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Lot 1194
A George III Mahogany and Pine-Lined Straight Front Chest of Drawers, the later top above three moulded panels with two short and two long drawers with ivory escutcheons and brass oval backplate handles, all between reeded stiles, on later bracket feet132cm by 56cm by 93cmWith non-transferable standard ivory exemption declaration number 31TYRWM2A few marks to the top and with a split running the length of it. Some losses and repairs to the cockbeading.
Lot 1201
A George III Mahogany, Ebony and Boxwood-Strung Bowfront Chest, late 18th century, the moulded top above four long graduated drawers with oval backplate handles and ivory escutcheons, above a wavy shaped apron and on splayed bracket feet96cm by 44cm by 89cmWith non-transferable standard ivory exemption declaration number 6QFVU8FH Heavy damage to the top with large scratches, scuffs to the feet, handles are replaced
Lot 1205
A George III Mahogany and Boxwod-Strung Straight Front Chest, early 19th century, the moulded top above two short and two long drawers with ivory escutcheons and oval backplate handles, on bracket feet91cm by 48cm by 84cmWith non-transferable standard ivory exemption declaration number L8GYGP5S
Lot 1207
An Early 19th Century Mahogany, Boxwood and Ebony-Strung Straight Front Chest, with three long drawers and ivory escutcheons, on a later stand with square tapering legs and spade feet joined by a stretcher45cm by 30.5cm by 74cmWith non-transferable standard ivory exemption declaration number 4TCT819M
Lot 2030
19th century tortoiseshell tea caddy, stamped 'Lund Maker 56 & 57 Cornhill, London', also stamped on the lock, the domed lid with silver thread enclosing two lidded compartments on ivory pad feet, H14 W18 D10 cmIvory Register Reference: 9WTPJNRUCondition Report: Ivory Register Reference: 9WTPJNRUSome lifting of metal on the edges.Yellowing of ivory.Some wear to base.Some losses of silvering and silvering lifting.Light wear and some scratches.
Lot 2033
19th Century tortoiseshell card case, stamped 'Lund Maker 56 & 57 Cornhill London, the domed lid with silver plaque enclosing three partitions with two packs of cards and two 'Camden Whist Markers', by Goodall & Son, London, H8.5 W11.5 D9cm Ivory Register Ref.: 9VLUGGTNCondition Report: Ivory Register Ref.: 9VLUGGTNCatch snaps closed nicely.Light wear and tear and light scratches. Small losses of tortoiseshell by one hinge and rear edges.Small chip to ivory around base.Base worn.Some yellowing of ivory.
Lot 118
KARL HAGENAUER (Austria, 1898 - 1956)."Figure of a horse", ca.1925-30.Sculpture in brass, with marble base.Size: 24 x 28 x 3 cm (sculpture)+ 2 cm (base).The son of the goldsmith Carl Hagenauer, Karl studied at the School of Arts and Crafts in Vienna, where he was taught by Josef Hoffmann and Oskar Strnad and imbued with the spirit of the Wiener Wekstätte. After obtaining his diploma in architecture, he did military service between 1917 and 1919, and on his return he began to work as an architect and in his father's studio. During these years he created numerous pieces in silver, brass, copper, enamel, ivory, stone and wood. In 1928, after his father's death, he took over the management of the workshop and was responsible for the expansion of the firm, extending production to cabinetmaking and opening shops in Vienna and Salzburg. Since then he has exhibited his best pieces both in Austria and abroad, was twice awarded the gold medal at the Milan Triennale and was made a member of the Austrian Werkbund and the Werkstätte. His works are now in collections all over the world, including the Victoria & Albert Museum in London, the MoMA and the Jewish Museum in New York, the Casa Lis in Salamanca and many others.
Lot 68
A 17th century German oak and metal bound table top cabinet of drawers, having a double headed eagle design and side handles, twin doors opening to reveal ebony and ivory inlaid drawers. 45.5cm wide, 31cm deep and 24.5cm high. (This lot consists of less than 10% ivory and is sold with a licence)overall moderate, with some surface marks, and miner cracks, small area of old worm to back base, one piece of veneer missing from front of a drawer and another replaced. NO KEY. old lable to the base, J A Butti Edinburgh.
Lot 746
Nonesuch Press: Fontenelle, Bernard de. 'The Plurality of Worlds'. John Glanville trans. 1929. Ivory boards and slip case (209 x 130mm). Plus Riccardi Press; The Rubaiyat of Omar Khayyam. Ltd Ed. 615/1000. Untrimmed paper, grey boards plus Whittington Press/Matrix 'Four Wood Engravings for Virgil's Georgics' by Edward Craig Ltd 1931 x two copies. Blue boards (280 x 197mm) (4)
Lot 1005
A rare 19th century Spanish travelling cabinet on stand, 18th/19th century, tortoiseshell engraved ivory and ebony drawer fronts, the heavy strapwork fall-front door concealing 15 drawers and 3 Classical architectural cupboards, the central cupboard having internal drawers and pull-out compartment to reveal a secret drawer, all engraved ivory panels depicting saints, the main cabinet with heavy gilt-metal carrying handles, on a separate ebonised wood stand with barley twist supports and stretchers, width 103cm, overall height 140cm, depth 42cm, this item has been registered as exempt from the UK Ivory Act 2018 on account of it being made before 3rd March 1947 with less than 10% ivory by volume. Ivory declaration submission reference 85RWVJCRA few sections of the ebony drawer surround mouldings are missing, the 3 ivory panels all have age-related cracks, general all over wear and abrasions, outside of the cabinet has some staining but no splits or repairs, front door is detached and hinges are broken, ebonised stand is probably slightly later and is rubbed on the edges
Lot 35
Charles Crotchie Inverness cased wheel barometer circa 1840 with boxwood line decoration, having a dry/damp dial (glass cracked), thermometer, central mirror (split surround) and engraved steel dial, ivory adjustor missing, approx 96 cms in length. Glass is cracked and the ebony surround to the mirror is split in two places.
Lot 1154
Gorham late 19th century American silver coffee pot of classical urn form the cover with a winged cherub over a Greek key border and classical busts within a fruiting vine, the spout with a mask to the base, on pedestal foot, marked with Gorham silver marks for 2nd half of 19th century, Sterling 390 under the base, H30cm 40.29 oz 1253.5gm, Ivory Registration - 9U8ME97R
Lot 998
A 1920s vintage wedding dress, the ivory satin body with a lace scowl neck with a repeat pattern heightened in silver beads, with long train with matched detailing, approximate size 8/10, together with the original head piece with pearlised beads and wax flowers, complete with an original photograph of the original wearer in the dress and headpiece, S/D.
Lot 144
Höchst bedeutende höfische, museale Hochzeitsschatulle, datiert 154016 x 21,5 x 13,6 cm.An der Basis vorn die gravierte Datierung „1540“.Wohl im 16. Jahrhundert in Frankreich oder Deutschland entstanden.Eine schriftliche ausführliche Stellungnahme von Dr. Nelly de Hommel-Steenbakkers vom 07. April 2020 liegt in Kopie vor. Sie hält eine Datierung für die Mitte des 16. Jahrhunderts für gerechtfertigt.Die Gestaltung und Form, wie auch die beiden Wappen auf der Deckeloberseite, deuten darauf hin, dass es sich hier um ein Hochzeitskästchen handelt. Mit Sicherheit in hochhöfischem Auftrag gefertigt. Wie üblich fungierten diese Kästchen als Behältnisse für Ring, Brautschmuck oder ähnliche Hochzeitsgaben. Dem entsprechen auch die Darstellungen auf der Vorderseite, mit Wiedergabe einer Trauungsszene und einer Inthronisation. Der Aufbau folgt dem in dieser Zeit üblichen Schema: Hier ein Rechteckkästchen über vortretendem zweistufigem Sockelgesims mit Reliefbänderung, über vier gestelzten Kugelfüßen. An den Ecken Dreiviertel-Baluster, an der Front rechteckiges Kassettenfeld als Schlossbeschlag mit gekrümmter Schlempe. Der Deckel verjüngt sich dachförmig pyramidal, mit liegendem Feld als Abschluss. Bronzeteile, wie Rahmungen, Füße, Bänder etc. feuervergoldet. Die Flächen mit Szenen bemalt, in den Dachschrägen Arabeskenmalerei mit Akanthusblättern, dazwischen Paradiesvögel und Fabelwesen (was für ein vermutetes Reliquienbehältnis unpassend wäre). Das kleine Rundbild auf der Deckeloberseite zeigt die Heilige Adelheid mit Krone, mit Umschrift „SANCTA ADELAIDA – ORA PRO NOBIS“ (=bitte für uns). Die einzelnen Szenen zeigen die Lebens- und Leidensgeschichte der Hl. Adelheid. an der Vorderseite: Verehelichung mit König Otto 951 in Pavia. – Rechts: Inthronisation der Heiligen 962, König Otto und Papst Johannes XII. Rechts: Schlachtenszene; Reiter mit Kreuzschild gegen Feinde mit Krummschwert. Links: Adelheid und ein Franziskanermönch verteilen Brot an Arme und Kranke. Rückseite: Folter und Flucht Adelaides in einem Schiff auf dem Gardasee. Die Heilige wurde alsbald hoch verehrt. Der Sinn dieser Szenen liegt wohl darin, dass dieses Hochzeitskästchen für eine höfische Braut namens Adelaide gefertigt wurde, mit dem Gedanken des Schutzes dieser Heiligen Patronin. Die beiden Wappen mit Helmzier auf der Oberseite, die das Bildnis flankieren, sind demnach als die der ehelich verbundenen Adelshäuser zu verstehen. Das Wappen links zeigt einen steigenden Löwen auf rotem Grund (vergleichbar mit dem Wappen der Stadt Görlitz).Feinste Absplitterungen der Farbschicht lassen hellen, wohl Bein-Untergrund erkennen. 5 von 9 der Bildfelder sind noch mit dünnem, wohl originalem Schutzglas überdeckt. Im Inneren Samtauskleidung. An der Sockelvorderseite die Datierung 1540.Literatur:Vgl.: Amalie Fößel, Adelheid, in: Amalie Fößel (Hrsg.), Die Kaiserinnen des Mittelalters, Pustet, Regensburg 2011, S. 35-59.Vgl.: Werner Goez, Kaiserin Adelheid, in: Lebensbilder aus dem Mittelalter. Die Zeit der Ottonen, Salier und Staufer, Primus, Darmstadt 2010, S. 66-82. (1331093) (1) (13)Highly important courtly wedding casket of museum quality, dated 154016 x 21.5 x 13.6 cm.Engraved date “1540” on the base at the front.Probably created in France or Germany in the 16th century.Accompanied by a detailed written statement by Dr Nelly de Hommel-Steenbakkers dated 07 April 2020, in copy. She considers the dating to the mid-16th century is justified.Lid with round portrait tondo of Saint Adelaide with corresponding Latin inscription “SANCTA ADELAIDA ORA PRO NOBIS” around the crowned head of the saint. There are two coat of arms with helmets that are unidentified by de Hommel-Steenbakkers. Lined with green velvet on the inside. Paint rubbed in places, ivory slightly cracked, several glasses lost.Literature:cf. Amelie Fößel, Adelheid, in: A. Fößel (ed.): Die Kaiserinnen des Mittelalters, Pustet, Regensburg 2011, pp. 35-59.cf. Werner Goez, Kaiserin Adelheid, in: Lebensbilder aus dem Mittelalter. Die Zeit der Ottonen, Salier und Staufer, Primus, Darmstadt 2010, pp. 66-82.
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239713 item(s)/page