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Lot 454
18 kt. Witgouden ring, bezet met een lichtgrijze cultivé parel en kleine achtkant geslepen diamanten. Hierbij een collier met witte en grijze parels aan een 14 kt. gouden bolsluiting, met originele aankoopnota. bruto 74,4 gr., ringmt. 17 [3] 18 k. White gold ring, set with a light grey cultured pearl and small single cut diamonds. Herewith a necklace with white and grey pearls on a 14 k. gold ball clasp, with original purchase receipt.
Lot 79
14 kt. Goud met zilveren solitair ring, bezet met een lichtbruine ruitvormige oud briljant geslepen diamant in gesloten plooizetting. De schouders gedecoreerd met krullen. bruto 4,4 gr., ringmt. 17 [1] 14 k. Gold with silver solitaire ring, set with a light brown diamond-shaped old brilliant cut diamond in a closed mounting. The shoulders decorated with curls.
Lot 185
14 kt. Gouden broche, in de vorm van een kruipende panter. Met ogen van smaragd. De snuit en halsband bezet met briljant geslepen diamant. Met vlekken van zwart email (zeer lichte beschadigingen) bruto 12,4 gr. h. 25 x b. 56 mm [1] 14 kt gold brooch, in the shape of a crawling panther. With emerald eyes. The snout and collar are set with brilliant cut diamonds. With spots of black enamel (very light damage)
Lot 75
14 kt. Goud met zilveren oorstekers. In de vorm van een knop bezet met roosgeslepen diamant waaronder een tros eikenbladeren met eikels. De bladeren bezet met roosgeslepen diamant, de eikels gedecoreerd met lichtblauw email. Eén eikel bezet met een druppelvormige oud briljant geslepen diamant bruto 12,4 gr., h.40,4 x b. 16,3 mm [1] 14 k. Gold and silver stud earrings. In the shape of a bunch of oak leaves with acorns. The leaves set with rose-cut diamonds, the acorns decorated with light blue enamel. One acorn set with a drop-shaped old brilliant-cut diamond
Lot 263
Biegel Frankfurt, platina met 18 kt. witgouden oorbellen. In de vorm van een spiraal, elk bezet met een ovale gefacetteerde lichtblauwe saffier (8,5 x 6 mm) met een totaalgewicht van ca. 4.10 ct. Niet gesigneerd bruto 7,8 gr., h. 66 x b. 18,8 mm Een particuliere collectie uit Frankfurt [2] Biegel Frankfurt, platinum with 18 k. white gold earrings. In the shape of a spiral, each set with an oval faceted light blue sapphire (8.5 x 6 mm) with a total weight of approx. 4.10 ct. Not signed
Lot 212
Italie, 18 kt. gouden boule ring. Bezet met een cabochon geslepen lichtblauwe saffier in een entourage van briljant geslepen diamant (totaal ca. 0.16 ct.). De schouders met een decor van cirkels tegen een achtergrond van donkerblauw email (een hoek met chip) bruto 15,8 gr., ringmt. 18,25 [1] Italy, 18 k. gold boule ring. Set with a cabochon cut light blue sapphire in an entourage of brilliant cut diamond (total approx. 0.16 ct.). The shoulders with a pattern of circles against a background of dark blue enamel (one corner with chip)
Lot 116
Beneden wettelijk gehalte platina broche, Belle Epoque. De broche volledig opengewerkt waardoor deze van kant gemaakt lijkt te zijn, gedecoreerd met bloem- en bladmotieven en centraal bezet met een vierkante lichtblauwe vermoedelijk synthetische saffier bruto 3,0 gr., h, 19 x b. 26 mm [1] Below legal platinum alloy brooch, Belle Epoque. The brooch completely openworked, making it appear to be made of lace, decorated with flower and leaf motifs and centrally set with a square light blue, probably synthetic sapphire
Lot 9
Beneden wettelijk gehalte gouden (473/000) hartvormige broche, tevens hanger, 19e eeuw. De voorzijde met zilveren applique in de vorm van een dubbel hart, elk bezet met een parel in een entourage van roosgeslepen diamant, tegen een achtergrond van lichtblauwe guilloche email. De rand van wit email met gouden stippen, waarop aan de zijkant kleine parels zijn gezet. De brochering demontabel. bruto 12,5 gr., h. 24,8 x b. 23,5 mm [1] Below legal gold (473/000) alloy heart-shaped brooch / pendant, 19th century. The front with silver applique in the shape of a double heart, each set with a pearl in an entourage of rose-cut diamonds, against a background of light blue guilloche enamel. The edge of white enamel with gold dots, on which small pearls set on the side. The brooching can be removed.
Lot 288
14 kt. Witgouden ring, jaren '70. In de vorm van een krul met gearceerde zijkant, bezet met een lichtgrijze barokparel (ca. 10,8 x 9,3 mm) bruto 5,6 gr., ringmt. 17 [1] 14 k. white gold ring, 1970s. In the shape of a curl with a hatched side, set with a light gray baroque pearl (approx. 10.8 x 9.3 mm)
Lot 126
14 kt. Gouden armband, jaren '40. Opgebouwd uit ovale en cirkelvormige schakels waartussen achthoekige gefacetteerde lichtblauwe synthetische spinel. Hierbij een bijpassende ring, eveneens bezet met synthetische spinel bruto 21,6 gr., l. 17 cm, ringmt. 17,25 [2] 14 k. gold bracelet, 1940s. Made up of oval and circular links with octagonal faceted light blue synthetic spinel in between. Herewith a matching ring, also set with synthetic spinel
Lot 455
Twee beneden wettelijk gehalte gouden ringen. Eén geelgouden (566/000) ring bezet met een gefacetteerde ovale lichtblauwe saffier, met aan weerszijden een ronde gefacetteerde donkerblauwe saffier. De ander een roodgouden (306/000) ring bezet met een grijsblauwe stersaffier bruto 12,8 gr., ringmt. 18,5 [2] Two below legal gold alloy rings. One yellow gold ring set with a faceted oval light blue sapphire, with a round faceted dark blue sapphire on either side. The other a red gold ring set with a grey blue star sapphire
![14 kt. Witgouden ring, bezet met een ovale licht blauw grijze stersaffier (h. 14 x b 12,5 mm bruto 7,9 gr., ringmt. 16,25 [1]](https://cdn.globalauctionplatform.com/67cbeabe-9724-4723-b6c0-b211011ba114/edef9543-9cfd-49a3-8fd9-b2120111dc5a/468x382.jpg)
Lot 560
Chopard, stalen polshorloge, quartz. Model Happy Sport. Met vrij bewegende vissen, bezet met gele en blauwe saffier en robijn. Met donkerblauwe wijzerplaat met decor van vissen, datumaanduiding op de vier. De uren met Arabische cijfers en stippen. De lunette draaibaar en pavé bezet met briljant geslepen diamant. De achterzijde genummerd. Aan een donkerblauw rubberen band. Hierbij een zwarte en lichtblauwe rubberen band. bruto 60,0 gr., diam. kast 38,7 mm Een particuliere collectie uit Frankfurt [3] Chopard, steel wristwatch, quartz. Model Happy Sport. With freely moving fish, set with yellow and blue sapphire and ruby. With dark blue dial with decoration of fish, date display at four. The hours with Arabic numerals and dots. The bezel rotatable and pavé set with brilliant cut diamond. The back is numbered. On a dark blue rubber strap. With a black and light blue rubber strap.
Lot 582
Rado, dames polshorloge, quartz. Model Diastar Ceramica Jubilé. Met zwart keramieken kast en band. De 12, 3 , 6 en 9 bezet met een achtkant geslepen diamant. Lichte krasjes. Met garantiebewijs gedateerd 2004. bruto 60,9 gr., kast 26 x 21 mm Een particuliere collectie uit Frankfurt [1] Rado, ladies wristwatch, quartz. Model Diastar Ceramica Jubilé. With black ceramic case and strap. The 12, 3, 6 and 9 set with an single cut diamond. Light scratches. With warranty certificate dated 2004.
Lot 128
Adorable hand painted figures with one ear up in blue (4.25"H) and green (2.25"H) fishnet with gilt accents on nose and paws and light blue ear lining. Herend backstamp. Largest piece: 2"L x 1.25"W x 4.25"H. Issued: 20th centuryDimensions: See DescriptionManufacturer: HerendCountry of Origin: HungaryCondition: Age related wear.
Lot 72
Hand painted porcelain sculpture depicting a refined lady in a light gray dress, holding a pink parasol. She is accompanied by her dog on a leash. Lladro backstamp. Artist: Fulgencio GarciaIssued: 1974 - 1998Dimensions: 10.25"L x 7"W x 17.5"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear. As is, as found.
Lot 230
Associated with peace and prosperity, the sheep is stunningly crafted in Silver Shade crystal with Light Smoked Topaz eyes. The sheep is on a clear crystal base that features the zodiac name in English and Chinese seal script. Swarovski swan marked. This item has its original box: 6"L x 6"W x 3.75"H. Artist: W Qian and Z Shao FeiIssued: 2010-2018Dimensions: 2.75"L x 2.5"W x 2.75"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 244
This Swarovski crystal Crystalline Tea light was part of the Home Accessories collection. The crystalline tea light consists of a clear glass ring filled with clear crystal chaton's, with white opal and white alabaster crystal accents. This item has its original box: 6"L x 6"W x 3.75"H. Artist: Daniel ZeisnerIssued: 2007-2010Dimensions: 1"H x 2.5" dia. Manufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 73
Beautiful glazed porcelain depiction of a mother and daughter in their night dresses. Both have short, light brown hair. Mother is in white with blue accents and the daughter is in pink and white. Item #5449. Lladro backstamp. Artist: Juan HuertaIssued: 1987-2007Dimensions: 5.5"L x 6"W x 8.25"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.
Lot 178
Adorable glazed porcelain figure of a baby deer curled up for the night. Depicted in beige with light spotting on the coat. Dark brown eyes and hooves. Carl Scheidig backstamp. Issued: 1935-1972Dimensions: 3.75"L x 3"W x 2.25"HManufacturer: Carl ScheidigCountry of Origin: GermanyCondition: Age related wear.
Lot 227
Associated with hard work, honesty, and reliability, the ox is stunningly crafted in Silver Shade crystal with Light Smoked Topaz eyes. The ox is on a clear crystal base that features the zodiac name in English and Chinese seal script. Swarovski swan marked. This item has its original box: 7"L x 7"W x 4.5"H. Artist: W Qian and Z Shao FeiIssued: 2012-2018Dimensions: 4"L x 2"W x 3.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 232
Associated with longevity, peace, and prosperity, the rabbit is stunningly crafted in Silver Shade crystal with Light Smoked Topaz eyes. The rabbit is on a clear crystal base that features the zodiac name in English and Chinese seal script. Swarovski swan marked. This item has its original box: 6"L x 6"W x 3.75"H. Artist: W Qian and Z Shao FeiIssued: 2010-2018Dimensions: 2.75"L x 1.75"W x 4.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 45
GEORGE BARRET (1732 -1784) Classical River Landscape with Travellers and a White Horse Oil on canvas, 97 x 123cmProvenance: Parker Gallery, London label versoTogether with Thomas Roberts (see lot 40), George Barret is the towering figure among the Irish-born landscape painters, sometimes called the Dublin Group, who brought the art to such a notable peak in the second half of the eighteenth century. In 1778, Thomas Campbell (1733-95) noted the ‘general excellence of Irish artists in landscape’ and, elsewhere, he suggested that Irish artists had ‘no competitors’ in the genre. Barret who made his career in London and was honoured as one of the foundation members of the Royal Academy in 1768, would have provided a crucial role model for the younger generation, such as Roberts, back home in Dublin. Barret is an endlessly inventive artist and, while he never repeats himself verbatim, he enjoys ringing the changes by playing with the different elements within his landscape syntax – figures, animals, trees, water, architecture – to produce what are perhaps best seen as ‘variations on a theme’, in which the component parts may vary, but the idiom is recognisably – and distinctively – Barret. Indicating, how he composed his work by a process of continuously shuffling different motifs, which he had observed individually and sketched directly from nature, to create different, and often very varied, compositions, the present large landscape offers an intriguing comparison with a work in the National Gallery of Ireland. The left hand side of the composition of both pictures is largely the same, as large trees grow out of a rocky escarpment from which a natural cascade flows into a river. As often, here Barret’s handling of flowing water is masterly, adding a dynamic sense of movement to this portion of the composition. The right hand sides of the two pictures are, however, noticeably different. In the National Gallery of Ireland work, a fisherman casts his line, rather optimistically, into the rapids, rather than into the still pool of water where he may have had better luck. In our work, by contrast, the composition is animated by a traveller with a white packhorse progressing to the right who has encountered a rustic figure, perhaps another traveller, or shepherd, accompanied by his alert and animated dog. Throughout the whole painting, the palette is controlled in a relatively low key and with none of the chromatic highlights – flicks of red in costumes – that can sometimes distract. Instead landscape and figures blend into a harmonious and very pleasing unity, which is emphasised by the subtly portrayed, even fall of light throughout the painting. This is a classical landscape certainly, but one based on the artist’s clear study of the landscape of his native land, and, most particularly, the scenery of the Dargle Valley in County Wicklow.Barret was born in Dublin probably in 1732. Little is known of his family background except that he was born in the Liberties, the son of a clothier. At about the age of fourteen Barret entered the drawing school of Robert West (soon to be taken over the Dublin Society), which exclusively taught drawing through the copying of prints, drawings and casts. In 1747 the young Barret came to public attention for the first time when as a young student at the Drawing School he was awarded a premium for his proficiency. At some point in the late 1740s or very early 1750s, Barret received his first notable commission when he was employed by Joseph Leeson to paint a series of landscapes which were set into decorative plaster frames in the Library (now the Dining Room) of his newly-built house at Russborough, County Wicklow. The capriccios Barret painted for Leeson, if more classically inspired than some of his later works (particularly in the depiction of the architecture), are delightful and they set the tone for the rest of his Irish-period oeuvre.Through the 1750s, and particularly the early 1760s, Barret continued to develop his personal style. The somewhat schematic structural characteristics of the 1740s remain, but his paintings become more boldly rendered and enlivened with increasing success by diminutive figures that evolve from Rococo Italianate staffage to more substantial and convincing fishermen or wayfarers – as here. In the years immediately preceding his departure for London, Barret seems to have been exceptionally busy and he received commissions from the most exalted levels of Irish society. During his formative years in Ireland Barret enjoyed the patronage of, among others, the Peppers of Ballygarth Castle and the Bectives of Headfort, and painted accomplished, classical landscapes, capriccios, house portraits, topographical views and, on occasion, hybrid compositions that drew on all of these models.Barret moved with some degree of social proximity with his grand patrons, appearing, for example, in a letter of 7 December 1762 from Emily FitzGerald at Castletown, her sister’s house in Kildare, where his presence is noted in the company of Lord Powerscourt. In the same year that he was working at Castletown, Barret was actively engaged in painting Powerscourt’s famous County Wicklow demesne. Several views survive, including two of the great house, built to designs by Richard Castle, and at least four of the famous waterfall. Views of Powerscourt were among the works Barret showed at the Society of Artists in his first London exhibition in 1764. Barret had left for London at some point in 1762. By September of that year, an auction was held ‘of the furniture of Mr. George Barret’s house in Leeson Street, near Donnybrook corner at Stephen’s Green’, rather appropriately just across the Green from where this work will be auctioned. Barret thrived in London, winning honours, patronage from the great of Georgian England, and, occasionally, wealth too. However, it is for his Irish landscapes such as the present work, done when he was a young man in Dublin that his art is most admired today.We thank Dr Logan Morse, who has recently completed a PhD on George Barret, for her assistance in compiling this catalogue entry.
Lot 40
THOMAS ROBERTS (1748-1777)Landscape with a Pool and Bridge, Horse wateringOil on wood panel, 43 x 54cmProvenance:Mess. E. Foster & Son, 54 Pall Mall, February 1907 (as by 'Julius Caesar Ibbetson, 1759-1817), Sir Drummond Cospatric Spencer-Smith (1876-1955); Sotheby's, 22 June 1979, lot 71 (as by Ibbetson); Sir Ivo Mallet (1900-1988) (as by Ibbetson); Private collection, IrelandAlthough painted by one of the most distinctive artists of the eighteenth century, this fine work by Thomas Roberts masqueraded for more than a century under the name of Julius Caesar Ibbetson (1759-1817) – a small but telling instance of how the important school of art that flourished in Georgian Ireland has been subsumed into, or rather appropriated by, that of a neighbouring island. Its correct attribution, only recently confirmed, can be demonstrated by a comparison with a work in the National Gallery of Ireland of very similar composition, if somewhat compromised in terms of condition (William Laffan and Brendan Rooney, Thomas Roberts, Landscape and Patronage in 18th-Century Ireland, 2009, 380-81). In both, and a third related work, figures – or here a single woman – cross a precariously spindly bridge; trees sprout from a rocky outcrop shrouded in shadows while, on the left, the landscape opens up to the distance. There are noticeable differences, however, between this and the NGI painting. Instead of two horses at the water’s edge, in the present work Roberts introduces the rather more successful motif of a horse with a rider stopping to drink. A closely comparable motif can be found in Roberts’s View near Enniskerry, also in the National Gallery of Ireland (NGI, 4703, Laffan and Rooney, 10). The white horse is something of a Roberts trademark and here its reflection is beautifully captured in the still, mirror-like pool of water. This detail is less clearly apparent in the somewhat abraded picture in the National Gallery of Ireland. As Brendan Rooney and Nicola Figgis note of the NGI work, ‘certain details, which are recognisably Irish in character such as the ruins and the foliage, demonstrate how successfully Roberts appropriated a Continental model to suit his own particular sensibilities’ (Nicola Figgis and Brendan Rooney, Irish Paintings in the National Gallery of Ireland, Vol. 1, 2001, 408). Part of the success of the painting, which is in noticeably well-preserved condition, is owing to its unusual support of a panel of wood rather than canvas. The lustrous surface of the panel allowed the artist to bring the composition to an exceptionally high degree of finish – something at which Roberts excelled. The artist availed of supports of different materials on occasion. One of his views of Belleek, County Fermanagh, is painted on the usual support of paper laid down on canvas. The picture is housed in its original carved, gilded and sanded Irish frame of a type that has been found on several other works by Roberts and which he clearly favoured. Anne Crookshank and the Knight of Glin describe Roberts as ‘the most brilliant’ of the Dublin School of landscape which flourished in the second half of the eighteenth-century. William Laffan in the Art and Architecture of Ireland writes ‘In the short span of his career, Roberts produced a body of consistently accomplished, gently lyrical work that justifies his description as the finest Irish landscape painter of the eighteenth century’ (AAI, 2, 435). Born in Waterford in 1748, Roberts would be dead a mere twenty-eight years later and his work is accordingly extremely rare. His father, John, was Waterford’s leading architect who designed both Catholic and Protestant cathedrals in the city, a distinction seemingly unique in Europe; his mother, Mary Sautelle, was of Huguenot descent. After a basic education in his native city, Roberts entered the Dublin Society Schools where he studied under James Mannin. He also apprenticed with George Mullins (who had Waterford connections) and, according to an early source, was ‘improved’ by Cork artist John Butts. Roberts emerges as a fully formed, and highly distinctive, artist in two works which he exhibited at the Society of Artists in Ireland in 1769: a View of Rathfarnham Castle (private collection) and the famous Frost Piece (private collection). These ambitious and confident early works, so different from the contemporary productions of, say, Robert Carver, forcibly announced the arrival of a major new talent on the Dublin scene and the removal of Carver and George Barret to London, left the Irish market for landscapes open to Roberts and his close contemporary, William Ashford. In all, over an eleven-year period up to 1777 he showed about sixty works at the William Street exhibitions. There is evidence to suggest that Roberts painted en plein air, a highly unusual approach in northern Europe at this date. Certainly, in two instances Roberts shows himself painting out-doors and the great delicacy and subtlety with which he captures the fall of light, here, and the beauty of the limpid sky, could well be explained by his precocious adoption of this unorthodox practice. Roberts was a much more advanced, and complex, landscape artist than his restrained, even understated, works at first glance might suggest. In general, his landscapes are built up with the most delicate of paint glazes, and he eschews the more robust impasto of artists such as George Barret in favour of a thin paint surface. The close relationships of friendship, family and political alliance between Roberts’s patrons is noteworthy – and it seems that Roberts was recommended from commission to commission by satisfied noble clients. This helps explain his rapid ascent to the position – while still in his twenties – of the most sought-after landscape painter in Ireland. Roberts’s art could, however, also bridge political divides and perhaps the two most pleasing works in his entire oeuvre were painted for Lord Harcourt, the Viceroy, to whom another client, Lord Charlemont, was politically opposed. Roberts brought the art of Irish demesne painting to its peak in two sets of views showing Lucan, county Dublin, and Carton, county Kildare. Although he exhibited regularly and extensively in Dublin, Roberts sent work to the London exhibitions only occasionally and, unlike Mullins or Barret, did not show at the Royal Academy. Despite this, his one professional foray outside Ireland was for the enormously prestigious commission from Sir Watkin Williams Wynn for two large landscapes to decorate the stair hall of his vast townhouse, newly built to designs by Robert Adam, in St James’s Square. Roberts was paid the sum of £53 10s for the Wynn commission on 3 April 1775, by which date he was at work on his last, and most important commission to paint the demesne of Carton, recently inherited by the 2nd Duke of Leinster. However, ill health prevented him from completing the six pictures originally planned and, in late November or December, Roberts left Ireland for the warmer climes of Lisbon where he did not survive long, dying in March 1777. Two hundred years later Michael Wynne hailed Roberts as ‘most affirmatively one of the finest landscape painters in Great Britain or Ireland’ in the third quarter of the eighteenth century (Studies, Winter, 1977).We are grateful to William Laffan and Brendan Rooney for their assistance in cataloguing this lot.
Lot 19
AFTER THOMAS SAUTELLE ROBERTS (1760-1826) Blackrock Castle from Views in Ireland (Abbey Scenery 453) Carrick Castle from Views in Ireland (Abbey Scenery 453)Aquatint and etching, each 38.5 x 47cm (plate); each 45 x 62cm (sheet) Published by T.S. Roberts, London; T.S. Roberts, del.; John William Edy fecit. (1796) A PairThis aquatint of Blackrock Castle by Thomas Sautell Roberts depicts the original structure as it once stood along the banks of the River Lee, approximately half a mile east of Cork. The original tower, dating to the early 17th century, was part of Lord Mountjoy’s fortifications of Cork, alongside the first fort on Spike Island. Roberts’ portrayal shows the tower in a somewhat deteriorated and overgrown state, surmounted by a newer 18th-century octagonal wooden turret, which functioned as a navigation light for vessels travelling on the river. Several such ships are depicted in the scene, with a man aboard a lugger beside the castle raising his arm.On the river’s north bank, a house situated within a wooded estate is likely Tivoli House. Additionally, the remains of a medieval fort, now destroyed, are visible atop a rocky promontory. The castle itself sustained significant damage in a fire in 1827. It had been leased by the Harbour Commissioners from the Corporation of Cork for 21 years, and by 1829, it was fully renovated. The structure was rebuilt in a Gothic style with additional turrets, and today it serves as Cork’s Astronomy Centre.Thomas Sautell Roberts (c. 1760–1826), the son of Waterford architect John Roberts, followed in the footsteps of his brother, the painter Thomas Roberts, and his brother-in-law, George Richard Pain. After his brother’s death in Lisbon in 1778, Thomas Sautell took over his studio, completing unfinished works under his brother’s name. Renowned for his Romantic landscapes, Roberts frequently portrayed storms and seascapes in contrast to his brother’s more restrained style. Few of his oil paintings remain, but in 1801, he exhibited a series of watercolour views of Irish landscapes in Dublin, with a dozen of these scenes later reproduced as aquatint prints.
Lot 146
A POOLE AMPHORA VASE DECORATED WITH FLOWERS AND EXOTIC BIRDStogether with a Royal Worcester plate for Past Times of 'Reading' Medieval lady; a gilt metal cherub (possibly part of light fitting); two printed silhouettes, two portrait miniatures and a framed print of girl; together with a 19th century green glass ewer and fifteen pieces of miscellaneous ceramics and a cloisonne vase of cranes with fungus in their beaks
Lot 120
D. Bradford Barton, publishers Wreck and Rescue series. Ten works Farr, Grahame (1966) Wreck & Rescue in the Bristol Channel. 1st edn. Truro, Cornwall: D. Bradford Barton Ltd; Farr, Grahame (1967) Wreck & Rescue in the Bristol Channel. The story of the Welsh lifeboats. 1st edn. Truro, Cornwall; Farr, Grahame (1968) Wreck & Rescue on the Coast of Devon - the story of the South Devon lifeboats. 1st edn. Truro, Cornwall: D. Bradford Barton Ltd; Parry, Henry (1973) Wreck & Rescue on the coast of Wales the story of the North Wales lifeboats. 1st edn. Truro, Cornwall: D. Bradford Barton Ltd; Wreck & Rescue on the Dorset coast - the story of the Dorset lifeboats. 1st edn (1971). Truro, Cornwall: Malster, Robert (1968) Wreck & Rescue on the Essex coast - the story of the Essex lifeboats. 1st edn. Truro, Cornwall: D. Bradford Barton Ltd (1); Noall, Cyril. Wreck & Rescue round the Cornish Coast. I. The Story of the North Coast Lifeboats, ....II. The Lands End Lifeboats, ....III. The South Coast Lifeboats. 1st edn's. Truro, Cornwall, 1964, 1965 and 1971; Parry, Henry (1969) Wreck & Rescue on the Coast of Wales - The lifeboats of Cardigan Bay and Anglesey. 1st edn. Truro, Cornwall. (10)Some light bleaching to spines and small nibbles to some dj's, very sporadic spotting, generally vg, a great collection.
Lot 121
J. C. Dibdin and John Ayling The Book of the Lifeboat: With a Complete History of the Lifeboat Saturday Movement...... First edition, original pictorial cloth with gilt lettering, chips to spine with some staining, gilt edge, profuse with illustrations throughout, some light spotting to text block but generally vg, Oliphant, Anderson & Ferrier, Edinburgh & London, 1894.
Lot 171
12 bore side by side shotgun, by Holland & Holland, side lock ejector, 30-inch barrels, all wood stock, serial no 26277, the barrels engraved 'Holland & Holland, 98 New Bond St, London', overall length 119cm; in a leather Holland & Holland fitted gun case** BUYER REQUIRES A SHOTGUN LICENSE - ITEM MUST BE COLLECTED IN PERSON BY THE NAMED LICENSEE - NO THIRD PARTY COLLECTION** Condition report:Some minor marks/blemishes to the interior of the barrels. Proofed at 729 and it measures 734. Approximate barrel thickness is 25 thousandths to the right, 20 thousandths to the left. Model number 2, dated to 1910. Length of stock (length of pull) 37cm, length to toe 37cm, length to heel 38cm. Chamber length is 2.5"General condition comments: some light marks to the exterior barrels. The stock has some historic scars and notches but otherwise is in good order. The foregrip has what appears to be an historic repair to the wooden grip, and possibly a replaced screw thread in the recess of the lever? The case is well worn, some of the stitching is coming unpicked, the handle is replaced, wrap-around straps missing, the interior a little tired but fits the gun well.
Lot 134
Quantity of gilt metal Empire style furniture mounts, including six point stars, Eqyptian mask heads, set of six Empire style pierced grill finger plates 52cm, a set of four smaller finger plates, 22cm, a ceiling light with frosted glass shade, metronome, brass candlesticks, and a large gilt wood eagle surmount, 41x32cm. etc
Lot 58
A Scottish military sporran. The large shaped brass cantle with thistle spray decoration, the centre inset with a Highland Light Infantry Officer's HLI Glengarry badge circa 1901-52, the thistle star bearing crown, coiled bugle with central HLI, ASSAYE scroll and Elephant. The black horse hair body with five white horsehair tassels, all with brass top bells, the red leather backing with central pocket secured by a brass pin and a matching belt, 44.5cm long
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534297 item(s)/page