 20th century mahogany two-day marine chronometer, with association to Sir Ernest ShackletonVictor Kullberg, 105 Liverpool Rd, London, No.6611.The three-tier mahogany box with replaced top lid over recessed side handles and an ivory name/number plaque, the lower section with ebonised dust beading, the brass lock stamped O&SL. The 4-inch silvered dial with angled sight ring framing the minute track and Roman numerals, engraved with two medals and the signature VICTOR KULLBERG, Maker to the Admiralty, THE INDIAN & ITALIAN GOVERNMENTS, 105 Liverpool Rd. London, N. Subsidiary power reserve dial below XII running to 56 hours in 8-hour increments, the seconds at VI with Observatory marks and further engraved NINE GOLD MEDALS AWARDED.DIPLOMA OF HONOR SOLE & HIGHEST AWARD VIENNA with engraved Admiralty arrow and fine blued steel hands. Suspended in lockable gimbals, the numbered brass bowl with sprung winding shutter and engraved H.S.^1 to the underside. The full plate spotted movement with four turned pillars secured by blued steel screws, maintaining power with steel click and blued steel spring to the chain fusee, free sprung invar helical hairspring set on a spotted cock with diamond endstone to a cut and compensated bimetallic balance with circular timing screws, to an Earnshaw spring detent escapement. The pillar plate with repeat Ordnance Arrow. Ticking, together with the original numbered safety winding key. 18cms (7 ins) wide.Footnotes:Provenance: This chronometer was acquired by the current owner in the early 1990's from a sea captain in Cornwall. The captain was involved in the provisioning of Arctic and Antarctic voyages. This chronometer was purchased by the Royal Observatory in 1901 and Greenwich records have shown that it was used by Ernest Shackleton in 1921, likely as part of the Quest expedition of Antarctica in 1921-1922. This expedition was deemed 'the last of the great voyages of discovery' and was also the last voyage that Shackleton would undertake. Originally conceived as an Arctic voyage to travel north of Alaska, a last-minute loss of funding meant that the expedition could not go ahead. John Quiller Rowett, who had agreed to partially fund the Arctic voyage, remarkably agreed to fund the entirety of a new, replacement mission - but it had to be south-bound to the Antarctic. This chronometer was collected by Shackleton from Greenwich 21 July 1921 and the voyage began on 17 September of that year. Shackleton was unwell on board the Quest, and unfortunately, by the time the ship reached South Georgia, he was quite ill. He died of a heart attack shortly after arriving on 5 January 1922. He was buried on South Georgia as it was not feasible to send his body back to the U.K. Despite a double attempt by the remaining crew over the next year to reach Antarctica, they were not successful. The chronometer was recorded as being returned from Portsmouth to Greenwich in December 1925 and was sent to Kullberg for servicing the following year.Kullberg 6611 was well-acquainted with Antarctic conditions, having accompanied Dr. Mawson's Australasian Antarctic Expedition 1911–14. Dr. Douglas Mawson had previously been the geologist on Shackleton's 1907 Nimrod expedition and had been part of the group to first reach the magnetic South Pole. He collected the chronometer from Greenwich on 24 July 1911, and the Australasian Antarctic Expedition began in December of that year. Unlike previous expeditions, this voyage wasn't concerned with geographical exploration, but natural sciences exploration. Their goal was to increase the knowledge of Antarctica as a location; what its weather, flora, fauna, and geology were like. In all, 3,000 km of coastline were investigated over two winters. Dr. Mawson would publish an account of the expedition in 1915; it is interesting that he notes 'It was necessary for two men to remain behind at the base to keep the meteorological records, to wind chronometers, to feed the dogs and to bring up the remainder of the stores from the edge of the ice cliff.' In addition to Kullberg 6611, there were two sideral chronometers from the Adelaide Observatory, in addition to a variety of other chronometers and half-chronometers, some specially made for the voyage. For the majority of the expedition, the Australian army officer and expedition astronomer, Robert Bage, was in charge of the chronometers. Two chronometers were also carried by Mawson and his exploration party when they explored Antarctica with dog sleds, though it is not known which chronometers were taken with them.Kullberg 6611 was returned to Greenwich in 1914; it was quickly serviced by Kullberg and then installed on the HMS Honeysuckle on 24 May 1915. This ship was one of a group of floral-titled ships known as the 'Flower Class', which served as minesweepers and later as convoy escorts during the First World War. The HMS Honeysuckle was deployed around Turkey and was manned by mostly Australian and New Zealander crew. The chronometer was returned to Greenwich in 1920, quickly serviced, and then collected by Shackleton, as noted above. After the Shackleton voyage, it was extensively serviced, before being sent to Hong Kong for five years. The Greenwich records of its use end in 1936. We are indebted to Mike Dryland of the Royal Observatory, Greenwich, for accessing the records for Kullberg 6611.Mawson, D. (1915) The Home of the Blizzard; Australasian Antarctic Expedition, 1911-1914, 2015 Edition, Kingston: Australian Antarctic Division.Australian Antarctic Program (2021) Australasian Antarctic Expedition 1911-14. Available at: https://www.antarctica.gov.au/about-antarctica/history/exploration-and-expeditions/australasian-antarctic-expedition/Australian Government Department of Climate Chane, Energy, the Environment, and Water: Australian Antarctic Division (2021) Home of the Blizzard. Available at: https://mawsonshuts.antarctica.gov.au/The Great War Forum (2012) HMS Hydrangea. Available at: https://www.greatwarforum.org/topic/180087-hms-hydrangea/Australian War Memorial (2022) At Sea, Turkey. 19 December 1915. The HMS Honeysuckle with the Anzac staff on board. Available at: https://www.awm.gov.au/collection/G01305MacGregor, C. (2020) Heading South: Mawson and the Australasian Antarctic Expedition. Available at: https://australian.museum/learn/collections/museum-archives-library/historic-expeditions/heading-south/Ashworth, J. (2022) Shackleton's Final Expedition: Reuniting Quest's Collection 100 Years Later. Available at: https://www.nhm.ac.uk/discover/news/2022/january/shackletons-final-expedition-reuniting-quests-collection-100-years-later.htmlThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
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A fine and very rare unique mid-19th century brass-bound mahogany two-day marine chronometer with Universal compensation, modified detent escapement and exhibition provenance.Thomas Adams 36 Lombard Street, London Number 4242The three-part case with vacant brass cartouche to the top lid, the centre with brass 12-point star button above an ivory signature plaque signed Adams, 4242, 36 Lombard Strt London, the lower section with inlaid brass escutcheon and campaign handles. Internally, the case is set with a pair of brass hinges, retaining lever, safety winding key set in a quadrant and a gimbal lock. The 3.75-inch silvered dial signed Thomas Adams, Maker to H. R. H. Prince Albert, 36 Lombard St. London, the minute track enclosing Roman numerals and gold Breguet style hands, the subsidiary power reserve dial at XII running from 0-54 marked in 6-hour increments with instruction to wind at 24 hours, the observatory-style subsidiary seconds dial between V-VII, engraved 4242, Universal Compensation, with blued steel hand. The spotted full plate movement with four ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and modified Earnshaw type escapement, the cut and compensated bimetallic balance with timing screws and extremely rare wired weight compensation. Sitting in a weighted, gimballed bowl. Ticking with a Tipsy key and case key. Together with two documents.i) a handwritten service record from the previous owner's father who bought the chronometer in 1945 for 16 pounds and 10 shillings. ii) a technical drawing of the balance and escapement drawn by G.S.A. in 1969. 18cms (7ins) highFootnotes:Exhibited 'Your Time', an exhibition by the Northern Section of the Antiquarian Horological Society at Prescot Museum, February-April 2008; Williamson Museum & Art Gallery, Birkenhead February-April 2008. Exhibit P56.The design of this chronometer's balance was patented in 1838, number 7678, by Edward John Massey. It has been suggested that Massey himself may have fitted the chronometer's escapement and compensated balance. As stated in the Exhibition catalogue: 'The fact that the balance was due to Massey rather than Adams is confirmed by an identical balance removed from another chronometer which has the name 'Massey' scratched on the brass weight. This chronometer is important as it is the only one known which still has the original Massey escapement and auxiliary compensation. In all other known cases the escapement and balance have been replaced by standard Earnshaw escapements and compensated balances.'Interestingly, the dial side of the movement is stamped LD&Co 1240/20926 which suggests that this was originally a Litherland Davies & Co. chronometer, number 1240/20926. Based on the serial number, an original date of finishing for this chronometer would be around 1840. The escapement conversion could have happened at any point until 1852, if it was done by Massey himself.The dial also shows evidence of having been hammered to erase the original name, allowing Adams' name to be engraved instead.The plate is stamped T.C.W which probably refers to the Prescot movement manufacturers Thomas and Charles Webster who also supplied Richard Hornby.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A rare and impressive late 19th century brass-bound rosewood eight-day marine chronometer with micro-metric balance and exhibition provenanceCharles Frodsham, 84 Strand London, Number 3590The three-part brass-bound case with large vacant cartouche on the top lid, the centre section with brass flowerhead button above an ivory signature plaque, Chas Frodsham 84 Strand London No 3590 Eight Days, the lower section with inlaid brass escutcheon and folding handles. The 4.5-inch silvered dial signed Charles Frodsham, 84 Strand, London, No3590 and engraved with twin medallions BY APPOINTMENT TO THE QUEEN and FRENCH, RUSSIAN, ITALIAN GOLD MEDALS OF HONOUR, outer minute band marked with Arabic five-minute numerals framing the Roman chapters, the subsidiary power reserve dial at XII marked from 0-8 with instruction to wind at 7, the large observatory-style subsidiary seconds set between V-VII, all with deep blued steel hands. The spotted three-quarter plate movement, engraved in the centre Charles Frodsham & Co No. 3590 London with three ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and Earnshaw type escapement, the balance on a separate smaller plate with very rare conic-form timing weights and bimetallic crossed strip compensation, sitting in a weighted, gimballed bowl. Ticking with a Tipsy key and a case key. 24cms (9ins) wide 24cms (9ins) wideFootnotes:Exhibited 'Your Time', an exhibition by the Northern Section of the Antiquarian Horological Society at Prescot Museum, February-April 2008; Williamson Museum & Art Gallery, Birkenhead February-April 2008. Exhibit P59.Based on the number, it is thought that this chronometer was made around 1882.The micrometric balance, or as it was marketed, the 'Double Compound Micrometric Equation balance', uses cone shaped weights and three central strips of metal to account for temperature error, including middle temperature error. There is also a collar of brass that partially surrounds the balance, the idea being that, should the fusee chain break, the escapement would still be protected. The escapement was commended when it was introduced around 1862, as allowing the owner to adjust the chronometer's rate without needing to remove the balance.Blake, W. (1870) Reports of the United States Commissioners to the Paris Universal Exposition, Washington: Government Printing Office.Weltausstellung (1862) International Exhibition of 1862, Official Illustrated Catalogue, London: Her Majesty's Commissioners, Seventh Part.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A fine and rare late 18th century mahogany two-day marine chronometer with Exhibition ProvenanceThomas Earnshaw, London, Number 247The two-part case with sliding inset to the top lid opening to reveal a circular glazed aperture, set to the front with an ivory signature plaque, Earnshaw No 247, the lower section with inlaid brass lozenge escutcheon and folding side handles, on a moulded base. Internally, the case is set with a full-length hinge, a raised lip carrying the twin trunnions to support the gimbals and with sprung gimbal lock in the upper left-hand corner, the top right-hand corner carries a hole for the winding key (key no longer present). The 3.25-inch silvered dial signed Thos Earnshaw Invt et Fecit No 247 with Roman chapter ring and outer minute scale, a large subsidiary seconds dial between V-VII, three blued steel spade hands.The spotted full plate 60mm movement with four pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring (of ten turns and with outer terminal curves) with diamond endstone and jewelled Earnshaw escapement, cut and compensated bimetallic balance with wedge shaped weights and a pair of timing screws, sitting in a weighted, gimballed bowl with sprung dust cover to the winding square. Ticking. 17cms (6.5ins) highFootnotes:Exhibited 'Your Time', an exhibition by the Northern Section of the Antiquarian Horological Society at Prescot Museum, February-April 2008; Williamson Museum & Art Gallery, Birkenhead February-April 2008. Exhibit P13.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
An extremely rare and fine mid-19th century brass-bound rosewood two-day marine chronometer with Hartnup balance. Previously with the Time Museum, and more recently exhibited at Prescot MuseumWilliam B Crisp, London, Number 381The three-part case with missing cartouche to the top lid, the centre section with brass flowerhead button above an ivory signature plaque, Hartnup Balance Willm. B. Crisp London No 381, the lower section with inlaid brass escutcheon with a blank ivory number plaque and campaign handles. Internally, the case has a full-length hinge, gimbal lock and safety winding key secured in a quadrant. The centre section applied with a label for Thomas Petley, Chronometer, Watchmaker and Nautical Optician, Sydney, New South Wales and D,McGregor & Co., Greenock, ScotlandThe 3.75-inch silvered dial signed across the centre Willm Crisp Maker to the Admiralty 81 St.John Street Rd London No 381 with Arabic minute ring framing the Roman chapters, with gold spade hands, the subsidiary power reserve dial at XII running from 0-56hours in 8-hour increments with instruction to wind at 24, the large observatory-style seconds dial between V-VII with blued steel hands. The spotted full plate movement with four ringed pillars and maintaining power to the reverse chain fusee, free sprung blued steel helical balance spring with diamond endstone to an Earnshaw type escapement with Hartnup balance, sitting in a weighted, gimballed bowl. Ticking, together with a Tipsy key. 20cms (7.5ins) highFootnotes:Exhibited 'Your Time', an exhibition by the Northern Section of the Antiquarian Horological Society at Prescot Museum, February-April 2008; Williamson Museum & Art Gallery, Birkenhead February-April 2008. Exhibit P18.According to the exhibition, the movement came from Joseph Preston, who was working out of Prescot. Joseph Preston were well-known watch and chronometer movement manufacturers and their mark 'J.P.' was considered a hallmark of quality. Although based in Prescot, they formed a key link in the national supply chain that saw parts made largely in the North of England, and the West Midlands and assembled into a rough movement, before being sent to London for finishing and sale. A sizeable part of Preston's client base was in London, and to a lesser extent, Coventry.The firm was founded by Joseph Preston in 1829 at 19 Eccleston Street Prescot, and renamed 'Joseph Preston and Sons' in 1840, when his sons Thomas and Joseph began working there full time. In 1891, at the age of 16, the Prestons' nephew, Harry Pybus, began working in the shop. He worked at, and learnt, the twenty separate trades employed in the shop, that resulted in a complete, unfinished watch or chronometer movement. Pybus took over the shop on his uncles' death, though he kept the name 'Joseph Preston and Sons'. During the second world war, it was noted that, having no other employees, Pybus managed to make several two-day chronometer movements entirely on his own, in a shop which lacked electricity. He would run the shop for nearly sixty years, until his death in 1952; anecdotally he was said to be in the middle of cutting watch escape pinions when he died. In his obituary, he was hailed as 'the last of the old Prescot watchmakers'. The shop was demolished shortly after, making Joseph Preston one of the last independent horological manufacturers to shut in Prescot, and area long famed for supplying high-quality movements.The firm supplied a large range of movements to a varied customer base, which included Mercer, Kullberg, and even Patek Phillipe. William crisp was another regular customer. The Hartnup balance was developed by John Hartnup, the first director and founder of the Siderial Liverpool Observatory, established in 1843. The Hartnup balance corrects for middle-temperature error in chronometers. The middle temperature error refers to the error produced in standard compensation balances: The balance is designed to account for an extreme high temperature error and an extreme low temperature error, however, between this range the chronometer gains a bit, and loses a bit when exposed to temperatures outside this range. This means that when a chronometer is exposed to a wide range of temperatures the rate will change much more then when the temperature exposure range is small.Hartnup's solution, likely created around 1847 and actually made by William Shepherd of 13 Bath Street Liverpool, involved laminated cross-bars connecting a fairly standard compensation rim; the outer rim would compensate for extremes and the inner cross-bars would moderate the middle temperature. Hartnup did not patent this balance, partially as he was eager to see it taken up by many makers as an improvement in timekeeping generally, but also because he didn't think that, as a Director of the Observatory, he could profit from work done during his tenure. The balance was never widely adopted, not least because it took twice as long to manufacture as a standard compensation balance did, meaning that chronometers with a Hartnup balance are quite uncommon. Penney, D. (2007) 'Evidence from the Transient', Antiquarian Horology, Vol. 30 (2), pgs. 177-179Aked, C. (1989) 'Joseph Preston and Sons', Antiquarian Horology, Vol. 18 (3), pgs. 298-306Law, R. J. (1990) 'Joseph Preston & Sons', Antiquarian Horology, Vol. 18 (5), pgs. 551-552British Horological Institute (2001) 'Branches: Midlands', Horological Journal, Vol. 143 (8), p. 278Smith, R. W. (1983) 'The Hartnup Balance', Antiquarian Horology, Vol. 14 (1), pgs. 39-45This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A fine and rare mid-late 19th century mahogany floor standing regulator with four-legged gravity escapementThe wide moulded cornice over long glazed door with internal dust beading and twin locks, the sides similarly glazed, the solid backboard with additional applied panel to carry the heavy steel plate on which the pendulum and escapement assembly are mounted, the board further set with a mercury ivory thermometer, all on a moulded base. The unsigned 10.25inch silvered dial with outer Arabic minute band framing the Roman hour and Arabic subsidiary seconds dials (with Observatory marks), with blued steel hands. The weight-driven movement with substantial waisted skeletonised plates united by four heavy pillars, Harrison's maintaining power and high-count pinions throughout, mounted on a pair of very substantial brass brackets, a central contrate wheel driving a vertical eight-inch arbor terminating in a bevel gear running to the four-legged escapement with pierced vanes and twin arms, the heavy zinc and steel compensated pendulum with large facetted bob reading against an engraved silvered beat scale. Driven by a tall cylindrical brass weight weighing 9kg (approximately 19.8lbs) suspended via a pulley set into the roof of the case. Together with a crank winding key and a door key with brass ring engraved with the number 4. 2.12m (6ft 11ins) high.Footnotes:Gravity, also including Remontoire, escapements are defined as escapements which instead of relying on the going train or weights to impulse the pendulum, are instead reliant on a small, lifted weight or bent spring, which provides impulse with every pendulum beat. Theoretically, this provides a constant impulse to the pendulum. The first such escapement, a Remontoire, was made by Alexander Cumming in 1774, originally described in his 1766 book The Elements of Clock and Watch-Work, Adapted to Practice. The main benefit of this escapement, as Cumming saw it, was that the escapement could function without oil on the pallets, which should reduce the error caused by old or dirty lubrication. Cumming explained further that 'these pallets, do also correct all the irregularities of action in the main spring, wheels and pinions; or any other irregularity that can possibly happen in the movement, from any cause whatever' which was the desired result for a gravity escapement. Cumming's escapement features some hallmarks of gravity escapements, including weighted arms and pins which link the escapement's impulse to the pendulum.Thomas Mudge also produced a similar escapement around this time, which was used in his marine clock. The main difference was Mudge positioned the weights on the arms of the pallet, rather than having them separate, as in Cumming's design. Mudge's escapement was criticised as being too delicate; a small change to the force of the train would cause the escapement to trip. Even if it wasn't tripping, it has been noted that the escapement had a tendency to half-unlock after fully unlocking, meaning that the pendulum would sometimes get an extra partial impulse. Not only did this mean the escapement was prone to a mutable rate, but circular error was also increased.Inspired by Cumming's book, both Edward Massey and George Prior separately devised Remontoire escapements, in 1803 and 1809 respectively.Between 1809-1811, William Hardy, at the behest of the then Astronomer Royal Dr. Nevil Maskelyne, developed a new escapement for the Board of Ordnance which he described as a spring pallet escapement. This escapement was to be used in an astronomical regulator, to supplement Troughton's ten-foot Mural Circle. Hardy's escapement was similar to Cumming's, however, Hardy's relied on a spring which unlocked the escapement with every pendulum swing. As with the Cumming's escapement, Hardy's escapement did not require oiling. Interestingly, Alexander Cumming was consulted by the Board of Ordnance regarding the practicality of Hardy's design, Dr. Maskelyne having since died. Hardy was eventually awarded £200 for the regulator and received several requests for similar regulators. Thomas Reid, around 1811, also developed a spring pallet Remontoire escapement, though slight modifications to the pallet faces meant that Reid's escapement could function for longer than the 15-year lifespan of Hardy's pallets. One of the regulators Reid made with this escapement was for the Astronomical Institution of Edinburgh, which later became the Royal Observatory of Edinburgh.The final British precursor to Dent and Denison's gravity escapements was created by James Mackenzie Bloxam. Bloxam's escapement relied on one large locking wheel with nine teeth and a much smaller lifting/unlocking centre wheel, also with nine teeth. This escapement was an improved, simpler version of previous gravity escapements and avoided the issues of tripping and circular error that were present in Mudge's escapement. The main drawback to this escapement was that it demanded a finely finished, high quality movement with a high pinion leaf count and an absolute minimum of weight to run. In one of Bloxham's clocks which used this escapement, the pinions went as high as 18 leaves. Such clocks would necessitate a high level of skill to make and the cost of such a clock would be very high, making the escapement largely impractical for most uses.Edmund Beckett Denison, later Lord Grimthorpe, used these past escapements, especially Bloxam's, to create a more robust gravity escapement. The four-legged gravity escapement owes a debt to Bloxam's design, though it is different in a few key ways. First, the number of teeth on the locking wheel was reduced to four, the teeth were now called 'legs', and the lifting centre wheel became four centre pins which protruded on both sides of the locking wheel. Another major difference was the escapement was distributed between two planes: one pallet in front, and the other pallet in back with the escape wheel and pins between. This escapement avoids the risks of tripping and circular error and is easier to manufacture then many of the above escapements. Additionally, Denison's escapement did not require a high pinion leaf count to work and benefitted from a large driving weight. Denison would later develop another escapement on this two-plane principle, which would rely on two three-legged locking wheels, connected by three unlocking pins. Denison's design for the four-legged gravity escapement, first described in his Rudimentary Treatise on Clocks, Watches, & Bells For Public Purposes of 1850, was manufactured by James Brock of George Street, Portman Square shortly after. The four-legged gravity escapement was recommended for use in astronomical regulators and similar sized clocks, whereas the double three-legged gravity escapement was usually reserved for turret clocks, most noticeably the Great Clock at Westminster. There are some exceptions to this rule; the turret clocks at both Chichester and Salisbury cathedrals use four-legged gravity escapements. Both cathedrals are also auditory only; there are no dials for the movements to drive, thus the more robust double three-legged gravity escapement is not necessary, and a four-legged escapement can be used. Additionally, both clocks hav... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Ngoye (Côte d'Ivoire, né en 1980)Sans titre, (série Faces)2021signé 'Ngoye' en bas à droitehuile sur toilesigned 'Ngoye' lower rightoil on canvas 100 x 100 cm.39 3/8 x 39 3/8 in.Footnotes:ProvenanceGalerie Melbye-KonanCollection privée, AllemagneNgoye (Kouamé Jean Ngoran), diplômé de l'École nationale des Beaux-Arts en 2006, est un des artistes les plus percutants de la nouvelle scène ivoirienne. Les thèmes principaux de ses compositions néo-expressionnistes, quasiment abstraites, sont les phénomènes psychologiques et les dégénérescences liées au respect arbitraire des mœurs et des comportements sociaux.Ngoye compte Vincent Van Gogh, Pablo Picasso et Francis Bacon parmi ses sources d'inspiration, épousant l'approche avant-gardiste du remodelage constant, de la déconstruction et de la réorganisation des éléments de ses toiles. Dans une démarche de révélation intime du moi intérieur des sujets qu'il représente, les visages ne sont souvent pas reconnaissables. Les figures masquées se fondent les unes dans les autres, formant un tout universel. L'esthétique des masques occupe Ngoye depuis le commencement de ses expérimentations artistiques. Dans ses œuvres, ils sont une expression de méfiance, la métaphore d'un isolement et de l'obstruction de ses propres émotions face au monde.'Ces masques que nous portons cachent ce qui se trouve derrière eux : notre véritable identité. Car nous vivons dans une certaine méfiance. Depuis mon enfance, j'ai vécu tellement de crises, cette douleur pendant les guerres, les épidémies et encore aujourd'hui pendant le Covid : des crises qui nous épuisent et nous stressent. C'est la raison pour laquelle j'ai voulu explorer le monde qui se cache derrière la façade. C'est pourquoi j'ai commencé à peindre des masques et des visages. Ma tâche en tant qu'artiste est de montrer cela, mais aussi de tourner mon regard vers l'intérieur et de me demander qui je suis et comment je m'adapte à l'environnement changeant : est-ce que je reste celui que je pense être ?' (Ngoye, 2021)Ses œuvres font partie de collections privées et publiques renommées en Côte d'Ivoire ainsi que dans d'importantes collections en Allemagne, en Italie et en France. The Ivorian artist Ngoye (Kouamé Jean Ngoran) graduated from the École Nationale des Beaux-Arts in 2006 and impresses with his lively neo-expressionist compositions. The main themes of his works are hidden psychosocial phenomena and human dynamics. Ngoye's works can be found in renowned private and public collections in the Ivory Coast as well as in international collections in Germany, Italy and France. He also won the 47th Art Prize of the Société de Distribution d'eau en Côte d'Ivoire (SODECI).Ngoye counts Vincent Van Gogh, Pablo Picasso and Francis Bacon among his sources of inspiration, and his art follows their approach of reshaping, deconstructing and rearranging painted objects and figures. In his portrait works, the painter analyses the inner state of mind of people, it is sometimes so different from what is worn on the outside. The people portrayed are no longer recognizable, their mask-like faces fading into each other, almost forming a unity. The motif of masks has occupied Ngoye for a long time. They are not least an expression of mistrust, an isolation of one's own emotions from a hostile outside world.'These masks we wear hide what is behind them: the true identity. Because we live in a certain mistrust. Since my childhood I have experienced so many crises, this pain during wars, epidemics and even today during Covid: crises that drain us and stress us. That is the reason for me to explore the world behind the façade. That's why I started painting masks and faces. My task as an artist is to show this, but also to turn my gaze inward and ask myself who I am and how I adapt to the changing environment: am I staying who I think I am ?' (Ngoye, 2021)For further information on this lot please visit Bonhams.com
Yannick Ackah (Côte d'Ivoire, né en 1992)Héritage2022signé et daté 'Yannick.A 22' en bas à droite technique mixte sur toilesigned and dated 'Yannick.A 22' lower right mixed technic on canvas 160 x 200 cm.63 x 78 3/4 in.Footnotes:ProvenanceGalerie Melbye-KonanPrivate Collection GermanyBibliographieYannick Ackah, Monographie, 2022, Melbye-Konan Publications, Pages: 80Yannick Ackah est un artiste contemporain reconnu, et actuellement l'un des jeunes artistes les plus suivis du continent. Ses œuvres, faisant ouvertement référence aux esthétiques africanisées de Picasso et de Basquiat, ont été récemment présentées lors de la foire d'art berlinoise Positions et à l'occasion de sa première exposition solo en septembre dernier à Hambourg, Allemagne.À première vue, ses œuvres suggèrent un enracinement profond dans les cultures visuelles et les imaginaires africains. Les formes humanoïdes suspendues dans la toile semblent vouloir orienter la contemplation vers des vérités ancestrales, dont la temporalité et l'individualité sont absentes.Ackah lui-même décrit sa relation avec celles-ci comme un mystère :'Ce que je vois dans les sculptures africaines, c'est la beauté, un défi, une histoire complète, un grand mystère que j'essaie de résoudre à travers mon travail avec des lignes, des coups de pinceau et aussi avec la couleur.' (Ackah, 2021)Divers matériaux tels que du papier, des articles de journaux et de magazines ou du tissu, qu'il assemble dans ses œuvres comme dans un collage, créent la structure typique de la surface de ses toiles. Ils contribuent à la tridimensionnalité et à la profondeur de ses œuvres, y intégrant des références à la culture pop, qu'il associe de manière ludique à des motifs traditionnels.Si vous vous laissez embarquer dans le récit fantasmagorique de ses peintures, vous percevrez une confrontation constante entre les thématiques omniscientes et universelles que sont la vie et de la mort, le jour et la nuit, le jeu rêveur et les abysses mentales. Autant de bases de réflexion constituant les fondations de 'la poésie d'une existence', comme le dit lui-même le jeune artiste. En 2020, Yannick Ackah termine ses études d'art à l'I.N.S.A.A.C (Institut National Supérieur des Arts et de l'Action Culturelle) à Abidjan (Côte d'Ivoire). Depuis, il a exposé à l'international et ses œuvres font partie de prestigieuses collections privées en France, en Allemagne, en Suisse, en Espagne, au Japon et aux États-Unis.Yannick Ackah is a recognized contemporary artist, and currently one of the most sought-after newcomer artists from Africa. His works have echoes of Picasso and Basquiat and were also immediately sold out at the Berlin Art Fair Positions and at his first Solo Show last September in Germany. At first glance, the works of this artist suggests his deep rootedness in the visual cultures of Africa. The engaging images seem to want to carry you away, in search of individual truth, but also the collective truth of a culture. For his compositions, Ackah draws inspiration from African sculptures and masks. The stylistic artistic reference to Picasso and his work is deliberately chosen, whereby Picasso's source of inspiration also leads back to African culture. Ackah himself describes his relationship to it as a mystery: 'What I see in African sculptures is beauty, a challenge, a complete story, a great mystery that I try to solve through my work with lines, brushstrokes and also with colour.' (Ackah, 2021) Various materials such as paper, newspaper and magazine articles or fabric, which he assembles in his works as in a collage, create the typical surface structure. They contribute to the three-dimensionality and depth of his works and add a dimension of everyday life and pop culture, which the artist playfully combines with traditional motifs.If you allow yourself to embark on this journey, you will often recognize a play of opposites: The dialectic of life and death, mental abysses and dreamy playfulness, day and night, in short 'the poetry of an existence', as the young artist himself states.But his own identity and the society in which he lives also play an undeniable role for Ackah. Socio-political themes such as racism and the deep wounds of colonialism as well as to the cultural appropriation can also be found in the works. In 2020 Yannick Ackah completed his art studies at I.N.S.A.A.C (Institut National Supérieur des Arts et de l'Action Culturelle) in Abidjan (Ivory Coast). Since then, he exhibited internationally and his works are part of prestigious private collections in France, Germany, Switzerland, Spain, Japon and the United States.For further information on this lot please visit Bonhams.com
A 'Dingyao' carved 'lotus' washerSong Dynasty (960-1279) With circular shape and flat base, covered in an ivory-white glazeDelicately carved to the interior with a lotus spring The rim is bound with a metal band11th/ 12th centuryProvenance:Inportant private collectionSimilar pieces can be found at:National Palace Museum, Taipei - Decorated Porcelain of Dingzhou, White Ding wares from the collection of the National Palace Museum. Taipei 2014, pp. 94-95, n. II 47, 48, 49, 50, 51, 52;The Palace Museum, Beijing - Selection of Ding Ware, The Palace Museum Collection and Archaeological Excavation, Beijing 2012, pp 246-247, n. 105; Meiyintang Collection - Regina Krahl, Chinese Ceramics from the Meiyintang Collection. London 1994. Volume I, p. 204, n. 358.Diam.: 12,5 cm
A 'Dingyao' carved 'lotus' bowlNorthern Song Dynasty (960-1127)Porcelain with an ivory-white glazePotted with deep, rounded sides and raised on a small, circular foot Carved on the interior with an elegant lotus sprayThe rim is bound with a metal band Provenance:Inportant private collectionChristie’s, London, 2015Small circular bowls, with almost semispherical shape and carved ‘lotus’ decoration are among the most representative pieces produced at the Ding kilns in Hebei province during the 11th century and the 1st half of the 12th century. Similar bowls to the one we are now presenting can be found in found in the most important public and private collections of Song ceramics. Similar pieces can be found at:The Palace Museum, Beijing - Selection of Ding Ware, The Palace Museum Collection and Archaeological Excavation, Beijing 2012, pp. 254-255, n. 109;Metropolitan Museum of Art, New York - Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 89, n. 82;Meiyintang Collection - Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London 1994, Volume I, p. 204, n. 361;Falk Collection - Eskenazi, Principal Wares of the Song Period from a Private Collection, London, 2015, n. 9. Hight: 3,5 cmDiam.: 8,5 cm
A CHARLES II EMBROIDERED STUMPWORK PANEL 17TH CENTURY The ivory ground finely embroidered in coloured silks and metal threads with a raised work noble family to the centre, beneath a raised and padded work mansion, and above a mermaid bathing amongst sea creatures in a watery grotto, all surrounded by large raised and padded work flowers, domestic and wild beasts, birds, insects the panel approximately 32 x 45.5cm, the later glazed frame 45 x 59cmProvenance:Property of a deceased estate in Merseyside. Probably originally hung at Balls Park, Hertford, the property of Sir Lionel Faudel-Phillips. This lot belongs to a small but distinct set of mid-17th century stumpwork panels characterised by the inclusion of a small scene of a mermaid bathing. Often, as with this lot, they illustrate the mermaid regarding herself in a hand-mirror. This motif seems to have been drawn from bestiaries and earlier psalters- with the suggestion that as 'femme fatales' the mirror is present as the mermaid grooms herself to appear more comely to approaching sailors.For similar please see an example (with a tail-less mermaid) in the Art Design and Fashion gallery, National Museum of Scotland. Also Metropolitan Museum, tortoiseshell framed embroidered mirror depicting Jael and Barak C.1672, Mrs. Thomas J. Watson Gift, 1939 (Accession Number: 39.13.2a).Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The frame is partially sealed to the reverse- corner lifting has indicated that the stumpwork has been wrapped around a panel, with some later edge banding visible to margins, and tacked to the edges.The panel with colour muting and some browning to silk field. In some areas the field has pulled revealing criss-cross weave- and with small areas where field is not taught and has sagged. There are some small scattered holes- indicative of old insect wear. Small spot and insect stains. Stumpwork still raised- and with raised leaf detailing scattered throughout. Some small pulled loose threadsThe glass underside is very dirty and frame tired and with lossesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Taxidermy: A Cased Ivory Gull (Pagophila eburnea), circa early 20th century, by Henry Murray & Son, Naturalists, Bank Buildings, Carnforth, a high quality full mount Ivory gull, with head turning slightly to the right, stood upon seaweed covered painted faux rockwork, set against a watercolour painted stormy shoreline back drop, enclosed within a later four-glass table display case with taped frame, 36.5cm by 27.5cm by 38.5cm, bearing taxidermist's trade label to interior upper left.Recently - restored and re-cased by A.J. Armitstead, Taxidermist and Naturalist, Darlington, Co Durham. 23/09/22
Thirteen long white cotton baby nightgowns, mostly 19th century, various gowns some decorated with lace, hand embroidery and broderie anglaise, together with six long white cotton babies petticoats, cream wool Christening cape with silk thread embroidery and three ivory silk baby dresses, (condition: general y good),(22 items).
Tete Jumeau bisque head Bebe doll in original size 11 box, French 1880s, with fixed brown glass paperweight eyes, finely painted lashes and feathered brows, delicately painted closed mouth, pierced ears and original long brown wig with ringlets and cork pate, on a fully jointed wood and composition body with paper label ‘BEBE JUMEAU, Diplome d’Honneur’, wearing original ivory cream silk dress with white lace ruffles and blue ribbon sash with bow to waist, lacy bonnet, underclothes, brown socks and white kid leather size 11 Bee stamped Jumeau shoes, in her original gold wooden box with size 11 label and lid, 24 ½” (62cm) tall, (condition: head perfect, some old repaint to right hand).
An Anglo-Indian horn veneered, ivory and sandalwood book cover, 19th century, the shallow cover with a pierced and decorative foliate and floral ivory mount, the edges in ivory veneer with penwork decoration, 12 x 9in. (30.5 x 22.8cm.), some faults. * Please note: Due to CITES restrictions, bidding on this lot is strictly limited to local Guernsey bidders only. Bids from any other locations will not be accepted. Warping to horn at centre of cover and crack to one corner, and another to centre. A number of the domed ivory nail heads from the mounts are missing. One section of ivory stringing missing. Several shrinkage splits to sandalwood.
Henry Moore O.M., C.H. (British, 1898-1986), 'Head of Girl', soft ground etching, 1981, on wove paper, signed and numbered J4/50 in pencil, printed by Michael Rand, London, published by Raymond Spencer Company Ltd, with margins, 11.5 x 12in. (29 x 30.5cm.), in silvered frame with plain ivory mount. Good condition. Slight cockling to sheet and a little dirt spotting to underside of glass. No other faults.
first half 20th century, with serpentine reel moulded back and serpentine foliate carved and fluted frame with scroll ends and scroll carved, swan neck terminals, upholstered in pale olive green and ivory damask, raised on fluted cornucopia supports with foliate carved scroll toes, on foliate pad feet, 80in. (203.2cm.) long, 34½in. (87.5cm.) high.
A collection of Moorcroft Pottery, to include a squat vase 'Pink Magnolia' pattern on ivory ground, impressed marks and green signature, c.1950-1986, original sticker, 4 3/8in. (11.2cm.) high.; vase with white pinkie flowers on shaded blue ground, diamond mark, signature, dated 26.11.93, 5¼in. (13.4cm.) high; ginger jar and cover 'Anemone ' pattern on faded blue/greyish ground, impressed blue marks, 4 7/8in. (12.4cm.) high; limited edition plate 91/500, gate and various other marks. (4). * All appear good, no chips or cracks found.
A Regency mahogany and rosewood square piano, inlaid with brass by Robert William Keith, 131 Cheapside, London, raised on reeded turned legs with brass castors. 170 cm wide, 90 cm high, 67 cm deep. NOTE: This item is offered for sale in accordance with the ivory act 2018 and has been assigned an exemption certificate Ref No. M5GFE7R.
A late Victorian brown leather cased and plated picnic set, commemorating the 1893 Grand National winner 'Cloister', the rectangular case with hinged lid revealing a fitted interior of Hukin & Heath plated sandwich boxes, a pair of flasks, rectangular trays, telescopic cups, condiments and cutlery, each piece with engraved inscription 'Cloister' and further detail to large trays 'Grand National 1893. Cloister 12st 7lbs time 9 min:42.2/5 sec: won in a canter by 40 lengths beating all record', the case interior detailed 'Clark 20 Old Bond Street', the hinged lid exterior detailed 'Given to Prince A.de Chimay by A.Yates Bishop Sutton', length 33.5cm, height 23.5cm (two pieces of cutlery lacking and other minor faults). Note: Cloister was one of the best steeplechasers of the 19th century, coming second in two Grand Nationals before winning in 1893 by a record 40 lengths. He was trained by Arthur Yates from his yard at Bishop's Sutton, Alresford, Hampshire. Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An early Victorian harlequin silver four-piece tea set, each piece of lobed melon form with scroll handles and anthemion moulded feet, comprising teapot and sugar bowl, London 1839 by William Hewitt, milk jug, London 1839 by J.E. Terrey & Co, and hot water pot, London 1841 by Joseph & Albert Savory, height of hot water pot 24.5cm, total weight 2258.5g. Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George V silver, cut glass and ivory hip flask, the facet cut glass with silver detachable cap, the silver collar and screw hinged lid with ivory surmount, London 1928 by Asprey & Co Ltd, length 15.6cm. Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Edwardian silver five-piece christening set, comprising cylindrical mug with loop handle, decorated in relief with panels of flowers beneath a floral band, napkin ring, knife, fork and spoon, all with engraved floral decoration, Sheffield 1905, 1907 and 1908 by James Dixon & Sons Ltd, weighable items 193.8g, height of mug 7.5cm, within a fitted red leather case. Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 19TH CENTURY CARVED HARDWOOD ANGLO INDIAN FOLDING OCCASIONAL TABLE - PROBABLY BURMESE with finely carved shaped top centred by an inlaid ivory panel, the octagonal pierced base with leaf decoration.UK Ivory Act 2018 Exemption Submission Reference - 5LQUKGFM61cm diameter 63cm high The top has some losses to the ivory inlay, the base has no damage or restoration other than a small piece missing from one of the feet.
A FINE LATE 19TH/EARLY 20TH CENTURY IVORY AND EBONY INLAID HARDWOOD ANGLO INDIAN DINING ROOM TABLE AND SET OF TEN CHAIRS with elaborate leaf scrolled and flower head inlaid borders enclosing a central medallion and spandrel corners within chequer banded edges; raised on squared cabriole legs. The matching chairs with bar backs and dished seats raised on cabriole legs.UK Ivory Act 2018 Exemption Submission Reference - MXZ2VJEL244cm wide 122cm deep 74cm high The table and chairs have come from a good private estate and are in very good condition with no losses or damage. The top of the table has been repolished in previous years and there is a fine split to the table top in the joint line (see extra image).
A LATE REGENCY ROSEWOOD COLLECTORS CABINET with moulded shaped top drawer above a pair of panelled hinged doors revealing a set of eleven graduated drawers fitted with mother of pearl turned knob handles; standing on turned feet.UK Ivory Act 2018 Exemption Submission Reference - JRV8VLUQ76cm wide 38cm deep 95cm high In good undamaged condition with no major scratches or damage, the drawer linings have fitted baize to the bottom of each drawer. The polish has been cleaned and re french polished. No splits or warping to the top or sides. The peice dates from circa 1820.
A FINE EARLY 19TH CENTURY LARGE ANGLO-INDIAN SINHALESE EXOTIC TIMBER CENTRE TABLE with segmented calamander, ebony, ivory and palm wood top within a floral carved border centred by an engraved ivory star. The urn shaped leaf carved stem with platform base and scrolled feetUK Ivory Act 2018 Exemption Submission Reference - FK6SSPJF154cm diameter 82cm high In very good condition, having small shakes and cracks in the veneer, no other restoration, the finish on the top has been cleaned and repolished. The base has small cracks on the platform.
A MATCHED PAIR OF LATE REGENCY BOX WOOD STRUNG, ROSEWOOD AND ORMOLU MOUNTED BONHEUR DU JOURS IN THE MANNER OF JOHN MACLEAN the brass fretted galleried tops above matching side panels and slender tapering columns, on an undershelf with two brass bead edge drawers beneath. The fold forward writing surfaces with green leather insets above a shallow frieze drawer and gilt brass ringed tapering legs joined by a shaped undershelf - fitted with ivory-turned knob handles.UK Ivory Act 2018 Exemption Submission Reference - PPEAV7K476cm wide 43cm deep 113cm high
MAPLE & CO. A FINE EARLY 20TH CENTURY FIGURED SATINWOOD AND EBONY INLAID FITTED DRESSING TABLE with hinged top revealing a fully fitted interior and opening sides with mirrored back above lift-up compartments and sprung drawers. The silver topped cut glass jars and tools hallmarked London 1922 by George Betjemann & Sons, having worn ivory retailer's plaque to the front Probably by Maple & Co. The panelled top with shaped kneehole and tapering square legs.UK Ivory Act 2018 Exemption Submission Reference - 17HRVN3V90cm wide 57cm deep 88cm high
A LATE 17TH CENTURY ANGLO PERSIAN SADELI GOLD AND IVORY INLAID TABLE CASKET with exceptional intricate parquetry and flower head banded decoration enclosing a later fitted caddy interior; gold inlaid steel pined hinges and iron lock plate.UK Ivory Act 2018 Exemption Submission Reference - AJRPPCLK30.5cm wide 18cm deep 16cm highThere is a piece of ivory string on the top of the lid which is detached but present. There are very minor losses to the mosaic on the back right corner of the lid and minor losses to the very stringing around the base of the box. There are also some minor losses to the mosaic work above and below the escutcheon. The lot has its original hinge and lock with a later 19th-century fitted caddy interior.
A GOOD 19TH CENTURY ANGLO INDIAN VIZAGAPATAM STAG HORN AND IVORY INLAID WRITING SLOPE the hinged top and fall front enclosing an ivory banded fitted sandalwood interior with delicate leaf and flower spray inlaid border, enclosing a tooled gilt leather writing surfaceUK Ivory Act 2018 Exemption Submission Reference - 7KCGSEPD38cm wide 28cm deep 13cm high The box is in very good original condition with no losses. There is a gap where the slope meets the top lid, which can be seen in the images, due to shrinkage, no warping or splits. Missing key.
A GOOD PAIR OF LATE 19TH CENTURY JAPANESE MEIJI GILT LACQUER AND SILVER MOUNTED CABINET VASES with engraved star work shoulder bands above twin side handles and scrolled bamboo feet, the bodies finely decorated in relief with ivory, mother of pearl, coral and Shibayama flowering vase and basket panels.UK Ivory Act 2018 Exemption Submission Reference - 473KLPYK19cm highBoth vases are in very good overall condition with no losses to the inlay, one vase has traces of glue where the silver mount at the base meets the vase, there are very minor scratched also at the base to the gilt finish, and the gilding although stable has lifted slightly at one section of the silver star. Extra images have been uploaded.
A FINE JAPANESE MEIJI PERIOD SHIBAYAMA LAQUER WORK SCREEN finely decorated with mother of pearl, coral and stained ivory, depicting figures under blossoming trees.UK Ivory Act 2018 Exemption Submission Reference - S148RVUH30.5cm high 27cm wide overall. There is no warping to this lot, it is flat when closed and doesn't wobble when stood up, the lacquer work on the reverse is in good untouched condition, with no damage to the panels, small knocks and marks to the edges, an area of the bark missing on the left panel and missing areas to two of the birds, small losses to the flowerheads in the trees, the hinges are original but are loose.
A 19TH CENTURY ANGLO INDIAN IVORY AND SILVER METAL INLAID HARDWOOD JEWELLERY BOX with finely decorated leaf work borders; fitted with lift out compartment lined in velvet.UK Ivory Act 2018 Exemption Submission Reference - PE77QWR631cm wide 20cm deep 12.5cm high In very good original condition, with only one tiny loss to the inlay on the front panel, just left of the escutcheon. there are no splits or damage to the box, only some minor surface scratches. There is no key present.
AN UNUSUAL MID 19TH CENTURY MONGHYR ANGLO INDIAN HARDWOOD AND IVORY MARQUETRY INLAID WRITING BOX the hinged top with raised sliding pen compartment above a fitted interior with shaped foldout stationary compartment above a fitted needlework base; with unusual shaped facetted handles.UK Ivory Act 2018 Exemption Submission Reference - 2PKZLSUE41cm wide 26cm deep 17.5cm high There is a split to the back of the box where it is attached to the hinge and a small piece missing where the screw is fixed (see images). There are also some minor losses to the back top edge (see images). There are some losses to the gallery on the top (see images), and also some minor losses to the border on the top. All of the inlay is in good condition with no losses. The red velvet surface is the writing slope, unfortunately, the surface is loose in the box due to missing pin hinges, where there is some damage to the corners where they would have been attached. The interior is in good condition. Missing a key.
A LARGE EARLY 20TH CENTURY ANGLO INDIAN DECAGONAL SHAPED MARQUETRY INLAID HARDWOOD CASKET finely inlaid with figural panelled scenes in exotic woods and ivory; standing on short cabriole shaped legs.UK Ivory Act 2018 Exemption Submission Reference - TQX9XG6884cm diameter 62cm highThere is a fine joint crack to the top due to shrinkage, otherwise in very good condition with no signs of damage or restoration.
A GOOD 19TH CENTURY ANGLO INDIAN HARDWOOD AND IVORY INLAID TABLE CABINET fitted small drawers to the front surrounding a small cupboard with fine overall inlaid panels depicting birds and flowering leafwork sprays.UK Ivory Act 2018 Exemption Submission Reference - VNDJ1ZMT44cm wide 30cm deep 30.5cm high In excellent original condition, no losses to the inlays and no splits or losses to the box. Good colour and patina.
FABERGE. AN EARLY 20TH CENTURY CASED RUSSIAN SILVER-GILT ENAMEL AND NEPHRITE PORTRAIT FRAME the image aperture enclosed by a gilt band and blue guilloche enamel mounted with diamond-encrusted foliate corners and a diamond and cabochon ruby Russian eagle within a silver gilt band set with diamond corners mounted on a rectangular nephrite panel with moulded edge - silver easel backing with scrollwork stand fitted in the original velvet lined holly-wood box with Faberge printed to the interior - hallmarked for Erik Kollin, Faberge workmaster.UK Ivory Act 2018 Exemption Submission Reference - QW89EFL514.8cm high by 9.4cm wideIt is in a very good undamaged condition with no signs of restoration.
A REGENCY 18CT GOLD FRAMED MINIATURE PORTRAIT ON IVORY depicting a young woman in classical dress in glazed rococo style frame, woven lockets of hair on reverse, makers initials stamped on back of case 'JL' total weight 24.2gUK Ivory Act 2018 Exemption Submission Reference - XQ5JP3PK65mm high, 56mm wide
A SELECTION OF THREE CARVED DOG'S HEAD WALKING STICKS comprising of a Black forest dog's head with ivory ears and glass eyes on a stained wood shaft, a carved bamboo dog's head and an ebony carved dogs head with fruitwood shaft.UK Ivory Act 2018 Exemption Submission Reference - P1MU86KJ87.5cm 91cm and 83cm overall
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