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Click here to subscribeAN AMBER BEAD NECKLACE, barrel shaped beads spaced by clarified amber beads, 80cm long, 112.3 grams; together with A CULTURED PEARL NECKLACE, 41cm long; and A FRESHWATER PEARL ROPE NECKLACE, 35cm long. (3) CONDITION REPORTLight wear to amber beads, the amber beads measure 13mm x 15mm approximately.
Collection of Rudyard Kipling Novels "Departmental Ditties, Captains Courageous, The Second Jungle Book, Wee Willie Winkle, Stalky & Co, The Light That Failed, Puck Of Pooks Hill, Land & Sea Tales, The Jungle Book, Rewards And Fairies, Barrack Room Ballads" published by Macmillan on various years throughout 1920s all with red leather and Gilt tooling depicting an elephant to the front and gilt tooling and writing to the spine (11)
Circa 664-332 BC, Late Dynastic PeriodA light blue faience amulet of the ibis-headed god Thoth with the body of human. A suspension hole through the centre for attachment to a mummy. A trapezoidal base with a flat reverse.During the Old Kingdom, baboons, due to their intelligence, were closely associated with Thoth, one of the most important Egyptian deities. He was thought to be the god of thought, intelligence and writing. As a sacred animal to Thoth, baboons were often depicted supervising scribes during their work. Baboons also had various funerary roles. They were custodians of the first door to the underworld.Carol Andrews, Amulets of Ancient Egypt (Austin 1994), frontis and page 24, figure 20. Size: L:40mm / W:16mm; 4.3g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1960s UK collection.
Circa 14th Century - Early 15th CenturyA stunning, forged-iron long sword with narrow and thin blade tapering to the point. The cross guard of the flat horizontal type with the ends gently flattened. Long hilt ends with an oval pommel where the top and bottom are flat, but the sides are rounded. In the centre of each side is a raised boss, embellished with a white metal inlay in the form of a cross.The High Middle Ages saw swordsmiths develop new types of blades to combat the ever-increasing usage of plate armour. Against these defences, early-styled swords with light, flat cutting blades lost much of their effectiveness. Warriors and craftsmen of the day saw the need for more acutely pointed blades with cross-sections reinforced for thrusting.The item comes with an academic report written by Russel Scott; famous lecturer, reenactor and expert of Viking and medieval artefacts. His report also includes an X-ray fluorescence analysis suggesting the ancient origin of the object. Size: L:1270mm / W:240mm; 1.56kg Provenance: Private Leeds (UK) collection; acquired in the 1980s/90s.
Circa 1000-1100 ADThe broad blade flaring to the curved cutting edge, with eared socket with D-shaped aperture. Commonly referred to as the Danish axe.Axes were commonly used within the Viking communities, almost everything was formed of wood making it unsurprising that many axes existed for constructing ships, houses, carts, as well as other objects. The axe was also one of the choice weapons of the battlefield due to its light weight.For similar style see:Bonhams, 5th October 2011, lot 304. Size: L:164mm / W:138mm; 690g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Circa 900-1000 ADA forged-iron axe head of a hefty form with a perforated socketing shaft, a dense neck and a vertically oriented blade with gently flared tips. Very fine condition. Mounted on a custom-made display stand.Axes were commonly used within the Viking communities, almost everything was formed of wood making it unsurprising that many axes existed for constructing ships, houses, carts, as well as other objects. The axe was also one of the choice weapons of the battlefield due to its light weight. Size: L:168mm / W:80mm; 595g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Circa 470-460 BCA classical-form lekythos with a pyriform body above a disk-form base, a strip handle and a long neck ending in a trumpet-form mouth. It is made from light-coloured clay painted with an evolving type of black-figure technique.From 470-460 BC this style of lekythos was limited to funerary use, where it was to be found placed in a tomb. They were only used once and therefore were not exposed to the elements. As a result of this evolution in their use, the iconography also evolved to be centred on funerary scenes, like farewells and lamentations, representations of the deceased in life, for example, seated in front of the very tomb. In some cases the painter has represented a lekythos next to the deceased. Other scenes have been inspired by mythology. In this way we can find Charon crossing the river Styx, or Hermes as a psychopomp guiding a deceased soul, or Hypnos and Thanatos carrying the owner of the tomb to the Underworld.For similar see:J.D. Beazley, Attic Red-Figure Vase-Painters, vol. II, London, 1984. Size: L:190mm / W:67mm; 282g. Provenance: Property of a London collector; Formerly in Dr. Med. G.S. collection, Nuremberg, 1958-2003; Hans Piehler collection (1847-1961); previously Art for Eternity, NYC., # 12781.
Circa 300 BCA pottery vessel with a globular body and tapering neck, everted rim and strap handle to the rear, the body with circumferential bands of red or brown pigment.The Daunian culture were an Italic tribe inhabiting Northern Apulia in Classical antiquity before the Greek expansion in southern Italy. Starting in the Late Bronze Age (1000 BC), a local ceramic production was developed in the region, characterized by a light-coloured purified clay and decoration with simple geometric patterns. This production continued uninterrupted until the Hellenistic age.For a comprehensive guide of Daunian pottery, see:De Juliis, E. M. (1977). La ceramica geometrica della Daunia. Firenze: G.C. Sansoni. Size: L:175mm / W:150mm; 425g Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in an old European collection.
Circa 200-300 ADAn elaborately modelled glass flask in light green with long everted neck and bulbous shaped body, the neck has a wheel made trailing decoration which has been applied afterwards. For examples of Roman glass from the same period see:Roman Glass in the Corning Museum, Volume one, David Whitehouse.For an introduction to Roman glass see:Brill, R.H., 1967: "A Great Glass Slab from Ancient Galilee," Archaeology.Charleston, R.J., 1978: "Glass Furnaces through the Ages," Journal of Glass Studies 20.Fleming, S.J., 1999: Roman Glass: Reflections on Cultural Change, Appendix A (Philadelphia: University of Pennsylvania Museum).Grose, D.F., 1989: Early Ancient Glass, various sections (New York: Hudson Hills).Stern, E.M. and Schlick-Nolte, B., 1994: Early Glass of the Ancient World, 72-79 (Ostfildern: Verlag Gerd Hatje).Weinberg, G.D., 1988: Excavations at Jalome, 38-102. Size: L:170mm / W:100mm; 99g Provenance: Private London collection; acquired in the 1990s on the UK art market.
Circa 200-300 ADA finely modelled Roman clear glass beaker with a slight light green tinge. The rolled rim of the beaker is slightly angled to one side, as is its cylindrical body. The glass sits on a slightly concave foot and features a flared base which then constricts to a cylindrical body leading to an out-splayed folded rim. For similar see:Axel von Saldern, Glassammlung Hentrich Band 3, Katalog des Kunstmuseums.For an introduction to Roman glass see:Brill, R.H., 1967: "A Great Glass Slab from Ancient Galilee," Archaeology.Charleston, R.J., 1978: "Glass Furnaces through the Ages," Journal of Glass Studies 20.Fleming, S.J., 1999: Roman Glass: Reflections on Cultural Change, Appendix A (Philadelphia: University of Pennsylvania Museum).Grose, D.F., 1989: Early Ancient Glass, various sections (New York: Hudson Hills).Mazor, G., and Bar-Nathan, R., 1998: "The Bet She'an Excavation Project 1992-1994," Excavations and Surveys in Israel 17, 5-38. Stern, E.M. and Schlick-Nolte, B., 1994: Early Glass of the Ancient World, 72-79 (Ostfildern: Verlag Gerd Hatje).Weinberg, G.D., 1988: Excavations at Jalome, 38-102 (Columbia: University of Missouri Press). Size: L:94mm / W:44mm; 36g Provenance: Private London collection; acquired in the 1990s on the UK art market.
Circa 200-300 ADA finely modelled Roman clear glass beaker with a slight light green tinge. The rolled rim of the beaker is slightly angled to one side, as is its cylindrical body. The glass sits on a slightly concave foot and features a flared base which then constricts to a cylindrical body leading to an out-splayed folded rim. For similar see:Axel von Saldern, Glassammlung Hentrich Band 3, Katalog des Kunstmuseums.For an introduction to Roman glass see:Brill, R.H., 1967: "A Great Glass Slab from Ancient Galilee," Archaeology.Charleston, R.J., 1978: "Glass Furnaces through the Ages," Journal of Glass Studies 20.Fleming, S.J., 1999: Roman Glass: Reflections on Cultural Change, Appendix A (Philadelphia: University of Pennsylvania Museum).Grose, D.F., 1989: Early Ancient Glass, various sections (New York: Hudson Hills).Mazor, G., and Bar-Nathan, R., 1998: "The Bet She'an Excavation Project 1992-1994," Excavations and Surveys in Israel 17, 5-38. Stern, E.M. and Schlick-Nolte, B., 1994: Early Glass of the Ancient World, 72-79 (Ostfildern: Verlag Gerd Hatje).Weinberg, G.D., 1988: Excavations at Jalome, 38-102 (Columbia: University of Missouri Press). Size: L:98mm / W:85mm; 66g Provenance: Private London collection; acquired in the 1990s on the UK art market.
Circa 800-1000 ADA simplistic thurible, a cast bronze censer suspended from three bronze chains.For similar see:Ariadne; Byzantium, The light in the age of darkness, p. 53, no. 2 & 3, for suspended censers. Size: L:410mm / W:82mm ; 280g Provenance: Private London collection; formerly in private Houston, TX. collection, ex. Gerhard Hirsch Nachfolger auction 277-278, Munich, Germany, lot 929.
A THREE NIGHT STAY AT MANDALA. THE BAY, BALI Donated by Ginny Wiluan Mandala. The Bay's design blends traditional Balinese architecture with modernist interiors, finishes and artworks, boasting five king bedrooms spread over 1,451 sqm. each uniquely designed. Indoors and outdoors are seamlessly connected to create large, light-filled and airy escapes for the cliffside villa in Nusa Lembongan, one of the region's best diving destinations. Standout elements include a master bedroom housed in a 'Joglo' structure carved from teak; the perfect entertaining space, which includes a bar designed to professional standards; an ocean-view swimming pool; lush outdoor bathrooms and relaxing library. Condition: No obvious condition issues
Gaston Phoebus, Das Buch der Jagd, FAKSIMILE - Handschrift über die Jagd, mittelalterliches Standardwerk, Ende 14.Jh. verfasst von Graf von Foix und Vicomte von Béarn, gewidmet Philipp dem Kühnen, Anfang 15.Jh. an Philipps Hof mit prachtvollen Miniaturen verziert. Im mit goldfarben bestickten, hellblauen Halbpergamentseideneinband. Das Original befindet sich in der Pierpont Morgan Library in New York. Mit 2 Kommentarbänden, frz./dt. In Aufbewahrungskassette, z.T. aus Ahornholz. Limitierte Edition Nr. 671/980 Faksimile Verlag Luzern 2005. Mit Alters-und Gebrauchsspuren.| Gaston Phoebus, The Book of the Hunt, FACSIMILE - Manuscript on hunting, medieval standard work, written at the end of the 14th century by Count of Foix and Viscount of Béarn, dedicated to Philip the Bold, decorated with magnificent miniatures at Philip's court at the beginning of the 15th century. In a light blue half-parchment silk binding embroidered in gold. The original is in the Pierpont Morgan Library in New York. With 2 commentary volumes, French/German. In storage case, partly of maple wood. Limited edition no. 671/980 Facsimile Publishers Lucerne 2005. With signs of age and usage.
Alliierte Besetzung 1949 - Kat.-Wert 2.500,-€ Blockausgaben 'Exportmesse Hannover" mit liegendem (statt stehendem) Wasserzeichen. Michel Block Nr. 1aY postfrisch. Fotoattest Schlegel (BPP 2.12.2010). Normale leichte Knitter auf der Rückseite.| Allied occupation 1949 - cat.value 2.500,-€. Block issues 'Export Fair Hannover" with horizontal (instead of vertical) watermark. Michel souvenir sheet no. 1aY MNH. Photo certificate Schlegel (BPP 2.12.2010). Normal light creases on the reverse.
A certified natural colour change 9.58 carat Sri-Lankan sapphire & diamond cluster ring, the claw set rectangular cushion cut sapphire set in 'PLAT' white metal, accompanied by a Gem & Pearl Lab Report stating that the colour changes from blue in daylight to purple in incandescent light and shows no evidence of heat treatment. Finger size M/N.
Lister Auto Truck, diesel. Registration number CAT 704T (see text)The Lister Auto-Truck was a small monowheel tractor built for moving light loads around factories, railway yards and similar sites. They were based on a design originally by Auto Mowers Ltd, and were built by R A Lister and Company of Dursley, Gloucestershire.The Auto-Truck was designed for use in factories or other places with smooth surfaces of concrete or tarmac. This allowed the use of small solid-tyred wheels with only simple suspension, making the vehicle simple, cheap and lightweight. They had little ability on soft surfaces though and could even topple over if driven carelessly across slopes.Their design was a compromise between the top-heavy nature of the tall engine grouping above its wheel and a well thought-out chassis for stability. The bearing between them was a large diameter ring roller bearing, mounted at the lowest part of the chassis. This gave rigidity and stability, even after long wear. A ring of rolled channel girder was attached to the engine group and rollers on the chassis carried the load upon this. On early Auto-Trucks this bearing is set very low, in line with the chassis members, and is covered by thin steel plates. The front panel of the engine cover is distinctive with large ventilation holes and a Lister signature cut through it. Strangely this panel is made of thick cast iron, providing substantial weight high on the engine and only adding to its top heaviness. To improve visibility of moving vehicles in noisy factories, this panel was often painted white, the rest of the vehicle being Lister's usual brunswick green.The driver was seated on a Brooks bicycle saddle, which in recognition of the lack of vehicle suspension, was carried on the end of a cantilevered bar that acted as a leaf spring. A wide handlebar on the engine group was used for steering. A squeeze bar the width of this handlebar engaged the clutch. Controls included a hand throttle, a gear lever with two forward and one reverse gears, and a large handbrake lever. The engine unit rotated freely for a full 360° rotation. When used in reverse, the Auto-Truck could either be driven from the saddle, looking backwards over the driver's shoulder; or they could dismount, swivel the engine unit around and control it as a pedestrian-controlled truck from behind.This example looks to have been restored at some point but has been stored in a garden under a tarpaulin for some time.Part of a deceased estate there is no paperwork with it, although it was registered with DVLA in 1978 (presumably when it finished its working live), it has been untaxed since 1980
2002 VW Golf Cabriolet, 1984cc. Registration number YW02 FAJ. Vin number WVWZZZ1EZ2K007503. Engine number AWG011658.As with the Mk2 Golf, Volkswagen did not make a convertible version of the Mk4 Golf. Instead, they face-lifted the front bumper, bumpers, bonnet and headlights of the Mk3 Golf Cabrio to resemble the styling of the Mk4 Golf. VW incorporated other non-structural parts from the Mk4 as well, such as indicators, grille, side mirror caps, etc. The interior remained largely similar to the Mk3 interior save for a Mk4 style 3-spoke leather steering wheel and airbag, a textured dashboard, heavily bolstered front seats with incorporated side airbags, and a chromed finish on several parts, such as the inner door handles. The instrument panel was updated with a relocated hazard light switch and blue and red backlighting, as found in the Mk4. Technical updates include the immobilizer and engine computer from the Mk4 Golf being retrofit to the older Mk3 engine mechanicals.FAJ is a one lady owner car that comes with 7 stamps in the service book plus a receipt works undertaken in 2015, when the mileage was 97,269; the last year it was on the road. The mileage today is 107,8277. It should noted that the electric roof is not working.Sold with the V5C, two keys, service book and last service receipt.
1958 Velocette Valiant 192cc. Registration number WRW 901 (see text). Frame number unknown. Engine number unknown.Launched in 1948, as the 'motorcycle for everyman' Velocette's LE addressed the criticisms most-often levelled at motorcycles - that they were noisy, dirty and needed special clothing to ride - achieving impressive levels of silence, comfort and practicality. A sports version of such a machine must have seemed improbable but nevertheless Velocette went ahead with the idea, launching the Valiant in 1957. More conventional than its predecessor, the Valiant boasted a tubular cradle frame, air cooling, overhead valves, twin carburettors and a four-speed, foot-change gearbox but was otherwise mechanically almost identical to the LE. Significantly more sporting than the LE, the 192cc, overhead-valve engine developed 12bhp at 6,000rpm and gave the early models a top speed of around 70mph. Contemporary advertising boasted of ?performance unbounded, economy unexcelled and reliability unswerving?. Visually, the sporting Valiant could not have been more different but the model was expensive for a machine that was not a full 250 and sales were disappointing. Production ceased in 1964.WRW is finished in a light metallic green which appears totally original. Left for storage when the owner emigrated to Dubai, c.1990, it is being sold to cover unpaid fees by our vendor. It is registered with DVLA but there is no paperwork with the bike.
1962 Velocette LE 192cc. Registration number 189 BWM. Frame number 506334 (not found). Engine number 60273 (not found).Launched in 1948, as the 'motorcycle for everyman', the Velocette LE addressed the criticisms most often levelled at motorcycles - that they were noisy, dirty and needed special clothing to ride - achieving impressive levels of silence, comfort and practicality. Sadly for the LE, its arrival coincided with the start of the scooter boom; asked to compete against Italian style, Velo's ugly duckling never stood a chance, even after the sidevalve flat twin's performance had been boosted by a capacity increase from 149 to 192cc in 1950. It was, however, a big success with UK Police forces - for whom its attributes were more important than its appearance - gaining the sobriquet 'Noddy Bike' as a result.BWM has tax disc history going dated to 1997-2001, 2005-2006 and then 2011-2012, the MOT history goes back to 2010 at 38,297 miles through to 2016 at 39,059 showing very limited use each year. Our vendor bought it in 2019 and the mileage is 39,077 today.Offered with the V5C, old MOT's, tax discs and some photographs, this LE should only need light recommissioning to get running.
1972/3 Yamaha RT3-360, 351cc. Registration number NOVA 18E147956 (see text). Frame number RT1-132071. Engine number RT1-132071Yamaha introduced the DT/RT line of Dual Sport motorcycles in 1968. They featured rock solid power and reliability with good ground clearance and suspension. The 1973 RT3s went to a 21? front wheel in an effort to improve the handling. It was an improvement, and a change that would last for years in the Dual Sport ranks. It used a 351 cc air cooled two stroke single cylinder motor that produced 28 HP for a top speed of 80 MPH. A 5 speed transmission with an overdriven top gear allowed the top speed mark and made it road capable. At less than 230 LBS dry weight the ride was good, the handling and braking fair for the day. Yamaha?s Auto Lube system of oil injection worked very well and what a big selling point for the company.This machine was imported in July 2017 by DK Motorcycles Ltd and sold to our vendor, it should be noted that the NOVA lists the frame number as RT113721 not the correct RT1 132071. He has undertaken the following works, replaced missing rear light and mounting bracket, carburettor ultrasonic cleaned and full rebuild kit fitted, new seat fitted costing £350 from P&K Classic Bikes, fitted missing wiring harness with (NOS), replaced missing air filter box, replaced missing tool box, rear mudguard and tail light bracket powder coated.It has been re-commissioned by A.E. Wildman motor cycles to get it running. Sold with the machine are various spares, including decompression cable, headlight brackets, headlight chrome bezel and sealed beam unit, front mudguard, forks (Dismantled) for re-chrome plating, 2 x cylinder barrels and gasket set
1961 BSA A10 Golden Flash, 650cc. Registration number XHE 90. Frame number GA7 21688. Engine number DA10 17214.Launched in 1949, the BSA A10 was a development of the A7 500cc and was needed to compete with the Triumph Speed Twin, it was designed by Bert Hopwood (who had previously worked at Triumph and Norton). Initially it was available with a rigid frame but the rear plunger was a more popular choice, especially amongst the sidecar buyers. It had hinged rear mudguard and a semi unit gearbox mated to the parallel twin engine until 1954 when a swinging arm rear was introduced along with separate gearbox and engine. Initially offered in black and chrome to the UK market a new gold colour was introduced and became very popular and led to the name Golden Flash, some 80% of all units were made for export which meant that there were long waiting lists for UK buyers.XHE was first registered to Garner & Son of Barnsley on the 26 November 1961 before selling to Herbert Metcalf and then Brian Brittain, both of Barnsley, Frank Barton & Sons of Hull sold it in September 1965 to Stanley Grubb of Hull, followed by Thomas Fitzgibbon and Brian Rooms, both of Hull. Our vendors father bought it in the 1970's and it has seen occasional use over the years, an MOT in 1996 at 74,985 miles followed by 2000 at 75,171 and 2001 at 75,379. Today the mileage is 76,256. It should only require light recommissioning before road use.Sold with the V5C, V5, R.F.60 and the MOT's
Victorian silver cruet stand, of rounded bombe form with engraved scrolling foliate decoration, the central shaped handle supporting a platform forming seven sections, containing six cut glass bottles, two examples with original silver covers, another with silver gilt cayenne pepper spoon, hallmarked William Evans, London 1883, the whole upon four scroll feet, hallmarked John Evans II, London 1845, H25.5cm L21.5cmCondition Report:Silver stand in good overall condition, with light wear commensurate with age and use, including surface scratches, nicks and small indentations.Silver covers to bottles with a few small knocks.Hallmarks partly worn but still legible.Glass bottles with scratches, nicks and nibbles to edges, and some small losses to edges.Stoppers with damage to bases.
1920's silver sugar caster, of wrythen form with removable foliate pierced cover with knop finial, upon a spreading shaped foot, hallmarked Harrison Brothers & Howson, Sheffield 1927, H21cm, approximate weight 9.22 ozt (287 grams)Condition Report:In good overall condition, with general light wear commensurate with age and use, predominantly in the form of surface scratches and nicks.Small slight knock to body.Hallmarks clear and legible.
Early 20th century silver sugar caster, of open work urn form with ribbon swag detail and clear glass liner, the removable pierced cover with flambeau finial, upon a circular spreading foot, hallmarked Haseler Brothers, London 1910, H17.5cm, approximate silver weight 5.56 ozt (173 grams)Condition Report:Good overall condition with some general light wear commensurate with age and use, predominantly in the form of surface scratches and nicks. Glass with some surface scratches and nibbles to rim.Hallmarks legible, however date letter to foot worn.
George III silver caddy spoon, with heart shaped bowl and flared handle, hallmarked Josiah Snatt, London 1806, together with a Victorian silver Fiddle pattern caddy spoon with shell shaped bowl, hallmarked Chawner & Co, London 1850, approximate weight 25.8 gramsCondition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible, George III example with slight wear to part of makers mark.
Pair of Victorian silver handled fish servers, the handles modelled with Neptune masks and fish, the shaped blade with pierced and engraved foliate decoration, hallmarked John Roberts, Sheffield, no date letter visible, contained within a case with blue silk and velvet lined interior Condition Report:Wear commensurate with age and use, predominantly in the form of some surface scratches, and a few nicks and small indentations.Tips of fork prongs worn and slightly uneven.Hallmarks clear and legible. Case with light wear, but overall in good general condition.
Composite set of modern silver Fiddle thread and shell pattern flatware for four place settings, comprising table knifes, side knifes, dessert knifes, table forks, side forks, dessert forks, table spoons, side spoons, soup spoons, dessert spoons, teaspoons and coffee spoons, cheese knife, soup ladle, cake knife, hallmarked Yates Brothers, Sheffield 1989, 1990, United Cutlers Ltd, Sheffield 1991, 1997, and Hugh Crawshaw, Sheffield 1989, 1990, 1988, approximate gross weight 102 ozt (3173 grams), together with four United Cutlers of Sheffield burgundy knife wraps, and eight United Cutlers of Sheffield boxes of various form Condition Report:Good overall condition, with light wear predominantly in the form of surface scratches.Hallmarks clear and legible.
Christopher Nigel Lawrence limited edition silver and parcel gilt surprise mushroom, the textured domed cover opening to reveal two elves carolling beneath a lantern and before a fire pit set with semi-precious stones, upon a slate base, no 24/250, hallmarked Christopher Nigel Lawrence, London 1982, overall H9cmCondition Report:Generally in good overall condition, with some light wear and rubbing to gilding.Hallmarks clear and legible.
Christopher Nigel Lawrence limited edition silver and parcel gilt surprise mushroom, the textured domed cover opening to reveal two elves decorating a semi-precious gem set Christmas tree, upon a slate base, no 100/250, hallmarked Christopher Nigel Lawrence, London 1980, overall H9cmCondition Report:Generally in good overall condition, with some light wear and rubbing to gilding.Hallmarks clear and legible.
Christopher Nigel Lawrence limited edition silver and parcel gilt surprise mushroom, the textured domed cover opening to reveal two elves planting lapidary stone set flowers within a large Easter egg, upon a slate base, no 33/250, hallmarked Christopher Nigel Lawrence, London 1982, overall H9cmCondition Report:Generally in good overall condition, with some light wear and rubbing to gilding.Hallmarks clear and legible.
George III silver page turner, of plain form with ring handle, hallmarked London 1787, makers mark indistinct, L28.5cm, approximate weight 2.27 ozt (70.7 grams)Condition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches, nicks and some wear to end. Hallmarks clear, however makers mark partly obscure.
Early/mid 20th century silver 'castle top' vinaigrette, of rounded rectangular form with engine turned sides and base, the hinged lid decorated in relief with a view of Newstead Abbey, opening to reveal a gilt foliate pierced grille, hallmarked Nathaniel Mills, other marks worn and indistinct, approximate weight 24 gramsCondition Report:Good overall condition, with some light wear commensurate with age and use, including a few small nicks/indentations to edge of cover.Interior gilding bright.Hallmarks with some wear, makers mark legible, however other marks indistinct.
Victorian ruby glass facet cut scent bottle, the silver foliate embossed hinged cover lifting to reveal a stopper, together with a similar Victorian blue glass example with stopper, each approximately H6cm, (2)Condition Report:Both covers unmarked, but test around 80% silver.Each in good overall condition, with some light surface scratches and small nicks.
George Engleheart (British 1752-1829)Portrait miniature upon ivoryHead and shoulder portrait of a gentleman with dark curling hair, wearing a black coatInitialled Within gilt frame with blue enamel and gilt Masonic emblems to centre verso Oval 8.5cm x 7cm George Engleheart studied at the Royal Academy Schools from 1769 under Sir Joshua Reynolds and George Barret, and regularly exhibited work at the Royal Academy between the years 1773 and 1822. He was appointed as Miniature Painter to King George III and is known to have painted at least twenty five portraits of the King, as well as a number of others depicting various members of the Royal family. Engleheart is known for his decorative style and flattering depictions, an approach which saw him gain an excellent reputation with sitters. Today he is widely regarded as one of the most eminent portrait miniaturists of the late Georgian period.Condition Report:Good overall condition, some very light dust under glass.Frame with some light surface scratches.
Andrew Plimer (British 1763-1837)Portrait miniature upon ivoryHead and shoulder portrait of Captain Frederick G Carmichael, 9th Regiment of Light DragoonsWithin period gold frame, with hair work and central gilt monogram 'FD' verso Oval 5.5cm x 4.3cmAndrew Plimer was a well known portrait miniaturist who had a great number of clients up to and during the 1790s. After obtaining a position as 'studio boy' in the residence of eminent miniaturist Richard Cosway, Plimer is said to have taken lessens in drawing with the approval of Cosway, whilst some note that he may have received training from Cosway directly. Plimer also exhibited frequently at the Royal Academy from around 1785 up until 1810, and later also in 1819. Condition Report:Good overall condition.Frame with general wear commensurate with age, predominantly in the form of surface scratches. Gold frame tests around 11ct.
J Parent (French active 1815-1833)Portrait miniature upon ivory Head and shoulder portrait of Napoleon I (1769-1821), wearing the uniform of the Chasseurs-a-Cheval de la Garde, wearing the ribbon and star of the Legion of Honour, the Iron Cross of Lombardy, and the Grande Eagle of the Legion of HonourInitialled JCP and dated 1815Within period gold frame with engraved silver gilt border to front, and studded blue enamel border with hair work panel with seed pearl monogram to centre versoOval 5cm x 4cmProvenancePhillips London July 1998 Lot 266Purchased by the current vendor from Judy & Brian Harden Antiques September 98Cf. A similar signed and dated example by Parent was sold as part of the Bernard Franck Collection in Paris.Notes: It is unusual to find a work by Parent signed J.C.P., indicating a generally unknown middle name.Former portrait miniature dealers Judy & Brian Harden have noted that this particular example may possibly have either been a presentation piece from either Napoleon himself, or a memento to 'M.J.' from someone connected with the Court. Parent was a well known miniaturist who exhibited at the Paris Salon between 1822 and 1833.As portrait miniaturist at the court of Napoleon he produced a number of miniatures of Napoleon and his generals. Condition Report:Good overall condition, slight wear to edge of painted ivory panel mid upper left.Frame with some general light wear commensurate with age, including surface scratches, and slight rubbing to gilding in places. A number of seed pearls of monogram have fallen from place, but appear to still be behind glass.
Samuel Shelley (British 1750-1808)Portrait miniature upon ivory, circa 1790Head and shoulder portrait of a gentleman in blue coat and yellow waistcoat Within period gold fausse-montre case with hair work versoOval 3.75cm x 3cmSamuel Shelley first exhibited at the Society of Artists in 1773, entering the Royal Academy Schools the following year where he exhibited work up until 1804. Largely considered to have been self-taught, Samuel Shelley worked in a range of mediums throughout he career, producing watercolours, oils, book illustrations and engravings, but is arguably best known for his miniature portraits in watercolour, a medium which he championed establishing the first watercolour society in around 1804.Shelley was a prominent and popular miniaturist during his time, and today his works feature in many major museums. Condition Report:Good overall condition.Frame with light wear commensurate with age, predominantly in the form of some surface scratches.
Christian Friedrich Zincke (German 1683-1767)Portrait miniature upon enamel, circa 1750Head and shoulder portrait of a young woman in blue gown, her hair adorned with pearls Within gilt frame, with old cut diamond border and white enamel inner border Oval 4.5cm x 3.5cmProvenancePurchased by the current vendor from Judy & Brian Harden Antiques September 98Born in Dresden in 1683, Christian Friedrich Zincke travelled to London in 1706 to work at the studio of miniature painter and enamellist Charles Boit; later inheriting Boit's fashionable clientele. During his time in London Zincke is said to have dominated the market, training a number of well known English miniature painters including William Prewett, and also gaining Royal patronage aided by the endorsement of notable portrait artist Sir Godfrey Kneller.Zincke worked extensively for the Royal Family, including George II and Frederick Prince of Wales, and is arguably the most successful enamel painter of the period in which he worked. Condition Report:Good overall condition.Very small loss to white enamel border.Frame with light wear commensurate with age, predominantly in the form of some surface scratches.
English School (Circa 1800)Portrait miniature upon ivoryHead and shoulder portrait of a gentleman wearing a black coat and white cravat tied in a bowWithin period gold frame with hair work panel with seed pearl monogram 'JW' versoOval 7cm x 5.5cmCondition Report:Good overall condition, some very slight very small flaking to lower edge.Frame with general light wear commensurate with age, predominantly in the form of surface scratches. Some slight debris beneath glass to hairwork panel, a few hairs lifting towards top, and some slight movement in hairwork panel with slight gap visible to lower edge.
English School (Circa 1700)Portrait miniature upon ivoryHead and shoulder portrait of a gentleman in curled grey wig and red coat with green collarWithin period gold bracelet frame Oval 3.5cm x 3cmCondition Report:Good overall condition.Frame with general light wear commensurate with age, predominantly in the form of surface scratches. Rough edges to front of frame. Bracelet mounts to frame possibly later, one appears to be gilt and latter fitted.
British School (18th century and later)Two portrait miniatures upon ivoryThe first example a head and shoulder portrait of a young woman wearing a white gownIn period gold brooch mount with garnet border Oval 4cm x 3.25cmThe second a head and shoulder portrait of a young girl in blue and white dressIn gilt brooch mount with hair work panel versoOval 4.5cm x 3.5cmCondition Report:First example with slight wear and discolouration to edges.Frame with general light wear, predominantly in the form of surface scratches.Second example in fairly good overall condition.Frame with wear to gilt finish, particularly to the back. Surface scratches, and wear to hair work beneath glass.
Continental School (19th century)Portrait miniature upon enamelHead and shoulder portrait of a young woman draped in a white robe, in the style of KPM and ViennaWithin a gilt metal mount and rectangular ebonised frame with acorn and oak leaf mounted suspension ringOval 6cm x 4.5cmFrame 11cm x 9cmCondition Report:General wear commensurate with age, including some scratches to miniature, predominantly the background rather than to figure. Frame with general light wear, but good overall.
Four 18th century Worcester porcelain jugs, comprising three sparrow beak examples, the first example decorated in the Bat or Vase pattern, circa 1780, with underglaze blue disguised numeral mark beneath, the second in the Three Flowers and Butterfly pattern, the third decorated with floral and fruit spray and sprigs, and a floral moulded example decorated in the Chrysanthemum pattern, circa 1765, together with a Caughley example decorated in the Fisherman or Pleasure Boat pattern, circa 1760, with underglaze blue crescent mark beneath, and a late 18th century blue and white cabbage moulded jug, decorated in the Lady with parasol pattern, H14.5cm, (6)Condition Report:General wear commensurate with age and use.When inspected under a UV light examples have restoration, please enquire for further details.
18th century Worcester teacup and saucer, circa 1770, of faceted form decorated in the Japanese Kakiemon style, similar to the Rich Queens pattern, with alternating panels of white formal chrysanthemums against a blue ground heightened with gilt, and flowering chrysanthemum plants and wheat sheaves, each with underglaze crescent mark beneath, teacup H4.5cm D8.5cm saucer D13.5cmCondition Report:General light wear, including some surface scratches, and small faint hairline to rim of saucer, not visible unless inspected from beneath.
18th century Caughley dessert dish, of lozenge form hand painted with Dresden flowers type pattern, with central gilt and cobalt blue floral spray, within a cobalt and gilt border, with crescent mark beneath, L26.5cmCondition Report:Good overall condition, with wear commensurate with age and use, largely in the form of some light surface scratching. Small surface loss to edge of rim.
19th century Minton porcelain cabinet plate, hand painted with central equestrian band against a turquoise ground, and further detailed with gilt key fret and foliate borders, with printed retailer mark beneath 'Mintons John Mortlock Oxford St London', and impressed year cypher for 1880, D23cmCondition Report:Good overall condition, with general light wear commensurate with age, predominantly in the form of a few surface scratches.
19th century porcelain part tea service, comprising twelve teacups, ten coffee cups, eleven saucers, slop bowl, and cake plate, decorated in the manner of Ridgeway or Alcock, hand painted with floral sprigs within a blue shaped border, and heightened in gilt with C scrolls and foliate detail, with painted pattern number 5954 beneath Condition Report:General light wear commensurate with age and use, including surface scratches, and some small areas of crazing to the glaze.Faint hairline to glaze on cake plate.Two teacups with tea stained hairlines running through sides of bowls, not particularly visible to interior.
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