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Click here to subscribeA 20th century carved hardwood rocking horse, by Robert Mullis, Swindon117h x 137cm overallCondition report: Overall condition look clean and it is usable. One ear is chipped. The leather has various marks from use and the wood shows light signs or wear. Would benfit from a light clean and polish.
An early 20th century oak coffer, of panelled construction, with a hinged lid, containing a small collection of prints96w x 38d x 50h cmCondition report: Overall is solid and usable. Has a hole in the back panel, perhaps for a cable. The wood is dry and pale, with various light marks and chips from use/age. Has an escutcheon but no lock or key.
A pair of modern serpentine bedside chests, together with two table lamps (4)69w x 47d x 81h cmCondition report: Both cabinets are complete, solid and usable. They are slightly dirty, with light signs of use and wear, one wuith some surface marks on the top, but they look like they could be easily polished away. One has a crack in one side, running along the join. Lamps are both modern and usable and will be PAT tested prior to the auction.
A set of six William IV mahogany dining chairs, each having a curbed bar back, with a scroll carved horizontal splat and yellow upholstered drop in seat, on turned legs (6)Condition report: Overall these are in clean and usable condition and appear to be solid and well made. One has been broken on the back legs and glued, another in a similar place, has a later piece of wood let into the back 14cm long. The seats have been covered recently and look clean and well done. Look to have been restored in recent years, so some later wood under the seats and they are all polished. Otherwise just light signs of use as expected.
R Crane, 19th century, horse and hounds, signed and dated 1820, oil on canvas, 40 x 50cmCondition report: Overall condition is ok. Has been lined and cleaned, but not recently. Dirty at the back. Clearly signed. Frame has been painted and has various small marks and losses. Very light flaking to the paint on the right hand side mostly, but this is quite fine and not easy to spot. Removed from a local house move, where it had been for many years.
An early 20th century carved walnut duet stand, with an adjustable top, on a fluted column and tripod baseCondition report: Overall is complete, usable and adjusts ok. There are some breaks in the lyre and various light marks from use. Where the thread screws in there are some losses. Otherwise dirty. Will raise up to 160cm high.
An early 20th century gilt fruit dish, of shell shape, with a gilt interior and pierced decoration, on three dolphin feet, stamped Piccadilly Hotel, London, 27cm wideCondition report: Is complete and good quality, but has a repair along the top edge at the back where it meets the scroll. Various light dents across the body. Hallmarks there but very faint. Dirty.
A 19th century blue glass and painted oil lamp, with a blue glass shade, 48cm high overallCondition report: Overall condition looks to be complete. The shade has unusual painted decoration and appesrs to be intact, except for some fine chips around the lip, where it fits into the base. Burner unscrews ok. Base is complete. Overall has light signs of use from age.
A pair of silver two branch table candelabra, with weighted bases, Birmingham 1957, 23cm high (2)Condition report: Appear complete and intact. Light marks from use/age. Hallmarks are clear. Have screw down tops which can be changed to hold only two candles. Have been used. Weighted inside the base, so not possible to be weighed. Removed from a local estate.
Margaret Thomas, 1916-2016, Snowdrops, signed with monogram, oil on board, bearing a gallery label for the Summer Madness Exhibition, at The Mall Galleries, 2006, to the reverse, 25 x 19cmCondition report: Overall condition ok. Some very light dirt. Has been taped into the frame. Collected from a local famrhouse in Suffolk.
A Royal Worcester cabinet plate, finely painted with fruit, by William Bagnall, puce marks to base, within a gilt border, 18cm wide, together with a pair of matching cabinet plates, a vase and two Worcester blush ivory trinket dishes (6)Condition report: One of the pair of fruit plates has been broken into several pieces and glued. All the pieces are dirty, with light signs of wear.
Attributed to Robert Mendham of Eye, 1792-1875, a half-length portrait of a young man, possibly Henry Elmey, of Suffolk, in an ornate swept gilt frame, 62 x 50cm. Provenance: purchased at the Kentwell Hall House Sale by the vendor in September 1970, lot 674, accompanied by the catalogue from the auction and various letters and research from the 1970's and 80'sCondition report: Condition is clean, with only some very light marks within the paint and a fine crazing to the surface. New lining and stretcher. Frame was restored when the painting was purchased in 1970, but does have some light marks and small losses and measures overall 82h x 73w cm
A George V miniature silver cased boudoir clock, with a white enamel dial, by Elkington & Co, Birmingham 1911, 9cm highCondition report: Overall looks to be complete but dirty. Ticks and winds ok, but we cannot guarantee it keeps time. Door opens ok. Hallmarks are clear. Movement looks clean. Dial undamaged. Light signs of use/age as exepected.
A 19th century French elm farmhouse kitchen table, with a plank top, containing two frieze drawers, on square legs185w x 82d x 75h cmCondition report: Overall condition is clean and solid. It has been restored, so has some old polished marks and light signs of use, but no damage. Joints are all tight. Drawers run ok. The vendor added 10cm to each leg, so it is good to sit at, which has been done well, so not easy to spot. Height from the floor to the underside of the frieze 60cm.
A set of four early/mid-20th century heavy cast brass six-light chandeliers, height 61cm, width 70cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A mid-20th century gilt metal and cut glass hexagonal ceiling light, width 22cm, together with a similar circular ceiling light, diameter 16cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A wrought iron rush light, probably 17th century, raised on tripod supports, height 27cm, together with a wrought iron beam-mounted candle socket, length 14cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An 18th/19th century steel and wooden handled herb cutter, width 20.5cm, a 19th century Irish copper aspic jelly mould, detailed 'Rogers & Sons Dublin', a wrought iron game hook and a rush light with candle socket.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A mid-20th century gilt metal and cut glass circular ceiling light with mirrored top and twin light fitting, diameter 41cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
PAIR OF DESIGNER THREE SEATER SETTEES,reputedly retailed by Harrods, each 250cm wideCondition report: Springs and upholstery in good condition. No discernible damages or tears. Dust, hair and some general light surface wear, in keeping with age and use. The feet have scuffs to each corner. Additional images available.
PAIR OF DESIGNER WINGBACK ARMCHAIRS,reputedly retailed by HarrodsCondition report: Seat height measures 74cm high. Some buildup of light animal hair; fabric requires cleaning. Construction is solid with no wiggle. No discernible tears or damage to the upholstery. Some nibbles and dings around the feet and brackets, in keeping with use. Additional images available.
SCULPTURE OF A BEAVER BY DEAN PATMAN,39cm long, along with a bird (2)Condition report: Construction of both pieces is solid. Tarnishing to metal parts, and general surface wear throughout, in keeping with age. Beaver's wooden tail is missing varnish sections on the underside, and has some light crazing to top side. Bird figure in similar condition, with the wooden head having notable surface wear. Additional images available.
PAIR OF ROYAL BONN VASES OF SLENDER BALUSTER FORM,28cm high, along with a pair of continental vases, each decorated in relief with a child, 38cm high (4)Condition report: One of larger chipped to rim, boy figure left foot broken and crudely repaired, also chipped to base, other with internal firing crack, both crazed with further imperfections; Bonn vases crazed, rubbing to gilt, light general wear but otherwise appear fine
dating: 1650/60 provenance: Vienna, Rifled, octagonal, 14 mm cal. barrel, signed 'Michael Gull' in italics between spirals, short frame and engraved floral motifs at the base, adjustable rear sight with tang carved with leaves, brass foresight, large tang finely engraved and fixed with two screws. Lock worked in two pieces, the hammer with a strong spring near the butt, pan with batterie on the side of the barrel, lock plates finely engraved with floral motifs, the lower mounts are decorated in the same way, in front of the iron anatomic trigger guard there are two pins which, if pressed, can open the barrel. The pan can be extracted with the breech to be loaded. Wooden butt worked in two pieces, dark and light horn decorations under the barrel, dark horn patchbox. Set trigger. Horn-tipped wooden ramrod decorated en suite, iron cartridge extractors. For Michael Gull see 'Der Neue Stöckel', Vol. I, pg. 472. Gull was a master in Vienna in 1647 and became citizen in 1650, he died in 1679. He worked also for the Court of Vienna. Gull was specialised in the production of breech-loading rifles, some examples can be found in the collection Keith Neal, Christie's 8 November 1995, lot 95 and Christie's 26 October 2001, lot 122.Origin: Collection Keith Neal (with mark of the collection no. G 321). length 102.4 cm.
dating: Third quarter of the 19th Century provenance: Duchy of Parma, Blade of lenticular section with remains of raceme engravings and light surface rust; gilded silver hilt with shell-guard bearing three fleurs-de-lis, monster-head cap over a mask and guard with snake, the rest decorated with floral motifs in high relief; mother-of-pearl grips, the front one with shield bearing the crowned monogram 'CL' (Carlo Ludovico of the Duchy of Lucca?). Without scabbard. length 91.8 cm.
dating: second quarter of the 17th Century provenance: Brescia, Flat lock plate with cusped borders and with lobe at the tang; a frame engraved with leaves all along the edges. Fine, scarce hammer, the base is worked with a snake in relief around the top jaw screw and provided with a pierced, tail-shaped ornament. The head of the top jaw screw is carved as a bud. From the back of the snake starts the second segment of the throw with clamp featuring light, leave-shaped engravings. Batterie with missing spring and elegant throw, worked as a baluster and leaves. The mechanisms at the back with missing parts. The back of the plate with remains of a mark (not clearly legible). length plate 17,1 cm.
dating: about 1570 provenance: France, Strong, straight blade, ribbed at the center, of lozenge section. Rectangular tang, sharpened towards the center and with remains of gilding and finishing, stamped on the left side in a shape of stylized bird. Elegant gilded bronze hilt, partially abraded. Parallelepiped quillon block (veined on one side) with frames on the borders and a Pan face in bass-relief on both sides, quillons curved toward the blade (one cracked and slightly bent), decorated with floral motifs and animal's masks at the ends, on both sides as well. Parry-ring chiselled with leaves and spirals holding a female face in relief in the center. Quatrelobed pommel, in two halves joined in the center, surmounted with a two-faced lady's bust composing a button; front and back lobes chiselled with a lion's head, the two lateral are bulbiform and enriched with garlands in relief as well. Grip with a naked female figure, in relief, holding a vase with flowers, surrounded by bands and architectonic elements and flowers. Wooden scabbard, covered with velvet (completely worn) with fantastic, gilded bronze mounts. Cap with a scene in which a group of characters is worshiping an idol (a sort of ape demonic figure) placed on a column: in the center and on the right three ladies in classical period dress, one of which kneeling, on the left two male characters, one with a helmet, the other with a long beard and conical hat, under all the characters a crouching lion, the bottom of the cap with a big mask. Upper part of the cap with rounded ring, with a mask in the center surrounded by flowers and fruits. An additional mouthpiece with double slot in the upper part of the scabbard, a knife and an awl inside of it, provided with wooden grip with gilded brass cap, decorated with masks in relief. Long chape decorated with a beautiful effigy of Hermes, messenger of the Gods, surmounted with a garland; below a mask, flowers and effigy that resumes the idol on the cap. Lower end with carving similar to the pommel but of reduced dimensions and with male faces. Back part of the cap engraved with lozenges, with a big cross and provided with a loop, festooned border and engraved with leaves. Back of chape carved with floral motifs. This fantastic dagger shows many details found on works by Hans Holbein the Elder (Augsburg, 1460 - Issenheim, 1524). See a series of Swiss daggers in the Wallace Collection, illustrated in 'European Arms and Armor - Volume II Arms' on plate 137 which contain various resembles with ours, such as the pommel of the A 768 dagger, the chapes of A 769 and A 770 and the drawing of the cap of A 768 (found in our dagger on the back part). The stamp on the blade is very similar to the stamps of the A 768, and vaguely recalls also those of the A 769 and A 770. See also the very similar knife and awl in the dagger kept in the Victoria and Albert Museum in London, which also shows similarities with ours on the chape and decoration engraved on the cap. Also the subject of the decorative elements of this dagger is of extreme interest, as the suggested theme is not only pagan, but esoteric: The main image, in fact, that is the scene on the cap, is an explicit esoteric reference, in which the idol worshiped on the column is probably Lucifer himself, portrayed inside a building, in a niche under a canopy (Lucifer, bearer of Light, does not need the light of the sun, since he himself is the light), depicted with monstrous features in the act of spreading his arms holding a scepter and (probably) a cornucopia. On his right he is in fact worshiped by ladies, on the left by a bearded man in the act of swearing, and by a man wearing a helmet pointing (or throwing) a torch (or a scale) to the ground. Pommel with button as two-faced female figure can recall the myth of Janus, who sees the future and the past. The naked figures on the grip can also be interpreted as sacrificial victims tied by straps to an altar. The back of the cap bears the effigy of a large crucifix, but this has engraved arms so that each element has both a light and a dark side, and the foliage at the base of the cap can also be interpreted as flames. The depiction of Hermes, messenger of the gods but also god of writing and Magic. Quillon block bears Pan's heads, obviously also assimilated to the iconography of the Devil. An extraordinary dagger that deserves an adequate study of its unique characteristics. Museum restorations. length 38,2 cm.
dating: about 1860 provenance: Japan, Nagasa (38.3 cm) with hamon (gunome, kaninotsume) and hada clearly visible, brass habaki decorated with fine grooves; nakago mumei with a mekugi ana. Beautiful koshirae with tsuba richly pierced, also on the border, and decorated with floral motifs in gold. Fuchi decorated with a tower and mountains partially gilded, kashira in dark horn, menuki with dragons. Tsuka in dark silk. Saya of lacquered wood with dark horn mounts, the upper part with horizontal grooves in light brown lacquer, then smooth and with alternating dark and light brown rings. Ko-katana mei with shakudo kozuka depicting a bear and a dragon among palm trees and cherry trees in partially gilded high relief. The shape of the nakago indicates a period around the beginning of the 16th century. The hamon is similar to Suke Sada (Bizen) which used the Kaninotsume hamon (crab claws), but the type of hamon was also used in other schools at this time. length 56.5 cm.
dating: Period (1603-1867) provenance: Japan, Light structure in opaque black lacquer (small missing parts at the finishing and at the edges), alternating with radial gold bands in rough lacquer. The peak with petal-worked metal tehen kanamono. Three dragon ornaments painted in gold. Without padding. The lower side lacquered in red. Epoch: late Edo period. diameter 42 cm.
dating: circa 1600 provenance: Italy, Straight, double-edged blade of lenticular section, slightly grooved at the forte, outlined ricasso; iron hilt, quillon-block, trigger guard, quillon and guard all decorated with deep grooves, tapering grip, forked pommel with jaws, which can be used to light a match up or support an arquebus. Very scarce. length 123 cm.
dating: Mid 19th Century provenance: Italy, Interesting brass, two-stage, 9,8 mm cal. barrel, octagonal and round, with rings and carved frame at the girdle, foresight at the nozzle. Breech and tang in one iron block. Forward spring lock with small floral engravings and lock plate signed 'Pulini F.' Working mechanics but the first snap does not keep the safety lock on. Wooden half stock with boar's head carving at the bottom of the butt side and checkered segments. Smooth brass mounts. Remains of a horn-tipped light wooden ramrod and cartridge extractor. length 91,5 cm.
dating: 17th Century provenance: Italy, Light, wooden lance with thin, neck-lacquered (missing parts), iron tip, the first part shaped as a truncated cone, smooth and painted in gold with trophies, a bird and floral motifs (missing parts), after a shortened segment it is cylindrical and with longitudinal grooves, then it decreases in wideness towards the tip, with remains of gold painting. The quintain has Roman origins, and it was played during military trainings. In 17th Century three variants of the play were introduced, including the ring joust in which this kind of lance was used. The knight that would take off more rings won. See a very similar item at Odescalchi Museum, in Rome. height 268.5 cm.
dating: first quarter of the 19th Century provenance: England, Beautiful blade of triangular section decorated with gilded engravings on blue blackground and with trophies and floral motifs in perfect condition, protected by its scabbard. Steel hilt decorated with beads, chain and pendants with superficial rust, small missing parts. Complete of a rare wooden scabbard covered with light leather with iron mounts engraved with flowers stylized en suite with the center of crossguard. Areas with superficial rust which could be slightly removed. Two suspension rings. length 100.5 cm.
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