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Lot 646
Three early motorcycle and car racing medals, comprising: Royal Automobile Club gold medal, bust of Edward VIII right at centre of a steering wheel, oak and laurel wreath around, imperial crown at top, rev. engraved 'Light Car Reliability Trial 1914 G.W.K. Car 1000 Miles Non-Stop' within oak and laurel wreath, 36mm, 15ct., 42.5g; Herefordshire County Automobile & Aero Club silver medal, Herefordshire arms between wings, rev. engraved '4th Quarterly Trial Motorcycles DECR 1912 Class D C. M. Keiller' within laurel wreath, 32mm; British Motorcycle Racing Club silver medal, female figure holding laurels and thunderbolt before Union Shield, rev. engraved 'B.M.C.R.C Second Prize 3. Lap Cyclecar Handicap C. M Keiller Brooklands 28 March 1914', 30mm. Good very fine (3) Clifton Macnee Keiller (1888-1968) of GWK cars. In February 1908 he began a three year pupilage in the engineer's office at GWR's Swindon Works. J. Talfourd Wood, the W in GWK, was a pupil at Swindon at the same time. 1911 he was living at Springfield, 19 Brackley Road, Beckenham, Kent. The prototype GWK car was built in a stable in Beckenham. In 1921 he married, at Wandsworth, to Doris M. Lorden.
Lot 346
WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘EIGHTEENTH CENTURY’ TWIN-HANDLED FOOTED painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2591, 22cm across; and a ‘POPPIES’ TWIN-HANDLED FOOTED BOWL, CIRCA 1908, painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, 24.5cm across (Qty: (2))Condition report: One with some light rubbing to gilt on rim, the other with large professionally restored patch to one side and to the interior.
Lot 545
ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN PAIR OF CUFFLINKS, CIRCA 1969 the terminals of circular outline, depicting a horse-head motif, stamp marks 925 S/DENMARK/GEORG JENSEN/63 ; with a matching TIE PIN; together with a FURTHER PAIR OF CUFFLINKS, by Harald Nielsen, the circular terminals with ship motif, stamped marks GEORG JENSEN/925 S/DENMARK/50; together with a matching TIE CLIP (Qty: (4))Condition report: Good overall condition, only light surface wear. Fully import marks for London. All in good condition, only light surface wear. All with Import marks for London. The tie clip is circa 1977. In original Georg Jensen box.
Lot 85
WILLIAM ARTHUR SMITH BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER CEILING LIGHT, CIRCA 1900 comprised of layers of copper and brass leaves, with later glass shade, stamped BENSON (Dimensions: 21.5cm wide, 28.5cm high (excluding shade))(21.5cm wide, 28.5cm high (excluding shade))Footnote: Literature: Hammerton, Ian W.A.S. Benson , Woodbridge 2005, p.257, pl. 7, no. 804
Lot 234
COMPTON POTTERS' ART GUILD OVAL POTTERY WALL PLAQUE OF THE NATIVITY, CIRCA 1920 painted in tempera, impressed maker's marks (Dimensions: 22cm x 19cm)(22cm x 19cm)Footnote: Literature: Calvert, Hilary & Louise Boreham, Mary Seton Watts and the Compton Pottery , London, 2019, p. 213 for examples of this plaqueCondition report: In good overall condition With some general dirt and discolouration through age and use A little wear and scuffing to the tempera at the bottom rounded edge What appears to be a chip to the right hand edge but with black painting on top, but does not appear to be bright under a black light Otherwise in good order, good sturdy piece
Lot 299
LOETZ, AUSTRIA 'TITANIA' IRIDESCENT GLASS VASE, CIRCA 1910 the ruby glass body with pulled silver iridescent frieze and bubble inclusions (Dimensions: 19.5cm high)(19.5cm high)Condition report: In good order and pretty appearance Couple of minor bruises to underside foot rim Otherwise some light surface scratches here and there, and dirt to interior, but good order
Lot 370
MARK MARSHALL (1843-1919) FOR ROYAL DOULTON ART NOUVEAU STONEWARE VASE, EARLY 20TH CENTURY with coloured glazes and wax resist decoration of stylised foliate motifs on a green ground, impressed maker's marks and incised initials MVM/ EP (Dimensions: 50cm high)(50cm high)Condition report: In good order Some fine craze lines here and there and a couple of light surface scratches to the body Small bruising/chipping to the glaze at the foot rim Join/firing crack at the neck is visible, due to nature of manufacture
Lot 526
M. OFFNER ART DECO COPPER FLOOR LIGHT, CIRCA 1925 with silver and brass geometric design, the turned shade on knopped column and spreading base with corresponding decoration, bears signature to base M. OFFNER (Dimensions: 29cm wide, 168cm high)(29cm wide, 168cm high)Condition report: Some minor wear/tarnishing and marks to metalware. Minor dents to pedestal base. There is a hole drilled through the lower part of the shade.
Lot 122
ATTRIBUTED TO EDWARD WELBY PUGIN FOR JOHN HARDMAN & CO. GOTHIC REVIVAL SILVER AND ENAMEL BEAKER, with gilt interior, bearing inscription AND HE SHOWED ME A PURE RIVER OF WATER OF THE CLEAR AS CRYSTAL, with an applied central band of Gothic tendrils and four enamelled cartouches, one depicting the Virgin teaching the Christ child to read, with maker's marks and hallmarks for Birmingham 1866, weight 8.29ozt approx. (Dimensions: 10cm high)(10cm high)Condition report: Beaker in good general condition with no bumps or dents Enamels are essentially sound although there is a flake to the RH side of the Madonna's head All applied elements, wirework etc are good and sound Some allover light scratching and rubbing to the gilt in the interior Minor tarnish marks and scratches here and there Provenance anonymous vendor
Lot 546
FLEMMING ESKILDSEN (B. 1948) FOR GEORG JENSEN PAIR OF 18CT GOLD CUFFLINKS, CIRCA 1966 the rectangular terminals of plain design, stamped marks GEORG JENSEN/750 18K/DENMARK/1084Condition report: Some light surface marks and wear, one of the smaller terminals with some scratches. Full import marks for London 1966
Lot 80
MAY MORRIS (1862-1938) FOR MORRIS & COMPANY 'THE FRUIT GARDEN', ARTS & CRAFTS SILKWORK EMBROIDERED the green silk damask ground with silkwork embroidered design of fruiting apple, pomegranate and plum trees with scrolling foliate motifs and flowering shrubs, the embroidered banner with inscription ALL WROUGHT BY THE WORM IN THE PEASANT-CARLE'S COT ON THE MULBERRY LEAFAGE WHEN SUMMER WAS HOT, reserved on a later braided cotton backing and border (Dimensions: 274cm x 140cm)(274cm x 140cm)Footnote: Literature: Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, pl. 74-74, p.90-91 Note: May Morris’ achievements in design and embroidery have often been overlooked in light of the reputation of her father William, who is recognised as a pioneer of the Arts & Crafts movement. Yet it was May who, at the age of only 23, took charge of Morris & Co.’s textile department and, in doing so, established herself as one of the leading female exponents of Arts & Crafts embroideries. This portière , titled The Fruit Garden and executed towards the latter period of her career, exemplifies some of May’s finest work and signals an attempt to distinguish herself from her father, carving her own successful legacy. Growing up in the shadow of her father, with her mother working within the textile department of his firm, May was unsurprisingly immersed in an environment of intense craftwork. At the time, embroidery was not seen to have the same reputation as fine artistry in the form of beautifully crafted furniture or elaborate paintings. This was largely due to the Victorian preoccupation with Berlin work – a variation of cross-stitch which required little dexterity and little aesthetic awareness as it was provided in pattern form. At the core of May’s creative output however was an appreciation of the intellectual quality of English medieval embroidery, which was, to her mind, the pinnacle of achievement in needlework. In The Fruit Garden, this is demonstrated by the complex array of embroidery techniques as the piece is worked in stem, darning, satin and herringbone stitches, to name only a few. As a result, May is regarded as an instrumental figure in elevating needlework from a mere domestic craft to a serious art form. The composition shows a central tree, flanked by a colourful orchard of sinuous apple, pomegranate and cherry trees, The Fruit Garden successfully depicts naturalistic interlocking sprays of acanthus leaves and fruiting vines with delicacy, skill and creative invention. The inscription, an excerpt taken from her father’s poem The Flowering Orchard implies the portière was intended as a series, each with subtle differences in the composition and bearing another excerpt from the poem. Records from May’s inventory indicate that four separate orders were placed from 1892 to 1896 and a near identical and signed version of this portière exists in the collection of the Museum of Fine Arts in Boston. As strong coloured silks intertwine against a deep green damask ground, The Fruit Garden is a stunning visual delight, made to complement the simplicity and subtlety of Arts & Crafts furniture. After William Morris’ death in 1896, May devoted much of her life preserving his work and legacy, perhaps at a detriment to her own. In recent years, further academic research has driven a resurgence in interest in her textile designs, and in many ways her acclaim as a talented embroiderer has surpassed that of her father. The Fruit Garden portières are recognised as some of the most exceptional products of art embroidery and illustrate May at the peak of her career, representing her desire to produce “meaningful pieces that fill a purpose and satisfy individual interest.”
Lot 300
THERESIENTHAL SIX ART NOUVEAU HOCK GLASSES, CIRCA 1905 each painted in gilt and coloured enamels with stylised flower heads (Dimensions: 21.5cm high) (Qty: (6))(21.5cm high)Condition report: Please note that general condition reports are provided for group lots Appears to be an assembled set, two groups of three; one set with some slight colour variation to design Very attractive decoration General surface dirt, glasses require some careful cleaning Some white residue/bloom to enamels here and there Some light surface scratches here and there, and some very minor grazes here and there to some of the rims
Lot 37
ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL BRASS AND WROUGHT IRON CANDELABRA, CIRCA 1880 converted to electricity, with castellated pierced corona supporting six curved arms, each terminating in a light fitting with later opaque glass shades, centred by a turned central column with scrolling supports (Dimensions: 104cm high, 97cm diameter) (Qty: (2))(104cm high, 97cm diameter)
Lot 89
ENGLISH SCHOOL GROUP OF THREE ARTS & CRAFTS BRASS HANGING LANTERNS, CIRCA 1900 each with prism pediments with castellated decoration above four bowed frosted glass panels, comprising a LARGE LANTERN, 47cm high; and a PAIR OF SMALLER LANTERNS, each 33cm high; together with a MATCHING NEWEL POST LIGHT, of corresponding design with scrolling base, 46cm high (excluding fitting) (Qty: (4))
Lot 165
Collection of military ephemera and souvenir items referring to a member of the Oxford and Bucks Light Infantry particularly in the immediate post War period in Berlin with various military papers, souvenir photographs, a guide book to Berlin dated 1946, box of military insignia, badges and buttons relating to Oxford and Buckinghamshire Light Infantry, leather pistol holster, dog tag, coins, wooden regimental shield and framed regimental crest. (B.P. 24% incl. VAT)
Lot 2607
A yellow metal single stone diamond ring, the ring having an old mine cut fancy light yellow diamond in an eight claw setting, diamond dimensions approx 5.2 x 4.6 x 2.85mm, weight estimated as 0.53 carats, finger size I½, gross weight 1.9g, not hallmarked but tested as 18ctCondition report: Diamond is chipped.
![Opium smoking scene, illuminated miniature on paper, possibly Kishangarh school [Mughal India, early nineteenth century] sing](https://cdn.globalauctionplatform.com/0c71421d-db4d-4f21-92d7-aacc00b844d6/001c0e1d-b92d-4fa9-92dc-aacc00eef709/468x382.jpg)
Lot 108
Opium smoking scene, illuminated miniature on paper, possibly Kishangarh school [Mughal India, early nineteenth century] single leaf, gouache on paper, mounted on gold-speckled card, crease marks along centre from old fold, some slight loss of red pigment from smoking vessels, light finger-soiling, old repairs visible on verso of centre of image and along outer border, ink inscriptions to verso, 330 by 218mm. Opium first appeared in India in the seventeenth century as a prescription drug, and quickly grew into a common household remedy for stomach problems, chills, malaria and even asthma. By the nineteenth century, its consumption was common throughout the subcontinent, and habitual users employing it as a recreational drug were prevalent throughout the northern and western regions of India. Areas like Gujarat, Rajasthan and central India even used a water and opium solution to serve guests in ceremonies and formal receptions, both at court and at home (F. Dikötter. Narcotic Culture, 2002, p. 20).
![ƟArabic Almanac for the year 1254 AH, printed in Arabic, Bulaq Press [Egypt (Cairo), dated 1253 AH (1838 AD)] single volume,](https://cdn.globalauctionplatform.com/0c71421d-db4d-4f21-92d7-aacc00b844d6/814de6c5-8e56-44c4-80fe-aacc00eec24e/468x382.jpg)
Lot 8
ƟArabic Almanac for the year 1254 AH, printed in Arabic, Bulaq Press [Egypt (Cairo), dated 1253 AH (1838 AD)] single volume, complete, single column text with some calendars printed in the text, front free endpaper with manuscript title of the work in English and Arabic, some very light foxing but overall clean and crisp condition, small 8vo (135 by 95 mm.); contemporary paper wrapper printed with navy tulip pattern (probably Dutch paste-papers), title in manuscript to upper cover Provenance: Leut. Col. Brettell-Packar, military engineer in Cairo, inscription dated 28 June 1838. This is a charming little almanac volume printed for the year 1254 Hijri by the Bulaq press. The manuscript note in English to the front free endpaper reads “Arabic Almanac for the years 1254, from 28 March 1838 to March 16 1839, both days inclusive”. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
Lot 60
ƟNazm al-Ma’ali fi Sharh Nathr al-la’Ali (Tales of Imam Ali), Persian translation of Nathr al-la’Ali attributed to Sadr al-Dahdabi, in Farsi, illuminated manuscript on polished paper [Eastern Ottoman provinces, c. 1780] single volume, 31 leaves, both single and double columns, mostly in 8 lines of black nasta’liq with interlinear text-blocks in thuluth, some headings in red, three polychrome banners and head-pieces illuminated in gilt, leaves ruled in red, blue and gilt, some light water-staining to outer edges (rarely affecting text), a few small smudges, overall bright and clean copy, 168 by 105 mm.; fine block-stamped and gilt calf boards, notably Western in style and design, rebacked, rubbed and a little worn, with marbled doublures A charming volume relating to tales of the last prophet in Islam, Ali bin Abu Talib, originally compiled by Diya al-din Abual-Rida Fadlallah al-Hussayni al Rawandi and present here in Sadr al-Dahdabi’s translation from Arabic to Farsi. Al-Dahdabi also re-formatted the text into mathnawis (verse) and added an introduction to the text. This copy of the text not only has the added introduction, but also includes the colophon added by Al-Dahdabi bearing the original date of completion, 15 Muharram 867 AH (1462 AD), suggesting that this copy may have been copied from an original manuscript of Al-Dahdabi’s work. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
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534297 item(s)/page