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Lot 1601
A late 19th/early 20th century South African gentleman's 22ct gold-mounted gold quartz, marine ivory and ebony walking stick, the crook-shaped handle inset with a gold quartz specimen within a chased mount, the collar inscribed Jameson within an open scroll, branch-effect shaft, brass tip, 90cm long, c. 1900Provenance: By repute the property of Sir Leander Starr Jameson, 1st Baronet, KCMG, CB, PC (1853-1917), the Scottish colonial politician best known for his involvement in the eponymous Jameson Raid and being the inspiration for Rudyard Kipling's poem 'If'; by direct family descent until purchased by the current vendor.
Lot 1882
An early 19th century sailor's maritime souvenir novelty whalebone and marine ivory walking stick, octagonal top with an inset star above a tapering collar inlaid with lozenges and spheres below a conforming band, architectural trompe-l'Å“il prism with free-standing fluted pilasters and centred by a wrythen column, conforming compartment blind, wrythen shaft, 93.5cm long
Lot 1227
A pair of Victorian lady's enamel and lacquered brass opera glasses, by F. McElroy, Optician, 3 Corporation St, Manchester, ivory eyepieces inscribed in red script, ogee prism barrels with reserves of country flowers in polychrome in white reserves on a black enamel ground picked out with gilt stars, ivory focusing wheel, 11cm wide, cased en suite, c. 1870
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Lot 178
Ï’ A Ceylonese ebony and specimen wood inlaid circular centre table, second quarter 19th century, the circular top with radiating serpentine bands of tropical timbers to include satinwood, coromandel and palm wood, surrounded by an ivory inlaid and lappet carved border, above a reeded turned tapering stem incorporating scrolling lappet carved terminals, the concave sided plinth base cornered by moulded roundels, on squat turned bun feet and concealed castors, 75cm high, the top 122cm diameter This table is typical of the carved ebony furniture manufactured on the island of Ceylon (Sri Lanka) in the Galle district, throughout the 19th century. While the form of these tables is based on English designs dating to the second quarter of the 19th century (such as Thomas King's The Modern Style of Cabinet Work Exemplified of 1829), the carved ornament, including the lotus motif are derived from local traditions. These tables were supplied to the British colonists in Ceylon and India for export to England. A number of tables similarly inlaid with exotic woods are known, including the earliest dated example, formerly at the Royal Commonwealth Society with a presentation plaque dated 1836 (A. Jaffer, Furniture from British India and Ceylon, London, 2001, p. 373, fig. 142).A virtually identical table was sold, Christie's, Interiors - Style & Spirit, London, 13th May 2008 (£38,900). An almost identical table was sold Christie's, London, 21-22 November 2007, Lot 160. A related example was displayed in the Ceylon Court of the Paris 1855 International Exhibition and discussed in the Catalogue of the Natural and Artificial Products of Ceylon, 1855. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 267
Attributed to Harry Bates ARA (British, 1850-1899), a patinated bronze model of Pandora, probably a maquette, the kneeling figure portrayed holding a casket, mounted to a cuboid green serpentine plinth, the bronze 9cm high, 16cm high overall including base Harry Bates was an important part of the late 19th century New Sculpture movement, alongside renowned sculptors such as Frederic, Lord Leighton and Sir Alfred Gilbert. He began his career as an ornamental carver, and primarily created classically inspired reliefs during his early years. Pandora was one of Bates' first ventures into three-dimensional statuary, and is arguably his most iconic piece. It was exhibited at the Royal Academy in 1890, and entered the Tate collection the following year, having been acquired for the nation. The combination of marble with the ornately carved ivory box and precious gilt bronze demonstrates the influence of the chryselephantine sculpture popular in France, where Bates had recently trained under Auguste Rodin. The composition shows Rodin's interest in classicism, though its pensive and introspective mood is not unlike the works of Jules Dalou, under whom Bates had first studied at Lambeth School of Art. Though faithful to the composition in the Tate collection, the loose modelling and textural surface of the present work represent a contrast with the impeccably smooth surface of the larger marble, and is likely a maquette in preparation for this highly finished exhibition piece. Literature: Susan Beattie, The New Sculpture, Yale University Press, 1983, particularly pp. 166-7 David Getsy, Privileging the Object of Sculpture: Actuality and Harry Bates' Pandora of 1890, Art History, 2005, 28:1, pp. 74-95.
Lot 40
Ï’A German ivory charger in Renaissance Revival style, circa 1870, the segmented oval body relief carved with a central cartouche depicting Mars being disarmed by Venus surrounded by amorini, and with further oval scenes to the border including Diana and Actaeon, Perseus and Andromeda, Hercules and Omphale and other mythological pairs, interspersed with grotesque masks, mounted to a stained beech support, 59cm high, 75cm wide Property from the estate of the late Betty, Lady Grantchester. Betty Suenson-Taylor was born Elizabeth Moores in 1925. She was the eldest child of the Littlewoods founder Sir John Moores (1896-1993). Betty was educated at Cheltenham Ladies College and Newnham College, Cambridge. It was as an undergraduate at Cambridge that she met her husband Kenneth Suenson-Taylor, who became 2nd Baron Grantchester in 1975.In the early 1970s Betty joined the board of Littlewoods, and took over as Director in 1977, at a time when there were few women board directors. Betty was exceptionally reknowned for her charitable work through the Moores Family Charity, as well as supporting women's education at both Newnham College and Lucy Cavendish College in Cambridge. Her other charitable works included support for the Mersey Forest, Liverpool John Moores University and the Welsh National Opera. Lady Grantchester died in 2019 at the age of 93.Cf Sotheby's London, From Earth to Fire, 01 November 2017, lot 834 Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 723
A ROYAL WORCESTER BLUSH IVORY TWIN HANDLED PEDESTAL COVERED VASE, floral decoration and gilt detailings, puce backstamp and No1921 to base, height 35cm (lid reglued), together with a Royal Worcester quarter lobed vase decorated with a butterfly and bluebells, puce backstamp and H158 to base, height 8cm (2)
Lot 107
A 19th century Chinese carved ivory concentric ball on stand, height 35cm Condition: Hairline crack to the finial figure, ball has six skins, pierced section beneath the main ball has lost its lid and is split down one side, hairline crack running through the side of the base figure, two small losses and further cracking in the scrollwork of the foot.
Lot 15
A Chinese carved ivory group of a sage holding a peach, seated beside a crane and a deer, 17cm Condition: A little dirty with varied discolouration to the ivory and patches of what look like yellow glue on the back, extreme tip of the cranes beak perhaps slightly chipped, hairline cracks through the top of the head and running down the back.
Lot 206
A rare mid 19th century Jaques of London Game of Cannonade of Castle Bagatelle, comprising a circular mahogany board, 38cms diameter, with metal framed mesh sides, enclosed eight wire framed castle 'stations' the board underside stamped Jaques . London, together with a mahogany velvet lined box, the sliding lid with printed paper titling labels, containing twelve turned ivory castles, an ivory spinning top and fourteen clay, composition and ivory ballsNOTE: The design was registered on 21st January, 1854, number 94726Condition: The metal and wire mesh frame is detached from the circumference of the board from "stations" Nottingham to Walmer (approx. 38cm). Metal frame with remnants of original green paint
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