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Lot 1
:A RARE 12-BORE PINFIRE HARVEY 1860 PATENT SLIDING BARREL DOUBLE-BARRELLED SPORTING GUN BY HARVEY, EXETER, serial no. 4394, with 28 1/2in. rebrowned twist sighted barrels signed 'W.J. HARVEY. 68. SOUTH STREET. EXETER. PATENT NO. 4393' on the rib, scroll engraved signed action, signed scroll engraved back-action locks each decorated with a differing scene involving a dog and a partridge, hammers each pierced to act as extractors by catching the fired pins, permanently attached fore-end with trigger-released lever to slide the barrels open, 14in. figured stock, engraved blued mounts including trigger-guard and butt-plate, the former decorated with cock pheasants on the bow, and silver escutcheon.
Lot 1
:A RARE .360 SOPER PATENT SPORTING RIFLE RETAILED BY CARR BROS., HUDDERSFIELD, serial no. 599, dated '1884', with 28in. blued barrel with full length matt sighting flat signed 'CARR BROS. HUDDERSFIELD. 1884' towards the breech and engraved 'HENRY'S PATENT' on the left side of the barrel, bead fore-sight, rear leaf sight calibrated to 200 yards, serial numbered scroll engraved action with some faded case-hardened finish engraved 'SOPER'S PATENT', figured walnut half-stock with chequered grip and fore-end, engraved iron mounts, iron sling eyes.
Lot 1
:LEE SPEED .303 'NO.1' BOLT-MAGAZINE VOLUNTEER SERVICE RIFLE WITH BARREL BY DANL. FRASER, serial no. G307 30 1/4in. blued barrel sighted to 1,700 yards and engraved 'BARREL MANUFACTURED BY DANL. FRASER & CO. EDINBURGH', receiver marked 'LEE SPEED PATENTS' and retaining much original finish, magazine cut-off, cocking-piece safety-catch, 13 1/4in. three-quarter stock, linked magazine, long range volley sights, brass butt-plate with hinged trap-cover, blued barrel-band and nose-cap, the latter with rare Rigby Patent clearing rod, sling mounts and stacking swivel, brown leather sling.
Lot 1
* :A RARE W.W. GREENER 28-BORE 'GRADE D1' 1893 PATENT BOXLOCK NON-EJECTOR, serial no. 47191, 27in. nitro reproved damascus barrels, matt rib engraved 'W.W. GREENER. ST. MARY'S SQUARE. BIRMINGHAM. DEPOT UNIQUE. 8 AVENUE DE L'OPERA. PARIS. WINNER AT ALL GUN TRIALS. 1875 TO 1891', 2 1/2in. chambers, bored approx. 3/4 choke in both, treble-grip action with beaded border engraving, manual side safety, retaining traces of colour-hardening, 14 1/4in. figured stock including buttplate, weight 4lb. 8oz. The maker's have kindly confirmed that the gun was started on 13th August 1898 and completed on 17th August 1900. The barrel length is original.
Lot 1
[DIDOT, Ambroise-Firmin]. Notes D'un Voyage Fait Dans Le Levant en 1816 et 1817, Paris: Typographie de Firmin Didot, first edition, no date [1826?], 8vo, his son's copy with 'Alfred' stamped to base of spine, lacking pages 23 to 26, replaced or misbound with duplicates of pages 17 and 18, 31 and 32 , half calf gilt, a good copy, rare. Provenance:, Ex Libris label of Sefik E Atabey, Sothebys sale 28-5-02, lot 351
Lot 1
A rare George II walnut large bracket clock Windmills & Wightman, London, circa 1735 The five-pillar twin fusee rack and bell striking movement with verge escapement, rise/fall regulation and Hoho bird inhabited foliate engraved backplate signed Windmills & Wightman, LONDON within a circular cartouche to centre, the 12 inch brass break-arch dial with false bob and calendar apertures and arched signature plaque to the matted centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and fleur de lys half hour markers, with female mask and scroll cast spandrel applied angles beneath rise/fall regulation dial between dolphin cast mounts to arch, the case with later inverted bell top and foliate pierced frets above husk and scroll carved canted angles with conforming frets and brass handles to sides, on cavetto moulded base with shaped apron, 74cm high. The exact date on which William Wightman joined the celebrated Windmills firm is uncertain however Ordnance Office bills record the partnership in September 1735 (see Neale, J.A. Joseph and Thomas Windmills, Clock and Watch Makers 1671-1737, p.233). Five longcase clocks are recorded by Neale but no bracket, lantern clocks or watches are noted. The reason why this unusually large clock was made is uncertain however another ebonised example (a timepiece with silent pull repeat signed Windmills) is described by Neale and a walnut clock of similar proportions but with a rectangular dial by George Graham was formerly in the Iden collection. It is probable that such clocks were utilised in a semi-public context where the use of a longcase clock would be problematic.
Lot 1
a pair of Egyptianesque bronze and ormolu Colza oil lamps probably designed by William Bullock the urn surmounts with berried finials above shaped reservoirs with satyr-masks and addorsed serpents beneath a leaf cast shade holder, on stiff leaf columns with spreading fluted socles and triform platforms with winged monopaedic chimera corner ornaments, raised on volute cast paw feet 26cm wide, 50cm high, 18cm deep note: William Bullock (fl. 1795- 1840) Traveller and naturalist and the elder brother of the celebrated cabinetmaker George Bullock (d.1818), Bullock was strongly influenced by Thomas Hope's 'Household Furniture and Interior Decoration' , published in 1807. Bullock owned the Museum of Natural Curiosities in Liverpool which, after 1812, was re-housed at the 'Egyptian Hall' in London's Piccadilly. Bullock was a curator as well as a dealer in rare objets d'art. In 1822, he travelled to Mexico where he bought a silver mine and collected pre-Colombian artefacts which are now held at the British Museum. Bullock's last great dream, however, was to create an idealistic community called 'Hygeia' in the United States. 'Hygeia' was to be an Egyptian style city, much in the manner of Aswan or Luxor but designed to grace the banks of the Ohio River, rather than the Nile. Unfortunately, however, the dream was never realised; the city was never built and Bullock later died in relative poverty.
Lot 1
a 19th century English kingwood, crossbanded and porcelain mounted 'Bonheur de jour' the gilt-metal three quarter gallery cast with swags above a pair of quarter-veneered doors enclosing lined shelves, each mounted with a gilt-metal cartouche raised by a pair of cherubs enclosing a circular porcelain panel decorated with summer flowers, the dividing upright with a pair of similar oblong panels, the serpentine top with full width frieze drawer applied with a further three decorated panels, on cabriole legs united by cross stretchers united by a porcelain medallion boss, the whole decorated with gilt-metal foliate mounts ending in sabots 139cm wide, 107cm high, 67cm deep note: This design, so commonly encountered in 19th century French furniture, makes a relatively rare appearance in the English workshop. Interestingly, the usual Sèvres porcelain panels seem to have been substituted by delicately painted English examples.
Lot 1
Harold Knight, R.A., 1874-1961 harvesting the sea signed and dated 1900 oil on canvas 135x175cm.; 53x69in. How little do we realise the cost of herring on our breakfast plate! For such realisation it is necessary to experience the relentless battering of an equinoctial gale. In late September and early October, the herring shoal, in its tour around England, passes the Yorkshire coast. It is then that a fleet of Herring Cobbles, caught unaware in the North Sea, has short shrift to get back to shore through the white water breaking on the reefs, whose shallows run further than the horizon line. A (wildified) place is Steers as the locals called Staithes. (Laura Knight, The Magic of Line, 1965, p. 107) In 1895 Laura Johnson and her future husband Harold Knight visited the rugged Yorkshire coastal town of Staithes and were truly captivated by the landscape and its people. After their return to London Laura and Harold discussed the prospect of moving permanently to Staithes and after marrying in 1903 they resided there for fourteen years. The previously unremarkable town of Staithes had been popular with artists since the 1880s. It had attracted painters from the Midlands and the North who wanted to paint similar subjects to those favoured by the plein air painters in Newlyn. Laura summed up the freedom offered by this little town, As long as I can remember I wanted to run wild in a broader life, away from factories, miles from houses in rows, dressed-up shops and the gentility of town where no one knows what their neighbour enjoys or endures. Here in Staithes we share each others joys and sorrows. (Caroline Fox, Dame Laura Knight, 1988, p. 12) Following the precedent of the Barbizon and Hague School of painters, artists in Staithes sought to paint the everyday life of the working class residents. Harold and Laura both developed a great admiration and fascination with the hardiness of the fisher-folk of whom Laura wrote the majority of its people, both man and woman, dedicated to toil of the hardest as they were, and knowing tragedy at first hand. (ibid Knight, p. 107). They believed the fishermen to be the descendants of a Viking race whose ship foundered on the shores and never left, a belief augmented by the sight of one particular example; a majestic figure Ð six foot tall or more, his shoulders and chest enormous, his features aquiline, his pointed beard red; his eyes are the sort of blue that has a special look Ð a sea-eye look one used for big distances Ð his skin is bronzed by the sun and toughened by wind and salt water. (ibid Knight, p. 109) These mortal Poseidons were the models for the small number of dramatic pictures painted by Harold to convey the brutality of the sea and the strenuous courage of the men who worked upon the herring cobbles. Another of these men was Argy (Isaac) Verrill who the Knights befriended and were permitted to accompany to sea in his old cobble. They would often sit around his fireside eating Herring toasted by his daughter Anna-Margaret and listen to his stories of near-death and to his mighty singing voice. It is likely that Argy posed for the present picture and one or more of the other figures, is probably another fisherman friend Mattie Theaker or John Jones. The present view captures the toughness of the Staithes fishermen and the strenuous work as they toil against the ocean. They are dressed in the clothes that Laura described thus; Bleached by weather and sea-water are the garments worn by both women and men. As for the mens trousers Ð never was such a variety of colour found as in the numberless patches. (ibid Knight, p. 109). The pictures painted by Harold Knight in Staithes are rare although several were exhibited at the Royal Academy between 1900 and 1904, including The Last Coble of 1900, Evening, Staithes of 1901 and Unloading Herrings, Scarborough of 1902. A small picture of a similar subject entitled Staithes Pier was sold in these rooms, 9 November 1988, lot 4. By 1905 K
Lot 580
Bradman (Don - Cricketer), How Its Done - A Friendly Chat/Two Piano Solos by Don Bradman, Columbia DB270, 78 rpm record, 1930,. 10 double-sided shellac record, small Foyles price sticker to side A, orig. card sleeve, VG UK pressing of this rare 1930 record on which Don Bradman talks and on the other side performs two piano solos, titled Old Fashioned Locket and Our Bungalow of Dreams.. (1)
Lot 110
Blencowe (Richard). An Easy and Effectual Method of Destroying Rats, Mice, Polecats, Weasels, Moles, Otters, &c., Banbury, printed and sold for the Author by T. Cheney, 1812,. title with wood-eng. vign. illust. of a rat, some scattered spotting, orig. printed boards, sewn as issued, a little chipped and some wear to extrems., slim 8vo Rare. (1)
Lot 1
An attractive and rare Donegal Arts & Crafts rug designed by Gavin Morton and G.K. Robertson, Ireland about 1898-1900, 7ft.5in. x 3ft.11in. 2.26m. x 1.20m. The motifs and overall design can be compared to those of the carpets illustrated by Haslam, Arts & Crafts Carpets, plts. 61 and 66; the series of narrow borders with vestigial floral elements is similar to that in Haslam, ibid. pl. 61. This rug is in excellent condition with almost no signs of wear and it is perhaps worth noting that examples of this size seem rarer than the larger carpets.
Lot 1
Ushak 'Fancy Turkey' carpet, west Anatolia late 19th century, 15ft. x 11ft. 4.57m. x 3.35m. Overall wear, heavy in places, two fireplace cuts to left side, reduced in length by cut across base of field. Despite its condition, this remains a brilliantly coloured carpet, with a very rare vivid emerald green field and subtly contrasting pistachio green main border.
Lot 1
An attractive and rare Arts & Crafts carpet by the Kildare Carpet Co., Ireland, about 1905-10, 12ft. x 10ft.2in. 3.66m. x 3.10m. Areas of wear, heavy with damage lower right corner. On a jute foundation, this carpet is close in design elements, including the repeated five leaf spray and large dog-rose heads, shown on a carpet by the Kildare factory illustrated in the Studio Year Book of 1906, reproduced in Haslam, Arts & Crafts Carpets, p. 180. See Haslam, ibid., pp.179-180, for a brief discussion of the factory.
Lot 1
Frank Brangwyn (1857-1956). An extremely rare chenille 'Axminster' carpet designed by Frank Brangwyn for Templeton & Co. of Glasgow, Scotland about 1930, signed with inwoven monogram 'FB' top right and bottom left, 12ft. x 8ft.9in. 3.66m. x 2,67m. Damaged areas, some staining at edges, foundations brittle. This carpet was one of two designed by Brangwyn for Templeton's (who had earlier commissioned designs from Charles Rennie Mackintosh among others) in about 1931-2 as part of an exhibition devoted to his work as a designer. Another example, in which the design is slightly curtailed at the sides before the onset of the outer plain grey-brown 'frame' (this frame being a consistent feature of Brangwyn's carpets as can be seen from the earlier examples he designed for Bing's La Maison de l'Art Nouveau in Paris around 1901) is illustrated in Frederick J. Mayer's Carpet Designs & Designing, 1934, colour frontispiece Mayer commented, p. 111ff., "...Messrs. Jas. Templeton & Co. of Glasgow were invited to make carpets as ordinary commercial machine-made products, additional to one or two smaller rugs which had already been woven by hand by Messrs. Morton of Carlisle. Earlier carpets of Mr. Brangwyn's, hand-tufted, had been seen some thirty years previously on show at Bing's in Paris, which were quite interesting in design and treatment, but the two he made for this exhibition show an immense advance on the earlier work in every way. The writer can recall no other case in which an outside artist has ever so completely grasped and made effective use of the possibilities of good class machine carpet weaving." Later (pp. 126-7) Mayer further comments: "Mr Brangwyn dispenses with a border and leaves the design to rest on a wide plain band of soft warm grey...It is a carpet which in many ways is worth study. The colouring is refined, dainty and subtle, and makes an excellent foundation for a room with furniture of natural untreated oak, or any light coloured wood. No less than 65 colours were specially dyed to produce it."
Lot 1
An interesting and rare Tekke Turkmen style nine gul torba-like panel, north India, late 19th century, 1ft.10in. x 3ft.9in. 0.56m. x 1.14m. This is only the second example of the type we have seen, the other being a six gul torba sold in these rooms 7 July, 2005, lot 946, although we know of accurate Indian versions of Saryk ensis. The accuracy of the individual elements of the design is remarkable but the palette and structure is distinctly Indian. Given that such pieces, like most Indian rug weaving in the 19th and early 20th centuries, would have been made in jails, it seems reasonable to suppose that this finely made piece would have been woven by a Turkmen in a jail somewhere in the north west frontier area; several jails in that region were well-known for their rugs, including Dera Ismail Khan, Dera Ghazi Khan and Peshawar. However, one point worth bearing in mind is that in a tribal environment, weaving was carried out exclusively by women but there seems to be no record of women weavers in Indian jails where, apparently, it was an exclusively male activity. It is obvious from the finish that this panel never actually formed part of a bag.
Lot 1
Kuba kelim, north east Caucasus late 19th century, 11ft.1in. x 6ft.2in. 3.38m. x 1.88m. White areas extensively worked in cotton, small 'filler' ornaments in extra weft wrapping. Caucasian kelims of this bold and handsome design are surprisingly rare. A small group is illustrated in Petsopoulos, Kilims, nos. 294-7; one of these, no. 295, has some synthetic dyes and has a stiffer, more regularised, series of motifs than the others. It is dated 1322AH (1904-5), which acts as a benchmark for the other examples of the group, as well as ours, which almost certainly dates from around 1880.
Lot 1
An attractive and rare Karadagh runner, south Caucasus-north west Persia second half 19th century, 10ft.9in. x 3ft.9in. 3.28m. x 1.14m. Slight uneven wear overall, worn kink lower end centre, small ink stain. For a brief discussion of this rare group, not to be confused with Karaja village rugs although also more Persian than Caucasian in origin, see Bennett, Oriental Rugs Vol. 1: Caucasian, pp. 164-5 and plts. 192-3. Note the woven Cardinal & Harford label verso.
Lot 1351
MALTA. rare manuscript ledger dated 1817. consists of a manuscript statement of account of persons who had funded the University of Valletta, prior to the French Invasion of 1798, and subsequent changes in 1805 and 1817 when this report was made. 125 pages, plus comprehensive index of all names, plus statement of arrears. bound cont vellum, folio, good condition.
Lot 1
,KIDDER (E): "Kidder's Receipts of Pastry and Cookery, for the use of his scholars", London 1740/41. A reissue of an earlier 1740 edition in which Kidder's school address is given as "St Martins le grand". 43 leaves of text engraved throughout. 8 plates at rear, 3 folding plus frontis. Contemporary full calf, a little rubbed and split. FFE detached. Rare.
Lot 1
1819 Peterloo Massacre: a rare pearlware cup of bucket shape printed in black with a scene depicting the Cavalry charge and a fallen female holding aloft a banner entitled Murdered on the Plains of Peterloo, Manchester 16 August, lined in pink lustre, the reverse enamelled in green and iron red with a foliate design 58mm high, restored
Lot 1
A rare Robert Burns presentation snuff mull, 1759 (Alloway)-1796 (Dumfries), inscribed 'To Robert Burns Exciseman from Macpherson the Souttair. Ayr 1789', the hinged cover set with a citrine, 8.5cm long. Cf.lot 259 sold Shapes 3.2.2007 for £7,800. a Robert Burns snuffmull dated 17th January 1796
Lot 1
Royal Doulton in Association with William Grant. A rare unopened whisky character jug/decanter celebrating "100 years since William Grant laid the foundation stone of his Highland Distillery", in velvet lined box with certificate the chance to buy the decanter was awarded to winners of a prize draw in a limited UK number
Lot 1
A rare set of four Sevres named view fishing plates xIX century each showing French coastal scenes entitled: "Peche du Anatifes", "Peche au Fasquier", "Peche des Sucets" and "Peche du Maigre" the first plate showing the removal of shells from rocks with a strong blade, the second showing fish attracted by the flare of the burning wood, which is a furnace placed at the foot of the boat, the third: Negros removing fish from a boat to which they are clinging and the fourth plate: fishermen attracting fish to be caught or speared with a high pitched whistle; each with rich gilt highlighted rims on cobalt blue ground, in Rococo design gilt wood frames, painted marks beneath each approx 33cm diameter
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209761 item(s)/page