There are 5655 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeCollection seventeen of assorted single malt Scotch whisky miniatures, 1970s-1990s bottlings:Glen Grant, 8 year old, 100 proof (x1), 70 proof (x1), and a 12 year old, 70 proof (x1), unstated age, 43% (x1)Glenlivet 1976, James MacArthur's Old Master series, cask strength 59.9%, 5clBalvenie, 10 year old, and FOunder's Reserve, both in cognac style bottles, 4cl, 40%two Glenmorangie presentation tins, one with nosing glassetc.
A rare Einco Chiltern Toy Works Master Teddy circa 1915, with blonde mohair head, arms and feet, white, blue and black opaque glass googly eyes, black stitched nose with pink stitched mouth, crossed facial seams, unjointed fabric body with cream knitted jumper with faded strip and brown corduroy trouser --7 1/2in. (19cm.) high (wear and thinning moth damage to body and jumpr) - these bears were marketed and sold in blue felt dungarees and wide collared shirts, the clothes on this bear are certainly old and fit very well and it is possible this might be another version as it was manufactured in war time
An unusual ‘naval deserter’ Great War pair awarded to Stoker First Class H. W. Kidwell, Royal Navy, late South Wales Mounted Brigade, Army Service Corps, a Swansea lad who lied about his age on his attestation documents and served in the British Army when just 15 years old. Discharged ‘under age’, he joined the Royal Navy on 6 July 1917 and deserted at Quebec enroute to his first posting, spending the next 10 weeks on the run in Canada British War and Victory Medals (K.43774 H. W. Kidwell. Sto.1 R.N.) nearly extremely fine (2) £70-£90 --- Henry William Kidwell was born in Swansea on 21 June 1899. A packer, he attested for the South Wales Mounted Brigade on 6 April 1915 and served at home as part of the transport and supply column. Declaring his age as 18 years and 10 months, the truth was discovered a year later and he was discharged ‘under age’ from the 3rd Provisional Brigade Train, Army Service Corps, on 23 June 1916, just a couple of days after his 17th birthday. Unperturbed and likely keen to serve and receive a serviceman’s wage, Kidwell travelled south and joined the Royal Navy at Devonport on 6 July 1917. Posted to H.M.S. Diana on 2 October 1917 - which was at that time stationed in Hong Kong and awaiting a crew changeover - Kidwell’s service papers state ‘Run 24/10/17, Citadel at Quebec’. They later add: ‘Deserter surrendered, to be dealt with summarily, sent to Admiralty and C in C, N.A., 10-1-18.’ Despite his Canadian exploits, it seems that the Royal Navy offered leniency towards the young man who had been so keen to contribute in the past. Re-entering service at Devonport on 31 March 1918, he served aboard the dreadnought battleship H.M.S. Conqueror from 27 May 1918 and was raised Stoker 1st Class on 18 July 1918. Demobilised on 23 August 1919, Kidwell took civilian employment as a boot repairer and master leather dealer in Swansea. He died in Swansea on 25 September 1968.
New Kingdom, 13th-12th century B.C. Carved male bust with a short-sleeved robe and tiered shebyu jewelled collar, striated wig; mounted on a custom-made plinth. Coincraft coin and antiquities catalogue BCF 76. 855 grams total, 21 cm high including stand (8 1/4 in.).From an old UK collection. With Coincraft since the 1990s. Property of an Essex, UK, gentleman. Accompanied by an academic report by Dr Alberto Maria Pollastrini. Accompanied by a master copy of the Coincraft catalogue BCF 76, where this object is offered for £2,950.00. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11946-209473.
Collection of 8 Charles Dickens novels, including titles of Old Curiosity Shop Volume 1 and 2, Christmas Books, Martin Chuzzlewit volume 1 and 2, Pickwick Papers 1, Nicholas Nickleby 1 and Master Humphrey's Clock/ Edwin Drood. Hardcovers, Dates unknown. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
A diamond five stone ring, the five old cut diamonds graduating in size, claw set in a yellow metal mount ring size P, marked 18ct, gross weight 3.6g.Condition report:Approximate diameter of largest diamond 4.6mm. Approximate depth of largest diamond - 2.7mm. We do not have master stones to grade diamonds but in our opinion they fall into the Colour grade band I to K and Clarity grade band SI1/SI2. Several diamonds have chips to the girdle. Some claws require re-tipping. Please see additional uploaded images.
KATSUSHIKA HOKUSAI: THE MANSION OF THE PLATESBy Katsushika Hokusai (1760-1849), signed Saki no Hokusai hitsuJapan, Meiji period edition (1868-1912)Color woodblock print on paper. Vertical chuban. Signed Saki no Hokusai hitsu; publisher Tsuruya Kiemon (Senkakudo). Titled Sara yashiki (The Mansion of the Plates), from the series Hyaku monogatari (One hundred ghost tales).The ghost of Okiku rises from the well breathing out a wisp of smoke, having the body of the Okiku worm after her namesake. Grape vines surround the wooden well.SIZE of the sheet 25.7 x 18.7 cmCondition: Good impression and colors with slightly trimmed margins and minor browning of paper. Very minor material loss to the edges. Mounted with tapes on a paper mat.Provenance: From an Austrian private collection. The reverse inscribed with the number, '1.'The legend from the 17th century tells the story of a maid named Okiku who breaks a valuable set of Korean plates. For her mistake, her enraged master throws her into a well and she dies, turning into a Yurei. The neighbors begin hearing her voice in the well every night, repeating "One... Two... Three... Eight... Nine... I can't find the last one..." After the rumors of her death spread, the house is confiscated from the master. A monk dispels her spirit after uttering the word, “ten” as she counted.This is a well-known ghost story in Japan. The most popular version was established in 1795, when Japan suffered an infestation of a type of worm found in old wells that became known as the Okiku bug (Okiku mushi). This worm covered with thin threads made it look as though it had been bound. It was widely believed to be a reincarnation of Okiku, having been bound before being thrown into the well.Katsushika Hokusai (1760 – 1849) is one of the most renowned and influential artists in Japanese history. Born in Edo (now Tokyo), Hokusai began his career as an apprentice in a woodblock print shop before venturing out on his own to pursue his passion for art. Over the course of his career, Hokusai created a vast body of work that included not only woodblock prints but also paintings, sketches, and illustrated books. His oeuvre is characterized by a relentless experimentation with style and technique, as well as a deep appreciation for the natural world and the beauty of everyday life.Museum comparison:A near identical reprint with a similar seal and printed by the same publisher, dated ca. late 19th century, is in the British Museum, accession number 1921,0511,0.18.
SHIBATA ZESHIN: SURIMONO OF A MAGNOLIA BRANCH, CENSER, AND INCENSE ENVELOPEBy Shibata Zeshin (1807-1891), signed Shibata Zeshin and sealed TairyukyoJapan, 19th centuryHaikai color woodblock print and blind stamping on paper. Obosho format. Signed Shibata Zeshin and sealed Tairyukyo to the lower right corner. Titled A Magnolia Branch, Censer, and Incense Envelope.The right register depicting a magnolia branch with purple blossoms and green leaves borne on a stem next to a bronze koro (censer) on a red tray next to an incense envelope with kirigane decorations. Three rows of vertical text stretch from the center to the left edge.SIZE of the sheet 44.5 x 58.2 cmCondition: Good impression and vivid colors, light creasing, folding lines, some foxing, and minimal staining, overall presenting very well.Provenance: Collection of Robert and Isabelle de Strycker. Inside the passepartout inscribed, 'Enveloppe contenant des pastilles de parfum. Koro (brule parfum) et branche Me Kulen (magnolia).' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. He has been called 'Japan's greatest lacquerer.' His work, unlike the oils being used by so many of his contemporaries, never need re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time.Museum comparison:Compare a related surimono with two rows of vertical inscription and a hat and bundle printed on the lower right-hand corner, by Shibata Zeshin, in the Los Angeles County Museum of Art, accession number M.79.152.291. Compare a related surimono with three rows of vertical inscription with a monumental rock surrounded by foliage on the right-hand register, by Shibata Zeshin, in the British Museum, accession number 2021,3013.322.
Historisch hochbedeutendes Renaissance-Schreibkästchen mit Monogramm von Zar und Kaiser Peter I. von Russland (1672 - 1725)Silber, teilw. mit Restvergoldung. Rechteckiger Korpus auf vier Nodusfüßen. Ränder und Seitenkanten mit mehrfach profilierten Zierleisten umzogen. Seitlich durchgängiges Schubfach mit Ringöse. Oberseite mit zwei großen runden Einlässen für Tintenfass und Sandstreuer sowie fünf kleinere als Federhalterungen. Allseitig flächendeckender, feiner Gravurdekor aus üppigem Blatt- und Rankenwerk, Früchten, Blumen, Ohrmuschel- und Schweifornamentik sowie obenauf mit stilisierten Adlerköpfen. Am Boden das gravierte Monogramm "FWC" für Friedrich Wilhelm Kurfürst von Brandenburg (1620 - 1688). Schublade mit alter Gewichtsangabe "No: 4 3M : 5L: 1qt:". Auf einer Schmalseite das ligierte Spiegelmonogramm "P E" (Peter Empereur) unter russischer Kaiserkrone von Peter I. von Russland (die Identifizierung des Monogramms bestätigte Frau Dr. Lopato, Kuratorin für Silberarbeiten der Eremitage in St. Petersburg). Eine ähnliche Monogramm-Chiffre befindet sich auf der Zeichnung eines Triumphbogens, der anlässlich des Friedens von Nystad mit Schweden 1721 von Peter I. in Auftrag gegeben wurde. Auf gegenüberliegender Seite das gravierte Wappen der preußischen Adelsfamilie von Langen - Wilhelm von Langen (1706 - 1758) war ab 1737 Offizier im russischen Militärdienst. Wahrscheinlich bekam er das Kästchen für militärische Verdienste vom Kaiserhof als Geschenk. Ein weiteres auf der Bodenunterseite graviertes Inventarmonogram "PAB" steht wohl für "Peter Alexejewitsch Beliki" (Peter der Große). Gest., Beschauzeichen, Ältermann Moritz Kop (ab 1577), Meister Jacob Mores d. Ä. (wird Meister um 1579). Gew. ca. 780 g. H. 9,5 cm. 16 cm x 8,3 cm.Jacob Mores I fertigte hochwertigste Objekte aus Silber im Auftrag europäischer Königs- und Fürstenhäuser. So befand sich auch dieses Kästchen im Besitz der brandenburgischen Kurfürsten und Könige in Preußen. König Friedrich Wilhelm I. (1688 - 1740) und der Zar pflegten enge freundschaftliche Beziehungen sowie einen regen diplomatischen Geschenkaustausch. Er dürfte das Kästchen anlässlich der Krönung des Zaren zum Kaiser des Russischen Reiches 1721 überreicht haben. Das wohl bekannteste Geschenk Friedrich Wilhelms I. ist das berühmte Bernsteinkabinett. Ein vergleichbares Schreibkästchen aus Kupfer befindet sich im St. Petersburger Sommerpalast. Vgl. Schliemann, 1985, Bd. II, S. 7, Nr. 19, S.46, Nr. 105, S. 52, Nr. 115; Neuer Siebmacher, Bd. V, Tafel 31/S. 51; N. I. Pawlenko, Peter der Große, Moskau 1998, S. 64, S. 106, Abb. 386; Monogramme auf Münzen und Urkunden, Fläming, S. 22, Nr. 686.A highly significant German Renaissance silver writing casket by Jacob Mores I (master since 1579) probably as a later gift from Elector Friedrich Wilhelm I to Tsar and Emperor Peter I of Russia (the Great). With residual gilding. Engraved monograms, old weights and the coat of arms of the noble von Langen family. Assay and master´s mark.Deutsch. Hamburg. Um 1580.
[^] Pierre, Jean-Baptiste Marie -- Die Kommunion der Maria von Ägypten durch den Hl. Zosimus.Feder in Grau, grau laviert. 31,4 x 22 cm. Unten unleserlich bezeichnet und datiert "[...]1762 [?]". Wz. Traube. Diese Zeichnung von Pierre, die vormals Sebastiano Ricci zugeschrieben wurde, gehört zu einer Gruppe von Studien von Einsiedler-Heiligen, die in lyrischen "Wüstenlandschaften" dargestellt sind (siehe Olivier Araon, "Jean-Baptiste Marie Pierre", in: Cahier du dessin Francais, 9, Paris, o.D., Nr. 40/41). Provenienz: Sammlung A. Tardieu (Lugt 183b). Sotheby's, London, Auktion Old Master Drawings, 3. April 1995, Los 103, mit Abb. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Claudio Giulianelli (Rome, b. 1956) La Battaglia, 2022 Oil on Canvas Signed bottom right, inscribed to verso Unframed 50 x 70cm (19.5" x 27.5") Certificate of authenticity and provenance from the artist and director of MEGA Art Gallery, Rome Claudio Giulianelli is an internationally recognized artist known for his romantically surrealistic oil paintings of Italian women in traditional costumes. He was born in Rome in 1956 and from the moment that Claudio could hold a pencil he began to draw. Now, many years later, Claudio’s colorful, bright, and delightful artworks can be found in many collections around the world. Throughout his life he meticulously studied the Old Masters as well as philosophers and mystics, and in the process became a master of the brush himself. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Claudio Giulianelli (Rome, b. 1956) Il bianco ed il nero, 2021 Oil on Canvas Signed bottom right, inscribed to verso Unframed 70 x 50 x 4cm (27.5" x 19.5" x 1.5") Certificate of authenticity and provenance from the artist and director of MEGA Art Gallery, Rome Claudio Giulianelli is an internationally recognized artist known for his romantically surrealistic oil paintings of Italian women in traditional costumes. He was born in Rome in 1956 and from the moment that Claudio could hold a pencil he began to draw. Now, many years later, Claudio’s colorful, bright, and delightful artworks can be found in many collections around the world. Throughout his life he meticulously studied the Old Masters as well as philosophers and mystics, and in the process became a master of the brush himself. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Claudio Giulianelli (Rome, b. 1956) La grande venditrice di maschere, 2021 Oil on Canvas Signed bottom right, inscribed to verso Unframed 70 x 50cm (27.5" x 19.5") Certificate of authenticity and provenance from the artist and director of MEGA Art Gallery, Rome Claudio Giulianelli is an internationally recognized artist known for his romantically surrealistic oil paintings of Italian women in traditional costumes. He was born in Rome in 1956 and from the moment that Claudio could hold a pencil he began to draw. Now, many years later, Claudio’s colorful, bright, and delightful artworks can be found in many collections around the world. Throughout his life he meticulously studied the Old Masters as well as philosophers and mystics, and in the process became a master of the brush himself. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A BUDDHIST KAKEMONO, 'MONJU BOSATSU RIDING A SHISHI'Japan, Edo period (1615-1868). Ink, watercolors, gouache, and gold paint on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with copper repousse handles. The deity seated in royal ease on a Buddhist lion, the hands holding a ruyi-scepter, all in a verdant landscape framed by a halo.Inscriptions: Three seals, each with the same phrase ‘Tenjin Chigi’ 天神地祇 (Gods (Kami in Japanese) of Heaven and Earth’).Provenance: From an old Swiss private collection.Condition: Very good condition with minor traces of use, and some creasing. The brocade frame with expected traces of wear and age.Dimensions: Image size 58 x 27.2 cm, Size incl. mounting 125 x 40.6 cmTenjin chigi is a collective term for the kami of heaven (tenjin) and kami of earth (chigi). The expression was strongly influenced by Chinese thought; in China, ‘heavenly deities’ referred to the ‘Emperor Above in High Heaven’ (Haotian Shangdi); the sun, moon, and stars; ‘Master of the Middle’, (Sī-Zhōng) ‘Master of Destinies’ (Sī-Mìng) and deities of wind and rain, while ‘earthly deities’ included the gods of the soil and grain, the five sacred mountains, and the five annual sacrifices. In Japan, the expression tenjin chigi is used most often to refer to amatsukami and kunitsukami, but a certain discrimination is made in Kojiki and Nihongi based on Chinese thought, and chigi tends to be used only in those cases where ‘heavenly deities and earthly deities’ are mentioned together as a pair.
JIN CHENG (1878-1926): THE AUTUMN MOUNTAIN, DATED 1923China, 1923. Ink and watercolor on paper. Set inside a wood and silk frame, behind glass. Skillfully painted with a scholar riding a mule along a bridge over a meandering river in a rocky landscape with gnarled trees bearing leaves changing in color from green to red.Inscriptions: To the top-left corner, signed ‘Jin Cheng from Wuxing’ and inscribed ‘The Autumn Mountain, In the style of Yuan-period masters, in the 9th month of the Year of Guihai (corresponding to 1923)’. Two seals, ‘Gongbo’ and ‘Jin Cheng zhi yin’.Provenance: English trade.Condition: Good condition with minor wear, creasing, and foxing. The frame in excellent condition with minimal wear.Dimensions: Image size 17.2 x 26.2 cm, Size incl. frame 37.8 x 56.7 cmJin Cheng (1878-1926) was a leading painter in Beijing during the beginning of the Republic of China. Cheng held on to the traditional methods of Chinese painting despite the extreme anti-traditional sentiment of the New Culture Movement. Cheng insisted the past should be utilized for future development and elements of the old styles should be used to revitalize Chinese painting. He heavily emphasized the need to learn from Western artists, which impacted his own artistic style.Museum comparison:Compare a related folding fan mounted as an album leaf, ink and color on alum paper, depicting a landscape in the style of the tenth century landscape master Dong Yuan, by Jin Cheng, in the Metropolitan Museum of Art, accession number 1986.267.121.Auction result comparison: Type: Closely relatedAuction: Sotheby’s Hong Kong, 7 October 2013, lot 1262Price: HKD 325,000 or approx. EUR 50,000 converted and adjusted for inflation at the time of writingDescription: Jin Cheng (1878-1926), Verdant MountainsExpert remark: Compare the closely related subject and similar rendition.
Chess.- [Willis (Robert)] An Attempt to Analyse the Automaton Chess Player, of Mr. de Kempelen, first edition, half-title, 10 lithographed plates, half-title browned, frontispiece and plates lightly spotted with slight water-staining to fore-edge, final leaf partly detached at inner margin, old cloth, rubbed and water-stained, gouges and adhesions to covers, J.Booth, 1821; and another on chess, 8vo (2)⁂ The Automaton Chess Player or "Mechanical Turk" was presented to Empress Maria Theresa of Austria in 1770 and travelled around Europe and America defeating many challengers including Benjamin Franklin and Napoleon. Not actually an automaton it concealed a chess master within the cabinet of the machine who operated the pieces mechanically.
LAS CASES COMTE DE: (1766-1842) French cartographer and author of an admiring book about Napoleon, Le Mémorial de Sainte-Hélène. L.S., Le Cte. de Las Cases, one page, 8vo, Hotel de l’Etoile d’or, Ormes, 20th March 1842, to Monsieur d’Argenson, in French. Las Cases writes a charming letter, commencing ‘Une vielle mais bien vielle connaissance a Monsieur d'Argenson qui a conserve de lui les plus agreables et les plus chers souvenirs traversant comme miraculeusement les Ormes s'etait fait un bonheur d'y rencontrer peut-etre le maitre de son beau chateau’ (Translation: ‘An old but very old acquaintance of Mr. d’Argenson, who has preserved the most pleasant and dear memories of him crossing the Ormes, as if miraculously was happy to perhaps meet the master of his beautiful castle there’), further regretting that he did not find his correspondent at the castle, ‘mais il vent du moins y laisser ici la preuve evidente de son empressement et de son bon vouloir’ (Translation: ‘but he will at least leave here the evident proof of his eagerness and his good will’) and concluding that he will postpone the meeting for a happier occasion when he can express to him all the feelings that he retains for him. With integral address leaf (some tears and areas of paper loss caused by the original breaking of the seal). VGCharles Marc-Rene de Voyer de Paulmy d’Argenson (1796-1862) Marquis d’Argenson. French archaeologist and politician.
SPEED, John. Cornwall A hand coloured engraved map from Speed's 'The Theatre of the Empire of Great Britain', with inset view of Launceston, large strapwork cartouche and compass rose, Latin text to the verso titled 'Cornwallia sive Cornubia', framed and glazed, 41cm x 53cm, John Sudbury and George Humble, London, 1616.As this map lacks Irish or Virgivian Sea below the cartouche of Launceston and the fact there is Latin text to the rear, it indicates that this plate was published pre 1623 and was therefore published in 1616 (Quixley and Quixley. 'Antique Maps of Cornwall and the Isles of Scilly,' p.35). A vibrant example in vg condition. Very good overall condition, no rips or tears, colours are strong throughout. Sporadically, there are small incidences of singular spots. Although only seen close up and generally to the margins. I would suggest this map would want reframing, as the paper is slightly crumpled, with some fold marks visible. Coincidentally, whilst examining the map, it appears this was previously sold from 'The Old Master Galleries' in Oxford Street, London. This map has not been examined out of its frame.
(Classics, Ancient Greece, Rome.) A collection of 29 volumes, including Xenophon; [William Smith]: 'Xenophon's History of the Affairs of Greece by the translator of Thucydides', London, 1816, engraved folding map, bound together with Xenophon; Edward Spelman: 'The Expedition of Cyrus into Persia; and Retreat of the Ten Thousand Greeks', L, J. Davis, 1812, engraved folding map, Abbe Barthelemy (translated): 'Travels of Anarchasis the Younger in Greece, during the middle of the fourth Century before the Christian era', L, 1816, 7th edition, 4 volumes in 1, Mr. Littlebury (translated): 'The History of Herodotus', L, 1818, 2 volumes in 1, G. Booth (translated): 'The Historical Library of Diodorus the Sicilian', L, J. Davis, 1814, 2 volumes, Polybius: 'The General History of the Wars of the Romans', translated Mr. Hampton, L, 1812, 'The History of Count Zosimus...of the Roman Empire', L, J. Davis, 1814, plus 'the Ancient Chronicles of Sir John Froissart...', L, J. Davis, 1814-1816, 4 volumes, all uniform contemporary half diced calf gilt, "Corpus Historicum" spine titles, Herodotus: 'Herodoti Halicarnassensis Musae.', Leipzig, Hahn, 1856-1861, 4 volumes, uniform old full calf gilt, spines gilt in compartments, 'The Journal of Hellenic Studies', London, "Published by the Council and Sold on Their Behalf by Macmillan and Co", 1880-1887, volumes I-VIII, uniform old half calf gilt, Plutarch: 'Opera Omnia', Paris, Firmin Didot, c.1850, volumes 1-5, Rudolfus Menge & Siegmundus Preuss: 'Lexicon Caesarianum', Leipzig, Teubner, 1890, armorial bookplate of Lawrence Arthur Burd (1863-1931), expert on the works of Niccolò Machiavelli, notable philatelist, Repton Schoolmaster 1886-1923, where he became the Classical Sixth Form Master, and stocked, almost from scratch, the school library there, making it one of the best in the country, the Repton library building being still known as the Burd Library, uniform rebound polished buckram, leather gilt title labels to spines, all ex Repton School library (29)
Hull interest. Two Posters one advertising a performance at The New Olympic Circus, White-friar Gate, Hull for the evening of Wednesday June 11, 1806, to include : Mr Johannot singing two entire new songs to include "Barney Leave the Girls Alone", a dance Old Age Metamorphosed, Extraordinary Horsemanship in particular Master Davis, to conclude with the Grand, Serious and Heroic Pantomime called "Don Juan", and, by particular desire, the Performances will conclude with a grand display of brilliant fireworks, size 43.5cm h x 18cm w. Together with a Proclamation to the Worthy and Independent Burgesses of Kingston-upon-Hull from John Mitchell dated 16th June 1818, size 44cm h x 28cm w.
Silver glass holder with the engraved slogan Drink for health made in the old Russian style, with a saucer under the thumb and a wooden frame under the monogram. Hallmarks: The name of the master of the letter IEZ - Israel Yeseevich Zakhoder , the hallmark of poorly read letters ? O numbers 1886, numbers 84, Moscow city hallmark George the Victorious on horseback to the right. Silver weight: 128 gr. H-9cm. Width: 11cm, Height: 9cm, Depth: 8cm, Weight: 0.3kg, Condition: Good, Material: Silver 84
Icon Our Lady of Kazan in a silver setting with gilding and an old wooden icon cover.Hallmarks: letters EU unknown master, the stamp of the Moscow assay inspection of the period 1907-1918. Icon sizes: H W. 22 17.5 cm Width: 26cm, Height: 31cm, Depth: 6.5cm, Weight: 2kg, Condition: Good, Material: Silver 84
Attributed to Peter Lely (Soest, Germany 1618 - London 1680)"Portrait of the renowned English composer Henry Purcell (1659 - 1695)"Oil on canvas.42.5 x 31 cm.An important portrait executed during the musician's lifetime, which makes it a highly exceptional piece.The National Portrait Gallery in London has a portrait of Henry Purcell in its collection, attributed to John Closterman or his workshop, circa 1695. (https://www.npg.org.uk/collections/search/portrait/mw05172/Henry-Purcell?LinkID=mp03677&role=sit&rNo=2)In addition to the evident pictorial characteristics typical of the brilliant Lely, the historical context is also interesting to examine: John Blow (1649 - 1708), who was Henry Purcell's teacher, was painted by Peter Lely at the approximate age of 30. It seems logical that Blow turned to the Master Lely to request that he, the best portraitist in England at the time, paint his pupil Purcell, who appears to be about 20 years old in this portrait.Sir Peter Lely was a renowned painter and art collector during the Restoration era in England. He was known for his portraits of court ladies and admirals, specialising in portraying the ladies of high-society as languid and voluptuous women. He began his career as a painter of landscapes and historical compositions but soon realised that portraits were more lucrative and shifted his focus. His skill in this genre earned him recognition and he became the "best painter in England."As well as being a successful painter, he was also a passionate art collector. His collection included works by prominent Venetian painters such as Veronese, Bassano, and Tintoretto, as well as European artists like Van Dyck, Claude Lorrain, Rubens, and other Dutch and Flemish painters. Lely was inspired by the Dutch pictorial style and reflected the spirit and character of its subjects in his works. Throughout his career, Lely emphasized the artificial elegance of his subjects, having them adopt similar poses and eliminating any distinctions between them. His legacy as a painter and collector left a remarkable imprint on the art world.After his death, his collection was sold and it also included artworks by Van Dyck, Claude Lorrain, Rubens, and various Dutch and Flemish landscapists. Lely was the first English painter to have a large studio, and his portraits were imitated by other artists until the mid-18th century.Henry Purcell (Westminster, England, 1659 - 1695) was an important English Baroque composer. He incorporated French and Italian stylistic elements into his music, creating a distinctive English style of Baroque music.He is considered one of the most significant composers of all time. As we read on the LAPhil website by conductor Gustavo Dudamel: "Henry Purcell is, arguably, England’s most famous composer. The son of a court musician, organist of Westminster Abbey at a mere 20 years of age, and the recipient of royal appointments by three different kings, he is considered one of the most original and prodigious composers of his – or any – time.Although he incorporated French and Italian elements into his writing, his compositions would come to define the English Baroque style. Purcell’s relatively short life produced a broad repertoire, including sacred music, theatre music and opera, fantasies and sonatas for keyboard, and vocal and chamber music – much of which endures in popularity and recognition to this day."Provenance: Important Spanish private collection.The painting has always been attributed to the artist Peter Lely (1618 - 1680) through the various generations that inherited it.Reference bibliography: - LA Phil. (n.d.). "Henry Purcell". https://es.laphil.com/musicdb/artists/4339/henry-purcell
Kay Spare The Slipper Thief, 2023 Etching, aquatint and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Kay Spare studied Art and Education at Goldsmiths' College, University of London (1979-83). She taught Art to 11-19 year old children in London's East End for a decade until the birth of her two sons, when she went into partnership with her husband and fellow artist, Richard Spare. Together they set up Wellington Studio in Charlton, London, where he follows his passion for printmaking - she follows hers for painting. Themes are primarily from still life, landscape and the figure, a discipline instilled whilst at college, where her models were dancers from the Laban Centre, which was then based at Goldsmiths'. Recently, Kay has gone on to write and illustrate three children's books which are published on Amazon Kindle: Mrs Timms' Ten Cats, Roll Up Master Prickles and Mooncat. Kay was a prize-winner in the 2007 Dulwich Picture Gallery Portraits of Children competition, judged by Humphrey Ocean RA. Frequent trips to Brittany in northern France have resulted in a new collection of watercolours and oils featuring seascapes and harbours. The western sky over the sea holds particular fascination for Kay; the endlessly changing colours remain an enduring source of inspiration, resulting in rich oil paintings. Education Kay Spare studied Art and Education at Goldsmiths' College, University of London (1979-83). Select Exhibitions/Awards Two solo exhibitions entitled A New Landscape, influenced by holidays in Tuscany and the South of France, where the sheer joy of the colours, textures and the patterns of the landscape, inspired her work. Held at St Martin's Gallery, St Martin in the Fields, Trafalgar Square, London, and Norden Farm Centre for the Arts, Maidenhead, in collaboration with poet John Powls. This followed a previous collaboration in 1998, when her black and white figure drawings were used by John to illustrate his book of poetry, Galerie D'Amour. Kay was a prize-winner in the 2007 Dulwich Picture Gallery Portraits of Children competition, judged by Humphrey Ocean RA. Gallery Representation She has work held in the collection of Trevelyan College, University of Durham, following Colour & Line, a joint show with Richard, and Kings College Hospital, London, where five of her large watercolour and mixed media paintings are on permanent display. Statement about AOAP Submitted Artwork The Slipper Thief was drawn from life from our mischievous dog, Tina, who would delight in enticing you to play by taking things and then running off to hide. My watercolour Snazzy Cat is an example of my delight in the, seemingly elastic, poses cats throw. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Kay Spare Snazzy Cat Brush and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Kay Spare studied Art and Education at Goldsmiths' College, University of London (1979-83). She taught Art to 11-19 year old children in London's East End for a decade until the birth of her two sons, when she went into partnership with her husband and fellow artist, Richard Spare. Together they set up Wellington Studio in Charlton, London, where he follows his passion for printmaking - she follows hers for painting. Themes are primarily from still life, landscape and the figure, a discipline instilled whilst at college, where her models were dancers from the Laban Centre, which was then based at Goldsmiths'. Recently, Kay has gone on to write and illustrate three children's books which are published on Amazon Kindle: Mrs Timms' Ten Cats, Roll Up Master Prickles and Mooncat. Kay was a prize-winner in the 2007 Dulwich Picture Gallery Portraits of Children competition, judged by Humphrey Ocean RA. Frequent trips to Brittany in northern France have resulted in a new collection of watercolours and oils featuring seascapes and harbours. The western sky over the sea holds particular fascination for Kay; the endlessly changing colours remain an enduring source of inspiration, resulting in rich oil paintings. Education Kay Spare studied Art and Education at Goldsmiths' College, University of London (1979-83). Select Exhibitions/Awards Two solo exhibitions entitled A New Landscape, influenced by holidays in Tuscany and the South of France, where the sheer joy of the colours, textures and the patterns of the landscape, inspired her work. Held at St Martin's Gallery, St Martin in the Fields, Trafalgar Square, London, and Norden Farm Centre for the Arts, Maidenhead, in collaboration with poet John Powls. This followed a previous collaboration in 1998, when her black and white figure drawings were used by John to illustrate his book of poetry, Galerie D'Amour. Kay was a prize-winner in the 2007 Dulwich Picture Gallery Portraits of Children competition, judged by Humphrey Ocean RA. Gallery Representation She has work held in the collection of Trevelyan College, University of Durham, following Colour & Line, a joint show with Richard, and Kings College Hospital, London, where five of her large watercolour and mixed media paintings are on permanent display. Statement about AOAP Submitted Artwork The Slipper Thief was drawn from life from our mischievous dog, Tina, who would delight in enticing you to play by taking things and then running off to hide. My watercolour Snazzy Cat is an example of my delight in the, seemingly elastic, poses cats throw. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
A Brass-Barrelled Flintlock BlunderbussBy Wilson, London, Late 18th CenturyWith three-stage barrel turned and belled at the muzzle, octagonal breech engraved 'LONDON' along the top flat, border engraved tang, border engraved flat bevelled lock and cock, the former signed in script, figured full stock (fore-end with old split on one side, in the ramrod-channel and behind the rear ramrod-pipe) with drop-shaped moulding around the barrel tang, border engraved brass mounts comprising shaped bevelled side-plate, butt-plate and trigger-guard with acorn finial, turned ramrod-pipes, and horn-tipped ramrod, probably original, with steel worm, London proof marks 39.3 cm. barrel Footnotes:William 1 Wilson was apprenticed to his father Richard 1 in 1747. He was elected Master of the Gunmakers' Company in 1760, 1769, 1771 and 1774. Following his father's death in 1766 he continued to use his mark and was Contractor to Ordnance, to the East Indian Company and to the Hudson's Bay Company. He died in 1808For further information on this lot please visit Bonhams.com
An Early Brass-Barrelled English Lock (Type 2) BlunderbussLate 17th CenturyWith three-stage barrel flared at the muzzle, octagonal breech becoming polygonal and with a notched ramp at the rear forming the back-sight, plain tang, flat bevelled lock with rounded pointed tail, retained by three screws (two replaced) and with separate pan retained by a screw on the outside, horizontally acting sear, and dog-catch engaging with the rear of the bellied ring-neck cock, figured full stock (some old bruising and repairs, nearly broken through at the lock) with apron around the tang, the butt stamped with initials 'CS' on the left, mounts comprising a large brass reinforcing side-plate, thin iron heel-plate secured by tacks and with slender tang along the comb of the butt, and iron trigger-guard with pointed finials, single brass ramrod-pipe, and later ramrod, London proof marks and barrelsmith's mark of Edward Nicholson 41.2 cm. barrelFootnotes:ProvenanceSold in these Rooms, Antique Arms, Armour & Modern Sporting Guns, 17 May 2017, lot 250Edward 1 Nicholson was apprenticed to Robert Silke in 1668. Free of the Gunmakers' Company in 1675 he was elected Master in 1697. He was Contractor to Ordnance between 1687 and 1711, to the East India Company in 1700, and to the Hudson's Bay Company between 1687 and 1712For further information on this lot please visit Bonhams.com
A Fine Pair Of 22-Bore Flintlock Turn-Off PistolsBy James Freeman Of London, Circa 1720With two-stage cannon barrels each engraved with a band of foliage at the rear and behind the muzzle-ring (one lug an old replacement), border engraved stepped octagonal then polygonal breeches each with a band of engraved foliage, foliate engraved tangs each with foliate finial, border engraved actions each signed 'Freeman Londini' beneath the steel-spring, chiselled cocks (one expertly replaced, the other repaired and with later top jaw and screw), separate iron trigger-guards each with engraved bow and foliate finial, figured moulded rounded butts each with raised panel at the barrel tang and a silver scrollwork inset on each side terminating in a dragon's head, and cast and chased silver mounts comprising pierced foliate side-plates each involving a monster-head, escutcheons engraved with owner's crest (worn), a cross pattee, and with a grotesque mask above and beneath, and spurred pommels engraved with scrolling foliage and each with grotesque mask cap, London proof marks, maker's mark apparently that of Lewis Barbar (2) 10.7 cm. barrelsFootnotes:ProvenanceThe Norman H. Dixon Collection sold in these Rooms, 18 April 2012, lot 296LiteratureNorman Dixon, Georgian Pistols ..., 1971, pp. 112-117, pls. 63 and 65James Paul Freeman was admitted to the freedom of the London Gunmakers' Company, on 5 July 1716, and in the same year took over the premises in St. Martin's Lane previously occupied by Andrew Dolep. He was master in 1732 and died in 1736For further information on this lot please visit Bonhams.com
A 22-Bore Flintlock Brass-Mounted Holster Pistol By Turvey Of London, Early 18th CenturyWith three-stage barrel, octagonal breech becoming polygonal, plain tang, rounded lock signed in capitals, figured full stock (old splits and minor repair at the muzzle, repairs around the lock and pommel) with raised apron around the barrel tang, mounts comprising flat scroll side-plate with engraved foliate terminal, border engraved bluntly spurred pommel decorated with a flower-head centred on the retaining screw, plain trigger-guard with pointed finial, single turned baluster ramrod-pipe, and later steel-capped ramrod (barrel and lock with old light pitting), London proof marks and Turvey's barrelsmith's mark 30.6 cm. barrel Footnotes:Edward 1 Turvey (d. 1724) was apprenticed to Godfrey Tailor in 1682, and turned over to Humphrey Pickfatt. Free of the Gunmakers' Company in 1690, he was elected Master in 1713. He was Gunmaker to Ordnance between 1693 and the year of his death in 1714For a related pistol sold in these Rooms see Antique Arms, Armour & Modern Sporting Guns, 26 May 2021, lot 320For further information on this lot please visit Bonhams.com
A Pair Of 20-Bore Flintlock Rifled PistolsBy Barbar Of London, Circa 1730-40With slightly swamped two-stage sighted barrels each cut with straight groove rifling and signed in capitals along the breech (worn), a band of foliage at the rear, border engraved tangs each decorated with foliage, border engraved rounded locks (one cock repaired, one steel replaced) each signed in capitals, figured full stocks (some old damage and repairs including through each butt, fore-ends mostly replaced) each carved with foliage behind the barrel tang, silver side-plates (one broken) each cast, pierced and chased with a dragon amid foliage, vacant foliate silver escutcheons, steel border engraved spurred pommels each with applied silver foliated grotesque mask, steel trigger-guards each with early form of acorn finial and engraved with a flower-head on the bow, turned ramrod-pipes, and horn-tipped ramrods, one with steel worm (some old wear and light pitting, one trigger replaced), London proof marks and Lewis Barbar's barrelsmith's mark (2) 17.5 cm. barrelsFootnotes:Louis (Lewis) 1 Barbar (d. 1741), a French Protestant, born in Essendun, Poitou, came to London circa 1688 to avoid persecution, and was naturalised in 1700. In 1704 he was made free of the Gunmakers' Company, and his proof piece ('a very fine piece') was passed. He was appointed Gentleman Armourer to King George I in 1717, and to George II in 1727Today the largest group of firearms by Lewis Barbar is preserved in the armoury of the Duke of Buccleuch at Boughton House. They were made to the order of John, 2nd Duke of Montagu (1709-79) who was Master General of Ordnance from 1740 to 1749. The accounts at Boughton record payments to Barbar which include '£150 for 200 Muskets', and a letter of 7 June 1718 to the 2nd Duke of Montagu from his vicar mentions that Barbar was responsible for the display of the firearms in the house at that dateFor further information on this lot please visit Bonhams.com
A Pair Of 20-Bore Flintlock Long Barrelled Holster PistolsBy W. Turvey, London, Mid-18th CenturyWith sighted barrels each signed in capitals at the breech and with tapering sighting flat, plain tangs, rounded locks each signed in capitals and with slender raised border, figured moulded full stocks (fore-ends mostly replaced, old repairs around the pommels) each with a later oval steel mount in the back of the butt for a shoulder stock, steel mounts comprising scrolled side-plates each chiselled with foliage, vacant escutcheons (one replaced), spurred pommels each with stepped circular cap, trigger-guards each with moulded graduated finials, turned baluster ramrod-pipes (three probably replaced), and later horn-tipped ramrods, one with steel worm (some old wear and rust patination) (2) 37.5 cm. barrels Footnotes:William 1 Turvey was apprenticed to Edward 1 Turvey in 1703. He was elected Master of the Gunmakers' Company in 1733, and died by 1744. Following his death the business was carried on by his widow SaraFor further information on this lot please visit Bonhams.com
A Rare 25-Bore Flintlock Holster Pistol By J. Dafte Of London, Late 17th CenturyWith three-stage barrel turned at the girdle, octagonal breech cut with flutes beyond, retaining traces of an engraved demi-figure amid strawberry foliage, and crudely engraved with maker's name in capitals at a later date, tang (retaining screw replaced) with traces of engraved decoration, border engraved rounded lock (cock, steel, mainspring, and one side-nail replaced, the other side-nail repaired) signed in capitals and decorated with scrolling strawberry foliage with monster-head terminal, the tail with foliated demi-figure drawing a bow and arrow, moulded highly figured full stock (minor damage and repairs, fore-end mostly replaced) swelling (old split) at the rear ramrod-pipe and with raised drop behind the barrel tang, steel mounts comprising associated side-plate pierced and chiselled with foliated monsters, vacant escutcheon en suite, border engraved spurred pommel decorated with graduated beadwork along the spurs and with a foliated demi-figure blowing a trumpet on each side, the cap engraved with a moustachioed human face framed by petals, trigger-guard (tang repaired) with trefoil-shaped finial and decorated with a monster-head and foliage on the bow, turned baluster ramrod-pipes (forward one replaced), and later steel-capped wooden ramrod, London proof marks and indistinct barrelsmtith's mark 31.7 cm. barrelFootnotes:ProvenanceChristie's South Kensington, The J.C.L. Knapton Collection of Antique Firearms, 28 February 1990, lot 95 John Dafte was apprenticed to Henry Phipps in the Blacksmiths' Company in 1660 and free of the Gunmakers' Company in 1668. He supplied blunderbusses and pistols to the Rye House Conspirators in 1683, and was appointed Master of the Gunmakers' Company in 1694. He died in 1696. See John S. Cooper & Kenneth J. Westwood, John Dafte-Gunsmith and the Horrid Conspiracy of 1683, 1989For further information on this lot please visit Bonhams.com
A Rare Cased .577 (2 3⁄4 in. Black Powder Express) Centre-Fire Hammer 'Lock-Fast' D.B. Sporting RifleBy J.D. Dougall, Gun & Rifle Manufacturer To H.R.H. The Prince Of Wales, 59 St. James's St., London, No. 3465, Circa 1875With browned damascus twist sighted barrels signed in full in capitals along the matted rib (some old pitting including on the extractors) and each rifled with six bright spiral grooves, border engraved case-hardened action decorated with foliate scrollwork and inscribed 'J.D. DOUGALLS'S PATENT LOCKFAST' beneath, tang decorated en suite and with Prince of Wales's feathers between the fences, case-hardened detented flat locks and hammers also en suite, the former each engraved 'J. Stanton' on the inside, the latter each with safety-catch behind, the right lock with blued safety-stop for the side-lever engraved with foliate scrollwork, figured butt (broken through and repaired behind the chequered pistol grip) with padded leather cheekpiece and rubber recoil pad, chequered detachable fore-end (minor chips along one side), case-hardened ovoidal grip-cap and trigger-guard, gold escutcheon engraved with owner's crest and motto, sling mounts, and much original finish: in original brass-mounted leather-covered two-tier case (some loss of surface leather) lined in red baize, the oak upper tier fitted for the rifle and reloading accessories, the lower tier lined for eight tin ammunition cases (two missing), the interior of the lid (some moth damage) with maker's trade label (minor damage and old staining), the exterior with circular vacant brass escutcheon and stamped in gilt with owner's name 'LORD SUFFIELD', London proof marks 71.4 cm. barrels Footnotes:James Dalziel Dougall, recorded at 59 St. James's Street, London between 1864 and 1882, was granted British Patent No. 1128 of 7 May 1860 for 'Inert slide & tilt'. See I.M. Crudgington & D.J. Baker, The British Shotgun Volume One 1850-1870, 1979, pp. 73-78The crest and motto is that of Charles Harbord (1830-1914), 5th Baron Suffield who was a Liberal politician, friend of Edward VII, and served as Lord of the Bedchamber and Lord in waiting to the king. In 1886 he was Master of the Buckhounds under William GladstoneSuffield accompanied Edward, Prince of Wales as his Chief of Staff during the 1875-76 tour of the Indian Subcontinent. It is probable that the damage to the butt of the rifle was suffered during one of the many shooting expeditions described in his My Memories 1830-1913, 1913. For example see pp. 192-193For further information on this lot please visit Bonhams.com
Ian Davenport (British, born 1966)Puddle Painting: Jazz signed, titled and dated 'I. Davenport/2010/Puddle Painting: Jazz' (verso)acrylic on stainless steel147 x 123.3 cm. (57 7/8 x 48 1/2 in.)(unframed)Footnotes:ProvenanceWith Waddington Custot, London, 15 October 2010, where acquired by the present ownerPrivate Collection, U.K.Ian Davenport's gloriously vibrant Puddle Painting: Jazz is a fantastic example of his signature and instantly recognisable style of poured paintings, where the colours have been allowed to pool and collect towards the lower edge. Davenport plays with both chance and order in these puddle paintings, using heavy duty syringes to pour acrylic paint down stainless steel panels, in meticulously ordered lines, but then tilting and shifting the panel as the paint flows towards the bottom, creating wayward swirls which are entirely spontaneous. A joyful riot of colour, here technicolour stripes of magenta, blue, bright green and orange, as well as an array of others, have been poured on a black background, creating a colour scheme of high contrast and rich intensity. The present work is inspired by Matisse's 1947 book Jazz, which is widely considered to be one of the most important illustrated books of the modern period. The book, which is made up of twenty brightly coloured illustrations which Matisse created by using cut and pasted paper, take as their subject the theatre and circus. The title, which hints at a musical subject matter, was likely chosen to allude to the experimental and improvisational nature of the compositions. Here, Davenport has chosen colours which reflect the highly saturated tones of these inspiring prints, creating an ingenious chromatic homage to Matisse which is nevertheless distinctly in his own signature style. As he has noted: 'There is a certain amount of research that goes into the paintings. Often the colours are taken from another source, this might be a landscape or an old master painting, for example Monet is a big influence, as is Turner.' (Ian Davenport, interview with Artimage, 2018). Davenport has continued to explore this focus on the subtleties of different colour schemes, including significantly in the beautiful Giardini Colourfall which was on display at The Swatch Pavilion for the duration of the Venice Biennale in 2017, which was inspired by the palette of masterpieces by Gustav Klimt, Claude Monet and Pietro Perugino. Puddle Painting: Jazz is illustrative of how the artist's practice has changed with time, and illustrates the transition from the earlier poured paintings where the pigment flowed in straight lines vertically down the length of each piece. As in the present work, this experimentation with elements of chance has continued in subsequent pieces where the pigment is allowed to escape the confines of the panel itself, and cascade and collect in exuberant pools which add a three-dimensional, sculptural aspect.We are grateful to the Artist's Studio for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A Brass-Barrelled Flintlock Blunderbuss By Heasler Of London, Late 17th CenturyReconverted from percussion, with three-stage barrel flared at the muzzle and ramped at the rear of the octagonal breech (touch-hole bushed and only partly drilled through), border engraved breech becoming polygonal and decorated with a foliated monster-head, iron tang, signed border engraved rounded lock (one side nail replaced) decorated with a bird amid foliage on the tail, highly figured rootwood full stock (some old worming and repairs, old chip beneath the front of the lock), brass mounts comprising pierced serpentine side-plate cast and chased with foliage, vacant escutcheon (probably replaced), butt-plate with moulded border along the pointed heel tang, trigger-guard with moulded finial fore and aft each with foliate terminal, and single turned baluster ramrod-pipe (ramrod missing), London proof marks and Heasler's barrelsmith's mark 35.5 cm. barrel Footnotes:William Heasler was apprenticed to Robert Silke and turned over to Michael Richardson in 1682. He is recorded 'att the Cross Guns & Starr, Tower Street' and was elected Master of the Gunmakers' Company in 1717. Contractor to Ordnance between 1693 and 1718, he died in 1722For further information on this lot please visit Bonhams.com
A 40-Bore Flintlock Box-Lock Pocket PistolBy H. Nock, London, Circa 1800With turn-off barrel stamped with Irish registration number 'WI 832' for Co. Wicklow and engraved with a foliate band at the rear corresponding to a matching band at the breech, border engraved action signed in capitals over each side, engraved thumbpiece safety-catch also locking the steel, folding trigger, and figured flat-sided butt stamped with the same registration number on the back (minor old rust patination), London proof marks 4.5 cm. barrel Footnotes:Henry Nock took Livery of the Gunmakers' Company in 1795 and was elected Master in 1802. He was appointed Gunsmith-in-Ordinary to George III in 1789 and was the principal maker of seven-barrelled volley guns and rifles. He died in 1804For further information on this lot please visit Bonhams.com
A 25-Bore Flintlock Brass-Mounted Pistol By T. Green Fecit Of London, Circa 1700With shortened two-stage barrel (some old pitting) turned at the girdle, breech signed in capitals and engraved with scrolling foliage terminating in a monster's head, plain tang, signed border engraved rounded lock (some wear) decorated en suite with the breech on the tail and on the cock, moulded figured full stock carved with foliage behind the rear ramrod-pipe and barrel tang, mounts comprising side-plate elaborately cast and pierced with scrolling foliage, escutcheon engraved with owner's crest of Pilkington within a border of foliage and with a demi-mask above, border engraved spurred pommel decorated with foliage on both sides and with grotesque mask cap, trigger-guard with large foliate finial and decorated with a frond on the border engraved bow, turned baluster ramrod-pipes, and later brass-capped ramrod with iron worm, London proof marks and Green's barrelsmith's mark 22.5 cm. barrel Footnotes:Thomas 1 Green was apprenticed to Edward Nicholson in 1686 and was free of the Gunmakers' Company in 1693. He was elected Master of the Company in 1720 and is recorded 'att ye Fowler' Minories between 1697 and 1714. He was Gunmaker to Ordnance, 1697-1715; the Royal African Company in 1721 and was viewer and Proof Master to the Hudson's Bay Company in 1715. He died in 1728Cf. a pistol by the same maker and sold in these Rooms, Fine Antique Arms and Armour..., 24 November 2010, lot 365For further information on this lot please visit Bonhams.com
A Pair Of 20-Bore Flintlock Silver-Mounted Holster PistolsBy J. Hawkins, London, London Silver Hallmarks For 1771, Indistinct Maker's MarkWith swamped two-stage barrels (some old wear and light surface pitting), octagonal breeches each indistinctly signed in capitals along the top flat, foliate engraved tangs, signed border engraved rounded locks lightly decorated with foliage, cocks en suite, moulded figured full stocks (one with minor chip on the right side of the pommel and slight split at the muzzle) each carved in low relief with foliage around the rear ramrod-pipe and barrel tang, cast and chased mounts comprising pierced foliate scroll side-plates, foliate escutcheons each engraved with owner's crest, border engraved spurred pommels each decorated with foliage on both sides and with grotesque mask butt-cap, foliate engraved trigger-guards each with foliate finial, baluster ramrod-pipes, and brass-capped wooden ramrods, one possibly original, London proof marks and indistinct barrelsmiths mark (2) 23.3 cm. barrelsFootnotes:John 2 Hawkins was apprenticed to John Silke, free of the Gunmaker's Company in 1682 and elected Master in 1711 and 1722. He was Gunmaker to Ordnance between 1686 and 1716, and to the Hudson's Bay Company between 1695 and 1726, the year before his deathFor further information on this lot please visit Bonhams.com
A Pair Of 16-Bore Flintlock Belt Or Officer's Pistols By Joseph Griffin Of London, Circa 1755With slightly swamped Italian two-stage barrels each with turned and beaded girdle, the breeches each with two gold-lined maker's marks of Cristiano Leoni of Pistoia (Neue Støckel 7774 and 7775), plain tangs grooved for sighting, rounded locks signed in capitals and each with moulded border, cocks with borders en suite, figured full stocks each carved with a shell behind the barrel tang, steel mounts comprising plain flat scroll side-plates, spurred pommels each chiselled with a scallop shell linked by scrolls around both sides, stepped ovoidal pommel-caps each chiselled with a flower-head, trigger-guards each with early form of acorn finial, belt hooks, turned ramrod-pipes, and original horn-tipped ramrods (one incomplete, some old rust patination), London proof marks and Foreigner's mark (2) 25.2 cm. barrels Footnotes:ProvenanceThe Property of Sir Marcus Worlsley, Bt., Christie's London, Antique Arms And Armour, 7 May 1981, lot 148W. Keith Neal Collection, P447Christie's London, Fine Antique Firearms from the W. Keith Neal Collection, 8 November 1995, lot 275Joseph Griffin was turned over to his father in 1741 and was free of the Gunmakers' Company in 1750. He was appointed Gentleman Armourer to His Majesty's Stables-in-Ordinary in 1760 and was elected Master of the Gunmakers' Company in 1761 and 1763. In partnership with his father until 1770 and with John Tow between 1771 and 1782, he died in 1784For further information on this lot please visit Bonhams.com
The Grand Cross Mantle Star Of The Most Distinguished Order Of St. Michael And St. George Worn At Investitures By George IV And William IV And Presented By Admiral Sir George Seymour To His Excellency Lt. General Sir Gaspard Le Marchant, Governor of Malta in 1860Circa 1820Of polychrome enamelled silver-gilt, the central medallion finely painted with St. Michael vanquishing Satan (dark blue motto enamel with some old repairs and later minor damage, red enamel with areas of minor damage), and centred on the bright-cut parcel-gilt star: mounted beneath a domed glass frame of hexagonal form covered in burgundy velvet with gilt-metal mounts, the outer border pierced and engraved with foliage, and surmounted by an applied elaborately pierced and engraved 'VR' monogram centred on a crown, the reverse with central gilt medallion engraved 'THIS STAR OF THE GRAND CROSS OF THE ORDER ST. MICHAEL & ST. GEORGE WAS WORN AT INVESTITURES BY THEIR MAJESTIES GEORGE IVTH AND WILLIAM IVTH AND WAS PRESENTED BY ADMIRAL SIR GEORGE SEYMOUR, G.C.B. TO HIS EXCELLENCY LT. GENERAL SIR GASPARD LE MARCHANT GOVERNOR OF MALTA. 1860', hinged and pierced gilt-metal stand, and three rings for suspension The order 24 cm. wide, the frame 36.6 cm. wide X 50 cm. highFootnotes:ProvenanceLanglois Ltd. Auction, Guernsey C.I., according to an old label attached of the back of the frameAdmiral of the Fleet Sir George Francis Seymour, GCB, GCH, PC (1787-1870) joined the Royal Navy in 1797 and was assigned to the Royal yacht HMY Princess Augusta. In March 1798 he was transferred to HMS Sans Pareil and to HMS Prince of Wales in the West Indies later the same year. He was present at the surrender of Suriname in August 1799, and on promotion to midshipman he transferred to HMS Acasta in early 1800. During 1802 Seymour served aboard HMS Endymion and HMS Victory, flagship of the Mediterranean Squadron. Promoted to Lieutenant in October 1804, he took part in the pursuit of the French Fleet, and was present at the capture of the Spanish Rayo (100 guns) in October 1805. Promoted to Commander in 1806 Seymour served as commanding officer of HMS Northumberland in 1806 and fought at the Battle of San Domingo under Sir John Duckworth where he was wounded. He took part in the blockade of Rochefort, and was promoted to Captain in July 1806. In 1808 he was given command of HMS Pallas and fought at the Battle of the Basque Roads in 1809. During the War of 1812 he captured the privateer USS Paul Jones in May 1813 whilst in command of HMS Leonidas. Appointed a Companion of the Order of the Bath in June 1815, he became Serjeant-at-Arms to the House of Lords in 1818. He was appointed a Knight Commander of the Royal Guelphic Order in 1831 and was knighted later the same year. In 1834 he was advanced to Knight Grand Cross of the Royal Guelphic Order. In June 1837 he attended the funeral of William IV, his last act as Master of the Robes to the King. Appointed Third Naval Lord in September 1841 and soon promoted to Rear Admiral, he became Commander-in-Chief Pacific Station in May 1844. His tactful handling of the 'Pritchard Affair' during the Franco-Tahitian War that same year avoided a confrontation with the French Government. Promoted to Vice-Admiral in March 1850, he became Commander-in-Chief North America and West Indies Station in January 1851. In 1856 he was Commander-in-Chief, Portsmouth and was promoted to Full Admiral in May 1857. Appointed Rear-Admiral in 1863, Vice-Admiral in 1856, he became an Admiral of the Fleet in November 1866. Following his death in 1870 his body was placed in a tomb on which rests a recumbent marble sculpture of him by Victor Gleichen, at Holy Trinity Church, Arrow, near the family seat at Ragley Hall in WarwickshireLieutenant General Sir John Gaspard Le Marchant, GCMG, KCB (1803-1874) was the son of Major-General John Le Marchant, founder of the Royal Military College, Sandhurst and designer of the 1796 Pattern Light Cavalry sabre. In 1820 he was commissioned into the Royal Lincolnshire Regiment as ensign. In 1821 he transferred to the 57th Foot as Lieutenant and later into the 98th Foot with the rank Major. In 1835 he became Adjutant-General of the British Auxiliary Legion in Spain in support of Queen Isabella II in the First Carlist War. He transferred to the 20th Foot in 1837 and was appointed a Knight of the Order of Charles III by Isabella II the same year, being given permission to use his Spanish knighthood in Britain. He transferred to the 99th Foot as Lieutenant-Colonel in 1839, and to the 85th Foot in 1845. In 1847 he reluctantly accepted the governorship of Newfoundland, and served as Lieutenant Governor of Nova Scotia between 1852-58, before becoming Governor of Malta until 1864. In 1865 he was appointed Commander-in-Chief of the Madras Army and retired in 1868. His memorial stone is in Town Church, GuernseyFor further information on this lot please visit Bonhams.com
A CHARLES II CARVED LIMEWOOD PORTRAIT PLAQUEAttributable to the workshop of Grinling Gibbons (1648-1721), circa 1680 Carved in deep relief with a floral border enclosing a portrait relief of a gentleman with curly wig and cravat, later mounted and framed, some damages, the plaque 32cm x 34cm, the frame 48.5 x 51cm PROVENANCE: The Earls of Essex, Cassiobury ParkAcquired by Frederick Poke, circa 1922, possibly from thecontents sale of Cassiobury Park or at some point soon after, and thence by descent.LITERATURE: Owen Wheeler Old English Furniture from the 16th to the 19th Centuries, published by L. Upcott Gil 1909, page 178 H.Avray Tipping, Grinling Gibbons and Wood Work of his Age, Country Life, 1914, page 77. Tipping describes the plaque as "Three other frames which must also be the work of Grinling Gibbons now hang in the inner library. The one is a small oval 12" x 14" and the Turks cap lilies are wonderfully executed. This however is not merely a frame but also an example of bas-relief carving in box-wood, the centre exhibiting the head of a man with a flowing Louis XIV wig and represented, not as usual in profile, but full face".Grinling Gibbons 1648-1720; The Supreme Wood Carver, The Connoisseur, April 1941, page 141, No. 2. The caption to the Illustration notes and "from Cassiobury Park, collection of F.R Poke, Esq". Further noted on p. 145 of The Connoisseur: "Another relic from destroyed Cassiobury is the oval medallion of a portrait of a man with a flowing curled wig (no.2). It originally hung in one of those small pleasant bays lined with books in the Library. The fine rendering of this medallion with its pierced floral frame points to the hand of the Master himself"R.W.Symonds, Grinling Gibbons - England's Greatest Wood Carver, Everybody's Weekly, issued May 24th 1941, page 9 and illustrated. Symonds noted "a small medallion portrait carved in limewood. This portrait and its beautiful frame was probably done by Gibbons himself. It came originally from Cassiobury Park, the home of the Earl of Essex". Condition report: The central oval plaque is secured to the later velvet covered board. The surrounding carved border is loose and not secure. The border with numerous old breaks, worm damage, cracks, some losses, some reglued and some smaller fragments loose. There looks to be some blackening in areas, possibly due to fire or candle smoke over the years. The wood has been wax polished over the years and discoloured to a darker hue with time and wax. There is past worm damage overall with holes obvious and worm tracks in areas to the left side. The whole piece needs conservation and restoration. The later frame is associated. Otherwise, inevitable scuffs, scratches, dents, small chips and marks commensurate with wear, use and age.
* Mullaly (Terence, 1927-2020). A large archive of approximately 3,000 photographs of paintings and artworks, c. 1960s and later, all black & white press and agency photographs of mostly modern art and design, European pictures of all periods, taken from galleries and auctions, including Picasso, Brueghel, 15th - 18th century Spanish artists, Italian Sculpture, etc., all with printed details on paper labels tipped to versos, some with additional pen or pencil markings, credit stamps including Fototeca Mullaly, etc., mostly 20 x 25 cm and similar sizes, largely organised by genre in unlabelled suspension files and partly contained in a metal filing cabinet drawerQTY: (2 cartons & drawer)NOTE:The scholar and art critic Terence Mullaly was educated in India, England and Canada. After graduation from Cambridge University he made several archaeological excavations in Tripolitania and Sicily. He became the Daily Telegraph's art critic, writing for them from 1956 to 1987. He was a leading expert in Veronese art and was a regular contributor to the Burlington Magazine and Old Master Drawings art journals. The archive here covers art from the Italian Renaissance to the twentieth century.
Loading...
![[^] Pierre, Jean-Baptiste Marie -- Die Kommunion der Maria von Ägypten durch den Hl. Zosimus.Feder in Grau, grau laviert. 31,](https://cdn.globalauctionplatform.com/baa7e349-71e4-4946-84ff-b0b40163acd3/7dabf22f-dcfb-489e-b90f-b0b4016acde7/468x382.jpg)
![Chess.- [Willis (Robert)] An Attempt to Analyse the Automaton Chess Player, of Mr. de Kempelen, first edition, half-title, 10](https://cdn.globalauctionplatform.com/abe22dc9-8888-40ef-8429-b0b301071f37/2a150fdb-899f-41fd-b83d-b0b301240850/468x382.jpg)
![(Classics, Ancient Greece, Rome.) A collection of 29 volumes, including Xenophon; [William Smith]: 'Xenophon's History of the](https://cdn.globalauctionplatform.com/b3c2c738-19d0-4d60-8532-b0c100bdc003/bcd0b26c-7ffa-4b90-ba44-b0c101090935/468x382.jpg)
