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Click here to subscribeA Royal Marine's Regimental badge bar badge by J R Gaunt, featuring regimental motto 'Per Mare Per Terram' and surmounted with Royal Crest, 8cms diameter.Condition ReportThe badge has some light scratches to the blue enamel and the chrome has some pitting. The fitting lug is bent but should still fit to a car.
A late 18th / early 19th century KPM Berlin extensive porcelain dessert service comprising seven large comports , 23cms diameter, , twelve smaller comports, 16cms diameter and forty six dessert plates, each piece hand painted with sprays of flowers, the plates with reticulated borders, 24cms diameter (65). Provenance: Property of the Earl of Clarendon.Condition ReportOne plate 10cms restored chip to rim, 2 plates have very small chip to rim, one plate has a chip to the foot rim, 2 plates have 1cm chip to upper rim, 2 plates have a restored rim and bowl with hairline cracks. Small comports - 1 has two cracks to the bowl and is detached from the base, on has a large chip to rim and riveted repairs, 1 with a 2cm chip to the rim. Large comports - 1 with wear to the glaze and loose on the stand, one with riveted repairs to bowl. All other pieces have very light wear but are in generally good condition. We would recommend personal inspection.
An Omega 18ct gold gentleman's manual wind wristwatch, the silver dial with centre seconds, dagger hands and Roman and Arabic numerals, 36mm diameter excluding crown wheel (original), the dial and movement signed.Condition ReportClean condition, dial is clean, crystal has a couple of small scratches which should polish out, hands set and movement running but no guarantee given, case in clean condition only very light wear marks and strap not original. Cannot remove the back and there are a few scratch marks to the same area where attempts have been made before
A French 18ct gold and large cabochon amethyst ring, the single stone measures approx 30 by 23 by 14mm which gives an approximate carat weight of 68 carats, approx UK size 'N', total weight 31.4g.Condition ReportThe shank is all okay and the stone has no chips or cracks just some light scratches from use.
A WAS Benson Arts & Crafts lacquered brass tripod table lamp with adjustable column and light fitting, correct impressed mark to base of the foot, approx 33cms high.Condition ReportLacquered finish has rubbed in several areas, thumb screws, column and tripod feet most affected areas, has been re-wired with PAT test label dated 9 September 2022, adjustable joins screw up securely, good overall condition
A George V dress sword by C Boyton, in a leather scabbard, 103cms long.Condition ReportThe sword has general wear, the blade is in good condition with no rust or pitting, hand guard has light surface scratching and no corrosion on the outside, some light corrosion inside, the shagreen hand and wirework grip intact, the scabbard leather covering has numerous scuffs and cracks.
A Jean Francois Bautte & Cie yellow metal (tests as gold) and enamel fob watch, the case signed and numbered '50318', the silver dial with Roman numerals, with matching chain and pocket watch key fob.Condition ReportWatch is 3cms diameter; there is a very very minor enamel loss to the key, no enamel loss to the watch but is slightly rough to touch at the 3 O'clock area on the front of the case, the dial has some staining around the edges, the rear of the case has a small chip at approx 6 o'clock position. The fob chain links are generally good with just the odd firing fault, mark and scratch, movement cover numbered and has light surface scratching, movement not signed, otherwise good overall condition, it does tick but comes with no guarantee. 20g
LOUIS VUITTONSofia Coppola handbag.Leather. Suede interior.Slight marks of use.In dark brown leather. Presents a flexible structure with zip closure and two short handles. Metallic details. Interior lined in light brown suede.Measurements: 26 x 30 x 13 cm.Inspired by the iconic Speedy and Keepall, the Sofia Coppola bag was born in 2009, when the filmmaker visited Louis Vuitton's historic Asnières workshop with the intention of placing a special order. The SC bag reflects Sofia's lively and elegant character. It has been reissued by the designer herself, as the new limited edition handbag collection created exclusively for the department stores' Le Bon Marché Rive Gauche, Coppola's favourite place to shop in Paris.
GEORGES DE FEURE (Paris, 1868 - 1943).Set of two Art Nouveau armchairs and three chairs, ca. 1900.Carved and gilded wood.Measurements: 110 x 67 x 54 cm (armchairs); 92 x 44 x 46 cm (chairs).Set made up of two armchairs and three chairs, designed to match with a structure in carved and gilded wood, with sinuous and stylised lines that are a nod to rococo. In fact, this language bears numerous similarities to Art Nouveau, given that, like Art Nouveau, it is an anti-classical style that seeks naturalism, movement and formal delicacy. Thus, we see seats with a light structure and flowing lines, although clearly Art Nouveau in their sinuosity and forms. Both the chairs and the armchairs stand on eminently straight legs, softened by curved lines that start from carved mouldings and unify the shape of the leg with that of the waist, seeking a unitary appearance, almost organic in character. The backrests are open, with a central paddle in the lower part, and have upholstered upholstery at the top. The top of the backrest is in the shape of a lowered "u", with a smooth, moulded profile, matching the rest of the structure. The lower panel is openwork, with flamboyant shapes that evoke the organic, the living, without being specific, which is typical of Art Nouveau. The armchairs have closed sides, with upholstered upholstery like the backrest and seat. The arm cross is slightly recessed from the waist, in the rococo manner, and is intricately carved with soft, flowing lines.Georges Joseph van Sluÿters, better known by his artistic name Georges de Feure, was the son of an influential Dutch architect living in Paris. He began his training in the book trade in The Hague, where he came into contact with Symbolism. In 1886, de Feure was one of eleven students admitted to the Rijkscademie voor Beeldende Kunsten in Amsterdam, although he soon dropped out after deciding that traditional academic training had nothing to offer him. Back in Paris in the late 1880s, he settled in Montmartre, where he frequented the Parisian bohemian life. In 1890 he became a pupil of Jules Cheret, and began to design posters for the Salon Des Cent, Loie Fuller and Thermes Liegois. During the early years of his career he acquired renown as a Symbolist painter, and Puvis de Chavannes considered him one of the most important painters of that movement. In the following decade he was also recognised as a talented poster painter and illustrated books such as Marcel Schwob's "La Porte des Réves" (1899). De Feure exhibited his paintings at the Societé Nationale in 1894, at the Salon de la Rose Croix in 1893 and 1894, and at the Munich Secession in 1896. He was also interested in design, in everything that made up the decoration of a house; he created designs for printed fabrics, porcelain, stained glass... In the 1890s he was appointed professor of decorative arts at the École des Beaux-Arts. His first commissions were illustrations and set designs, until he was finally discovered by one of the greatest art dealers in Paris at the time, Siegfried Bing. Bing became interested in him after seeing many of his paintings at the Paris Salons, as well as his illustrations in Paris newspapers and his posters. Thus in the 1890s de Feure began to abandon painting and printmaking in favour of design and the decorative arts, and as early as the 1894 Salon National des Beaux-Arts he exhibited designs for furniture and ceramics. In fact, it was around this time that he began to be known as a creator of refined and exquisite furniture for the wealthier classes. De Feure soon became one of Bing's most important designers, and Bing encouraged him to extend his talents to all areas of art and design. Although they never signed an exclusive contract, de Feure would work primarily for the art dealer, and
After MARCEL BREUER (Hungary, 1902 - United States, 1981).Pair of "Wassily" armchairs, 1960s-70s.Steel and black leather.Good general state of preservation.Measurements: 73 x 78 x 66 cm.Following models by Marcel Breuer. Large armchair with a light, sober and functional structure, based on chromed steel tubes that intertwine to support the upholstered elements (seat, backrest and armrests).Marcel Breuer was a Hungarian architect and designer, one of the main masters of the Modern Movement, who was very interested in modular construction and simple forms. He studied at the Bauhaus in Weimar at the time when it was directed by Walter Gropius, and later took charge of the furniture workshop there. There he designed the B3 chair, later known as the Wassily chair, made in 1925, the first tubular steel chair in history, which combined the flexible conditions of this material with its ease of large-scale industrial production. Breuer remained at the Bauhaus until 1928, when he settled in Berlin to devote himself to architecture. However, with the rise of Nazism he had to leave Germany, owing to his Jewish origin, and moved first to England in 1933 and later to the United States, where he lived for the rest of his life from 1937 onwards. Today his furniture designs form part of the most important collections in the world, including the MoMA in New York and the Victoria & Albert in London.
Map of the coasts of Spain and France, 18th century.Colour engraving.Engraver: Jacques-Nicolas Bellin (Paris, 1703-Versailles, 1772).It presents light humidity and dirt stains, wrinkles and folds.Size: 26 x 30 cm (map); 33 x 50.5 cm (passpartout).Jacques-Nicolas Bellin was a French geographer and cartographer. In 1721, at the age of 18, he was appointed hydrographer (chief cartographer) of the French Navy. In August 1741, he became the first Ingénieur de la Marine of the Deposit of maps and plans of the Navy (the French hydrographic office) and was appointed hydrographic officer to the King of France.
CLAUDIO DE LORENA (Lorraine, France, 1600 - Rome, Papal States, 1686)."Mercury and Argos", 18th century.Etching on paper.It has damp stains, folds, creases, dirt and some tears.Size: 16.5 x 22.5 cm; 31 x 39 cm (passe-partout).Claude Lorrain's style had many followers over the centuries. The present painting is a copy of one of his masterpieces in the Uffizi Gallery, "Port with Villa Medici", 1637. Lorrain was an important French landscape painter who worked in Italy. Born Claude Gellée, he took his artistic surname from his hometown of Lorraine in north-eastern France. His first apprenticeship in painting probably took place in Naples with the German landscape painter Godfrey Waals. In 1625, while in Rome, he came under the protection of Agostino Tassi (1578-1644), a landscape painter. After this period he travelled extensively in Italy, France and Germany, and returned to work in Lorraine. In 1627, he received the patronage of Cardinal Bentivoglio (1579-1644) and Pope Urban VIII (1568-1644). With these early works, Lorrain made a reputation as a talented landscape painter, who fully understood all the effects of light and the laws of nature.
JACQUES GRASSET DE SAINT-SAUVEUR (France, 1757 - 1810)."Character of Constantinople", Encyclopedie Des Voyages.Engraving on paper.Size: 16 x 11,5 cm (print); 23,5 x 18 cm (paper).Engraving in which a character belonging to the Ottoman Empire is shown, as can be appreciated by the inscription located in the upper area and by the clothes of the protagonist. The work is part of the book Encyclopedie Des Voyages, which was published in 1796. Grasset produced numerous works in which he captured popular types as a chronicle of the society of the time. Jacques Grasset de Saint-Sauveur was a French writer and diplomat. He came to study at the Jesuits of Sainte-Barbe in Paris in 1764, then began to follow the diplomatic career of his father and brother. Having worked for ten years as vice-consul in the commission under his father, he became vice-consul in Hungary and then in Cairo. The writer George Sand quotes Grasset de Saint Sauveur in his autobiographical travel account entitled "A Winter in Majorca", published in 1841. He published between 1784 and 1812, about twenty books, often light or illustrated.
Pair of early 20th century lamp feet.Patinated bronze.Measurements: 41 cm (sculpture) + 10 cm (base).Pair of ornamental sculptures conceived as lamp bases, cast in bronze, representing two warriors raising a light, that of the lamp, in the manner of victory. They are Herculean figures, with a Michelangeloesque heritage, which reveal the influence of 19th century realist sculpture in their conception.
Pair of candlesticks; Napoleon III, late 19th century.Gilt bronze.Slight marks of use.Measurements: 56 x 28 x 28 cm (x2).Pair of French candlesticks of Napoleon III period, entirely made in gilded metal, with a historicist design of classical inspiration, mainly inspired by the baroque of Louis XIV. It consists of a tripod base, of Empire heritage, with a central shaft. The structure of the shaft features classical vegetal motifs as well as imperial portraits. The shaft has four arms, with a central one at the top of the structure, which is presented at a higher level. Each light has a classical cup-shaped finish in harmony with the plant motifs, also of classical inspiration, very characteristic of the period.
Pair of planters, late 19th century.Enamelled ceramic.In need of restoration.Measurements: 70 x 56 x 56 cm; 69 x 57 x 57 x 57 cm.Pair of planters in glazed ceramic in cobalt blue on white, with details in light blue and yellow. The structure is geometric, polygonal in shape, and rests on ball-and-socket feet. Each of the segments of the drum is decorated with patterns that are repeated in the tesserae of the double central line, based on rosettes and interlacing borders, the upper and lower ones also having the same vegetal fretwork. The inner wall is cylindrical.
A World War Two Holophane paratrooper pathfinders light, in outer casing, this example being one of two drop zone Holophane lights recovered from or nearby DZA in Normandy, one of twelve known to exist and composed of a thick translucent prism glass, the top of the glass shade is dappled or pebbled in an irregular pattern with the sides ringed with sharp faceted prisms, in outer case, the case 64cm wide.
Various decorative china and effects, 19thC Staffordshire Toby part cruet set, late 19thC Wedgwood light blue jasperware vases, bird ornaments, unusual book pottery vase, magnifying glass, whistle, Crown Devon Bleur Royale dish, Churchill statue, jewellery casket, silver plated ware. (a quantity)
Amulet of the Ancient Egyptian God Khnum, Late Antique Egypt, 664-323 BC.Fayenza.Provenance: Private collection, Le Coudray, France.In good state of preservation.Measurements: 3.6 cm.Sculptural work, made in solid lost wax bronze, of one of the main deities of the Egyptian pantheon, the god Jnum, or Khnum. He has the appearance of a man with a ram's head and wavy horns, wearing a double crown or carrying a water jug (although these are not preserved). He is one of the oldest gods. He was the creator god of Elephantine. In Esna he was believed to have fashioned the primordial egg from which the sun rose at the beginning of the world. He was originally a god of water, the guardian of the sources of the Nile, which for the Egyptians was the same as guarding the source of life; or of the flood of the Nile and, as such, he was depicted with water flowing from his hands and carrying a pitcher on his head and was given the title "Lord of the waterfall" and the name Qebh. He was also the guardian god of the waters of the nether world and bears the title "The Lord of the Beyond". He was the potter god who moulded the person, creating at the same time his ka, at the moment of his birth, so he was called "The Father of Fathers and the Mother of Mothers". His name literally means "the moulder". Jnum built the material universe together with Ptah and under the guidance and direction of Thoth. According to a legend, Jnum originally created each man on his potter's wheel, but at one point he grew tired of making it turn and turn and broke his wheel and placed a part of it in each female, so that from then on all things could reproduce without his intervention. He was part of the triad of Esna, together with Satis and Neith, and of the triad of Elephantine, as husband of Satis and father of Anukis, although in the Late Epoch it was Neith and Heka who formed a triad with him. He had various forms: Jnum Nehep (the creator), Jnum Jenti-Taui (the ruler of the two lands), Jnum Sejet ashsep-f (he who weaves his light), Jnum Jenti per-anj (ruler of the House of Life), Jnum Neb-ta-anjtet (Lord of the Land of Life), Jnum Jenti netchemtchem anjet (Ruler of the House of Sweet Life), Jnum Neb (Lord). He is often identified with Amun, as Amun Jnum Jnum, to whom the Greeks gave the name Zeus Ammon and the Romans Jupiter Ammon. His main sanctuaries were at Esna and Elephantine, as he was the god of the sources of the Nile. He was also worshipped at Hypselis, Antinoe and Phyle.
Bell-shaped cratera; Apulia, Magna Graecia, 4th century BC.Red-figured pottery.Thermoluminescence test attached.Intact.Provenance: private collection, Madrid.Measurements: 35 x 36 cm (diameter).Ceramic vessel with a circular base, a bell-shaped body with two handles, almost hidden under a pronounced rim at the top, which also opens outwards. The exterior of the piece is decorated on the obverse with the figures of a nude Bacchus wearing only a laurel wreath, and a maenad with sytula. Both figures are surrounded by vine leaves. On the reverse, the scene is depicted with two figures holding staffs.The krater was a large vessel, intended to contain a mixture of water and wine. It was carried to the place of the meal and placed on the floor or on a platform. The cupbearer administered the drink with a spoon or jug, and then filled the cups of the guests. The type known as 'bell-shaped' has small horizontal, protruding, upward-facing handles and an inverted bell-shaped vessel; it is a late-use type. The chalice krater is a more modern type than the column and scroll kraters, although it predates the bell krater, and its shape, with an almost inverted trapezoid profile, is reminiscent of the flower chalice.Red-figure ware was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety.The technique consisted of painting the motifs on the still-wet piece, using a transparent varnish which, when fired, took on an intense black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, unable to see their previous work. Once the piece was fired, the unglazed areas remained with the reddish hue of the clay, while the glazed, "painted" areas took on a dense, glossy black colour.
Relief with Apollo; Rome, Imperial period, 2nd-3rd century ADCarved marble.Size: 24 x 21 x 7 cm.Marble fragment in which the carving of a male face can be seen. The youth of the protagonist and the characteristics of the face show us that it is Apollo, a young man. Son of Zeus and Leto, Apollo is a complex deity, perhaps the most venerated in classical antiquity after his father. He was the god of divine distance, who protected or threatened from on high, was identified with light and purification, as well as being the patron of the most famous oracle of antiquity, that of Delphi.After the first contacts with Classical Greece via the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its art treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the looting and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applause of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the extent that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals. Shortly afterwards, in 133 BC, the Empire.
Turquoise and White Zircon Ring, an oval cut cabochon of over 2cts of the bright, matrix free, turquoise from the Sleeping Beauty mine in Arizona which closed for the mining of this much admired stone earlier this century; to either side of the turquoise are three rows of three round cut natural white zircons, totalling 0.5ct, adding elegance and light in support of the main stone; size S
A Contax IIa Rangefinder Camera, first model, with black numbered speed setting dial, brown coloured ASA/rewind dial, PC sync socket, serial no T 29384, shutter working, rangefinder functions, self timer working, body G, two small Zeiss bumps to back, light scratches to base, with Carl Zeiss Jena T 5cm f/3.5 Tessar collapsible lens, barrel G, elements F, fungus
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