A part suite of Georgian foil backed topaz jewellery, to include a pair of pear shape drop earrings, 23mm long, a part necklace with graduated stones between approx. 8.5 - 11mm diameter, on short lenght of chain, overall 21cm long, and later adapted single stone bar brooch, all with closed backs and set in unmarked rose coloour metal (tests as approx. 14ct gold), 24.7g gross, (all a/f)brooch - stone ok, light wear throughout, 2.6gearrrings - small nibble to table facet of one earring and surface rising inclusion to crown facet, backs 'bruised' with signs of wear throughout, 4.5gnecklace - slight colour variance, minor wear throughout, 17.6g
We found 534297 price guide item(s) matching your search
There are 534297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534297 item(s)/page
An 18ct diamond solitaire ring, the round brilliant cut diamond, estimated approx. 0.49cts, claw mounted in white gold with a plain band of yellow gold hallmarked Birmingham 2002, size M, 3.5gdiameter approx. 5.0mm depth approx. 3.2mmcolour estimated approx. J-Kclarity estimated approx. SI1 - SI2light wear throughoutwould benefit from a clean
Catherine Walker- A late 20th Century cream tuxedo style longline and fitted wool jacket having black lapels, black buttons and a cream silk lining. Location:RailCondition: There is a pull near one of the front buttons and light staining to collar and underarm areas of lining-See additional photos
Three vintage ladies fur bolero jackets comprising 2 blonde minks and a brown mink, all approx 40" chest together with a late 20th Century Lands End charcoal grey 100% woollen coat having a padded lining, size 6-8, small, no signs of wear. Location:RailCondition:Light staining to blonde mink linings, light vintage perfume scent to furs, no stiffening, some seam separation to one mink sleeve-see additional photos.
Two 20th century bookcases, an oak open bookcase with three adjustable shelves on plinth base 107cm x 91.5cm x 30.5cm, and a light oak bookcase with twin glazed doors, three adjustable shelves on plinth base 91.5cm x 81cm x 23.5cm Location:If there is no condition report shown, please request
A terracotta ceiling light shade relief decorated with trailing acorn and oak leaves, and heads of French famous 18th and 19th century authors and philosophers, along with a 19th century terracotta wall hanging relief plaque. 19th century ceramics to include a John Beavington figural group posy vase A/F, Ridgeway dessert dish and two plates, an oval blue and white wall plaque unmarked (possibly Doulton), a 19th century milk glass scent bottle with enamel decoration and white metal collar and cap A/F, and other items Location: If there is no condition report shown, please request
* Hallward (Patience Mary, 1892-1981). In Ambush, 1921, lithograph, depicting a waiting dragon coiled up in wooded rocky landscape, a grassy coastal landscape in the distance, titled, signed, dated and numbered 2/25 in pencil to lower margin, some light overall toning, image size 41 x 26 cm (16 1/8 x 10 1/4 ins), sheet size 55 x 36 cm (21 5/8 x 14 1/8 ins), together with Batten (John Dickson, 1860-1932). The Centaur, October 12th 1921, colour woodcut from six blocks, signed with 'S4' and 'No14' in pencil to lower margin, '6 block edition' and date to verso in pencil, some spotting and light overall toning, image size 23.5 x 15.2 cm (9 1/8 x 6 ins), sheet size 27.5 x 18 cm (10 3/4 x 7 1/8 ins), in cream mount (36.5 x 25.5 cm), plus Guthrie (James, 1859-1930), Dreamland, wood engraving, image size 21 x 17.5 cm (8 1/4 x 6 7/8 ins), sheet size 27 x 21 (10 5/8 x 8 1/4 ins), in cream mount (49 x 32.5 cm), together with 15 other mainly etchings by various artists including Michael Renton, William Strang, Henry Townsend, Achille Ouvré, J.W. Waterhouse, etc., largest 31.5 x 51 cm (12 3/8 x 20 ins)QTY: (18)NOTE:Provenance: David Gould (1922 -2004), art dealer, connoisseur, and founder of the Taranman Gallery with Christopher Hewett.
* Allen (Harry Epworth, 1894-1958). A Derbyshire Village (Wardlow Mires), wood engraving on Japon paper, signed, titled bottom left, signed bottom right, good condition with minor ruckling bottom border and very light occasional foxing spots to bottom border, block measures 17.6 x 25.5 cm (7 x 10 ins) plus borders, together with 'West Gate, Southampton', wood engraving, good condition, block measuring 20.5 x 17.3 cm (8 x 5 1/5 ins), plus borders, both presented conservation mountedQTY: (2)
* Khnopff (Fernand, 1858-1921). Un Geste d'Offrande (Un Geste de Respect), 1900, drypoint etching on thin wove paper, printed with light plate tone, an artist's proof, signed an dinscribed 'epreuve d'etat. Un souvenir de Fernand Khnopff. 1920' to lower margin, some light soiling and handling marks to sheet edges, barely discernable crease to upper left corner of the plate area, plate size 200 x 145 mm, sheet size 272 x 182 mm (10 5/8 x 7 3/16 ins)QTY: (1)NOTE:Delevoy Croesë 355.
* Bauer (Marius Alexander Jacques, 1867-1932). La Multitude Emplissait d'une Allégresse Grave les Rues (The Multitude Filled the Streets with Serious Joy), a series of 8 etchings, 5 on Van Gelder Zonen watermarked laid paper, produced for Akëdysséril by P. Villiers de I'Isle Adam, 1894, the first depicting a large procession lining the streets in a Far Eastern Town, some overall light toning, signed in pencil to lower right margin, image size 21.5 x 20.4 cm (8 1/2 x 8 ins), sheet size 45.5 x 39 cm (17 7/8 x 15 3/8 ins), in card mount (56 x 40.5 cm), together with 7 other etchings from Bauer from the same series, comprising: L'Eau Radieuse Dormait Sous Les Quais Sacrés, On Distribuerait Au Peuple Le Butin d'Éléphanta, Et Le Terrain Résonnait Sourdement Sous Ces Approches, La Souveraine du Habad entra dans Bénarès, Elle Marchait sur ces Ombres Mouvantes, Les Effleurant de sa Robe d'or, C'est Que, sans même Relever les Paupières sur L'Accusatrice le Pontife Sombre avait Murmuré, sans Dédain, sans Terreur et sans Orgueil, ce Seul Mot: "Regarde"., Les Trois Vizirs, Inclinés, La Regardaient, Leurs Armes en Mains, L'Air Meurtrier', all signed in pencil to lower margin, some occassional spotting and toning, largest image size 19.7 x 29.1 cm (7 3/4 x 11 1/2 ins), sheet size 45.5 x 39 cm (17 7/8 x 15 3/8 ins), all in matching cream card mounts (56 x 40.5 cm)QTY: (8)NOTE:The etchings were published in Akëdysséril by P. Villiers de I'Isle Adam, translated into Dutch by L. van Deyssel. "In addition to appearing in the edition of 100 copies, with text, published in a portfolio in 1894, the etchings were published separately in editions of 100 proofs of each. The titles mentioned are as in the original French text" - Bauer page 81-83.
* Khnopff (Fernand, 1858-1921). Sire Halewyn, 1903, drypoint etching on pale cream wove paper, signed and with indistinct presentation inscription lower right, several diagonal creases, affecting the image area, light mount stain, plate size 170 x 240 mm, sheet size 283 x 365 mm, together withUn Masque, 1899, drypoint etching on cream wove paper, heightened with pale red crayon (to the flower button hole), signed and inscribed 'un souvenir de Fernand Khnopff. 1919', diagonal crease to upper right, touching the image area, some light spotting and handling marks, mainly to blank outer margins and sheet edges, plate size 177 x 100 mm, sheet size 290 x 180 mm (11 3/4 x 7 1/8 ins)QTY: (2)NOTE:Delevoy Croesë 388 & 337.
* Bolswert (Schelte A., 1586-1659). Justus Lipsius Historiographus (from Icones Principum Virorum), circa 1635, stipple engraving and line engraving on laid paper, with watermark of a foolscap with two bells and three balls, a very good impression, the full sheet, some light creases to blank margins, plate size 252 x 167 mm (10 x 6 5/8 ins), sheet size 385 x 270 mm (15 1/4 x 10 5/8 ins), window mounted, together with Vorsterman (Lucas, 1595-1675). Hubertus Vanden Eynden, Statuarius Antverpiae (from Icones Principum Virorum), circa 1630-45, engraving on laid paper, plate size 225 x 155 mm (9 x 6 ins), plus four other engraved portraits after Van Dyck from the Icones Principum Virorum (Theodorus Rombouts Pictor... Antverpiae by Paulus Pontius, circa 1645-46, Cesar Alexander Scaglia, Ambassador of the Duke of Savoy by Paulus Pontius, 1630-40, Henricus Liberti, Organist of Antwerp Cathedral by Pieter de Jode, 1646, and Gustavus Adolphus by Paulus Pontius, circa 1630, all framed and glazedQTY: (6)NOTE:Justus Lipsius: New Hollstein 39, vi/vi (final state); Mauquoy-Hendrickx 22, vi/vi; Hubertus Vanden Eynden: New Hollstein 61, ix, Mauquoy-Hendrickx 80, ix.
* Hughes (Edward Robert, 1851-1914). Seated female nude, black chalk on cream laid paper, signed lower left, some light overall toning, a few small spots, aperture size 34.2 x 24.1 cm (13 1/2 x 9 1/2 ins), framed and glazed (53.5 x 41 cm), typewritten label on verso with brief artist's biography, together with Portrait of a Woman, July 5 1904, black chalk on cream laid paper, dated upper right, couple of brown spots to upper right, mount aperture 25.4 x 32.8 cm (10 x 13 ins), framed and glazed (45 x 49.5 cm), typewritten label on verso with brief artist's biographyQTY: (2)NOTE:According to a modern handwritten note on the frame verso, the model for these two life studies may be Hilda Virtue Tebbs - the note refers to the Lyle Official Review, 1992, page 276.
* Nightingale (Basil, 1864-1940). Crime & Retribution, 1913, a pair of watercolours, with black chalk and body colour on buff paper, each titled, signed and dated in brown ink to upper right, Crime depicting a fox carry a dead chicken in its mouth, Retribution portraying a hound carrying the head of a dead fox in its mouth, Retribution with some light surface mould and dust, visible size within inner gilt slips 36 x 54.5 cm (14 1/4 x 21 1/2 ins) and similar, framed and glazed (51 x 69.5 cm)QTY: (2)NOTE:Nightingale produced many examples of Retribution in various media, some with the title The Celebrated Belvoir Gambler. We have found no other examples of Retribution dated earlier than 1916. It appears that the hound Gambler belonged to the Duke of Rutland, of Belvoir Castle, and its portrait, on which Retribution is based, was drawn in 1909 for the Duke's own collection. Most of the later copies have the word 'copyright' added by the artist: presumably in an attempt to prevent unauthorised copies.
* Prosdocimi (Alberto, 1852-1925). Venice - The Salute in the Distance, watercolour, showing St Marks Square, Venice, signed lower left, some light toning, 29 x 17.5 cm (11 1/4 x 6 7/8 ins) mount aperture, framed and glazed (53 x 40 cm), together with Vasari (Andreas, 1873-1961). San Georgio Maggiore, watercolour, signed lower left, 26.5 x 37 cm (10 1/2 x 14 1/2 ins) mount aperture, in decorative gilt frame (49 x 59 cm), and Wright (Richard Henry, 1857-1930). View of the Doge's Palace, 1874, watercolour, showing a view of the Doge's Palace from the river, signed and dated lower right, 17.5 x 24 cm (6 7/8 x 9 1/2 ins) mount aperture, in decorative gilt frame (37 x 43 cm)QTY: (3)
* Metford (Samuel, 1810-1896). Silhouette portraits of three members of the Binyon family, 1846, black paper cut-outs with white highlights, all full-length in profile to the right, against identical lithographic scenes of a drawing room with a boat seen through the window behind, each signed and dated by the artist at Manchester in brown ink lower left, some spotting, 27 x 17.5 cm, framed and glazed, together withPatten (William Vandyke , active 1844-1871). A pair of half-length portraits of Rachel and Thomas Binyon, August 1845 & 1847, pencil with red highlights on wove paper, signed and dated to lower margins, uniform overall toning to paper of first portrait and some light toning to paper of second portrait, 30.5 x 25 cm (12 x 10 ins), matching maplewood frames, glazed, 42 x 37 cmQTY: (5)NOTE:Provenance: The family of Martha Spriggs (1777-1866); thence by direct descent.Modern manuscript labels to frame versos identify the sitters of the silhouette portraits as the children of Thomas Binyon and Hannah (née Smith) of Manchester: Thomas Binyon (born 23 January 1795, died in Worcester 18 May 1865), Hannah Binyon (born 26 April 1801, married 1st Nathaniel Card, 2nd Jeremiah Barrett) and Ann Binyon (born 16 June 1804, married Wilson Forster of Liverpool). The two Metford portraits depict Thomas Binyon (1795-1865) of Manchester and Worcester and his second wife, Rachel Arch (1817-1845).Samuel Metford (1810-1896) was born into a Quaker family in Glastonbury, Somerset, and during his childhood in Bath, he was taught by Augustin Edouart (1796-1861), the best French exponent of silhouette profiles. In 1834 he emigrated to New York, where he continued to work as a portraitist, travelling to Boston, Philadelphia, Washington and Saratoga Springs. After returning to England a decade later in 1844, he was active in the north of England, producing many portraits of members of the Quaker community, as here.
* Mackley (George, 1900-1983).The Ferry, 1951, wood engraving on cream wove paper with Basingwerk Parchment watermark, from the edition of 75 impressions, signed, titled, and numbered 4/75, with wide margins, a few light spots, hinged on to card mount, image size 150 x 127 mm (6 x 5 ins), sheet size 249 x 182 mm, together with Barn at Giethoon, 1968, wood engraving on japon, signed, titled, and numbered 73/75, with margins, tipped on to card mount, image size 99 x 125 mm (4 x 5 ins), sheet size 205 x 210 mm, plus Island Slipway, circa 1930, wood engraving on thin laid paper, signed, titled, numbered 30/75, with margins, tipped on to card mount, image size 126 x 176 m (5 x 7 ins), sheet size 187 x 256 mmQTY: (3)NOTE:Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian.
* Shannon (Charles Haslewood, 1863-1937). Mother and Child, 1894, lithograph on thin card, from Portfolio No. 2, published in an edition of 55 impressions, signed in pencil, light munt stain to outer edges, and blank margins with some skinning caused by previous mounting, sheet size 30 x 23 cm (11 3/4 x 9 ins) QTY: (1)
* Raverat (Gwen, 1885-1957). Childe Rowland, 1947, colour wood engraving on laid paper, printed from the edition of 26 impressions in colour (there were 10 impressions of the monochrome version), printed in dark blue-grey, light grey, pale yellow and pale orange, signed, titled and numbered 18 in pencil by the artist to lower margin, very pale mount stain, image size 185 x 235 mm, sheet size 217 x 268 mm (8 1/2 x 10 5/8 ins), framed and glazed, with old typewritten label to verso with the title of the work, the price and the artists address as Mrs. G. Raverat, The Old Grannary, Silver Street, Cambridge, together with Cambridge Autumn, 1 & 2, 1935, two wood engravings on Japan tissue, unsigned, one numbered 15 in pencil to lower left margin, image size 43 x 119 mm, plus Old Silver Street Bridge, Cambridge, 1938, wood engraving on card, with printed inscription at foot “Best wishes for Xmas and the New Year from Gwen Raverat, The Old Grannary, Silver Street, Cambridge”, image size 178 x 144 mm, sheet size 229 x 144 mm, both framed and glazed, with printed label verso, Broughton House Gallery, 98 Kings Street, CambridgeQTY: (4)NOTE:Selborne & Neman P550; 339, 340 & 484. Cambridge Autumn 1 & 2 were published as illustrations to Mountains and Molehills by Frances Cormford, published by Cambridge University Press in 1934
* Smith (Pamela Colman, 1878-1951). Group of Young Women, 1903, watercolour and black ink on thick card, signed with monogram lower left, with inscription by the artist below the image: 'To P.... from Pixie Pamela, Jan. 1903', some light soiling, and vertical crease to upper portion of the image, overall sheet size 42 x 34 cm (16 1/2 x 13 1/2 ins), together with another watercolour and gouche design on card by Pamela Colman Smith of a woman holding a branch of rowan in a landscape, signed with monogram lower left, 25 x 14 cm (9 3/4 x 5 1/4 ins)QTY: (2)NOTE:Provenance: David Gould (1922 -2004), art dealer, connoisseur, and founder of the Taranman Gallery with Christopher Hewett.Pamela Colman Smith (1878-1951), nicknamed "Pixie", was an artist, illustrator, writer, publisher, and occultist, born to an American father and Jamaican mother. She is best-known for illustrating the Rider–Waite tarot deck for Arthur Edward Waite. This tarot deck became the standard among tarot card readers, and remains the most widely used today. Smith also illustrated over 20 books, wrote two collections of Jamaican folklore, edited two magazines, and ran the Green Sheaf Press, a small press focused on women writers.Smith was a fascinating but mysterious figure – a mystic who was part of the secret occultist society the Hermetic Order of the Golden Dawn, which borrowed ideas from Kabbalah and freemasonry for its own spiritual belief system centred on magic and metaphysics. Born in London, Smith spent a period of her childhood in Jamaica and styled herself in West Indies fashion, leading to conflicting reports over whether or not she was biracial. She has also been cast as a cult queer icon because she shared a home with a female companion and business partner named Nora Lake for many years – though it is unclear whether their relationship was romantic.
* After Leon Bakst 1866-1924. Four lithograph plates from Léon Bakst by E. Wasmuth, 1927, four lithographic plates with pochoir hand-colouring, including gold and silver on thick cream wove paper, watermarked MBM, taken from the book Léon Bakst by E. Wasmuth, Berlin, 1927, includes costume designs for Aladin, Sleeping Beauty and Judith, light spotting and very pale toning, remnants of original tissue guard to extreme left margin, each sheet size 32.5 x 25.2 cm (12 3/4 x 10 ins), unframedQTY: (4)
* Wolfe (George, 1834-1890). July in Leigh Woods, 1889, watercolour, depicting a summer wooded scene from Leigh Woods in Bristol, a figure in the background carrying wood in a red shawl, signed and dated to lower right, 72 x 50 cm (28 3/8 x 19 5/8 ins), framed and glazed, (81 x 59 cm), label with contemporary manuscript containing the first verse of Birds in Summer by Mary Howitt with 'Geo Wolfe Windsor Terrace Clifton Bristol' in brown ink to versoQTY: (1)NOTE:George Wolfe (1834-1890), landscape, coastal and marine painter both in oil and watercolour, was born in Bristol, the son of Charles Wolfe, a boat builder, and Ann, a dressmaker. By the age of 17 in 1851, Wolfe had moved to 9 Windsor Terrace in Clifton, and lived under the guardianship of Sophia Bulkeley, a widow and fund holder, who may have become his adoptive mother. He shared a studio in Clifton with fellow artist, Samuel Phillips Jackson (1830-1904), son of Samuel Jackson (1794-1869), founder of the Bristol School of Artists.The verse by Mary Howitt, inscribed on the label on the back of the picture reads: How pleasant the life of a bird must be, Flirting about in each leafy tree, In the leafy tress so broad and tall, Like a green and beautiful palace hall, With its airy chambers, light and boon, That opens to sun and stars and moon, That open unto the bright, blue sky, And the frolicsome winds as they wander by. Geo Wolfe, Windsor Terrace, Clifton, Bristol in brown ink.
* Biffin (Sarah, 1784-1850). Oval miniature portrait of Mrs Parry, by Miss Biffin Without Hands, 1822, watercolour and gouache on card, head and shoulders portrait, half-profile to right, of a lady with flowing long white hair, curled around the forehead, wearing a black dress with white sleeves, and a gold chain, light mottling, artist’s manuscript inscription on verso ‘Painted by Miss Biffin Without Hands 1822. Bruxelles - and presented to Mrs Parry as a small token of gratitude for the many kindness’s Miss Biffin received from her during her stay in Bruxelles’, inscription edge-trimmed with slight losses, 9 x 6.7 cm (3 1/2 x 2 5/8 ins)QTY: (1)NOTE:The remarkable Sarah Biffin (or Biffen), sometimes known by her married name of Mrs Wright, was born without arms and legs, yet taught herself not only to write and sew, but also to paint miniature portraits as well as any able-bodied artist. Sarah was born into a poor family, and, determined not to be a burden on her parents, she learnt to use a pen, paintbrush, needle, and scissors, before the age of ten, using her mouth and right arm stump. She began her career exhibiting her skills as a curiosity, touring the country with a travelling fair, billed as ‘The Limbless Wonder’. Her fame spread and she came to the notice of the Earl of Morton who became her patron, sponsoring her to study at the Royal Academy and helping her to secure commissions from members of the aristocracy as well as the royal family. That a disabled woman from a humble background in the 19th century was able to become a celebrated professional artist is testament to her perseverance and resilience. Sarah Biffin’s miniature portraits have become increasingly sought after, and in 2019 one of her self-portraits sold at Sotheby’s for £110,000 hammer price. The portrait offered here is somewhat unusual in showing the sitter with her hair flowing loose, which lends it a certain intimacy, and the artist’s presentation inscription on the back shows that Miss Biffin evidently knew Mrs Parry quite well.
* Meryon (Charles, 1821-1868). L'Arche du Pont Notre-Dame, 1853, etching with drypoint on laid paper, with partial watermark, the 4th state (of 7), some light spotting, plate size 153 x 195 mm (6 x 7 3/4 ins), sheet size 295 x 475 mm (11 1/2 x 18 3/4 ins), old card mountQTY: (1)NOTE:Schneiderman 28.
AR * Hunt (Cecil Arthur, 1873-1965). Markham Moor & Distant view of Lincoln, watercolour on cream wove paper, titled lower left and signed lower right in pencil then oversigned in blue ink, some light spotting, sheet size 25.2 x 35.4 cm (9 7/8 x 13 7/8 ins), artist name and title in blue ink to versoQTY: (1)
* Grant (Duncan, 1885-1978). At the Ballet, 1938, colour lithograph on wove paper, printed by Curwen Press, published by Contemporary Lithographs Ltd., London, light handling creases to lower right blank margin, a small short closed tear to lower margin (not affecting image), sheet size 50.6 x 66 cm (20 x 26 ins), unframedQTY: (1)
Victorian infantry officers sword by Wilkinson and another sword first with a Royal Artillery pattern 89 cm slightly curved single fullered sabre blade with spear point etched with VR cypher, foliate scrolls and initials, numbered 25641, brass proof disc, signed Henry Wilkinson, Pall Mall 1822 Pattern Light Cavalry Officer’s steel three-bar hilt with a chequered pommel and wire bound shagreen grip, together with an 18th century 80.5 cm single edged and fullered blade engraved with a crown and foliate scrolls, numbered 126 fitted with an steel guard with GVR cypher, wire bound grip handle, metal scabbard with two ring hangers (2)first length 104cm., Condition:commensurate with age lacking. first lacking scabbard. metal scabbard with surface corrosion and blistering
Alexandre Ouline (Belgian, 1918-1940) 'Maternite', a patinated bronzesigned Ouline, on black marble plinth base height 29cm., length 40cm., Condition:Some small areas of wear to patination with light scratches and wear, principally to child's right cheek, only visible on close inspection Small Chips to corners and edges of plinth base
A pair of French two light crystal and gilt painted metal 'Parrot' wall appliques c.1960attributed to Maison Bagues, the backplate in the form of a parrot perched on an urn issuing leaf and flower scroll arms with drip pans and moulded glass nozzles, (2)height 47cm., width 24 cm.Condition:Good condition commensurate with age. crystal elements mostly in very good condition. Some very minor small fleabite losses to edges of very base of right facing parrot. Fitted for electricity but in need of re wiring
Albin., Eleazar. A Natural History of English Insects. Illustrated with A Hundred copper plates, Curiously Engraven from the LifeLondon, 1720, first edition, printed for the author: and sold by William and John Innys, 100 hand coloured engraved plates, subscribers list, 4to, later bound in red half calf the spine with raised bands,Condition:Toning and mottling to paper. pencil marginal annotations throughout spotting to end blank and last page. occasional light offsetting. bright
A pair of Edwardian silver five light candelabraSheffield, 1909, makers mark J S Rthe weighted plain tapering octagonal columns on octagonal stepped bases with raised wavy edged rim, the detachable branch sections each issuing two pairs of acanthus scroll arms with nozzles and drip pans below a central light, (2)height 59 cm., total weight approx. 134.36oztCondition:One scroll arm of one section detached but present. On the other section one nozzle leads inwards One the same candlestick the column is pushing down on the base and the candlestick now rocks. The other candlestick has a ding to base on one side Butcher's Hall, The Worshipful Company of Butchers
A British Naval Officers 1827 pattern sword by J Gieve & Son c.1900the 79 cm straight flat backed single fullered tapering blade with etched decoration, one side with crowned fouled anchor the other the Royal coat of arms, a brass proof disc next to hilt, rubbed signature 'Royal Naval Outfitters 21 George St Hanover Square, half basket gilt brass guard, lion headed pommel with extended mane and wire bound shagreen grip, original brass mounted black leather scabbard with two ring hangers, initialled J.F.F.A.overall length 95cm. Condition:Overall in good condition with occasional light pitting and rust spots. Scabbard leather dry with craquelure to varnish but overall in good order commensurate with age
Westwood., John Obadiah. The Cabinet of Oriental Entomology; being A selection of some of the rarer and more beautiful species of insects, Natives of India and the Adjacent IslandsLondon, William Smith, 1848, 42 lithograph plates with handcolouring ,most with tissue guards, marbled edge, 4to, contemporary fine grained full green morocco, gilt tooled borders, spine and edges pp. 88 Condition:spotting to title pages first few and last few pages. Occasional light spotting throughout. Offsetting to first plate, some others with offsetting to tissue guard. Scuffs to board edges and corners
A late Victorian silver and enamel cigarette caseBirmingham, 1899, Rolason Brothersof rectangular curved from, the hinged cover inset with a oval enamel panel painted with a Red Fox in a landscape, length 8.7cm., weight approx. 3.95oztCondition:Surface wear and v light scratching to enamel. very slight chip to enamel on the left hand edge. The case with light knocks and dings. Interior gilt very rubbed.This cigarette case was presented to the owner's uncle, David Farrar, star of the 1950 film 'Gone to Earth'.
Morris., Rev. Francis Orpen. Three copies of A History of British Butterfliesfirst A History of British Butterflies, London, Groombridge & Sons, 1853, first edition 71 lithograph plates with hand colouring and tissue guards 8vo, gilt edged, original full grained dark green blind tooled and pictorial gilt tooled pictorial decoration to boards and spine , bound together with Aphorismata Entomologica "Cavendo Tutus" pp. 29 second London, 1853, blue cloth, third, eighth edition, London, John C. Nimmo 1895, 79 hand coloured lithograph plates, 4to., bookplate for George A. R. Phillips contemporary tan half morocco with cloth boards (3)Condition:first occasional v light spotting but overall good Aphorismata Entomologica with foxing to both plates a first page. Binding Second some spotting to blanks occasional marks third Good condition
Grant MacDonald. A pair of large Elizabeth II Modernist silver and parcel gilt pepper millsLondon, 1983, Grant MacDonaldOf plain waisted form with textured upper section, bears applied gilt Arms of the Worshipful Company of Butchers, the base with a raised gilt band with five relief panels depicting different scenes from the meat trade to include Smithfields, a Butchers Shop, Cattle Pens and an Abattoir, (2) height 18.8cm.Condition:Overall good condition commensurate with age occasional minor surface knocks and marks. light rubbing to high points of gilt Butcher's Hall, The Worshipful Company of Butchers
Charles Pilatte (1813-1885) Costumes et Demi Toilette 1864-1872comprising sixty designs for evening dresses and ball gowns or 'figurines', lithographic outlines hand finished with watercolour, gouache and pen on card, bound in two volumes with guard leaves , 4to, pencil annotations verso with model numbers and listing clientele and their colour choices and other specifications.Charles Pilatte was a dress-designer for the Fashion Houses Worth and Gagelin then on his own accountCondition:Bindings tired, spines lacking. Fragments of one spine with title detached but present. Browning and light soiling to designs. some with additional drawings and sketches. One volume three have lost the top right hand. corner of card with image unaffected. other album one design with cut section to one hand corner and loss to bottom right Chipping to edges of guard leaves
Kirby., William F. European Butterflies and MothsLondon, 1889, Cassell, 61 engraved plates of which 60 hand coloured with tissue guards 4to, gilt edged, orig. gilt decorated and embossed pictorial cloth, pp426Condition:toning, occasional light spotting, explanation of plates pages annotated in pen with Arabic numberscorners bumped with some wear
Entomology. Four titles Westwood., John Obadiah., The Butterflies of Great Britain, with their transformations delineated and described, London, 1855, S. Orr, additional hand coloured title page, 19 hand coloured lithograph plates and two uncoloured, 8vo., original gilt edge gilt pictorial embossed blue cloth, Wilson., Owen S. The Larvae of the British Lepidoptera and their Food Plants, London, 1880,forty chromolithograph plates, 8vo., 1/2 dark green morocco with embossed cloth boards Wood., W., Ined Entomologicus or, A Complete Illustrated Catalogue ... of the Lepidopterous Insects of Great Britain, A New and revised edition with supplement by EWestwood., J.O., London 1854, 59 hand coloured lithograph plates, 8vo., 1/2 green morocco with marbled boards Mosley S.L., Illustrations of British Lepidoptera, Huddersfield, n.d thirty hand coloured lithographs plates, 8vo., blue cloth, (4)Condition:viewing recommended in person. Wilson Larvae, sporadic light foxing. Mosley with some pen and pencil annotations
A late Victorian silver-gilt inkwellLondon, 1887, R & S Garrard & Co the central navette shaped well with hinged cover and butterfly finial fitted with a clear glass ink, raised on a shaped base with cast leaf borderslength 25.5cm., weight approx. 12.82oztCondition:Some light rubbing to gilt but not extensive. Otherwise in good condition commensurate with age
Two French Military Officers Kepiearly 20th centuryfirst an Infantry Officers 'Polo' Kepi for the 43rd Regiment with leather peak and soft red crown with Austrian knot, four bands of gold piping for rank of Chef de Batallion (Major), chinstrap fitted above peak fitted with buttons bearing the flaming grenade, black satin lined, second black with leather peak, the crown with Austrian knot, four bands of gold piping for rank of Chef de Batallion (Major), chinstrap fitted above peak fitted with buttons bearing the flaming grenade crossed cannons, relined, (2)first length 25.2cm.Condition:Some moth damage on raised edge of crown, some other areas of light moth. Some cracking to outside edge of leather headband. Second cream lining wearing through, replacement black lining, occasional moth damage, stitching on gold braiding on crown beginning to fray
A George V silver five piece dressing table setBirmingham, 1924, Henry Matthews of plain design with raised scroll border, engraved Anne, comprising hand mirror, pair of hair brushes and a pair of clothes brushes, (5)hand mirror length 26cm., Condition:Commensurate with age, surface wear. slight buckle to back of hand mirror occasional light dings
Entomology. Various titlesColeman W.S., British Butterflies, Figures and Descriptions of Every Native Species, London, 1860, 16 colour lithograph plates, 1/2 red morocco with marbled boards, + later edition, 1886, gilt dec cloth + Up To date New Edition, 1897, dec cloth, Wood, The Common Moths of England, London, n.d George Routledge, 12 lithograph plates with colour, gilt dec embossed cloth. Lucas., W.J. The Book of British Butterflies x2 , London, 1893, b.w plates, and The Book of HawkMoths, 1895, all three gilt dec green cloth, Stainton H.T., A Manual of British Butterflies and Moths, London, 1857, 2 vols., stamped to end paper S.P.P. Selby, embossed cloth and British Moths and Butterflies, 1867, 16 colour plates, gilt embossed cloth, ex libris Ovenden Wood Naturalists Library, Adams, H.G. Beautiful Butterflies Described and Illustrated, London, n.d., George Routledge, 8 colour plates, gilt edged, gilt embossed blue cloth,Frohawk, F.W., Varieties of British Butterflies, 1938, cloth, d.w., and The Complete Book of British Butterflies, 1934, cloth d.w. Kirby., W.E. Butterflies & Moths of the United Kingdom, n.d. 70 colour plates, gilt dec green cloth Holland. W.J. The Butterfly Book, 1910, Furneaux., British Butterflies & Moths, 1923 reissue, colour plates, brown cloth, Gordon W.J. Our Country's Butterflies and Moths, n.d, 33 colour plates, dec green cloth, Hulme, F.E., Butterflies & Moths of The Butterflies of the Country-Side, Tutt., J. British Moths, 1902 and Hedgerow & Wood Series British Butterflies, 1896 etc., (24)Condition:Viewing recommended in person. Varying condition, some good to fair, others with light foxing, and minor condition issues

-
534297 item(s)/page