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Lot 1
An electroplated oval breakfast dish and cover, with two handles and a pierced liner. 10in. (25.5cm.) diameter. A pair of electroplated Victorian fish servers, cased, a cake knife with engraved serrated blade and ivory handle, a cake server, a pair of sugar tongs and a set of six pastry forks. Together with a set of six silver fiddle pattern teaspoons, engraved initials. (Bowls worn). Maker Elizabeth Eaton. London, 1840. 4oz. (all in). (18).
Lot 1
A collection of antique and various costume jewellery including a silver marquisite set ring, paste brooches and stick pins, buckles and clips and an ivory ring, all in a black leather jewellery box. A lot. Together with a garnet bar brooch, rolled gold and set overall with small facetted garnets, a white metal torque style antique key ring, bearing the remains of Eastern markings, an Art Deco double brooch clip, set green and white pastes, stamped on the reverse 'Britpat 410696' and a 9ct yellow gold bar brooch, set three cabochon garnets. A lot.
Lot 1
Fragment of an Ushak 'Turkey' carpet, west Anatolia late 19th century, 14ft.3in. x 12ft.1in. 4.34m. x 3.68m. Approximately one quarter of the carpet remaining, overall wear, holes, losses. These are the remains of one of the most beautifully coloured Ushak rugs of this type we have seen; ivory ground examples would seem to be of especial rarity.
Lot 1
An interesting Yomut ensi, Turkmenistan, third quarter 19th century, 4ft.10in. x 4ft.3in. 1.47m. x 1.30m. Slight wear in places, very slight loss to lower end. This wonderfully archaic ensi is of unusually small size and, although comparatively coarse in execution, has a remarkably rich and autumnal palette of nine colours Ð reddish brown, dark rust red, dark brown, purple brown, gold, light blue-green, turquoise, dark green and ivory. Within the four panels of the central field are repeated dogachik motifs and the main red ground border has a variant syrga pattern flanked by two ivory ground guards with ashik pattern. The five ornate kochanak-like figures in the base elem, flanked by vertical bars decorated with the saldat pattern with dogachik extensions, are most impressive.
Lot 1
Qashqa'i rug, probably by the Shishboluki taifeh, Fars province, south west Persia, early 20th century, 8ft.3in. x 5ft.3in. 2.51m. x 1.60m. Very slight wear in places, slight corrosion to dark brown. The ivory-ground motif in the centre and four corners is the so-called Haybatlu medallion; the version in the centre, with floral spray and four cypress-tree appen-dages, is found on a number of different groups of Fars carpets and is thought to have originated with a tireh or sub-tribe of the Shishboluki Qashqa'i. The so-called naranj border is another common feature, as are the four chess-like horses' heads based on the reliefs at Persepolis and elsewhere.
Lot 1
Continental .900 lady's compact and writing pad, the sprung cover of white enamelled guilloche, revealing a gilt interior of mirror, compartments and ivory writing slab, 9cm; also a silver snuff box, Birmingham 1838 by Gervase Wheeler, the oblong body with rounded ends and guilloche decoration. (2).
Lot 1
Victorian rosewood workbox and contents, consisting of 16 wooden and six bone lace bobbins, three ivory barrel-shaped cotton boxes, ivory "silver" thimble box, an ivory and a tortoiseshell tatting shuttles, three bone crochet hooks, marine ivory turned tape measure holder and pin cushion, three bone shuttles, two bone stays and other bobbins and implements (as a lot).
Lot 1
A rare Hochst figure of a beggar, circa 1760, probably modelled by J.C.L. von Lucke, resting on his walking stick, dressed in scruffy clothes, leaning against a tree trunk, Kurhutmarke in underglaze-blue, 26cm, 10.25in, some restoration, This figure is closely related to a figure of Bier-la-la in the Kurt Bechthold collection (see his catalogue, plate 48) modelled by Lucke. Both show great resemblance in size and detailed naturalistic rendering of the ragged clothes and grimace. Horst Reber notes that the figure of Bier-la-la goes back to an ivory relief also by Lucke
Lot 1
A jewelled gold and enamel souvenir, rubbed incuse marks including partial letter G, Geneva, circa 1797, of slightly tapering form, the lid inscribed: Souvenir d'Amitie, the front painted en plein with a small patriotic putto holding a stylised flag of the city of Geneva, the reverse with a putto playing a violin, on a translucent blue ground with paillon ornament, the borders chased and enamelled in translucent green with pearl-studded foliage on a sable ground, the interior complete with ivory memorandum slips and gold-topped pencil, height 7.5cm, 3in
Lot 1
A Maltese silver teapot, Pierre Brun,1775-97, of circular baluster form, with cast and chased bird's head spout in French manner, the body embossed and chased with birds, fruit and rocaille ornament, initialled RJW, ivory handle, 15cm, 6in high, 700gr, 22oz 10dwt, Pierre Brun, who initially became a silversmith in St-Girons, near Toulouse, France, around 1745 is thought to have come to Malta with influence from Jean Lacere to whom he had been apprenticed and who was connected to a number of Knights of St John. This maker's mark is found on a number of important pieces of Maltese silver in French style including a mid-18th century ecuelle and cover with handles almost identical to those on an ecuelle made by Philippe Laforgue of Toulouse in 1759. See: Faith Dennis, Three Centuries of French Domestic Silver, New York, 1960 no. 560; and Alaine Apap-Bologna, The Silver of Malta, 1995 pp 90 and 250, The initial on the teapot is that of Robert John Waller 1819-1892, Great-Great Grandfather of the present owner, who was present when the teapot was illustrated in 1893 see detail
Lot 1
A mid-Victorian large Wheatstone duet concertina, with hexagonal rosewood ends width 20cm, sixty-six colour-coded and labelled bone or ivory buttons, brass finger rests, leather thumb straps, and five-fold green leather bellows with decorative papers, in original fitted hexagonal rosewood box; together with a copy of Joseph Warren's Instructions for the Double Concertina (published by Wheatstone), bound together with some sheet music, the volume inscribed July 1853 Note: the system on this concertina is an early duet form, with treble on the right and bass on the left, with the buttons in four rows rather like the English system but arranged in semi-tone steps, with three rows making each octave; this system was not successful and was superseded by the McCann and Crane sytems, both of which are easier to play; this instrument bears no obvious serial number but does have number 12 written inside each end, also a repair label for A.C. Norman dated November 1993 (see illustration)
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