We found 43903 price guide item(s) matching your search

A late Victorian silver incense stick case, of cylindrical form with spiral embossed decoration, having one end to hold incense sticks, the other end as a match holder with strike, with integral rest and pipe to hold sticks while they burn, each end hinged, maker Samuel Jacob, London 1896, length 21cm

AN 18TH/19TH CENTURY CHINESE BLANC DE CHINE FIGURE OF A BUFFALO modelled with a boy playing a pipe. Few repairs. 6.5ins wide.

A pair of dinner plates, printed with an untitled pattern, showing a shepherd playing his pipe to a lady sitting amongst sheep, within a border of flowers and ivy leaves, possibly by Phillips, c1825.

Various eastern items to include a nickel plated, opium pipe, a glass buddha, a wooden bowl etc.

A GEORGE VI SILVER CIGARETTE CASE, ENGINE TURNED BIRMINGHAM 1946, 5 OZS 10DWTS AND A SILVER MOUNTED BRIARWOOD TOBACCO PIPE BOWL WITH AMBER MOUTHPIECE, CASED

A VICTORIAN NAILSEA TYPE CREAM AND PINK GLASS ORNAMENTAL PIPE AND A GLASS LAMPSHADE

A SOUTH EAST ASIAN BRASS OPIUM PIPE WITH GREEN STAINED STONE SECTIONS AND A FRENCH ORMOLU MOUNTED SAMSON FAMILLE ROSE LAMP OF INVERTED BALUSTER SHAPE, THE DETACHABLE FOUNT ENAMELLED WITH CHRYSANTHEMUMS ON A BLACK GROUND, LATE 19TH C

Quantity of hallmarked silver and white metal jewellery including good Victorian bracelet, silver gilt spoon, silver mounted pipe.

An ivory Stanhope fob in the form of a propelling pencil Bedford scenes, propelling pencil/knife with thermometer to side, four gilt and porcelain buttons, miniature pipe intaglio seal 'innocent' glass fob, rope twist ring etc.

A late nineteenth century German pipe, with two-section porcelain bowl and horn mouth piece, length 46.5 cm. CONDITION REPORT: Good condition, the horn mouth piece with tiny wear to one side of the opening but otherwise all good.

Cased genuine Meerschaum pipe with gold plate trim

A cased Meerschaum pipe

A Meerschaum pipe

A Fine Art Models Gauge I New York Central 4-6-4 Hudson Locomotive and Tender, in black, no. 5406, good detail including backhead and opening hatches, limited edition no. 68 of 70 produced in 1998, damage to one pipe otherwise E, includes photographic pack (2)

A J.S. Beeson-built 0 Gauge 2-rail electric LMS 0-8-0 ‘Super D’ Locomotive and Tender, in black no. 9027, circa 1930-1935, with some external fittings, cab detail, pipe work, rivet detail, Tender not original, details include rivet detail, filler caps, vents and control wheels, Locomotive fitted with Bond’s motor, painted by B Badger, originally sold at Christie’s ‘Trains Galore’, December 1991, VG

CORGI CLASSICS HEAVY HAULAGE NO 31014, a mint boxed Corgi Sunter Bros Guy Invincible, a Platform Trailer with Pipe Load, a Diamond T Tractor Unit, three Wide Bogies and ICI Vessel Load in Sunter’s Grey and Red livery, limited edition with certificate

A 19th century Continental meerschaum pipe in the form of a mermaid holding a shell, with amber mouthpiece, in fitted case.

A 19th century watercolour of a coastal scene with fishermen and women, fishing and sailing boats, etc, signed W H Chaplin, 33 x 55 cm in silver coloured frame and silver coloured slip together with an oil painting on canvas of an old mariner smoking a pipe and holding a telescope in front of a stormy sea, 33 x 44 cm in simulated rosewood frame and gilt slip

A Framed Ros Goody Print Depicting Gentleman Holding Shotgun and Lighting Pipe, No 536/600 Signed by the Artist

Collectables, including painted porcelain pipe bowl, cased spirit glasses, thimbles, etc.

An oil on board - full-length portrait of a gentleman smoking long pipe, unsigned, 9.5 x 7.5in.

Herbert Fiedler (Dutch, 1891-1962) "Harlequin au Pipe," oil on canvas, 24" x 20", signed upper right, framed overall good condition

Patrick Costello floor lamps, pair, contemporary, industrial design with copper pipe bases supporting a heavy cylindrical glass shade, 22.5"w x 22.5"d x 89"h, very good condition original patina, overall good condition

A Chinese opium pipe

12 x Matchbox King Size diecast models, includes: K-10 Pipe Truck; K-18 Horse Van; K-12 Heavy Breakdown Wreck Truck; etc. Together with a Matchbox A-1 Accessory Pack. Overall appear G in P-F boxes. (13)

White metal opium type pipe, 23cm long

A mixed lot to include cased meerschaum pipe, pocket watches, plated wares etc

A quantity of miscellanea incl. Pipe with long stem, Ceramic Pourers, Purse, etc.

A Chinese soapstone opium pipe with bowl in the form of a clenched fist and bound shaft, l. 40 cm and a cylindrical glass (?)Oriental writing aid CONDITION REPORT: chip and other losses to bowl

Corgi Heavy Haulage Sunter Bros Guy Invincible long platform trailer, pipe load and Diamond T ballast, Nicolas bogie’s vessel load 31014 mint and boxed

A silver mounted cut glass tobacco jar, the lid finial in the form of a pipe, Chester, 1901.

A large cased pipe, Meerschaum. Length 12 ins.

A late Victorian pipers headdress, in painted tin box bearing label “Greenock Pipe Band”.

Louis William Wain (British, 1860-1939) `Just One Pipe Too Many` pen and dark brown ink, signed lower left, drawn within a frame with inscription beneath 9½ x 7¾in. (24 x 19.75cm.)

Seán Keating PRHA (1889-1977) 'Pipes and Porter' Oil on canvas, 101.5 x 127cm (40 x 50") Signed Provenance: A Dublin Collection Exhibited: RHA, Annual Exhibition 1915 Cat. No. 78 Having won the coveted RDS Taylor Award for painting in 1914, Seán Keating moved to London to work as a studio assistant to William Orpen. The First World War had begun, and as conscription beckoned, Keating decided to return to Ireland in late 1915 or early 1916. Orpen, already a well-renowned portrait painter, remained in London and accepted an appointment to the Army Service Corps. He was sent to France under the war artists' scheme in 1917, where, initially as a Second Lieutenant and later a Major, he produced some of the most extraordinary and thought provoking images of his entire career (1). Meanwhile, Keating returned to Dublin, joined the Gaelic League (Conradh na Gaeilge), and began to make a series of paintings that placed the west of Ireland in general, and the Aran Islands in particular, at the centre of his personal sense of national and political identity. He sought to make his nationalist allegiance clear in his work, but arrest for sedition was commonplace, and as a result, his use of symbolism or allegory can be understood in the context of the socio-political conditions at that time. The best known of those images is Men of the West, a painting that Keating began in 1915, but completed and exhibited in 1917, the year after the Easter Rising had taken place(2). An allegorical work, it features a self-portrait of the artist holding the Irish tri-colour flag, and a double portrait of his brother, Joe Hannan Keating, who was then a member of the IRB and the Irish Volunteers, and both are dressed in traditional Aran Island clothing. But there was an image that prefigured Men of the West. It was shown in the RHA in 1915 and it was titled Pipes and Porter(3). An extraordinary painting, Pipes and Porter features a self-portrait of the artist with his ubiquitous beard, together with a portrait of his aforementioned brother, Joe, an unnamed young boy, and an unidentified piper(4). A castle tower dominates the background, while the lower landscape is dotted with several white-washed and thatched cottages, and the sun is setting in the western sky. Keating, his brother, and the young boy regard their audience with confidence. But the piper's gaze suggests that he is lost in concentration of his tune. He is playing the bagpipes, also known as the 'war pipes' because they were 'played in medieval Ireland to lead soldiers or sporting groups' (5). Importantly, in terms of Keating's artistic objectives, 'both the uilleann pipes and the war pipes had political links' in the early years of the twentieth century. 'Thomas Ashe was a well-known war piper', while 'Éamonn Ceannt played the uilleann pipes and was leading member of the Dublin Pipers' Club' (6). The war pipes that feature in Pipes and Porter appear to be 'an occasional set' that may have been made by 'MacCullough' of Belfast and seem to have 'two drones, beaded and combed like Highland pipes' with 'plain projecting mounts on the drones, and metal ferrules' (7). The colour combination illustrated on the piper's conspicuous hat may well refer to his place of birth, and/or his national sporting allegiance. Black and amber are the Gaelic Athletic Association (GAA) colours for Kilkenny. While the GAA was not a political organization, several members fought in the Easter Rising in 1916 (8). Although he remains anonymous at present, the man playing the 'war pipes' may have been a piper that Keating knew from among those that played at nationalist gatherings and marches in Dublin, if not from his own branch of Conradh na Gaeilge, or who perhaps played at GAA matches. Thus, far from being a simple scene of the west of Ireland, Pipes and Porter has symbolic meaning, which is amplified by the presence of the artist, and his nationalist brother, Joe, both of whom are dressed in the traditional Aran Island clothing that was to feature in Men of the West a little time later. At the same time, the realities of the socio-political conditions are evident in the painting. Irish artists were physically and geographically restricted by the rules of the Defence of the Realm Act (DORA), introduced to Ireland in 1914, as a result of which they were not allowed to paint the Irish coastline, or harbours, without written permission from the authorities. Therefore, there is little by way of a detailed coastline in Pipes and Porter or in Men of the West. Keating was a painter of honest, no nonsense portraits. It was a skill that provided him with a constant source of income throughout his life. He did not believe in flattering his models, which meant that his insightful honesty got him into trouble at times. Trained by Orpen in the necessary techniques, he never forgot to include a fleck of light in the eyes, a detail that gave life and personality to his portraits and that is seen to excellent effect in Pipes and Porter. Furthermore, although it is an early work, the painting also demonstrates Keating's expertise as a painter of still life, landscape, sky scape, and the detailed texture of clothing. What of the porter to which the title of the painting also refers? It would appear that necessity was the cause of invention, and porter, a type of beer, was served in any type of vessel that came to hand. The glass is empty, but is there porter in that mug, or does it contain a cup of tea? Keating was having a little fun with his title and content. He continued to use such puns throughout his career, evident, for example, in Good Old Stuff (1928), a painting that is also featured in this auction catalogue (lot 86). The artist typically signed his paintings using his surname in Irish or English, but he wrote his full name on the bottom right of Pipes and Porter. This detail suggests that the painting, which has not been seen in public for many years, may have been a commission in 1915, although the identity of the likely patron is not known at present. © Dr Éimear O'Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin October 2013. (1) See Bruce Arnold, Orpen: Mirror to an Age, (London, 1981), pp. 307-380. (2) Collection: The Dublin City Gallery The Hugh Lane. (3) Keating is known to have painted two images featuring pipes. The first, Pléaráca in Arainn (A Gay Time on Aran)(1913), won the Orpen Composition Award at the Dublin Metropolitan School of Art in 1913. It would appear that this painting did not include a self-portrait of the artist. It was described some years later as 'a rather large painting…depicting an Aran piper in full “war paint”…playing lustily on his Píob Mor (large pipes) for the delectation of several of his friends, who, to judge by the expression on their faces, are thoroughly enjoying themselves', John J. R. O'Beirne, 'A Coming Irish Artist: The work of John Keating' in The Rosary, Vol. 21, 1917, pp. 571-577. (4) Information on the identity of the piper and the young boy would be gratefully received by the author on info@eimearoconnor.ie (5) The author would like to acknowledge and thank Nicholas Carolan, Director of the Irish Traditional Music Archive, 73 Merrion Square, for his help and advice with regard to the pipes illustrated in Pipes and Porter. See www.itma.ie (6) The author would like to acknowledge and thank Emmett Gill, Administrator, and Terry Moylan, Archivist, Na Píobairí Uillean, 15 Henrietta Street, Dublin 1, for information pertaining to Thomas Ashe and Éamonn Ceannt, and the political significance of the uilleann pipes and the war pipes in 20th century Ireland. See www.pipers.ie (7) With thanks to Nicholas Carolan and Seán Donnelly. MacCulloughs opened premises in Dublin in the 1920s, and in 1926 the company published MacCullough's Irish War Pipe Tutor and Tune Book, written by Liam Mac Andreis (William Andrews), leader of a pipe band at Trinity College Dublin. See Adam Sanderson on (8) Coincidentally, James Nowlan, a native of Kilkenny, served twenty years, from 1901 to 1921, as president of the GAA. He was interned in England after the 1916 Easter Rising. Nowlan was a supporter of Sinn Fein and an alderman of Kilkenny Corporation for many years. See

Harry Kernoff RHA (1900-1974) The Twins: "There's only a few of us left" Oil on board, 61 x 75.5cm (24 x 29¾") Signed, signed again verso and inscribed Exhibited : "A Time and a Place - Two Centuries of Irish Social Life" National Gallery of Ireland Oct 2006 - Jan 2007 Cat. No. 71; "The Moderns" IMMA Oct 2010 - Feb 2011 Cat. No. 44; and "Ireland Her People and Landscape" The Ava Gallery June - September 2012 Cat. No. 24. Literature: "A Time and a Place - Two Centuries of Irish Social Life" National Gallery of Ireland 2006 Illustrated p.134; "The Moderns" IMMA 2011 Full page illustration p.72; and "Ireland Her People and Landscape" 2012 Illustrated p.31 Kernoff was born in London yet his ties to Ireland were firmly cemented when the family moved to Dublin, and he attended the Dublin Metropolitan School of Art, where he was influenced by Sean Keating and studied alongside Maurice MacGonigal. Typical of the hardy characters Kernoff often chose to paint, the twins present a united front and look introspectively like two halves of the same whole. They raise their pints of Guinness as a kind of barrier, while at the same time casting a sharp but not unamused eye towards the artist, and consequently the viewer. Wearing their patched frieze coats, hats and collars turned up at the neck (despite being inside) they look as though they are surveying their surroundings before settling in completely. The betting slip tucked into a cuff, the pipe and walking stick add more descriptive details. Kernoff represents himself with the ubiquitous diminutive stemmed glass, as seen in his other paintings including 'In Davy's Back Snug' (1936) and 'In Davy's Parlour Snug'. This painting is an important example of Kernoff's keen eye and empathy for the warmth and personality of Dublin and its people. The subtitle 'There's only a few of us left' could as easily refer to the rarity of twins as to the disappearance of these kinds of 'characters' who inhabited Dublin's pubs on a regular basis.

** A RARE .600 CALIBRE QUEEN ANNE FLINTLOCK REGULATION PISTOL, THE LOCK BY I. PEDDELL, CIRCA 1702-14 with two-stage barrel stamped with Ordnance and Tower proof marks, signed lock retained by three side nails, numbered `7` on the tail, with `AR` crowned and crowned broad arrow mark, the inside stamped `ED` and with a fleur-de-lys mark, full stock carved with an apron moulding about the tang (small repairs), brass mounts comprising solid side-plate, trigger-guard with rounded finial, butt-cap with `AR` `P`, `14` and broad arrow accompanied by engraved linear borders, ramrod-pipe and brass-tipped ramrod 35.5 cm; 14 in barrel James Peddell is recorded 1688-1716 as a maker of complete arms including a government gift to New York in 1702 and 1710. See lot 224.

** A .750 CALIBRE 1779 PATTERN SHORT LAND PATTERN FLINTLOCK MUSKET the barrel struck with Ordnance and Tower proof marks and traces of a regimental inscription (pitted, bore worn at the muzzle), border-engraved lock with `GR` crowned, `Tower` and broad arrow, regulation full stock (cracked through and repaired ahead of the rear ramrod-pipe), brass mounts including escutcheon engraved `A/12`, and steel ramrod 106.7 cm; 42 in barrel

** A RARE 25 BORE EAST SCOTTISH FLINTLOCK BELT PISTOL FORMED ENTIRELY OF STEEL, SIGNED R. S., DATED 1723 with multi-stage barrel, faceted flaring muzzle, the median overlaid with engraved silver panels, small silver flowerheads and diamond-shaped panels, the breech incorporating the back-sight, inlaid with a pair of silver flowerhead rondels and the date `1723` on a silver strip, rounded lock signed `R. S.` beneath the pan, moulded steel full stock engraved with pairs of lines (rubbed), inlaid with an engraved panel of silver beneath the fore-end, heart-shaped pommel engraved en suite and enclosed by a band of engraved silver at the top, fitted with spirally engraved pricker, the trigger decorated en suite, slender steel belt hook with bracket of shaped outline, moulded ramrod-pipe, and steel ramrod 15.5 cm; 16 1/8 in barrel For a discussion of this distinctive form of pistol see W. Reid 1963, pp. 26-30.

** A 16 BORE ADRIATIC FLINTLOCK HOLSTER PISTOL, LATE 18TH CENTURY with tapering barrel retained by a single brass muzzle band chased with a trophy-of-arms, formed with a long flat inscribed in imitation of a signature and moulded at the breech, engraved grooved breech tang, engraved bevelled lock with pseudo signature, full stock carved with elaborate scrolls in low relief behind the rear ramrod-pipe and about the tang, brass mounts comprising pierced foliate side plate incorporating a central mask, trigger-guard with leafy finial, spurred pommel (repaired)` scrollwork escutcheon and two ramrod-pipes, and later ramrod 32 cm; 12 1/2 in barrel

** A 32 BORE NORTH EUROPEAN WHEEL-LOCK HOLSTER PISTOL, MID-17TH CENTURY, PROBABLY MAASTRICHT with slender tapering barrel stamped `303` on the right of the breech, slender tang, bevelled lock retained by two side nails, fitted with external wheel, sliding pan-cover with button release and moulded dog, blackened hardwood full sock (fore-end repaired, grip cracked through and repaired, filled repairs), white metal mounts comprising later small trigger-guard, a band enclosing the pommel, a single moulded ramrod-pipe, fore-end cap, and silver-mounted wooden ramrod 50.5 cm; 19 7/8 in Provenance Sotheby`s New York, 26th May 1992, lot 464

** A 24 BORE WHEEL-LOCK HOLSTER PISTOL WITH EBONY STOCK AND GILT MOUNTS, 17TH CENTURY AND LATER with tapering barrel formed in four stages (lengthened), the breech with a slender girdle and engraved with scrolls of foliage (rubbed), engraved tang, rounded lock retained by three side nails, fitted with external wheel engraved `S`, moulded pan-cover with button release, ebony full stock carved with scrolling leafy tendrils about the rear ramrod-pipe and the tang (repaired), gilt brass mounts comprising pierced side plate engraved with a design of scrolling foliage inhabited by a monster head and a grotesque, carrying a central medallion filled by a profile in contemporary dress, spurred pommel chiselled with a rampant lion against a punched ground, trigger-guard with foliate terminal, a pair of ramrod-pipes, and gilt-brass tipped ebony ramrod, perhaps the original 35.5cm; 14in barrel Provenance The Property of a Gentleman, sold Christie`s 20th November 1991, lot 305.

** A 28 BORE SAXON WHEEL-LOCK HOLSTER PISTOL, DATED 1587, PROBABLY DRESDEN with two-stage swamped barrel, dated and stamped with a mark (Neue Støckel 3841) over the breech, blued flat lock retained by two side nails, fitted with external wheel retained by a large circular brass bracket engraved with a scale pattern, sliding pan-cover with button release, dog, dog spring and safety-catch with filed details, full stock inlaid with engraved staghorn plaques and segmental lines over the fore-end, the rear portion profusely inlaid with scrolling ball flowers within segmental frames, a large pair of engraved staghorn side nails washers opposite the lock, scrollwork plaques about the tang, compressed spherical pommel decorated en suite and inlaid with a warrior profile rondel (small cracks, minor repairs and replacements), steel trigger-guard, engraved staghorn ramrod-pipe and fore-end cap, and wooden ramrod with engraved staghorn tip 39 cm; 15 3/8 in barrel Two pistols decorated in this manner and formerly in the collection of William Goodwin Renwick were sold Sotheby & Co., London 21st May 1973 lot 150.

** A 15 BORE FLINTLOCK WILDFOWLING OR BANK GUN, CIRCA 1740, PROBABLY AMERICAN with tapering sighted barrel, moulded at the breech and struck with British Birmingham proof marks, grooved tang, rounded lock engraved with border ornament and bold scrolls (worn, patinated), walnut full stock moulded over the fore-end, carved and incised with foliage behind the ramrod-pipe, ahead of the trigger-guard and about the tang (rubbed the fore-end cracked, small chips), brass mounts comprising pierced scrolling side-plate, trigger-guard with moulded bow and shaped finial, butt-plate with pronounced heel, three moulded ramrod-pipes, and wooden ramrod with iron worm and brass tip 153 cm; 60 1/4 in barrel

** A .500 CALIBRE NEW ENGLAND FLINTLOCK RIFLE BY EDMUND BEMIS, CIRCA 1770 with tapering sighted barrel rifled with seven grooves, signed on a long flat and fitted with standing back-sight, stamped `EB` on the left of the breech, bevelled lock stamped `EB`, full stock carved with a moulding over the fore-end (cracked through and repaired), carved with a moulding behind the rear ramrod-pipe and about the tang, iron mounts comprising trigger-guard with finial of shaped outline, stepped solid side-plate, butt-plate en suite with the trigger-guard and six ramrod-pipes, vacant silver escutcheon, iron fore-end cap, and associated ramrod 126.4 cm; 49 3/4 in barrel Edmund Bemis is recorded circa 1720-1810 in Boston, Massachusetts.

** A FLINTLOCK BLUNDERBUSS BY T. JORDAN, THE LOCK DATED 1757 with brass barrel formed in four stages, stamped with London proof marks and the barrelsmiths mark, `RW` beneath an eight-point star perhaps for Richard (1) Wilson, over the breech, signed military lock engraved with border ornament, `GR` crowned, and the date (pitted), figured walnut stock (cracks and repairs, the last portion of the fore-end replaced), brass mounts of regulation type comprising flush fitting side-plate, trigger-guard with bulbous finial, butt-plate and a single ramrod-pipe, and later ramrod 40.5 cm; 16 in barrel

** A FLINTLOCK BLUNDERBUSS BY BARBAR, PROBABLY JAMES (1), CIRCA 1760 with swamped steel barrel, moulded at the breech, struck with London proof marks and the barrelsmith`s mark (rubbed), signed rounded lock, the base of the cock cut for a dog safety-catch (added in its working life, now missing), figured walnut full stock (cracked ahead of the trigger-guard), brass mounts comprising pierced strapwork side-plate, trigger-guard with bud-shaped finial, butt-plate with tang of shaped outline, moulded ramrod-pipe, vacant escutcheon, steel sling swivels, and brass-tipped wooden ramrod 40.5 cm; 16 in barrel

** A FLINTLOCK TURNPIKE GUN, EARLY 18TH CENTURY, THE BARREL SIGNED JOHN SMART with brass barrel formed in two stages, swelling towards the muzzle and with a raised band behind, inscribed `John Smart att Londine Fecit 1710` (later), struck with London proof marks and the barrelsmith`s mark of Thomas (1) Hawley, incorporating a raised belt cut for the back-sight, iron tang, flat lock retained by three screws, stamped with the letters `M` above `RX` in a trefoil on the inside, full stock (areas of worm) carved about the ramrod aperture, iron trigger-guard, a single brass ramrod-pipe, and later ramrod 72 cm; 28 3/8 in barrel John Smart was made Free of the Gunmaker`s Compnay by patrimony in 1705, presented his proof piece 1707 and is recorded as gunmaker `against Norfolk Street in the Strand` circa 1715. Thomas (1) Hawley is recorded as gunmaker to Ordnance, circa 1682-1707.

** A .700 CALIBRE FRENCH FLINTLOCK MUSKET SIGNED LE CLERT A DIEPPE, CIRCA 1750 with sighted barrel formed in three stages, signed bevelled lock retained by three side nails, fitted with flat cock and bevelled pan, full stock carved with a moulding about the rear ramrod-pipe and the tang, thick butt carved with a moulding at the bottom on each side, iron mounts including solid side-plate, moulded trigger-guard, butt-plate with terminal of shaped outline, and four ramrod-pipes, steel fore-end cap and associated wooden ramrod 120.3 cm; 40 3/8 in barrel

** A 10 BORE GERMAN MATCHLOCK MUSKET, SECOND QUARTER OF THE 17TH CENTURY, WITH LATER DECORATED STOCK with sighted barrel formed in three stages, stamped with proof marks (indistinct) over the breech and fitted with integral pan (cover hinge torn), flat lock fitted with shaped serpentine (thumbscrew missing), full stock (wormed), profusely inlaid with numerous engraved staghorn plaques decorated with conventional flowers and foliage, fishtail butt decorated with a huntsman and hound in pursuit of a fox on the each side and a bouquet above, iron mounts comprising trigger-guard, butt-plate ramrod-pipe and fore-end cap of military type, and wooden ramrod painted with the inventory number `M.959.1928` 118 cm; 46 ½ in barrel

** A FINE SILESIAN WHEEL-LOCK BIRDING RIFLE (TSCHINKE), DATED 1677 with octagonal swamped sighted barrel rifled with six narrow grooves, punched with a star-shaped design at the muzzle, signed by the barrel smith `AK` and dated over the breech, angular tang engraved with the letter `L`, engraved flat lock of characteristic form, decorated with bold scrolls, fitted with external wheel retained by a bracket, engraved flash-guard, engraved dog, engraved pan-cover with button release, and applied with engraved brass plaques over the wheel bracket, the main spring and the dog spring, fruitwood full stock profusely inlaid with engraved staghorn plaques including hounds, rabbits and ball flowers amongst scrolling staghorn tendrils enriched with ball flowers and pellets, all between staghorn lines (the inlay with minor restorations and small losses), the underside of the stock decorated with further designs including a stag and a wild boar, butt of characteristic form inlaid en suite including a unicorn on the cheek-piece and with patchbox with sliding cover, iron trigger-guard shaped for the fingers, engraved horn butt-cap decorated with a rabbit, engraved staghorn ramrod-pipe, engraved staghorn fore-end cap, and associated ramrod 95.5 cm; 37 5/8 in barrel

A .550 CALIBRE GERMAN WHEEL-LOCK SPORTING RIFLE, CIRCA 1730 with blued octagonal swamped sighted barrel rifled with seven grooves, engraved with a panel of scrollwork at the breech, flat lock engraved with a stag in a rococo landscape, fitted with internal wheel, flash-guard, pan with sliding cover, and engraved dog decorated with a monsterhead, double set trigger, full stock (wormed), moulded over the fore-end, impressed with the inventory number `3` behind the lock, the butt with patchbox with fluted sliding cover incorporating a piece of horn on the right and raised cheek-piece carved with rococo shell ornament inlaid with a piece of mother-of-pearl in the centre on the left, steel trigger-guard shaped for the fingers, horn side nail washers, ramrod-pipe (one missing) and fore-end cap, and associated ramrod, together with a contemporary steel powder measure 81 cm; 31 7/8 in barrel

A FINE 16 BORE SOUTH GERMAN FLINTLOCK SPORTING GUN BY IOHANN STERR, FREISING, CIRCA 1690 with tapering barrel formed with a near full length flat, fitted with barleycorn fore-sight on a punched chiselled bed with delicate leafy tendrils above and below, chiselled with scrolling leafy tendrils against a matted ground on each side of the breech, rounded lock chiselled with delicate ropework around the borders, signed `Iohann Sterr a Freising` beneath the pan and inscribed `Hochfirst Pixenmacher` around the cock, the cock and steel each chiselled with leafy tendrils and ropework en suite (the cock cracked at the neck), highly figured burrwood full stock (the last 6 cm of the fore-end removed), carved with a moulding along the length of the barrel, a serpent behind the rear ramrod pipe and foliage behind the lock and the side-plate, impressed `54` behind the tang, and the butt carved with further mouldings, finely chiselled steel and part matted mounts comprising pierced openwork side plate decorated with leafy tendrils carrying a self-suckling serpent, trigger-guard with leafy finial and ropework en suite with the lock, three moulded ramrod-pipes matching the trigger-guard, the rear involving a serpent, butt-plate with pronounced heel, finely chiselled with a bearded grotesque on top and the tang formed as a further serpent, crowned vacant escutcheon, and later ramrod (sling swivels removed) 118 cm; 46 ½ in barrel Johann Sterr is recorded in Munich circa 1685-94.

A GERMAN .450 CALIBRE OVER-AND-UNDER FLINTLOCK SPORTING GUN FOR LARGE GAME, CIRCA 1750 with lightly swamped octagonal barrels, the bores both cut with seven broad straight grooves with a further narrow groove between each, the upper barrel with brass fore-sight, long rectangular tang, curved bevelled locks, figured walnut full stock impressed `15` behind the lock, moulded over the fore-end, carved with a raised moulding about the tang, the butt with carved cheek-piece decorated with a spray of scrollwork behind, steel mounts including trigger-guard with foliate terminals, numbered butt-plate and three faceted ramrod-pipes on the right of the barrels (the rear ramrod-pipe cracked), horn fore-end cap (chipped), and horn tipped ramrod 77.4 cm; 30 1/2 in barrel

AN 18 BORE FLINTLOCK HOLSTER PISTOL SIGNED DRESCHLER, CIRCA 1760, EAST EUROPEAN OR GERMAN with two-stage Spanish barrel, fitted with silver `Spider` fore-sight, signed and dated `Esquibel en Madrid Anno 1719` over the breech in gold, punched with a matted ground, a series of gold-lined marks and the gold-lined barrelsmith`s mark (Neue Støckel 325 and 326), gold-lined vent, signed rounded lock, walnut full stock moulded over the fore-end (cracked), carved with scrolls of foliage about the rear ramrod-pipe and behind the tang, gilt brass mounts including pierced rococo side plate decorated with foliage and a mask, spurred pommel engraved with foliage and fitted with grotesque mask cap, trigger-guard with grotesques, vacant escutcheon, and horn fore-end cap 33.3 cm; 13 in barrel

A .650 CALIBRE AUSTRIAN FLINTLOCK SPORTING RIFLE BY CASPAR ZELNER, CIRCA 1740 with blued octagonal swamped sighted barrel rifled with seven grooves, signed in gold capitals over the breech within a gold linear frame and decorated with gold strapwork (losses), signed bevelled lock finely engraved with a stag hunting scene, double set trigger, figured walnut full stock impressed `85` behind the lock, carved with rococo scrolls in low relief about the rear ramrod-pipe and the tang, the butt with carved raised cheek-piece on the left and patchbox with brass-mounted sliding cover on the right, engraved brass mounts comprising solid side-plate, trigger-guard with scrolling terminal, numbered butt-plate, and a pair of ramrod-pipes, horn fore-end cap, and horn-tipped wooden ramrod 77 cm; 30 3/8 in barrel Caspar Zellner, son of Johann Zellner, is recorded in Zell am Wallersee, Salzburg and Vienna circa 1661-1745. His prolific work is well represented in the ancestral gunrooms of Europe.

AN 18 BORE D.B. FLINTLOCK SPORTING GUN BY THOMAS MORTIMER, 44 LUDGATE HILL, LONDON, CIRCA 1820 with browned twist sighted barrels, inscribed `London` in gold script on the rib, finely engraved case-hardened recessed breeches, inscribed `T. Mortimer 44` and `Ludgate Hill London` in two gold ovals on the top, inlaid with lines and with platinum vents, engraved tang decorated with a hound`s mask, signed engraved case-hardened stepped locks fitted with pierced cocks, rainproof pans, and rollers, figured walnut half-stock, chequered grip impressed `13`. engraved blued steel mounts including trigger-guard with pineapple finial and a stag on the bow, butt-plate decorated with a hound and a fowling-piece against a tree, engraved silver rear ramrod-pipe, silver escutcheon engraved with the owner`s initial `CLvM`, silver barrel bolt escutcheon, and brass-tipped wooden ramrod 78.7 cm; 31 in barrels Thomas Mortimer & Son are recorded at 44 Ludgate Hill circa 1807-24.

A .600 CALIBRE FLINTLOCK SPORTING RIFLE WITH BARREL BY DAIRE A CHARLEVILLE, CIRCA 1800 with blued octagonal swamped sighted barrel decorated with bands of gold at the muzzle, gold scrolls about the fore-sight, signed in gold over the breech and decorated with a framework of gold lines, scrolls and a trophy, plain tang, rounded lock (cock retaining screw missing), double set trigger, figured walnut full stock impressed `69`, moulded over the fore-end, carved with scrolls of foliage about the rear ramrod-pipe and the tang, the butt with carved cheek-piece decorated with a spray of scrollwork on the left and with patchbox with sliding cover on the right, steel mounts including moulded side-plate signed `G. Lichtenfels a Carlsruhe`, trigger-guard with broad bow and moulded finial, butt-plate and rear ramrod-pipe en suite with the trigger-guard, horn fore-end cap, and horn-tipped ramrod 80 cm; 31 1/2in barrel

A FINE AND RARE .600 CALIBRE FRENCH PRESENTATION FLINTLOCK RIFLED CARBINE BY BOUTET, DIRECTEUR ARTISTE, MANUFACTURE À VERSAILLES, NO. 277, CIRCA 1800-05 with blued swamped octagonal polygroove rifled barrel, fitted with windage adjustable fore-sight on a punched and gilt bed, signed in italics on the left of the breech `Boutet Directeur Artiste No. 277`, inscribed on the right `Manufre à Versailles` and stamped beneath with the control mark of Daniel Boussavy, and the abbreviated italic inscription `Manu` and `V lles.` in italic, gold lined oval vent, the top of the breech chiselled with a garland of flowers beneath a triangular panel filled with a flower head, all on a punched and gilt contrasting ground, stamped with a series of marks including `Boutet` in miniscules, and `NB` (Neue Støckel 95), fitted with blued back-sight of two folding leaves, engraved tang decorated with neo-classical ornament including a pair of entwined serpents enclosing a smoking urn, stepped lock with moulded borders (small dents), signed `Boutet Directeur Artiste`, chiselled with beadwork along the step, fitted with engraved cock decorated with a garland of flowers, gold-lined pan engraved with a pair of volutes, with scrolling rear fence, blued steel spring with roller, engraved button safety, and detents, steel engraved en suite with the pan, set trigger, figured walnut full stock, impressed `47`, carved with a panel of fine chequering over the fore-end and the grip, carved with a moulding along the length of the barrel on each side and inlaid with a running design of silver foliage beneath, the muzzle carved with anthemion and neoclassical foliage (one very small repaired crack), further foliage about the rear ramrod-pipe and the lock, each enriched with further panels of leafy conventional foliage in engraved silver, the tang enclosed with a raised fluted moulding and a pair of neo classical demi flowers, the butt with carved raised cheek-piece inset with a large pierced and engraved silver flowerhead, the base of the butt encircled by a broad panel of silver pierced chased and engraved with geometric panels filled with scale pattern and a band of waves (a small area with minor lifting), burnished steel mounts comprising chiselled trigger-guard with a neo-classical flaming urn finial, the bow with foliage at each end and an engraved rear finial, the rear portion continued by a scrolling panel of pierced ebony decorated with neo classical foliage (very small chips), two-piece vestigial side-plate engraved with a garland and a flowerhead respectively, the right enclosed by two engraved silver dragons breathing thunder-bolts, butt-cap chiselled with an urn on the tang, rear ramrod-pipe chiselled with a leafy garland and beadwork, four further faceted ramrod-pipes with beadwork mouldings, contemporary horn-tipped wooden ramrod, and remaining in very good condition throughout 70.5 cm; 27 ¾ in barrel The Annuaire of the Versailles Manufactory for this period includes the following entry: Prince de Bade - Carab. doub. détente, acier cis. damasq., placage argent, fr. 6075 AN XI (September 23, 1802 to September 23, 1803) The use of silver inlay in the stock and steel mounts, as opposed to silver mounts, might suggest presentation to a high ranking military officer. The proximity to France of the territories of Charles-Frederick, Margrave of Baden (1756-1811), together with his initial opposition to the French revolution and its effects, resulted in the devastation of Baden by French armies in the mid-1790s. Thereafter, having indemnified France and ceded some territory to that republic, Baden remained under the sway of its powerful neighbour until 1813. In November 1802, the margrave - having lost his eldest son in the previous year and clearly prescient regarding the ambitions of Napoleon - wrote France`s First Consul a fulsome letter in which he thanked Napoleon for his continuing protection and assured him of his admiration and loyalty: significantly, he chose to send his third - and favourite - son, Prince Louis, to France with the letter. In April 1806, by which time the margrave had become an electoral prince, ties between Baden and France were strengthened by the arranged marriage of the elector`s grandson and heir, Prince Charles, to the Emperor Napoleon`s adopted niece and newly created imperial princess, Stéphanie de Beauharnais. The elevation of the elector to the rank of grand-duke - an elevation approved and arranged by Napoleon - followed in July 1806 and further bound Baden to the fortunes of Napoleonic France. Elements of Baden`s small army served alongside that of France in several campaigns between 1805 and 1812: against Austria in 1805, Prussia in 1806, Britain (in Spain) in 1809 and Russia in 1812. Prince Charles, heir to his grandfather after 1801 and husband of Napoleon`s adopted niece from April 1806, was welcomed by personal letter into Napoleon`s military entourage in September 1806 - `J`approve le désir que vous avez de faire la guerre`. The prince was summoned to meet Napoleon at Bamberg early the following month and was with the French army at its decisive victory over that of Prussia at Jena on 14th October 1806, after which Napoleon wrote to Prince Charles`s widowed mother to reassure her that her son had done well at his first battle - `...il s`est bien comporté à la bataille et supporte bien la fatigue`. In 1807, Prince Charles commanded the Baden contingent at the siege of Danzig and continued on active service until 1808. Succeeding his grandfather in 1811, Charles maintained Baden`s support for France until the battle of Leipzig in 1813 demonstrated that the tide of war was no longer flowing in France`s favour. The political, military and personal ties that bound Baden to France from the late 1790s until 1813 must account for the existence of this carbine in the descendant family of the Grand Duke of Baden. It is possible that it originally belonged either to Prince Louis, who visited Napoleon at his father`s behest in 1802 and remained in Paris for some years, or to his nephew, Prince Charles, who served alongside Napoleon in his campaigns between 1806 and 1808: given the martial qualities of the weapon, the latter seems the most likely of the two princes to have been its original owner. Nicolas-Noël Boutet (1761-1833) the distinguished maker of armes de luxe inherited the position of gunmaker to Louis XIV from his father-in-law, Pierre de Sainte (active 1747-88). In 1792 he became technical Director at the new Versailles Manufactory and in 1800 rose to Directeur Artiste with overall control. He held this position until the closure of the manufactory in 1818. Boutet died fifteen years later in poverty, his career having survived six French Political regimes. Daniel Bouyssay was controller at the Versailles Manufactory from Year II (1793-4) until Year XIV (1805).

A RARE .650 CALIBRE QUEEN ANNE FLINTLOCK REGULATION PISTOL, THE LOCK BY I. SIBLEY, CIRCA 1702-14 with tapering barrel stamped with marks at the breech (pitted), associated contemporary signed lock retained by two side nails, numbered `7` on the tail, with `AR` crowned and crowned broad arrow mark, full stock carved with an apron moulding about the tang (chipped about the tang and the rear of the lock, fore-end cracked), brass mounts comprising solid side-plate, trigger-guard with rounded finial, border-engraved butt-cap with `AR`, ramrod-pipe (loose) and associated steel ramrod 30.5 cm; 12 in barrel John Sibley is recorded as supplier of complete arms to Ordnance circa 1688-1711.