We found 79738 price guide item(s) matching your search

2 antique circular papier mache snuff boxes, one featuring a rural scene with the caption 'Le bon vieillard' approx 7.5cm diameter and the other with a gentleman playing a harp, 7.5cm diameter

A PICTURE OF SAM ALLARDYCE PLAYING FOR BOLTON 1978 WITH HIS AUTOGRAPH IN A MOUNT COMPLETE WITH A CERTIFICATE OF AUTHENTICITY

Josiah Parlby, study of a country cottage with children playing outside, signed watercolour, dated 1877, 16cm x 24cm

George Goodwin Kilburne, a pair of studies depicting gentleman and ladies playing cards, initialled watercolours, 8cm x 12cm 

A 19th Century Swiss music box, playing eight airs, 43cm long 

A 20th Century Chinese pen and ink fan painting on paper, depicting elderly man and child playing draughts, signature and seal marks, 55cm; and 19th Century Chinese school, "Ancestor" study, unsigned watercolour, image 32cm x 18cm (2)

A set of 'The Hand Picked Collection' leather dice shakers and dice, a set of The English Room playing cards, two mirrored trays and other items (qty).

A group of board games and train parts, to include Hornby Railways R201 signal kit, Hornby R394 hydraulic buffer stop, various loose pieces of railway, Contraband card game, The New Light Reading Glass Game, Scrabble new edition, Piatnik playing card set, and a gaming box. (a quantity)

Vintage Carr's biscuit tin, and a quantity of miniature glass bottles, various commemorative coins, York oak desk calendar, pin badges to include poppy's, Smith's pocket watch, various playing cards, etc. (a quantity)

A Chinese chess set in folding wooden case with gilt dragon & pheasant decorative detail. Brass handles and catch. Case opens to reveal playing board with matching gilt decoration. Each side opens to reveal a set of carved resin playing pieces, in as new condition. Case approx. 21.5 x 41 x 10.5cm in folded and closed position.

A set of cast metal Medieval style Chess playing pieces in a wooden tray. Silver and gold coloured playing pieces with green baize bases. Largest piece approx. 10cm tall.

A box of assorted ceramics and glass ware to include Lladro. Box includes a set of 6 jelly glasses, Lladro figurine #1195 Eskimo playing with polar bear and a pair of large glass stem vases in the shape of cocktail glasses.

A cased Chinese Mah Jong set complete with instructions, counters dice and blank tiles. 3 sets of playing tiles still sealed in original packaging. Case approx. 25.5 x 19cm.

German Third Reich 1936 pattern Krähenwinkel Fire Brigade arm badge.A good scarce black felt oval embroidered in rose red with “Krähenwinkel” over eagle and swastika in oak sprays. Reverse with old British playing card stiffener. GC

the flared top opening to reveal a baize lined playing surface, incorporating counter recesses, raised on cabriole legs and pad feet 74 x 75 x 40cm

Mixed games including Stroke and Wizard electronic games, Talisman chess computer, Labyrinth, playing cards etc

A Schuco clockwork monkey playing violin, with key

Gremlin ebonised black concertina with metal buttons to each end, in a textile case with playing instruction booklet. (B.P. 21% + VAT) Bellows are intact- all buttons seem sound and ok.15 button each end.

A large Japanese ivory figure group, early 20th century, well carved as two seated deities playing Go, one holding a counter in his hand, a basket of counters and a fan at his side, the other holding a bag of counters, a pair od scrolls by his side, a rockwork stand supporting a censer to the rear, two character mark within a red seal, 19cm high, 30.7cm wide.Footnote: Provenance: From the collection of Monty Bloom (See Dawsons website articles for more details) Condition report: There has been something attached just in front of the scrolls, which is no longer there but a glue mark remains. Both figures have age cracks. Decoration rubbed/erased throughout but not too detrimental.

The Trafalgar Floor Clock by Comitti of London, limited edition number 3 of 50, the mahogany inlaid case housing a Keisinger eight day chiming movement, playing Whittington, St. Michael and Westminster chimes, with strike/night off/silent options, the trunk door with glass lenticle, flanked by quarter fluted columns, on splayed bracket feet, 214cm high

A 19th century blue agate cameo, of oval form, depicting a Classical maiden wearing flowing robes and playing a lyre, with slate stone backing, unmounted.Footnote: Provenance: More House Catholic Chaplaincy and Student Centre, Kensington

Circle of Nicolas Bernard Lépicié (1735-1784), three figures seated and playing cards, a dog to the foreground, oil on canvas, 47 cm x 37 cm in a gilt frame.

A Victorian carved walnut and inlaid tabletop Polyphon, late 19th century, playing 39.5cm diameter discs on two combs, the lid interior with a recessed centre with lithograph of children playing music and dancing, the mechanism with applied gilt metal label for 'Polyphon., Marque de Fabrique, Schutze Marke, Trade mark', on a table stand, the centre with galleried lower tier housing twenty discs, and a cabinet containing a further 65 discsCondition report: Combs appear to be intact, with no missing teeth. Plays beautifully. Some light veneer lifting to the interior corner, but easily rectified. A nice example.

A large Chinese mother of pearl shell, 19th century, finely and intricately carved with numerous figures in varying pursuits to include playing Go, writing calligraphy, on horseback and conversing, amongst others, with buildings and trees, between a wan border and carved pomegranates and flowers, the reverse finely carved with compact blossoming branches, 16cm wide, 23cm high.Condition report: Naturally discoloured on the upper third of the reverse.

Pablo PicassoTête D'Homme (LE 14 AOÛT 1969) Tuschfederzeichnung auf bräunlichem Karton 23 x 17,5 cm Unter Glas gerahmt. Oben links datiert 'le 14.8.69', darunter mit Bleistift signiert 'Picasso'. Rückseitig formatfüllend das gezeichnete Datum. - Der vorderseitig gleichmäßig gebräunte Karton in den linken Ecken jeweils mit schwachen oberflächlichen Stauch- und Faltspuren, die rechten Ecken minimal bestoßen. Insgesamt in guter Erhaltung.Zervos Vol. 31, 377 mit Abb. S. 109ProvenienzPrivatbesitz Nordrhein-Westfalen; Lempertz Auktion 822, Moderne Kunst, International Auctioneers, 4. Juni 2002, Los 12; Rheinische Privatsammlung; Verkauf zugunsten des Vereins der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, KölnAusstellungenDüsseldorf 1980 (11. Westdeutsche Kunstmesse, mit rückseitigem Rahmungsaufkleber)Von Picasso gibt es aus diesen späten Jahren eine Fülle von Porträts, am bekanntesten sind seine "Portraits Imaginaires", teils humoristische, teils grotesk überzeichnete Darstellungen und Interpretationen menschlicher Physiognomie und ihres Ausdrucks. Ausgestattet mit dem reichen Zierwerk historischer Kostüme, werden Glanz und Grandeur eines vorrevolutionären Zeitalters beschworen. Etwas anders geartet und weniger heftig erscheint das hier vorliegende Porträt eines bartlosen Mannes en face. Picasso schreibt ihm das Tagesdatum ein, das die dichte, fast serielle Produktion des Künstlers in diesen Jahren systematisch begleitet und dokumentiert. Der mit wenigen winkligen Strichen angedeutete Blick des markanten Kopfes ist wach und intelligent auf den Betrachter gerichtet, der Mund resolut und schmal, die dichten Brauen gehoben und in der Stirn zusammengezogen. Ein weites Hemd mit offenem Kragen kleidet ihn viril, aber durchaus unprätentiös. Die Assoziationen bleiben offen, ob es sich nicht um einen Typus aus dem 18. oder frühen 19. Jahrhundert handeln könnte... die Rückseite des Porträts wiederholt das Tagesdatum in zusätzlicher, formatfüllender Zeichnung von ausgesprochener Zierlichkeit. Picasso spielt mit zeichnerischen Elementen wie beiläufig, zum immerwährenden Vergnügen des Betrachters und Kunstliebhabers. Pablo PicassoTête D'Homme (LE 14 AOÛT 1969) Pen and ink drawing on brownish card 23 x 17.5 cm Framed under glass. Dated 'le 14.8.69' upper left, signed 'Picasso' in pencil below. On the verso, filling the format, the drawn date. - Minor superficial traces of compression and folding on the recto of the evenly browned card in the left corners, the right corners minimally bumped. Overall in fine condition.Zervos Vol. 31, 377 with illus. p. 109ProvenancePrivate possession, North Rhine-Westphalia; Lempertz auction 822, modern art, International Auctioneers, 4 June 2002, lot 12; Private collection, Rhineland; To be sold on behalf of the Verein der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, Cologne.ExhibitionsDüsseldorf 1980 (11. Westdeutsche Kunstmesse) (frame label verso)There is a host of portraits by Picasso from these late years; the best-known of them are his “portraits imaginaires”, sometimes humoristic, sometimes grotesque, exaggerated presentations and interpretations of human physiognomy and its expression. Embellished with a plethora of decorative elements citing historical costumes, they conjure up the magnificence and grandeur of a pre-revolutionary era. This portrait of an unbearded man facing the viewer seems to be in a different and much less exaggerated style. Picasso includes the date, something that accompanies and documents the artist's intense, almost serial production in these years. Though sketched with just a few angular lines the gaze that meets us from this striking head is both alert and intelligent, the mouth is resolute and narrow, on his forhead the bushy brows are raised in a concentrated manner. A loose shirt open at the neck presents him as both virile yet unpretentious. The associations remain open as to whether he might not be a type from the 18th or early 19th century... the backside of the drawing repeats the date, filling the format, with graceful delicacy. Picasso delights in playing with artistic elements and almost casually manages to provide for the perpetual amusement of the observer and connoisseur.

Eglon van der NeerLaute spielende junge Frau Öl auf Holz. 33,5 x 25,5 cm.Signiert oben rechts: E. van der Neer fe.ProvenienzGerard Hoet II. (1698-1760). - Auktion seiner Sammlung, Den Haag, 25.8.1760, Lot 65. - Möglicherweise Sammlung Blankensee, Berlin, 1856 (nach Parthey). - Francis Palmer, Paris (verso auf der Tafel Klebezettel mit dessen Wappen). - Max Flersheim (1849-1922), Paris. - Emil Glückstadt (1875-1923), Kopenhagen. - Auktion seiner Sammlung, Winkel, Magnussen, Kopenhagen, 2.6.1924, Lot 680. - Galerie M. & G. Segal, Basel, 1989. - Galerie Edel, Köln, 1990 (ausgestellt auf der TEFAF, Maastricht, 1990). - Dort erworben.AusstellungenKöln, Wallraf-Richartz-Museum (Leihgabe von ca. 1993-2002).LiteraturWohl Pieter Terwesten: Catalogus of naamlyst van schilderyen […], Den Haag 1770, S. 226. - Möglicherweise Gustav Parthey: Deutscher Bildersaal. Verzeichniss der in Deutschland vorhandenen Oelbilder verstorbener Maler, Bd. II, Berlin 1864, S. 186. - Wohl Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, 10 Bde., Esslingen und Paris, 1910-28, Bd. 5, Esslingen und Paris 1912, S. 526, Nr. 75a oder S. 527, Nr. 81a. - Corinna Klein, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Köln 1993, S. 193, Nr. 77, mit Abb. - Everhard Korthals Altes: Philip van Dijk, een achttiende-eeuwse Haagse schilder-kunsthandelaar met een lokale en internationale clientèle, in: Oud Holland 116, 2003, S. 172. - Eddy Schavemaker: Eglon van der Neer (1635/36-1703). Zijn leven en werk (=Diss. Utrecht), Utrecht 2009, S. 437, Nr. 109, Abb. S. 436. - Eddy Schavemaker: Eglon van der Neer (1635/36-1703). His Life and Work (=Aetas aurea 22), Doornspijk 2010, S. 497, Nr. 104, Farbtafel XXXVI.Eglon van der Neer schuf zahlreiche Darstellungen eleganter junger Frauen, die zumeist in einem vornehmen Interieur des gehobenen Bürgertums einer alltäglichen Beschäftigung nachgehen. Ein vom Künstler bevorzugtes und im Verlauf seiner Karriere immer wieder aufgegriffenes Motiv ist die Lautenspielerin. In unserem mit feinmalerischer Präzision ausgeführten Gemälde sitzt eine musizierende Frau annähernd frontal zum Betrachter gewandt, wobei die Beine leicht nach links gerichtet sind und der Oberkörper ein wenig nach rechts gewandt ist. Mit graziösen Bewegungen zupft sie die Seiten der Laute und greift die Bünde am Steg des Instruments, während der leicht geöffnete Mund vermuten lässt, dass sich die Musikerin mit der Laute selber beim Gesang begleitet. Am rechten Bildrand dürften die entsprechenden Notenblätter auf einem mit einer roten Samtdecke bedeckten Tisch stehen.Das von links einfallende Licht modelliert die Figur der jungen Dame und lässt den Schatten des Instrumentenhalses auf ihren linken Unterarm fallen. Das Licht sorgt zudem für das virtuos wiedergegebene Schimmern der kostbaren, apricotfarbenen Seide beim Rock der Lautenspielerin. Eglon van der Neer konkurrierte bei der effektvollen Wiedergabe der stofflichen Textur von Seide und anderen pretiösen Stoffen mit Gerard ter Borch. Zum schimmernden Seidenrock trägt die junge Frau eine weiße, mit weitgebauschten Ärmeln versehene Leinenbluse, die jedoch schon leicht lasziv von der Schulter gerutscht ist. Neben dem strahlenden Weiß der Bluse und dem hellen Inkarnat wird das Kolorit unseres Gemäldes von einem delikaten Farbakkord bestimmt, der aus dem Apricot des Rocks, dem tiefdunklen Rot der samtenen Tischdecke und dem warmen Braun des Lautenkörpers gebildet wird.Eddy Schavemaker hat unser Gemälde auf die erste Hälfte der 1680er Jahre datiert, als Eglon van der Neer in Brüssel lebte. Geboren wurde der Künstler in Amsterdam als Sohn des Landschaftsmalers Aert van der Neer. Nach seiner Ausbildung arbeitet er zunächst von 1654 bis 1659 im südfranzösischen Orange, danach abwechselnd in Rotterdam und Amsterdam, bevor er 1679 nach Brüssel übersiedelt, wo er bis 1695 lebt. 1687 wird van der Neer zum Hofmaler des spanischen Königs Karl II. ernannt, elf Jahre später zum Hofmaler des Pfälzer Kurfürsten, in dessen Residenzstadt Düsseldorf er 1703 gestorben ist. Neben eleganten Genredarstellungen wie dem vorliegenden Gemälde führte van der Neer Portraitaufträge aus und schuf darüber hinaus einige religiöse und mythologische Gemälde sowie in seinen späteren Lebensjahren vermehrt Landschaftsansichten. Zusammen mit Adriaen van der Werff, seinem bedeutendsten Schüler, und Godefridus Schalcken gilt Eglon van der Neer als einer der Vollender der Leidener Feinmalerei. Eglon van der NeerA young woman, playing the lute Oil on panel. 33.5 x 25.5 cm.Signed upper right: E. van der Neer. fe.ProvenanceGerard Hoet II. (1698-1760);His sale, The Hague, 25 August 1760, lot 65;Possibly Blankensee collection, Berlin, 1856 (according to Parthey);Francis Palmer, Paris (label on the reverse with his coat-of-arms);Max Flersheim (1849-1922), Paris;Emil Glückstadt (1875-1923), Copenhagen;His sale, Copenhagen, Winkel, Magnussen, 2.6.1924, lot 680;M. & G. Segal, Basel, 1989;Klaus Edel, Cologne, 1990.ExhibitionsCologne, Wallraf-Richartz-Museum (on loan ca. 1993-2002).LiteraturePossibly Pieter Terwesten: Catalogus of naamlyst van schilderyen […], The Hague 1770, p. 226;Possibly Gustav Parthey: Deutscher Bildersaal. Verzeichniss der in Deutschland vorhandenen Oelbilder verstorbener Maler, vol. 2, Berlin 1864, p. 186;Possibly Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, Esslingen and Paris 1912, vol. 5, p. 526, no. 75a or p. 527, no. 81a;Corinna Klein, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, p. 193, no. 77, ill. p. 194;Everhard Korthals Altes: Philip van Dijk, een achttiende-eeuwse Haagse schilder-kunsthandelaar met een lokale en internationale clientèle, in: Oud Holland, CXVI (2003), p. 172;Eddy Schavemaker: Eglon van der Neer (1635/36-1703). Zijn leven en werk (=Diss. Utrecht), Utrecht 2009, p. 437, no. 109, ill. p. 436;Eddy Schavemaker: Eglon van der Neer (1635/36-1703). His Life and Work (=Aetas aurea 22), Doornspijk 2010, p. 497, no. 104, colour plate XXXVI.Eglon van der Neer created several depictions of elegant young ladies, most of whom pursue an everyday activity in a distinguished interior of the haute bourgeoisie. One of the artist's preferred motifs, taken up time and again throughout his career, is the lute player. In our painting, executed with fine painterly precision, a lady playing music is seated almost directly facing the viewer with her legs pointing slightly to the left and her upper body turned slightly to the right. She plucks at the lute with graceful movements and grasps the frets on the bridge of the instrument, while her slightly open mouth suggests that the musician is accompanying her with the lute while singing. The likely corresponding sheets of music can be seen on a table covered with a red velvet cloth on the right edge of the picture. The light coming from the left models the figure of the young lady so the shadow of the neck of the instrument falls on her left forearm. The light also generates the virtuoso shimmer of the precious, apricot-coloured silk on the lute player's skirt. Eglon van der Neer competed witFull description on lot-tissimo.com

A LATE VICTORIAN SILVER MINIATURE FIGURE of a cherub, playing a lute seated upon a chair, import marks for Chester 1900, 3cm high; two miniature silver models of kittens, and a Continental miniature model canon, stamped 835, 5cm long (4) Condition report: in good condition overall.

AN EDWARDIAN SILVER HEART SHAPED TRINKET BOX, with pin cushion cover, Birmingham 1905, 9cm, a late Victorian silver mounted desk blotter, with pierced decoration, London 1895, an Edwardian silver mounted watch holder, Birmingham 1905, an American silver mounted playing card holder by Gorham, stamped Sterling, and a silver small ring tree and pen wipe (6)

A 19TH CENTURY GERMAN SILVER CASKET, of canted rectangular form, the lid applied with a cherub playing a lute, on paw feet, Berlin, marks, 13.5cm wide, 11oz overall Condition report: numerous small dings and knocks, decoration to the lid is worn.

A LATE 19TH CENTURY EIGHT AIR CYLINDER MUSIC BOX, in a grained and transfer decorated case, playing 'Her golden hair was hanging down her back' and other tunes, 42cm wide

A COLLECTION OF VICTORIAN VALENTINES AND OTHER CARDS, PLAYING CARDS, and tickets for the Cockermouth, Keswick and Penrith Railway

A CHINESE SHIWAN WARE FIGURE OF SHOULAO AND A BRONZE INCENSE BURNER AND COVER QING DYNASTY The God of Longevity depicted holding his staff and a peach, with a vibrant purple glaze with lavender streaks decorating his robe, his head and hands left unglazed, the incense burner shaped as a water buffalo, the cover formed as a seated boy playing the flute, his hair tied in two buns, 27.8cm and 20.5cm, the incense burner and cover 1kg. (3) Provenance: from the collection of Professor Ronald N Arnold (1908-1963) and thence by descent. Professor Arnold was Regius Professor of Engineering at Edinburgh University from 1947 until his death. Following ill health, in 1953 he began to collect Chinese porcelain in his free time, buying most of his pieces from small antique shops and auctioneers in Edinburgh and London. Through the art historian David Talbot-Rice, Professor Arnold became acquainted with several experts in the field of East Asian ceramics, including Sir Harry Garner and Soame Jenyns.

A CHINESE ENAMELLED 'SCHOLARS' VASE 19TH/20TH CENTURY The cylindrical body painted with intellectuals in a landscape conversing and playing go, with rocks, pine and wutong trees around them, the waisted neck decorated with the sun amidst wispy clouds, with two applied animal mask handles to the sides, 33cm.

MIXED GROUP OF COLLECTABLES including an Apprentice piece bureau, Minichamps 1 18/th scale Ford Escort, vintage playing cards, postcards and other items of interest

An enamelled sapphire and diamond harlequin brooch, the harlequin with enamelled face, hat and shoes, dancing whilst playing a lute, his outfit pavé set with brilliant cut diamonds, approximately 1.57 carats total, with marquise cut sapphire accents, stamped 18k 200137 Iridplat, 7.7cm long, 34.3g gross, in a fitted D.L. Lavender, London caseCondition Report: All diamonds present and correct, bright and lively, the sapphires are well matched. There is a clear lacquer covering the bottom part of the face which has a bit of flaking to the outside, and chipped to the nose, no noticeable damage to the actual enamel. The ribbon has come away from the solder at the back of the harlequins leg, it moves but doesn't detach. The brooch fitting in good working order. Condition Report Disclaimer

A mounted and framed display to include a circa 2005/6 season Liverpool shirt signed by many members of the playing squad from those years. Also a framed '100 Players' display. Please note damage to glass on shirt - would need re-framing.

VICTORIAN WILTON WARE BLUE AND GILT FAR EASTERN STYLE VASE WITH LID, AND AN IMARI PALETTE VASE WITH LID DEPICTING CHILDREN PLAYING

Bridge interest - A cased set of pin trays James Dixon & Sons Ltd, Sheffield 1923, each modelled as a playing card suit, presented in a fitted red leather case(Length of club suite: 95mm, combined weight: 3.8oz)

A pair of Victorian oval baskets London 1893, Gibson and Langham, of oval form, beaded border, reticulated design laurel swags, shell bracket feet, with a table playing card box, velvet divided interior; set twelve apostle coffee spoons; cased set of silver gilt anointing spoons

A Fine carved oak three train musical longcase clock,on a plaque to the centre above six o'clock, with subsidiary seconds dial and chime/silent and Westminster /Whittington/St Michael dials to the arch, the dial also overlaid with pierced foliate brass work, the movement playing on eight tubular bells and striking the hours on another, (pendulum, three weights, nine tubes and winding key)W:56cm x D:40cm x H:224cm

A bronze figure of a seated classical lady playing a lyre. 29cm(h). Signed on harp: Habert.

Arthur John Black (1855-1936) - pencil signed lithographic print with Fine Art Trade Guild blindstamp of children playing in a wood published by the British Art Company 92.5 cm x 74.5 cm (size including frame)

Quantity of vinyl long playing records, and 45 r.p.m. singles including Peter Sarstedt, Righteous Brothers etc. (  box)

Three Chinese watercolours, one of two seated men playing a game of counters and two of ornate entrances, all with inscriptions and character seal marks and each 67cm square (3)

Collection of long playing records, vinyls, mainly easy listening  eg Glen Miller, show tunes, soundtracks etc. 1 box and two black record cases ( 3)

Austrian School, 19th centuryA group of men playing bocce by a wall, a mountainous landscape beyondoil on canvas92 x 124cmProvenance: Horton Lodge, Windsor, Berkshire.Condition report: Oil on canvas which has been lined. There are a few scattered losses but the paint layer is stable overall. There are areas of overpaint across the surface, mainly strengthening the figures of the composition and covering areas of wear and cracks. The varnish is semi-matte and yellowed. The frame is in a good condition with a few chips and losses.

Edouard Moyse (French, 1827-1908)'La Bénédiction de l'Aïeul' (The Blessing of the Ancestor)signed 'Moyse' l.l., oil on canvas77 x 118cmEdouard Moyse was a Jewish painter from Nancy who specialised in painting scenes of Jewish life.This painting is of the Kiddush, the sanctification/benediction. Although the Sabbath comes round every week, it is nevertheless holier than most of the great religious festivals that occur during the rest of the year; it marks the end of the sixth day of Creation, when God rested from all his labours, and is sanctified with the Shabbat meal usually after synagogue on Friday evening. Shabbat, like all other religiously observed dates, begins, not on Saturday morning, but at sunset on the Friday evening, and ends with the sighting of the first star on Saturday evening.It marks the day when Jews should refrain from all forms of work, physical activity like carrying, playing a sport, entertainment and so on. The day should be spent in contemplation, enjoying family life, and religious study.The pater familias is on the left, reciting or singing the Kiddush, and when he is finished, he sips from the goblet, then pours some into each of the other persons’ glasses - that would include family as well as guests, and indeed many families today, especially Levantine Jews, still set an extra place for an unknown guest. After the wine, the father and the males older than 13 wash their hands, and return to the table to say the benediction over the bread (…and God brought forth bread from the Earth), before breaking the bread - not cutting it, because that would be an act of labour - and giving each person a piece, having sprinkled it with salt, which is to remind us that, on being banished from the Garden of Eden, we had to thereafter labour by the sweat of our brow. In the present painting, the father, while saying the Kiddush, is resting his hand on the Challa, the bread, ready for the next blessing.We are grateful to Joseph Mankowitz for his assistance with the catalogue entry.Condition report: Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layer is stable overall. There is a scuff in the paint layers and varnish at the lower right corner. Scattered across the picture are darkened spots of age cracks, these are stable but give the painting a slightly mottled appearance in some areas. There are a few localised areas of retouching, mainly located along the left edge. The varnish is clear and even but very brittle, white spots across the surface are actually abrasion in the varnish layer. There is a light layer of dust present and some fly spots. The frame is in a good condition.

A Victorian coromandel cased games compendium,late 19th century, the lid and front opening to reveal a fitted interior with folding games boards, turned bone and stained bone chess and draughts pieces, dice and shakers, playing cards and painted Escalado horses, counters, bezique markers and the cribbage board inscribed 'Dewars Whisky',33cm wide23cm deep18cm highCondition report: splits to the rear curve of the domed lid, front bottom edge faded, veneer lifting to right-hand edge of the lid, splits to numerous draughts pieces registration stamp to the inside

A Swiss interchangeable cylinder musical box,19th century, the six cylinders playing six airs each, the case walnut with kingwood crossbanding and ebonised borders,cylinders 33cm longtable 107cm wide65cm deep93cm highCondition report: One hinge to glass top detached, but present.Tape to glass top missing. Small veneer loss to rear of lid. Some veneer damage to rear of lid.Rear leg repaired.Marks to rear of table where it has stood against a dado.

A Martin & Co. Style 3 ukulele,c.1925, the mahogany body with seven layer binding to the front and three layer binding to the reverse, the inlaid rosewood fingerboard with 17 frets, impressed 'Made in U.S.A., C.F. Martin & Co., Nazareth, PA.' to the reverse of the headstock, and impressed 'C.F. Martin & Co., Nazareth, PA.', complete with a period fitted hardcaseThis ukulele was formerly owned by Sam McRae, who as well as being the professional golfer at the City of Newcastle Golf Club was also particularly adept at playing the ukulele. Tales are told of him sharing the stage with the legendary 'Ukulele Ike' but exactly when and where this took place has been lost in the annals of history.Condition report: Surface scratches, knocks and wear commensurate with use. The case showing similar signs of use.

An Indian carved sandalwood chess or games table,19th century, probably Mysore, the playing surface inlaid with alternating squares of ebony and teak, the top and base profusely carved with figures, animals and foliage, raised on three scrolling supports, each terminating in carved mythical beasts on castors,55cm wide55cm deep74cm highCondition report: Splits, wear and losses. Damage and repair to underside. Splits to playing surface. General wear commensurate with age and use.Base and stand not ebony. 

A Martin & Co. Style 2 ukulele, c.1925, the mahogany body with three layer binding to the front and a single layer binding to the reverse, the rosewood fingerboard with dot markers to the fifth, seventh and tenth frets and having 12 frets in total, impressed 'C.F. Martin & Co., Nazareth, PA.' to the reverse of the headstock, and impressed 'C.F. Martin & Co., Nazareth, PA.' inside the body, complete with a period fitted hardcaseThis ukulele was formerly owned by Sam McRae, who as well as being the professional golfer at the City of Newcastle Golf Club, was also particularly adept at playing the ukulele. Tales are told of him sharing the stage with the legendary 'Ukulele Ike', but exactly when and where this took place has been lost in the annals of history. This instrument was the backup to the Style 3 ukulele that we are also selling (lot 405).Condition report: Surface scratches, knocks and wear commensurate with use. There is a crack to the lower bout but it is stable and does not cause any detriment to the tone of the instrument. The case is showing similar signs of use.

Attributed to HRH Victoria, The Princess Royal (1840-1901)Study of a Vestal Virgin playing a harppencil heightened with white, on buff paper laid to card15 x 13cm, unframedSold with a copy of the book 'Queen Victoria's Sketchbook' by Marina Warner, published by Macmillan London, 1979.Provenance: Horton Lodge, Windsor, Berkshire.The Princess Royal, or 'Vicky', as she was known in the family, and her siblings were taught by the watercolourist Edward Henry Corbould (1815-1905). The Princes and Princesses seem to have had a fond relationship with Corbould and gave him many of their works as presents. Jane Roberts, in Chapter 4 of her book 'Royal Artists' (1987) discusses the tuition Corbould gave to the Royal children and notes that his pupils often made him presents of their work which he carefully preserved and annotated. There are two drawings by HRH Princess Victoria owned by Corbould now in the British Museum.Condition report: Unframed and stuck to card. Some discolouration and foxing.

Jacob Huysmans (Flemish, c.1630-1696)Portrait of a young nobleman as King David, playing a harp, a sheep beside him, possibly the young Winston Churchill, died 1688, aged 20oil on canvas104 x 128cm, in a gilded frameProvenance: Acquired by the vendor's late husband at Christie's, London, in 1975;from a Kensington town house.By family tradition the sitter is believed to be Winston Churchill, younger brother of the first Duke of Marlborough, who died in battle aged 20. Winston Churchill died in 1672 at the age of 20 at the Battle of Sole Bay near Southwold, Suffolk. His brother, the future Duke, was also present at the Battle.The symbols in the painting are connected to the sitter's early death and are part of an apotheosis with the Harp of the Angels, the Lamb for the virtues of innocence, purity and humility and the Heavenly Crown. References to the sitter's death in battle could be the heavenly crown with the crossed swords and his quasi Roman decorative armour which became so fashionable on church monuments of the period.Condition report: Oil on canvas which has been lined. The paint layer has a slightly uneven surface and has suffered from wear and abrasion. There are some large passages of overpaint, mainly reinforcing darker, worn areas of the background such as the green leaves. The sitter’s face has a few small touches and some reinforcement in the shadow on the neck. The varnish is thick, glossy and fairly even. There are some yellowed drip marks across the surface and light dust layer. The gilded surface of the frame is worn and darkened. Christie's stencils to the reverse - 168 TY or 16S TY (or may be a V ?) and also 34 PE to the reverse

A set of three Chinese rouge de fer moulded dishes, Kangxi period, each painted with two ladies seated in a garden and playing xiangqi, within borders of vases of flowers and foliage, 22.5cm diameterCONDITION: Provenance - UK private collection, gifted to the vendor's late mother by her aunt before 1970.All of the dishes have a few tiny nibbles to the edge and wear to the gilding on the edge, there is some small patches of wear to the gilding and enamels in the well and one dish has some fine crazing to the glaze on the interior - not visible on the underside.

A rare French porcelain figure of a lady playing the Hurdy Gurdy, probably Orleans, c.1756-58, unmarked, ex Klaber & Klaber label, 13cm highCONDITION: Slight 'browning' to the hat and ribbons on the shoulders. Small losses to applied ribbons and flowers. Shallow chip to under edge of base, otherwise in good condition.

A Victorian German walnut symphonion, with stencil decorated lid and gilt bronze handles, the interior of the lid inset with a photo-lithographic panel of cherubs, movement playing 12 inch discs, width 19.5in. depth 15in. height 9.25in.CONDITION: Case overall in honest untouched condition, a little faded to the top with light scuffing commensurate with use, gilding from handles has mostly worn away, a crack runs through the cherub panel inside the lid, movement in good working condition, comes with 36 discs which vary in condition.

A late 19th century German walnut cased upright Symphonion, with lyre shaped pediment, pilaster flanked glazed door enclosing the 21 inch disc playing mechanism, over a base housing nine additional discs, W.2ft 6in. D.1ft 4in. H.7ft 5in.CONDITION: Overall in very good condition, restored at some point with the case stained to an even treacle coloured tone, the mechanism cleaned and repaired as required, now in full working order, bears an original label to the right side for 5 Pfennig Coins, a few minor surface nicks and dents commensurate with age and use.

A 19th century Swiss Nicole Freres table musical box, with movement playing five interchangeable 15 inch cylinders, each playing eight airs, retailed by Asprey in 1990, width 44in. depth 24in. height overall 39in.CONDITION: Excellent fully restored condition, overhauled by Asprey in 1990 and at that date sold for £13,500. Main case and table below all in good restored condition, one or two small dents, knocks and scratches commensurate with light use and occasional accident but overall very good, movement in excellent clean condition, base plate is numbered 52211, comes with original key and five play cards listing the eight airs played by each cylinder.

A good George III mahogany musical table clock playing six tunes, John Hovil, Fair Street, London, the mahogany bell-topped case surmounted by five flambe finials and having brass handles and term mounts to the canted angles; the 8in brass arched dial with six-tune selection, signature plaque and Strike/Not Strike and Chime/Not Chime subsidiary dials over silvered Roman and Arabic chapter ring, date aperture and matted centre; the hour repeating verge movement striking/repeating on bell, the music played on 10 graduated bells and 15 hammers, the backplate engraved with a Chinese bridge, width 13.5in; depth 9in; height 24in