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Click here to subscribeVery interesting conductor's ivory baton of tapering form with gilt mounts inscribed Bands Master T Rimmer, 7th May 1907 in a fitted leather bound case with presentation plaque from sergeants of the King's Liverpool Regiment dated 7th May 1907, together with a photocopy of an article written about Thomas Rimmer who was musical director of the XIII Lancashire Royal Volunteers
An exceptional Lori Pambak Kazak rug, south west Caucasus, about 1860-70, 6ft.8in.x 5ft.7in. 2.03m. x 1.70m. Kink top end centre Ð no damage to pile. Mike Tschebull, in his essay on this and three other design types of Kazak rug (Raoul Tschebull, 'The Development of Four Kazak Designs', Hali vol. 1, no. 3, 1978, pp. 257-261) illustrates seven examples which show the development of this most distinctive motif throughout the 19th and early 20th centuries. The earliest version is seen on two rugs, one of which is dated the Hegira equivalent of 1846AD (figs. 21-6); the central green cruciform medallion, the defining characteristic of this group as a whole, is drawn in a more fluid and zoomorphic form than on later versions and although Tschebull suggests a link to Turkmen gols (perhaps a tamga or tribal emblem is a more probable), the central motif on these early examples also seems to show recognisably Chinese antecedents. The second of Tschebull's groups is represented by a rug dated the equivalent of 1897 (fig. 29); this is closer to the rug offered here but has some small but appreciable differences. It is virtually identical to the rug illustrated by Bennett, Oriental Rugs Volume I: Caucasian, no. 5 and may share the latter's somewhat harsh palette. Design differences include the three arrow heads above and below the principal motif on the Tschebull and Bennett rugs as opposed to the blue serrate-edged motifs seen on this rug which are close to those seen in the same position on the earlier rugs. Similarly, the present rug retains the double 'crests' on the opposed pairs of birds' heads at top and bottom of the green cruciform; in the later examples, these become single 'crests' and on even later rugs made around 1910 disappear altogether. Finally, the main ivory ground border of our rug, although a simplified version of the pattern seen on the earlier rugs, is much less angular and repetitive than the version used on the later examples; it also has the same series of simple quartered diamonds in the two flanking guards as the earlier rugs. In other words, both the design elements and the palette of this rug suggest that it represents an intermediate stage between Tschebull's early and middle groups, which would place it chronologically around the end of the third quarter of the 19th century, certainly before the introduction of synthetic dyes around 1875-80.
A late 19th century Russian silvergilt tea service with trompe loeuil decoration comprising: teapot with detachable cover and ivory finial milk jug sugar bowl and matching oval tray initialled the whole decorated with simulated birch bark and wood graining by Ivan Khlebnickov Moscow 1873 the tray 9.25in (24cm) wide 36oz.
A modern canteen of flatware and cutlery with pointed terminals in a fitted walnut veneered side table with a lift-up cover: 4 tablespoons 12 tableforks 12 dessert spoons 12 dessert forks 12 soup spoons 12 teaspoons 12 fish knives 12 fish forks 4 saltspoons 2 mustard spoons 1 butter knife by Viners of Sheffield together with the following stainless steel items with simulated ivory handles: a carving knife fork and sharpening steel twelve table knives and 12 side knives (also containing 6 extra non-matching items) the table 27.5in (70cm) high 26in (66cm) wide approximately 160oz weighable silver.
Cased sets: a modern sauce boat and ladle a pair of Victorian shell salts and spoons a set of six modern teaspoons and a pair of matching sugar tongs a set of six teaspoons and the following plated: six napkin rings seven cake forks a knife fork and spoon with ivory handles and a pair of spoons with ivory handles (8).
Six pairs of late Victorian fish knives and forks, with electroplated engraved blades and beaded collars to the ivory handles, in a fitted box. Together with twelve pairs of Edwardian electroplated dessert knives and forks, with Rococo terminal loop handles. Makers Walker and Hall. Cased. (36).
A 19th century Portugeuse secretaire table, veneered in macassar ebony with ivory stringing, the rectangular top with an ivory marquetry inlaid frieze fitted drawer, the fall front with applied blocks, fitted a brass patent lock stamped 'J.T. Needs 826 PICCADILLY Late Brahmah 194 PICCADILLY', enclosing drawers and a writing plush top, the spiral twist ebonized legs to a base platform, the turned feet on castors. 3ft. 8.5in. (1.13m.) wide x 35.5in. (90cm.) high x 23.5in. (60cm.) deep.
An Edwardian white muslin Ayreshire work collar worked with the Prince of Wales feathers two lace handkerchiefs a quantity of lace accessories an Edwardian ivory silk baby gown a knitted romper suit two bibs a black wool embroidered Indian shawl 6ft 4ins x 3ft a 1930's black lace evening gown and a 1950's black lace and peach satin short evening gown.
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