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Lot 430
λFive Tunbridge ware tangram puzzle boxes, comprising: an ebony and geometric parquetry example by Thomas Barton, one piece of puzzle remaining, the base with an oval printed mark `THOMAS BARTON MT. EPHRAIM TUNBRIDGE WELLS, TUNBRIDGE WARE MANUFACTURER`, 1in (2.7cm) high, 2in (5cm) square, a rosewood and geometric example by Edmund Nye, the interior with a circular printed label `EDMUND NYE, Manufacturer, MOUNT EPHRAIM and PARADE, TUNBRIDGE WELLS` and three others one with an ivory puzzle. (5) Provenance: The Alberto Rava Collection of Tunbridge ware.
Lot 470
λFour Victorian Tunbridge ware cribbage boards, comprising: a Masonic board, with specimen woods, bone and ivory, engraved with a square and compass, on brass feet, with a plug hole to store pegs,12½in (31.4cm) long, a rosewood board, a specimen wood board and a board with a peg recess with a sliding cover. (4) Provenance: The Alberto Rava Collection of Tunbridge ware.
Lot 497
A Victorian Tunbridge ware and macassar ebony desk-stand attributed to Thomas Barton, with a turned ebony handle flanked by a pair of lidded cylindrical containers and two stamp boxes, with a central watch stand, pen tray, an ivory match stand and a metal striker, on bun feet, 5in (12.7cm) high, 8ÎŽin (21.8cm) wide, 5ÎŽin (14.5cm) deep.
Lot 122
A GENTLEMAN`S STEEL, GOLD & DIAMOND EBEL 1911 BRACELET WATCH CIRCA 1990s D: Ivory colour dial with diamond set markers, date aperture. M: Quartz movement signed Ebel. C: Voyager case with original 18K solid gold diamond set bezel, signed 1911 & numbered, original crown, case width measures approx 35mm. B: Original Ebel steel & gold bracelet. CONDITION REPORT D: Original dial in excellent condition. M: Working at present. C: In very good condition, with some light scratches due to general use. B: In very good condition. D: Dial, M: Movement, C: Case, B/S: Bracelet/Strap
Lot 511
A FINE TORTOISESHELL & IVORY TEA CADDY CIRCA 1850 The tortoiseshell case with pewter stringing on the lid, main body edged with ivory, inside fitted with two compartments both with tortoiseshell lids & ivory knobs, the base having four ivory bun feetCONDITION REPORT Condition is very good for age. no obvious damage, sides have a few faint hair line cracks.
Lot 209
Five-course baroque guitar by Matteo Sellas, Venice, second quarter of the 17th century, the back of numerous fluted ebony ribs intersected by bone stringing, the ribs with a central band of similar construction flanked by plain ebony bands, the table with pierced parchment architectural rose encircled bone inlay with intersecting loops of ebony and bone with a running dart motif in bone, further inlaid below the bridge and at the base of the fingerboard with bone hearts of various sizes connected by ebony and bone stringing, the tie bridge with scrolling moustaches, the back of the neck and the central section of the head with a fine ebony and ivory chequerboard overlay, the fingerboard with panels of mother of pearl with ten later brass frets, the shaped head with ivory pegs, length of body 18 7/8", 48cm, string length 27", 68.5cmThis guitar was formerly the property of Sebastian Isepp (1884-1954), renowned picture conservator and chief restorer at the Kunsthistorischesmuseum, Vienna. Today, as a painter, he is credited as a leader of the Notscher Kreises School of Austrian Painting. His portrait by Kokoschka hangs in the German Nationalmuseum, Nurenberg. He came to Britain in 1938 at the instigation of Sir Kenneth Clark. He formed a collection of some thirty-five stringed instruments most of which were later dispersed, some passing into the collection of the musicologist and early stringed instrument player Robert Spencer. The remaining instruments passed to his son the renowned piano accompanist Martin Isepp (1930-2011)
Lot 267
Composite lute currently strung for six double courses, 18th century and later, the body of twenty-five rosewood ribs intersected by bone inlay, the table with pierced parchment architectural rose encircled by multiple stringing, one band inset with mother of pearl segments, further inlaid below the bridge and at the base of the fingerboard with mother of pearl hearts and with a polygonal tortoiseshell plaque above the bridge, the back of the neck with a fine ebony and ivory chequerboard inlay, rosewood fingerboard with eight frets and a further six frets on the table, guitar-style shaped head with reverse pegs, length of body 17", 43.2cm, string length 20 1/4", 51.5cm
Lot 375
Fine and rare set of ivory British pastoral pipes, third quarter 18th century, all pipes silver mounted, the chanter in two joints, the foot joint with two vent holes, two drones, the bass drone looped back on itself through the stock, one regulator with four silver keys, the keys with scallop-shell covers and fluted touch pieces, one a simpler later replacement, the leather bag with green velvet cover and green silk ties, length of chanter including the tenon 20 1/16", 51cm; drone lengths 19 3/8", 49.2cm; 41 3/8", 105cm, regulator length 10 3/4", 27.5cm
Lot 406
Four recorders: grenadilla tenor recorder by Arnold Dolmetsch Ltd, Haslemere, 1959, no. 8483; rosewood descant (soprano) recorder by Arnold Dolmetsch Ltd, Haslemere, 1957, no. 7231, ivory mounts, both in multiple case; tenor recorder by Schott`s Concert model, made in Germany; boxwood bass recorder by Ernst Stieber, Tubingen, 1960, brass keywork and crook, cased, with original receipt
Lot 438
Five-keyed stained boxwood musette by Arsene Zoe Lecomte, Paris, circa 1880, one ivory and one brass mount, brass keys with circular covers on pillar mounts; stamped A. Lecomte & Cie, Paris, Rue St Gilles 12 with the device of a tuning fork and a series of medals, one stamped Paris 1867-1878, length 13 7/8", 35.3cm
Lot 89
A Herend porcelain lidded box of bun form, applied with a single pink rose, a Royal Doulton 23cm diameter plate transfer decorated with pink roses and an early 20th century Continental porcelain vase of baluster form, transfer decorated with a courting couple in a landscape and floral sprays on an ivory and gilded ground.
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239691 item(s)/page