A George II burr walnut quarter-chiming eight-day longcase clock, Samuel Thorne, London, circa 1740, the triple train five pillar movement with anchor escapement regulated by seconds pendulum chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the 12 inch gilt brass break-arch dial with subsidiary seconds dial, calendar aperture and arched nameplate engraved Samuel Thorne, London to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and mask and scroll cast spandrels to angles beneath STRIKE/SILENT selection dial flanked by dolphin cast mounts to arch, the case with generous break-arch cavetto cornice with fluted canted angles flanking the glazed dial aperture and scroll-pierced and engraved brass rectangular side frets to hood, the trunk with conforming canted angles flanking a book-matched burr-veneered herringbone banded shaped-top trunk door with cavetto moulded surround over conforming plinth base with the canted angles terminating with an out-swept curve just above the moulded skirt, 232cm (91.25ins) high Samuel Thorne is recorded in Baillie, G.H. 'Watchmakers & Clockmakers of the World' as apprenticed in 1722.The unusual design of the case of the current lot with its generous canted angles continuing almost for the entire height of the case, fine quality figured veneers and engraved brass sound frets to the hood is reminiscent of a small series of cases housing ogee-arched dialled movements by Daniel Delander and John Ellicott. One such example (by Delander) is in the collection of the Metropolitan Museum of Art, New York (accession number 64.101.864).Condition Report: Movement is in good clean working condition with no visible alteration or significant replacements or repairs. The dial is generally in fine condition and of very nice quality with faults limited to some patchy tarnishing to the silvering of the chapter ring. The movement sits at the correct level in the case with no apparent alterations to the seatboard or case uprights hence we are the opinion that the movement and dial are original to the case.The case is generally in fine condition. The curved top panel to the top of the hood is probably a replacement and there are some small chips to edges of the cornice moulding otherwise faults to the hood and trunk are very much limited to minor bumps, scuffs, light shrinkage and some small historic veneer chip patch repairs. The base is in similar condition with the exception of the sides which have some more noticeable (but not problematic) horizontal veneer shrinkage cracking.Clock has three brass-cased weights, pendulum and two case keys (no winder). Condition Report Disclaimer
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An Italian patinated bronze bust of a young Emperor, possibly Tiberius as a youth, 17th century, of small proportions, the truncated subject portrayed with the head slightly inclined to sinister, with a diagonal sash across the chest, mounted to a later bronze waisted circular socle and square section base, the plinth indistinctly inscribed Young Galba to rear, the bust approximately 8.5cm high, overall height circa 11cmProvenance: from the estate of the late Betty, Lady GrantchesterCondition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The patina is a shiny reddish brown, the surface not entirely smooth, commensurate with age of this bronze.There are a handful of small casting inconsistencies including a tiny aperture to the hair. The rear is irregular and hollow-cast (to the head), and is of irregular shape.There is a small loss to the right side of the chest, as can be seen in the photographs.There is some lighter residue surrounding the buckle on the sash, which may just be a bit of dirt.There is a slightly raised patch of lighter metal near the socle, either an inconsistency or possibly to secure the lot to the later square socle.Some slight rubbing to the little plinth.Condition Report Disclaimer
Good collection of original concert programmes to include David Bowie 'Serious Moonlight' tour 1983 with related paper and patch badge, Queen - 'Spring Tour 1978', Bob Dylan - 1978 'Black Bush' tour, The Shadows - 'Thirty Years of Hits' tour, The Who - '1981 and 1996' tours, Paul McCartney - two world tour programmes and a Wings programme, The Bootleg Beatles, two Beatlemania programmes, Night of 100 Guitars and Led Zeppelin at Knebworth 1979, two Jimmy Page programmes and a Zeppelin press cutting
Dire Straits - good selection of Dire Straits ephemera to include a ticket stub for Dire Straits at Deeside Leisure Centre, Thursday 12th December 1985, a 'Sultans of Swing' fabric patch, four Dire Straits pin badges, 'Down Under - the Life Story of a History-Making Band' Dire Straits magazine and seven vinyl to include 'Brothers in Arms' special edition picture disc, 'So Far Away' live album, 'Making Moves', 'Brothers in Arms' full length version, 'Money for Nothing' full length version, 'Walk of Life' and 'Money for Nothing'
A 17th century, Italian, Baroque style cassoneThe lid painted with a central cartouche enclosing a tree, flanked on each side by grotesque-like decoration, including masks, dolphins and foliate scrolls, the conforming sides with wrought iron carrying handles, the inverse breakfront painted with a panel depicting the vestal virgin Tuccia bringing a sieve of water to the temple, flanked on each side by a lion’s mask holding a fruiting pendant on carved mask feet.128cm wide x 53cm deep x 65.5cm highFootnote: Footnote:Tuccia was a priestess who was responsible for the eternal fire at the temple of Vesta in Rome. She was falsely accused of breaking her vow of chastity and to disprove this calumny she called on the gods to help her perform the miracle of carrying a sieve full of water to the temple. There is what appears to be the remnants of an old catalogue entry on the back of this cassone.Condition report: Later lock and strap hinges. Remains of original ring and staple hinges. Later sections, including 13cm (at its largest) x 82cm triangular section back right of top, plinth, back feet, constructional brackets and left front foot. 24cm x 6cm replaced on back of cassone to the left of the right hinge. Elements frassed, including around this patch. Evidence of old woodworm present. Right pendant lacking bow and left lacking left side of bow. Very chipped and cracked all over, including 9cm diagonal crack on the right of the painted panel. Overall distressed and with old restorations to paint work, as well as woodwork.
Frank Bramley RA (British 1857-1915), Boy Resting on a Country Track with his Dog, oil on Barnard and Son canvas, signed and dated 1866 bottom right behind frame. Measurements 31 x 36 cm, frame 50 x 55 cmPrevious auction inventory number versoCondition report: The painting is an oil on canvas, framed without glazing. The frame having solid joints but numerous surface losses and cracks to the gilt gesso. The canvas has reasonable tension with a repair patch verso over a 2cm diagonal gash in the canvas to the right hand side of the dog.The paint condition appears stable, with some minor surface craquelure but no obvious evidence for paint loss or deterioration. Some surface dirt.
A Shelley Art Deco tea service in the 'Sunset and Flowers' patternof Queen Anne shape, the service comprising teapot and cover, stand, hot water jug, cream jug, sugar bowl, six teacups, six saucers, six sideplates and a sandwich plate, printed factory marks in green, painted pattern number 16911 in iron red (25 pcs including cover)Condition report: Condition overall is very good, with just two damaged items in this lot:1. A teacup has got a small re-glued section near the upper terminal of the handle (photographed)2. The sugar bowl is badly cracked. (photographed)The remainder of the items are free from cracks, chips, damages or repairs. When looking closely with a loupe, several of the items have some very light or minor crazing - two teacups (just the bases); four saucers; one whole teacup (this is the one with the repair); cream jug with a small patch of crazing to the base; 1 side plate. Paying attention to the orange enamels, the service is in good order with no rubbing or losses, apart from the single side plate with crazing which has some wear to the sun (photographed).Signs of use are minimal, where scratches are present they are very light - e.g. one or two superficial marks to the cake plate.Please see the additional images.
A Chinese bronze censer and cover, Ming dynasty, the cover with bronze patinated white metal Dog of Fo finial with inset glass eyes, its paw upon a pieced ball, the cover with bat shaped pierced vents, the compressed body with lug handles cast with stylised lotus and scrolling foliage, with beaded neck above a band of scroll decorated lozenges, supported upon three dragon mask legs with paw feet, interior rim diameter 23.5cm, overall diameter 31.7cm, 33cm highCondition report: The Dog of fo finial has been off in the past and an old solder repair is visible. The cover has a 1cm rim split. One leg has been separated from the censer but it has been a clean break and re-attached. There was originally three Rui heads surrrounding the Dog on the cover, two of these are now missing with only one remaining. The stem securing the ball on the cover has been re-attached. Both handles have been re-attached using bolt threads and nuts. A 9cm soldered patch in the centre of the censer base.
Otto ModersohnIn Worpswede Öl auf Malpappe, auf Hartfaserplatte aufgezogen 57,2 x 40,5 cm Gerahmt. Unten rechts rotbraun monogrammiert 'O M', unten links braun datiert 'IX. 03.'. - Der Unterrand und die Ecken etwas bestoßen. Einige wenige winzige Farbabplatzungen und kleine Retuschen.Wir danken Rainer Noeres, Otto-Modersohn-Museum, Fischerhude, für bestätigende und ergänzende Informationen.ProvenienzPrivatbesitz Niedersachsen; seitdem in Familienbesitz Nordrhein-WestfalenAusstellungenWorpswede/Fischerhude/Bremerhaven 1989 (Kunsthalle/Otto-Modersohn-Museum/Kunsthalle), Otto Modersohn in Worpswede 1890-1907Der Maler gibt in dieser Worpsweder Impression einen stimmungshaften wie suggestiven Motiv-Ausschnitt: es öffnet sich ein unbefestigter Dorfpfad in leicht hügeligem Gelände mit altem Baumbestand zu etwas entfernter liegenden Gehöften - und auf dem Weg, seitlich, schaut ihm eine Kleine in rotem Tüchlein aufmerksam entgegen. Im geöffneten Tor des breiten Giebelhauses in der Bildtiefe erkennt man eine bäuerliche Gestalt, während davor eine Frau in dunkler Gewandung sich nach links über eine nur angedeutete Form beugt, vielleicht über den zugehörigen Kinderwagen. Modersohn formuliert keine Details aus, alles ist summarisch und doch schlicht und wirkungsvoll erzählt. Alles scheint, auch heute noch, beseelt von einer Gefühlsbindung an diesen Ort, von einer persönlichen Schau auf Gegebenheiten, auf ein Stück "Heimat" und damit auf einen ideellen Wert von ursprünglicher, ländlicher Geborgenheit. Die vereinfachte Perspektive, die großen Linien der Komposition wie die verteilten Farbsetzungen und Helligkeitswerte konstituieren das Motiv. Durch auffällige Kappungen und Zusammenziehungen von Formen und Flächen wie durch gelöste Strichlagen bekennt sich Modersohn zur Farbe und zu ihrer individualisierten Erfassung. Modersohn hatte die Zeit zuvor auf Amrum mit Paula Modersohn und der Tochter Elsbeth aus seiner ersten Ehe verbracht. Zur Entstehungszeit dieses Gemäldes, im September 1903, hielt Modersohn in seinem Tagebuch fest: "Dieser Sommer und besonders seit Amrum (5. August) hat mir die wichtigsten Erkenntnisse gebracht, seit ich male... mein ganzer Standpunkt ist ein anderer geworden. Mit der Natur verbindet sich Persönlichkeit, rechtes Naturgefühl ist auch ein persönliches. Das sind die wesentlichsten Seiten guter, großer Malerei, Sie entspringen alle aus dem rechten Verhältnis zur Natur." (Zit. nach: Ausst. Kat. Otto Modersohn, Otto Modersohn Museum, Bremen 1993, S. 299). Otto ModersohnIn Worpswede Oil on artist's board, laid down on fibreboard 57.2 x 40.5 cm Framed. Monogrammed 'O M' in red brown lower right, dated 'IX. 03.' in brown lower left. - Lower edge and corners somewhat bumped. A few minte losses of colour and minor retouches.We would like to thank Rainer Noeres, Otto-Modersohn-Museum, Fischerhude, for confirmatory and additional information.ProvenancePrivate possession, Lower Saxony; since then in family possession, North-Rhine WestphaliaExhibitionsWorpswede/Fischerhude/Bremerhaven 1989 (Kunsthalle/Otto-Modersohn-Museum/Kunsthalle), Otto Modersohn in Worpswede 1890-1907In this impression from Worpswede, the painter offers an atmospheric as well as suggestive detail of his motif: a rough village path in a slightly hilly terrain featuring a mature group of trees opens on to farmsteads lying somewhat in the distance while, at the side of the path, a little girl in a red scarf looks at him attentively. A farmer-like figure can be recognised in the open gate of the wide building with a gable roof in the depth of the picture, while a woman in dark clothing in front bends to the left over a form that is only hinted at - perhaps the pram of the child. Modersohn does not articulate any particulars, all is summarily and nonetheless simply and effectively described. Even today, everything appears animated by an emotional bond to this place, by a personal look onto given facts, a patch of “home” and, with it, by a notion of virtue expressing a feeling of pristine, pastoral security. The simplified perspective and the grand lines of the composition as well as the distributed accents of colour and brightness constitute the essence of the motif. Through striking abbreviations and contractions of forms and surfaces as well as a diffuse application of brushstrokes, Modersohn professes his devotion to colour and its individualised representation. Modersohn had spent the preceding period on Amrum with Paula Modersohn and his daughter Elsbeth from his first marriage. At the time this painting was created, in September 1903, Modersohn recorded in his journal: “This summer, particularly since Amrum (5 August), has brought me the most important insights since I have been painting ... my whole standpoint has become different. Personality is joined with nature; a proper feeling for nature is also something personal. Those are the most essential facets of a good, grand painting; all of them grow out of the proper relationship to nature.” (cited in: exhib. cat., Otto Modersohn, Otto Modersohn Museum, Bremen 1993, p. 299).
MARIOTTE, Edmé (1620-84). Traite du Mouvement des Eaux et des Autres Corps Fluides. Divisé en V. Parties ... Mis en lumiere par les soins de M. de la Hire ... Nouvelle édition corrigée. Paris: Chez Jean Jombert, 1700. 8vo (163 x 90mm). Head-pieces and ornaments, woodcut diagrams (some leaves very lightly browned). Contemporary calf, spine gilt with raised bands (some surface damage to a patch of the lower board, rubbed). Provenance: old bookseller's stamp on verso of title. The first edition was printed in 1686. Biblio-mechanica p. 217; cf. Norman 1440; Poggendorff II, 53; Waller 11398; not in Brunet.
A 19TH CENTURY DUTCH SILVER BOX, of shaped square outline, engraved with a basket of flowers, 5cm wide; a Continental silver snuff box of reeded rectangular form, 5.2cm; a 19th Century circular white metal patch box, with chequered mother of pearl inset lid; and a Continental silver and blue guilloche enamel small circular box and cover (4) Condition report: Dutch box is a bit dented and knocked, and also the rectangular box has some dents. Enamel circular box has a small area of damage near the edge of the base. Other circular box ok.
A GEORGE III SILVER CIRCULAR PATCH BOX, with domed cover, maker's mark I.T. Birmingham 1798, 2.3cm wide; another, of oval form with hinged cover, engraved with stylised foliage, by Samuel Pemberton, Birmingham 1809, 2.3cm; another similar, the lid engraved 'Wafers' by Samuel Pemberton, Birmingham 1816, 2.8cm; and two small circular boxes, maker's marks only I.T. & T.S. (5) Condition report: in good condition, minor knocks and scratches.
Bilston metal framed and enamelled patch box of concave sided rectangular form, the hinged lid opening to reveal a mirror within (cracked), many further cracks and small losses throughout, the lid depicting two doves with anchor and further inscribed "A la....ing peace", width 4.5cm, depth 3.5cm, height 2.5cm (a/f)
A 19th century gold and diamond jerretière bracelet, circa 1870, the articulated bracelet with a sliding panel set with a marquise shaped cluster of old mine cut diamonds, with a diamond accented clasp, approximately 0.87 carats total, longest extended length 19cm, 27.2g grossCondition Report: The diamonds are all present and correct, bright and lively, there is a small patch on the larger slide panel where part of the decoration appears to have flaked off almost, there is still gold panel beneath, but a slight loss. No noticeable repairs, some light scratches, articulated section 11mm wideCondition Report Disclaimer
A gold mid Victorian Tay pearl and Scottish hardstone brooch, circa 1870, the gold Celtic cross engraved with various Celtic designs, centred with a half Tay pearl, within a border of alternating bloodstone, banded agate and red jasper panels with engraved Celtic lovers knots between, 4.9cm diameter, 18.5g grossCondition Report: There is some light wear commensurate with age and use, a couple of small dents to the reverse, there is a rubbed patch on the back where it may have previously been tested. The setting is unmarked, but is gold. Stones appear original.Condition Report Disclaimer
Y A pair of coral drop ear pendants, the carved coral drops each below a gold coloured cap with an eight cut diamond surmount, 4.3cm long, 7.9g grossCondition Report: Some light wear, some glue visible where the coral has been set into the caps, from manufacture, unmarked, but in our opinion 14-18 carat gold, coral 2.2cm long, one of the coral drops has a distinct white patch about 1.5mm wide and 8mm longCondition Report Disclaimer
Justin Vulliamy, a 22 carat gold open face pair case pocket watch, hallmarked London 1786, cylinder fusee repeater movement, diamond end stone, pierced and engraved balloon balance cock, disc type regulator, dust cover, white enamel dial, Arabic numerals, blued steel hands, two piece hinged inner case, two piece hinged outer case, the back cover engraved with a coronet above SX within a circular reserve, movement signed, inner case diameter 47mm, outer case diameter 54mmCondition Report: Movement is functioningRepeater does not chime and requires attentionLight marks to the dialHands in good conditionLight scratches to the glassSlight play to inner case hingeOuter case hinge goodThe circular reserve is a patch repair, solder inside the case backLight scratches to both case159g gross Condition Report Disclaimer
A gold mid Victorian Tay pearl and Scottish hardstone brooch, circa 1870, the central saltire surmounted with a ducal coronet set with three half Tay pearls, within a hooped surround geometrically set with various coloured jaspers and banded agates, 4.8cm diameter, 16.8g gross Condition Report: There is a dent and small hole where the brooch pin is opened by the hinge, there is a rubbed patch on the back where it has been previously tested. The setting is unmarked, but is gold. Stones appear original, a couple of stones have chips.Condition Report Disclaimer
A Regency pink topaz and aquamarine gold cannetille cross pendant, circa 1820, the arms of the cross set with oval cut pink topaz in pink foiled closed back settings, centred with an open cluster of circular cut aquamarines in closed back settings and a similarly set central pink topaz, with applied beaded decoration, 5.4cm long, suspended from a modern 9 carat gold ropetwist chain, 45cm long, 12.2g grossCondition Report: There is a patch of lead solder and repair to the bottom of the pendant, some patching to the pink foiling behind the topaz. There is some general wear commensurate with age and use. The chain is modern, in good working order. Condition Report Disclaimer
An Italian gold coloured oval Melone evening purse, stamped 750, also stamped with French import marks and French sponsor mark, with a hinged suspension loop, a brilliant cut diamond set thumbpiece, approximately 0.35 carats total, the inside divided into two by a hinged mirror panel with a hinged clip verso, 15cm (6in long excluding loop), 446.8g excluding mirror, in a suede pouchCondition Report: The diamonds are all present and correct, bright and lively, there is some light surface wear and faint scratching to the gold surfaces, there is a patch of gold missing to the hinge bar tip, showing a little of the the base metal hinge bar. The mirror has a couple of large chips to one side, particularly to the bevelled edge, some further surface wear to the gold, there is some scratchings to the panel behind the mirror. The case has wear.Condition Report Disclaimer
An 18 carat gold curved rectangular card case by Horace Woodward & Co Ltd, Birmingham 1911, sunburst engraved to back and front, 8.7cm (3 1/2in) long, 82.5gCondition Report: There is some rubbing to the centres of the radiating panels from use, no splits to seams, some knocks to one corner and a flattened patch to another, general surface wear commensurate with use, there is some slight play to the hinge, but it is in working orderCondition Report Disclaimer
Circle of Jacob Huysmans (Flemish, c.1633-1696)Portrait of a lady, half-length, in a silver dress and pearl necklaceoil on canvas63 x 49.5cmCondition report: Oil on canvas which has been lined. The edges of the lining canvas have become brittle with age and are starting to fail, although the canvas tension is currently good. There is a small patch on the reverse of the painting securing an old damage. In the dark areas of the background there are localised areas of raised and flaking paint. The paint in the area of the sitter's face is worn and abraded. Retouchings in this area are well matched to the original but cover the age cracks. The varnish is clear and even with a light layer of dust across the surface. The frame is in a stable condition with losses to the gesso and gilding at the corners.
A porphyry box,19th century, probably St Petersburg, with white metal mounts and a hinged lid,8.5cm longCondition report: See images of what could be a filled patch to cover an imperfection by the workmen at the time of manufacture. We don't believe it to be a repair and the box is in otherwise good condition.
Edward Henry Holder (1847-1922)An open landscape with a windmill at sunsetsigned and dated '94 l.r., oil on canvas33 x 86.5cmCondition report: Light craquelure throughout. A small patch verso. A diagonal crease-like line running down through the cottages from the sky. Seen under UV, some dabs of retouching to sky and to the area above signature lower right. There is also retouching corresponding with patch centre left. A little yellowed.
Italian School, late 18th centuryA Roman frieze with classical figuresoil on canvas61 x 151cm, unframedProvenance: Horton Lodge, Windsor, Berkshire.Condition report: Oil on canvas which has been lined. The lining is poor, the canvas tension is slack with undulations across the surface. On the reverse of the lining canvas is a large patch. The lower left corner and the entire bottom edge has been filled. These area are lumpy and uneven with active flaking and loss. There are scattered retouchings across the surface and old fill which is very smooth compared to the original. The varnish is glossy with a layer of surface dirt.
T... Berti (Italian, 19th century) after Carlo Dolci (Italian, 1616-1686)The Angel of the Annunciationsigned, inscribed with title and 'Borgo St Jacopo / No.1785 / Firenze' verso, oil on canvas, painted oval74 x 57cm, in a contemporary Florentine carved giltwood frameCondition report: Oil on canvas which appears to be unlined. There is a patch on the reverse of the canvas securing an old repair. The canvas tension is slack but the picture is in plane. The paint layer is in a good, stable condition. The damage in the sitter's hair has been filled and overpainted. Some of the paint passages, such as darker shades of the hair and the green robe, have a slightly gritty appearance, possibly a phenomenon caused as the paint layer has dried. The varnish is glossy, even and slightly yellowed. The frame is in a stable condition with a few old cracks and damages.
PATCH BOX. A late 18th/early 19th century circular enamelled patch box, the lid with a couple in a rural scene & with the homily 'Who opens this Must have a Kiss.' Diameter 4cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
A fine pair of Chinese famille rose plates, Yongzheng period, each painted with two ladies in a rockwork garden with precious objects on a table and the ground within gilt arabesque and turquoise diaper pattern borders, 22.5cm diameterCONDITION: Provenance - UK private collection, gifted to the vendor's late mother by her aunt before 1970.Very slight wear to the enamels in the well where probably plates have been stacked inside each other, one plate with a small missing patch of turquoise enamel tot he border, otherwise in good condition with no restoration chips or cracks, one of the plates has a slight glaze fault to the underside.
A mid 18th century featherbanded walnut chest on chest, fitted three short and six graduated long drawers with brushing slide, W.3ft 6in. D.1ft 9in. H.6ft 2.5in.CONDITION: Overall in somewhat neglected condition, the whole of a dark brown toffee tone, moulded cornice with signs of old cracks, repairs and worm holes, possibly re-veneered to the front, the drawers retain original handles and locks but no key, canted side angles with a number of horizontal splits running through both sides, left side with a number of mostly vertical cracks running through the veneer and one small patch at the back, the lower part of the left side with fewer cracks, right side similarly with a number of old vertical cracks and other cracks running through the grain of the veneer, some loss of veneer at the waist, brushing slide is plain oak with fine cracking running through the front veneer, feet have seen repairs and re-tipping, overall the front has the look of having been repolished some years ago but now is in need of further attention.
A George II figured walnut secretaire chest on chest, fitted three short and seven graduated long drawers, the lower drawer with concave starburst motif, on bracket feet, W.3ft 5.5in. D.1ft 10in. H.6ft 4in.CONDITION: Overall in very good condition, probably restored within the past 10 years or so, front of a good rich dark treacle tone, both sides a little lighter, signs of minor old repairs to the moulded cornice with one small patch in the top right corner, equally minor and well effected repairs around the edges of the drawers which have later replacement handles and escutcheons, no key present, the secretaire drawer is quite possibly a later addition being held in place with a brass hook and enclosing four short drawers and pigeon holes, minor ring marks to the interior, starburst motif is fairly shallow and again may be a later embellishment, minor wear to the varnish and scuffing around the base commensurate with use.
A .704 PERCUSSION SERVICE RIFLE, UNSIGNED, MODEL 'EAST INDIA CO. BRUNSWICK', no visible serial number, circa 1864, with 'in the white' iron 30in. two-groove rifled barrel, applied fore-sight, rear-sight with one standing and one folding leaf, scarce variant bayonet bar with central locking notch mounted on the right side of muzzle, borderline engraved bar-action lock marked with a rampant lion East India Co. device, walnut full-stock (fore-end renewed in its working life) with brass furniture including large patch-box to right hand side of butt, iron stirrup swivels and period iron under-barrel ramrod (ramrod repaired, light staining iron surfaces).
MASSACHUSETTS ARMS CO, USA A GOOD .54 CAPPING BREECH-LOADING CARBINE, MODEL 'GREENE'S PATENT BRITISH ISSUE', serial no. 73, dated for 1856, with blued tapering round 18in. barrel, dove-tailed block and blade fore-sight, elevating ladder rear-sight, central section of outer barrel faceted for grip, plain receiver, long plain top-tang marked 'GREENE'S PATENT JUNE 27 1854', back-action lockplate fitted with 'Maynard's' tape priming system and marked 'MASS. ARMS CO. CHICOPEE FALLS USA 1856' a 'VR' crown cypher and 'MAYNARD'S PATENT SEPT 22 1845', plain hammer, walnut butt-stock with iron patch-box and semi-crescent heel-plate, saddle-ring to the trigger-guard tang, large trigger-guard bow with two triggers, the front one unlocking the barrel for loading, ordnance stamps and no provision for fore-end, the whole with much finish remaining.
PURDEY, LONDON A FINE CASED 16-BORE PERCUSSION DOUBLE-RIFLE, serial no. 2864, for 1837, with browned 28in. multi-groove rifled damascus barrels, the flat broad top-rib signed 'J. PURDEY, 314 1/2 OXFORD STREET, LONDON', long bead profile fore-sight, standing notch rear-sight with additional folding leaf, colour hardened engraved breech-blocks with platinum line and vented plugs, scroll engraved top-tang featuring the mask of a leopard, border, colour hardened gamescene and scroll engraved bar-action locks signed 'PURDEY', sliding safes forward of the scroll engraved dolphin-headed hammers, chequered walnut half-stock with carved and raised cheek-piece, engraved iron patch-box, chequered iron heel-plate, blued trigger-guard with chequered pistol-grip spur and heavy duty brass-mounted ebony ramrod, complete with its maker's brass cornered walnut storage case lined and compartmented in green baize and containing a leather covered nickel-mounted Hawksley flask, a scissors ball-mould, T-shaped nipple key (missing pricker), sprue cutter, two wad-punches, a nipple-cleaned, ball starter and a turnscrew.
CHARLES LANCASTER, LONDON A CASED EARLY 12-BORE PERCUSSION DOUBLE-BARRELLED SPORTING-GUN, serial no. 184, for 1827 and possibly converted from tubelock, with slightly shortened rebrowned 29in. twist barrels, the top-rib signed 'CHARLES LANCASTER, 151 NEW BOND ST., LONDON' (renewed), moulded nipple-wells, borderline and scroll engraved long top-tang featuring a vignette of gamebirds, border, scroll and gamescene engraved back-action locks with bar extensions signed 'C. LANCASTER IMPROVEMENTS' (refreshed), scroll engraved dolphin headed hammers, competent renewed walnut half-stock chequered at the wrist and reusing the original iron furniture, replacement brass-tipped ramrod and together with a period brass cornered walnut storage case, relined and compartmented for this shotgun with green baize, reproduction Lancaster trade label inside lid and containing period flasks, wad punch and patch cutter together with later quality nipple-key, turnscrew and oil-bottle and also including a modern cleaning rod.
THREE BOXES OF CERAMICS AND GLASS to include Foley china 'Fern' tea wares by Maureen Tanner, Midwinter tea wares by the Marquis of Queensberry, T G Green 8.5cm storage jars - green backstamps, Royal Osborne 8324 tea wares, Mabel Leigh dish for Shorter Brothers, Denby one and half pint blue glaze jug, Buckingham Palace patch pot souvenier, Canadian animal sculptures, Caithness bowl, drinking glasses etc
A ROSENTHAL VERSACE 'RUSSIAN DREAM' PATTERN FIFTEEN PIECE TEA SET, comprising tea pot and cover, sugar bowl and cover, cream jug and cover, six cups and six saucers, cream jug cover damaged but most pieces are inside the jug, tiny patch of enamel loss on the tea pot cover Condition Report 1st quality lidded jug has piece broken from lid (present inside jug for repair) very very minor rubbing to gilding on some otherwise no obvious damage or wear
TWENTY THREE LILLIPUT LANE SCULPTURES, from Symbol of Membership, Collectors Club and special promotion, mostly boxed with deeds except where mentioned, comprising 'Pussy Willow' 1992/93 (no box), 'The Spinney' 1993/94 (no box), 'Petticoat Cottage',1994/95 (no box), 'Thimble Cottage' 1995/96 (no box), 'Wash Day' 1996/97 (no box), 'Hampton Moat' 1997/98, 'Kiln Cottage' 1998/99, 'Fresh Today' 1999/00, 'Little Bee' 2000/01, 'Little Scrumpy' 2001/02, 'Gold Top' 2002/03, 'The Chocolate Box' 2003/04 with badge, 'The Toy Box' 2004/05 with badge, 'Cabbage Patch Corner' 2005/06 with badge, 'Sugar Mouse' 2006/07 with badge, 'Afternoon Tea' 2007/08 with badge (no deeds), 'Nutkin Cottage' 2008/09 with badge and 'Fruits of the Sea' 2009/10 with badge, 'Forget -Me-Not' 1992/93 (no box), 'Heaven Lea Cottage' 1993/94 (no box), 'Woodman's Retreat' 1994/95 (no box, trees and roof rubbed) and 'Honeysuckle Cottage ' 1992 (tenth Anniversary with badge), a fifteen year badge and boxed 'Nest Egg' (special promotion) (23)
A South Staffordshire enamel patch box 'A Remembrance of Friendship' circa 1810-20, 4cm longCondition report: Cover with some scratches, minor oxidisation to mirror, small eanamel loss to outer lower left edge and typically some general hairlines to enamel, hinge works fine and other than the small chip general good condition
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