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Lot 231
Turkish Market silver (0.800) lever hunter pocket watch, the half plate movement signed and stamped Billodes with compensated balance and regulator, hinged cuvette, the dial branded 'K. Serkisoff & Co, Constantinople' with Turkish numerals, minute track and subsidiary seconds, blued steel hands, inside case stamped with Billodes registered trademark, within a plain case with engraved cartouche, 47mm, modern chain and key (case bruising)-Movement - currently functioning.Dial - light surface marks.Glass - light surface marks.Hands - some mild surface wear.Case - bruising to both covers.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 2
MEISSEN TEABOWL AND MATCHED SAUCER CIRCA 1730 painted with chinoiserie scenes within gilt scrollwork cartouches filled with Böttger lustre and further embellished with iron-red and purple scrollwork; the saucer matched, each depicting scenes of figures at various pursuits; the rims with gilt scrollwork borders; the teabowl with a spray of indianische blumen to the centre; underglaze blue crossed swords, teabowl with gilt numeral 20, saucer with a gilt letter K.Dimensions:teabowl 7.3cm diameter, 4.3cm high, saucer 12.7cm diameterProvenance:Provenance: Newton Don, Kelso; Harrietfield, Kelso; and thence by descent
Lot 124
A QUANTITY OF BOXED MATCHBOX SUPERKINGS FORD SIERRA CAR MODELS, No.K-100 (XR4i) and K-162 (RS 500 Cosworth), assorted versions and colours, all appear complete and in lightly playworn condition with minor wear, with a boxed playworn Ford Capri Mk.II, No.K-59, boxes all complete with some damage and wear, (9)
Lot 122
2nd century A.D. A skilfully carved life-size marble head of a female (possibly Artemis, a Muse or an Amazon) with centrally parted hair composed of wavy strands and tied in a ponytail at the back; serene facial expression, almond-shaped eyes and small mouth with slightly parted lips; some restoration; mounted on a custom-made display stand. Cf. Felletti Maj, B.M., Museo Nazionale Romano, I Ritratti, Roma, 1953; Bianchi Bandinelli, R., L'arte Romana nel centro del potere, dalle origini alla fine del II secolo d.C., Roma, 1969; Bieber, M., Ancient Copies. Contributions to the History of Greek and Roman Art, New York, 1977, p.88, pls.60-61; Fittschen K., Zanker P., Le sculture del Museo Civico Archeologico di Bologna, La collezione Marsili, Comune di Bologna, Bologna, 1986; Boardman, J., Griechische Plastik. Die spätklassische Zeit, Mainz, 1998, pp.100ff.; Fuchs, W., Die Skulptur der Griechen, München, 1993, pp.221ff.; Agnoli, N., Museo Archeologico Nazionale di Palestrina, Le sculture, Roma, 2002; Vout, C., ‘Hadrian, Hellenism, and the Social History of Art’, in Arion: A Journal of Humanities and the Classics, Third Series, Vol.18, No.1, Spring-Summer 2010, pp.55-78. 14 kg total, 38 cm high including stand (15 in.). Ex private collection, Monaco, 1960s-1970s.Acquired from the Monaco Fine Arts on 4th November 1992.Private collection of Mr & Mrs Daniel, Monaco.Acquired by the present owner from David Aaron Gallery in 2019.Accompanied by an academic report by Dr Raffaele D’Amato. The youthful head seems to be based on the Greek Attic Artemis Colonna type of the 4th century B.C. The composition of the head is powerful with a serene countenance, its physiognomy replete with the idealised quality characteristic of Greek classical sculpture. This classic influence is best seen in the perfect almond- shaped eyes with their sharply carved lids as well as the smooth contour of the face. The rich handling of the coiffure and the smooth quality of the face can suggest a date sometime during the Hadrianic (117 to 138 A.D.) or early Antonine periods. A video of this lot is available to view on Timeline Auctions Website.]
Lot 258
Late 10th-early 11th century A.D. A silver Scandinavian pendant of Riddarholmen type with integral loop; the openwork plaque with banded border and four panels, internal stylised zoomorph with hatched panel to the hip, gripping three-fingered hands to the body and border, two detailed feet, clearly visible facing mask below the loop with pellet eyes. Cf. Korshyn, V.E., Yazicheskiye Priveski Drevniye Rusi X-XIV Vekov, Moscow, 2013, items K.2.01-03. 5.48 grams, 32 mm (1 1/4 in.). Private collection formed in Europe in the 1980s.Westminster collection, central London, UK. Riddarholmen type pendants were also widespread in the historical Rus region centred on Kiev. [No Reserve]
Lot 259
9th-12th century A.D. A sheet-gold hammer amulet formed by doubling a single gold sheet; bifacial pellet ornament tracing the perimeter of the hammer and a central motif mimicking the broad plan of the weapon; suspension loop formed within the fold at the neck. 1.57 grams, 20 mm (3/4 in.). Acquired 1980-2015.Ex Abelita family collection. The techniques used to manufacture this pendant (working sheet gold and granulation) had been in the repertoire of the Scandinavian goldsmith since the Iron Age and formed part of the manufacturing process for bracteate pendants and other jewellery items (Reynolds Brown, K. et al., From Attila to Charlemagne. Arts of the Early Medieval Period in the Metropolitan Museum of Art, New York, 2000, p.15-16, 310-1).
Lot 280
6th-7th century A.D. A gold finger ring comprising a lozengiform bezel and twisted hoop; applied filigree bilinear frame to the bezel enclosing four applied filigree hoops and central cell with inset garnet cloison over a waffle-pattern gold-foil reflector. Cf. Hadjadj, R., Bagues Merovingiennes - Gaul du Nord, Paris, 2007, item 144, for type; see also Adams, N., Rethinking the Sutton Hoo Shoulder-Clasps and Armour, in Entwistle, C. & Adams, N., Intelligible Beauty, Recent Research into Byzantine Jewellery, London, 2010, for discussion of the cloisonné technique. 3.16 grams, 22.79 mm overall, 20.52 mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (7/8 in.). Acquired 1960s-1990s.Late Alison Barker collection, a retired London barrister.
Lot 87
2nd-1st century B.C. A hollow-formed gold finger ring with inset sardonyx intaglio of Venus (Aphrodite) standing nude dressing her hair, hoop split. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 134, for type. 3.25 grams, 22.33 mm overall, 15.67 mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (7/8 in.). Ex Zurigo, Max Kopp collection (1891-1984). English private collection. A video of this lot is available to view on Timeline Auctions Website.]
Lot 93
3rd-5th century A.D. An engraved gemstone with a stylised image of Harpocrates, depicted as a naked child with a finger raised on his mouth, seated on a lotus flower in a boat, groups of wild animals arranged in threes surrounding; the other side with a magic inscription in Greek letters 'I, E, A, P, ?, K, ?, ?'. See Sfameni, C., 'Magic in Late Antiquity: the evidence of magical gems' in Late Antique Archaeology, Volume: 6 Issues: 1, 2010, pp.435-473, fig.6, for a gem intaglio with similar feature. 1.25 grams, 14 mm (1/2 in.). Acquired before 1988.Ex family collection, by descent, Geneva. Egyptian deities are often represented on magical gems. One of the most interesting figures is the image of Harpocrates seated on a lotus flower, called ‘the young sun’. This figure had a solar nature and a protective function.
Lot 389
BRETBY BLUE MOTTLE GLAZED FRUIT BOWL - impressed marks to base, 23cms diameter, a Wardle green drip glazed circular bowl, 18cms diameter, Wedgwood circular leaf pattern green glazed bowl, 28cms diameter, three Wedgwood leaf pattern plates, green glazed, 20cms diameter, H & K hand painted jug 'Tulip Time', 22cms H, two similar plates, ETC
Lot 110
Robert Race, b. 1943, What we Saw on Yonder Hill, a wall mounted hand-operated automaton, wood, plywood, driftwood, brass, iron, nails, paint, titled What we Saw on Yonder Hill¸ signed and dated 1997 to reverse, the front marked USHERS, 7-55, and with oval trademark for YONDER HILL SAW MILLS CHARD JUNCTION & LONDON, approx. 22cm high, 35cm wide, 17.5cm deep; together with two other hand-operated automata by the same artist, comprising: Jumping Watchdogs, wood, painted wood, coloured cord, approx. 14cm high, 33cm wide, 18.5cm deep; and Three Men in a Box, wood, painted wood and plywood, painted Three men in a box to front of base, approx. 11.5cm high, 16cm wide, 9.5cm deep (3)Sir Nicholas Goodison noted: What we Saw on Yonder Hill: The two dancers are mounted on levers and move in a circular tango-like motion, their heads protruding from the top, their hands from the sides and their feet from the bottom, as they pursue their ordered routine. The title of the piece derives from the impress of the sawmill that made the Ushers’ beer crate forming the front. Jumping Watchdogs: A blow on the coloured knob send the watchdog leaping forward, another brings him back into a crouching position. The three dogs are not quite apocalyptic, but they have sharp teeth.Three men in a box: The three levers, which can be pressed one at a time or in pairs or all together, raise Jerome K. Jerome’s ‘Three Men in a Boat’, all dressed in boating costume and adorned with period moustaches. The wood looks suspiciously like teak, a wood much used in boatbuilding.Provenance: What we Saw on Yonder Hill: Purchased, Hitchcocks, Bath, May 1997.Jumping Watchdogs: Purchased, Robert Race, Bradford on Avon, March 1993.Three men in a box: Purchased, Museum of Naïve Art, Bath, November 1991.Note: Robert Race, b.1943, exhibits his moving toys, automata, and kinetic sculpture in Britain and internationally. He is a member and past Chairman of the British Toymakers Guild. His work often incorporates a wide range of natural, re-used, and recycled material to make objects which move in simple but interesting ways.Roseberys do not guarantee the working order of any automata or toy.
Lot 132
Keith Newstead, 1956-2020, Disco Cat, a hand-operated automaton, coloured brass, plain and painted wood, wire, cord, titled DISCO CAT, signed and dated K. NEWSTEAD 02, and inscribed MADE IN CORNWALL, 44.5cm high; together with another by the same artist, Stressometer, a hand-operated automaton, painted wood, wire, painted tin plate, inscribed K NEWSTEAD No 1, approx. 30.5cm high, 21.4cm wide, 18.5cm deep; Lifes a Beach Surfer, designed by Keith Newstead, made by Tom Stiles, a hand-operated automaton, wood, painted wood, brass, wire, inscribed LIFES A BEACH, approx. 28.5cm high, 14cm wide, 10.5cm deep; and a similar hand-operated automaton, inscribed LOVE IS BLIND, depicting an angel with wings and blindfold, approx. 22cm high (4)Sir Nicholas Goodison noted:Disco Cat: the striped cat is a vigorous dancer in the disco style, shaking his loosely jointed arms and legs to good effect. This is a typically ingenious design by Newstead.Lifes a Beach Surfer: the surfer, dressed in holiday kit, moves in surges, standing with tail up and crouching on the surfboard, his head lolling loosely. His goggles are opaque, which may be just as well, the surfboard is decorated with bones (what he had for lunch?). Newstead designed a card cut-out version of this automaton.Provenance:Disco Cat: Medici Galleries, London, March 2003.Lifes a Beach Surfer: Purchased, Cabaret Mechanical Theatre, Covent Garden, London, October 1996.Note: Keith Newstead, 1956-2020, studied at Barking College of Art and Technology was one of UKs preeminent makers of automata. His work is often irreverent, playful, and accessible and can be found in museums, galleries, and private collections around the world.Roseberys do not guarantee the working order of any automata or toy.Condition Report: All in good condition and working order. Love is Blind and Stressometer both have a stiff action. Disco Cat has some minor scuff marks to white painted base. All with Sir Nicholas Goodison inventory numbers.
Lot 244
An extensive Meissen porcelain Zwiebelmuster (Blue Onion) pattern dinner service, late 19th century and later, blue underglaze crossed swords and other factory marks, with various pressnumbers, comprising: a large bellied oval tureen with lid, approximately 36cm long, 25cm high, a smaller oval tureen with lid, a circular tureen lacking a lid, a circular twin handled footed dish with lid, a circular twin handled urn with lid, the finial a later-replaced yellow-painted tulip, 16.5cm high, an oval tureen with attached saucer and lid, a circular muffin dish with lid, an elongated oval serving platter with scalloped rim, 54cm long, a series of five oval platters with scalloped rims, the largest 52cm long, two large circular dishes with scalloped rims, a two-compartment circular dish with straight division and scalloped rim, two octagonal serving dishes, two small oval dishes with scalloped rims, an oval dish, two oval twin-handled gravy boats with attached saucers, a rectangular deep dish with canted edges, two rectangular dishes with canted edges, a butterfly two-compartment vegetable dish with handle, a rectangular dish with reticulated border, a pentagonal dish with reticulated border, a wrythen jelly mould with twin handles, a wrythen moulded plate with crenelated rim, twenty-three dinner plates with scalloped rims, 24cm diameter, fourteen soup bowls with scalloped rims, twelve medium plates with scalloped rims, ten side plates with scalloped rims, with two further side plates, eight cake plates with reticulated borders, five coffee cups with scalloped rims, six saucers, a small leaf shaped dish, a two compartment salt and pepper tray with handle, and a pair of porcelain handled serving spoons, together with a replacement Blue Onion pattern oval dish, mark for T. K. Thuny, Czechoslovakia, 24cm long, a replacement Blue Onion pattern jug, Czech Republic, 8cm high, a modern Meissen milk jug with blue and white flowers and insects, 16cm high, and a modern Meissen creamer with blue and white flowers and insects, raised on three feet, 10cm high (lot)Condition Report: Overall in good decorative order but with several small condition issues. The small leaf shaped dish with a loss to the rim and a damage impact point. A chip to the rim of one soup bowl, and a small crack and loss to the rim of another. Some loss of glaze to one large rectangular dish. The muffin dish and lid with washed out colours and decoration. One dinner plate with a large crack from rim to well and two very small losses of porcelain to the underside, another with a chip to the rim, two dinner plates with heavy surface dirt and grease. An impact point and crazing to the underside of one side plate, another with a chip to the rim and a hairline crack with very small loss of porcelain. The lid for the twin handled urn with later replaced finial as mentioned in the cataloguing, and also some yellowing restoration to a couple of chips. One gravy boat with a crack through one handle. Nibbles to footrim of one medium plate, small firing flaw to one medium plate. A couple of firing flaws to the tureen lacking a cover. One teacup has been completely broken through and amateurly restored with large crack lines visible. The butterfly dish with a firing crack to the underside. One rectangular dish with a hairline crack through one section of the footrim. a couple of firing cracks to the footrim of the large elongated dish. One oval dish with a dirt-filled hairline crack to one section of the footrim. One oval dish with loss of gilding to the rim. A couple of small firing flaws to the footirm of one large oval dish. A couple of firing flaws to the largest oval dish. General surface dirt and light surface wear and light scratching to porcelain from prior use. Cancellation marks present to: one side plate, one dinner plate, two medium plates, the tureen lacking a cover, one large circular scalloped rim dish, two oval serving dishes.
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137173 item(s)/page