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Lot 142
1920s and later clothing to include an apricot dress with red trim, a peach and mint burlap dress and a striped rayon dress with waist tie, a lilac late1940s dress with padded shoulders and studded bodice, a black 40s day dress with embroidery, a grey satin dress with neckerchief cowl and lace inserts, another 30s dinner length dress with rare concealed zip front and pink underdress, a reversible zip front jacket, a green shawl collar cardigan, a pair of corded wool/cotton breeches and a black 30s dress with pink crepe chiffon detail by Faytex (11)striped dress is in great conditionapricot dress has a tear where the pockets has been pulled and a rust stain with weakness on the shoulder, plus a tear to the back of the shoulderblack 40s dress has moth damage and pet hairs, cardigan is good, but with pet hairsgrey 30s dress looks to have been shortened, marks and small holes on skirt, repair to back of neck, rust staining to buttons, tear at fastenings, couple of small seam popsburlap dress has areas of colour run and some rust stains, but it is strong (nylon side zipper)lilac dress has a seam pop at the side30s lace dress has some breaks and a repair on the sleeves/ shouldersbreeches need hemming and there is wear on the inside seams/ inner thighreversible jacket has a slipped shoulder pad, staining on sleeves, missing buttons at wrist
Lot 161
A rare vivienne westwood and malcom Mclaren worlds end label set from the 1982 Buffalo girl/ Nostalgia of Mud collection. The wrap skirt is wool with woven suede ribbons, it is peppered with cut outs to resemble moth damage (I have checked and am told that it is not moth damage, and that this is how it was bought, looking at the position of the holes, particularly along the wrap edge of the skirt it does look like they were added for effect). The brown textured top has one long and one short sleeve and a high, slightly floppy neck and fabric is cut part way to bias so that it twists and there are a couple of small bleach spots, and bleaching around the neck, again, this is part of the effect, not a fault (2)in excellent condition with some flexibility size wise due to design
Lot 361
Singer Fine sewing Machine Portable 221 K1 boxed Antique Vintage Fine Model.The wonderful Rare K221k1 in perfect order with tray of accessories, original grip Singer Roll out mat and original Brochure and paperwork and additional tools etc. Beautifully Preserved in its hard travel case and one of the finest portable machines manufactured.( 1 +case and details given)
Lot 67
A rare 1810s-1820s silk evening gown. This Georgian or regency period dress is complete, but deconstructed. The skirt of the dress turned into a skirt and the bodice unpicked. The upper part of the dress, from waist to under bust has not been cut away, it has been folded inside and a waistband hand stitched into position. The silk is in good, strong condition.
Lot 68
A rare 18th century French silk brocade bodice with silver Torchon lace. This was made to be worn by a winged religious statue or icon. Completely hand stitched and lined with silk, it was originally boned, but the baleen was splintering at it was removed to protect the silk. the 18th century silver torchon lace is a masterpiece in itself. wing tip to wing tip (sleeves) 123 cmgood condition. A little damage to damage to the silk around some of the lacing holes where the lace has been pulled too tight. some rubbing to the silk at the back in one area. minor wear. generally very strong, clean and bright.
Lot 73
A rare, late Edwardian summer jacket in a ribbed cotton and a mid to late Victorian saucer hat and muff, probably c1860s, trim added laterjacket appears to be missing a part back belt. Ghost stitching remains and there is a small holethe hat/ bonnet fastens under the chin and there is an elastic loop (later added), and nothing to attach it to, a button or such like, originally there would have been two ties. The muff has a silk twill lining which is in excellent condition
Lot 9
A rare 1930s male mannequin by French model makers Fery Boudrot, The production number 389 is on the back of his neck. The mannequin comes wearing the original boots and socks.(1)generally he is in pretty good condition with some loss of paint, and he is complete. He shows obvious signs of age such as surface cracking and he is missing the toes on one foot (not seen thanks to him still wearing his boots).
Lot 1
1966 Complete Team signed World Cup FDC. The cover has Harrow and Wembley rare postmark and was originally signed by Bobby Moore and the remaining team members have been added later by All Star signings at various autograph signing evets. Very rare and highly collectable piece of sporting memorabilia. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 136
Phantom Strike print by Robert Taylor. Ultra-rare. The print is personally signed by artist and the leader of the raid and his back seater: Brigadier General Robin Olds and Major Dan Lafferty. The steel mill at Thai Nguyen was vital to North Vietnam and in 1967 its destruction was a top priority for the USAF. There was a problem; however, it was one of the most heavily and well defended installations in the country. On 30 March 1967, the mission to attack the Thai Nguyen steel plant fell to the legendary fighter leader and WWII Ace Robin Olds but it turned out to be one of the most hazardous raids of the Vietnam War. For forty miles we raced over rice paddies studded with rocky hillocks each covered with guns of every calibre shooting for all they were worth. Air bursts flashed and smoked everywhere, shrapnel and short rounds roiled the water in the paddies, and sheets of tracers came at us blurring our vision ahead. We flew right through this barrage much as the Kamikaze pilots had against our carriers in World War II, and for the only time in 900 combat flying, it flashed through my mind that none of us would survive the mission. Robert Taylor's outstanding interpretation of the raid depicts Robin Olds and his two wingmen seconds after the strike and is one of the most iconic and collectable pieces ever released. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 181
United Kingdom Brilliant Royal Mint Uncirculated coin 2009 collection includes 11 coins includes rare Kew Gardens 50p. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 25
Buzz Aldrin Apollo 11 Moonwalker Astronaut signed 10 x 8 inch colour WSS White Space Suit photo. Signed boldly in blue with rare inscription We came in Peace Buzz Aldrin Apollo XI. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 4
Titanic victim Masonic William Walker 1911 multiple signed New Jersey Lodge 124 document. William Anderson Walker signed Masonic Document from 1911. Also signed on the reverse by 90 grand masters. Born in England, he later emigrated to the United States with his wife, Frances. He owned a water proof manufacturing business and he was a Grand Master at the Masonic Lodge number 124 in East Orange, New Jersey. This is a Masonic document from that lodge which has been signed by Walker to the front and by 90 other past Masters and Grand Masters from the local area to the reverse. At the bottom of the rear someone, we presume one of the signers has added later, In memorium William Anderson Walker. Drowned April 15th 1912 SS Titanic. The dates of their positions have been annotated in pencil, back to 1879. We think this was signed at the memorial service held after the tragedy. A Really fascinating historical document and rare piece of both Masonic and Titanic memorabilia. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 6
WW2 Exceptional Luftwaffe signed collection. Includes rare WW2 signed Hoffman photos, signed photos and pieces and a complete set of the Luftwaffe Aces Profiles collection. Exceptional autographs of Hans Joachim Marseille, Oberst Werner Molders, Herman Goering, Willhelm Batz, Hans Baur, Hand von Ohain, Willy Messerschmitt, Rare Hoffman 6 x 4 Wartime photos of Helmut Lent KIA 1944, Gunter Lutzow KIA 1945, Gordon Gollob, Hermann Graff, Walter Oesau KAI 1944, Wartime Galland photo, Major Hans Phillip KIA 1943 he is credited with 206 enemy aircraft shot down in over 500 combat missions, Rudolf Trenkel. Erich Hartmann ME109 photo, Gerd Barkhorn, Hans Ulrich Rudel stunning Stuka photo, Wolfgang Spate, Wilhelm Crinius, Franz Woidich and Obst Kurt Ebener. These are all housed in the profiles collection album. A unique collection of individually hand-signed Profile documents featuring twenty four legendary fighter Aces of the Luftwaffe, each including a personal history written by the Ace himself. Each sheet also includes a photograph of the Ace, information on the aircraft types he flew, his combat units and an individual combat report plus a profile drawing of his aircraft. The profiles are presented in a magnificent album befitting such a historical collection. The lavishly produced albums include gold leaf blocking on the cover, tough hardback pages inside which are bound and specially designed to accept and protect the individual profile documents. Compiled with the collaboration of Gen. Adolf Galland, commander of all Luftwaffe day and night-fighters. Each of the following Aces has contributed his own exclusive career profile document. Oberst Hermann Buchner, Major Julius Meimberg, Major Martin Drewes, Oberst Eduard Neumann, Generalleutnant Adolf Galland, Generalleutnant Fritz Obleser, Hauptmann Alfred Grislawski, Generalleutnant Günther Rall, Generalmajor Josef Haibock, Oberstleutnant Ernst-Wilhelm Reinert, Oberst Erich Hartmann, Major Erich Rudorffer, Generalmajor Dieter Hrabak, Oberleutnant Walter Schuck, Oberst Herbert Ihlefeld, General Johannes Steinhoff, Oberstleutnant Hans-Joachim Jabs, Oberleutnant Gerhard Thyben, Generalleutnant Walter Krupinski, Generalleutnant Hannes Trautloft, Major Heinz Lange, Oberleutnant Walter Wolfrum, Major Fritz Losgkeit, Major Paul Zorner. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 66
Elvis Presley Signed on a French Dinner Table Reservation Card From Cabaret Restaurant in Champs Elysees. Signed in blue Biro. This Fantastic Genuine Signature is Very Rare. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 84
Nineteen large DM Medal Special Signed Covers. The unbelievably rare set of 19 special signed large RAF Museum Awards Series Covers, in Large black album. The insert cards have been removed and mounted with the covers. This series of flown covers illustrates the principal honours, decorations and campaign medals which have been awarded to members of the Royal Flying Corps, Royal Air Force and Royal Air Force Regiment, the Royal Naval Air Service and the Fleet Air Arm. Each cover which measures a large 32cm x 23cm carries the signatures of seven airmen, whose gallantry or leadership in the service of their country, has been recognised by the award shown. A further special cover has been added to the series to mark the relationship between the RAF and the Luftwaffe. The collection comes housed in a luxury album, and all the covers are laid out in protective sleeves with the inlay cards and signatories photographs shown opposite. This stunning collection bears some of the rarest World War Two autographs you could hope to own, including MRAF Sir Arthur Harris, Sqn Ldr Neville Duke, Leonard Trent VC, Bill Reid VC, Leonard Cheshire VC, Rod Learoyd VC, AVM Don Bennett, AVM Johnnie Johnson, Dambuster David Shannon, Group Captain John Cunningham, Eric Winkle Brown, Peter Twiss, ACM Sir Christopher Foxley-Norris, Dambuster Mickey Martin, Dambuster Bill Townsend, Group Captain Dennis David, Bob Stanford-Tuck, Group Captain James Tait, Hamish Mahaddie, Oliver Philpot, Don Kingaby, Denis Crowley-Milling, Dambuster Tony Burcher, Dambuster Len Sumpter, James Ginger Lacey, Bobby Oxspring, Laddie Lucas and so many more. Full list of covers and autographs. Award of the Air Force Cross signed by Sir Dermot Boyle, FH Bugge, AC Clouston printed, Grp Capt Emmerson, Sir Arthur Harris, and Bill Randle and ACM Keith Williamson. Award of the Distinguished Flying Cross signed by Sir Robin Hooper, Desmond Hughes, HC Rigby, Flt Lt Jimmy Edwards, Grp Capt. Ken Batchelor, Neville Duke and Ivor Broom. Award of the Victoria Cross signed by Leonard Cheshire, John Cruickshank, Norman Jackson, Rod Learoyd, Bill Reid, Leonard Trent and Freddie W Award of the Distinguished Service Order signed by Don Bennett, Harry Burton, John Cunningham, Denys Gillam, Johnnie Johnson, Dave Shannon and Hugh Verity. Award of the Distinguished Service Cross signed by Eric Brown, Fred Russell printed, Peter Twiss, David Morgan, Derry Kearns, Ian Robertson and Sir William Garthwaite. Award of the Military Medal signed by Edward Cerely, John McFarlane, Elspeth Green, William Magrath, Roy Marlow, Harry Simister and Wally Simpson. Award of the OBE signed by Sir Harry Broadhurst, Paul Holder, Earl of Selkirk, Colin Scragg, Denis Smallwood, Sir Geoffrey Tuttle and Sir John Whitley. Award of the Order of the Bath signed by Lord Cameron, William Dickson, Christopher Foxley-Norris, Lewis Hodges, Micky Martin, Denis Spotswood and Augustus Walker. Award of the Conspicuous Gallantry Medal signed by D Allen, Jack Bettany, George Dove, DT Jones, JW Norris, Bill Townsend and J G Wheeler. Award of the 1939-45 Star Battle of Britain signed by Ben Bennions, Dennis David, Bob Doe, H Hallowes, Pat Hancock, Bob Stanford-Tuck and George Unwin. Award of the Aircrew Europe Star signed by Michael Beetham, Harold Bird-Wilson, Wallace Kyle, John Lapsey, Hamish Mahaddie, Fred Rosier and James Tait. Award of the Military Cross to Airmen signed by Brian Coote, Peter Gosse, Arthur Hall, A E Milton, Norman Page, Oliver Philpot and Sir Robert Thompson. Award of the Air Efficiency Award signed by Denis Crowley-Milling, HG Davis, Frank Dodd, Sandy Johnstone, Don Kingaby, HM Stephen and Peter Vanneck. Award of the Distinguished Flying Medal signed by Tony Burcher, E Cummings, Bill Howarth, James Lacey, DA Macdonald, AG Mitchell and Len Sumpter. Award of the George Medal to Airmen signed by R Bullen, Sir Geoffrey Dhenin, John Gray, Michael Lakey, James McCarthy, D Oliver and J Reeson. Mentioned in Despatches signed by Michael Le Bas, Sir Hugh Constantine, Freddie Hazlewood, Anthony Heward, Ian Lawson, Bobby Oxspring and Sir Alistair Steedman. Award of the Air Force Medal signed by John Allen, Ty Barraclough, Peter Crouch, John Donnelly, Ron Emeny, Jack Emmerson and Robert Lockhart. Knights Cross of the Iron Cross signed by Erwin Fischer, Willhelm Johnen, Bernhard Jope, Friedrich Kless, Friedrich Lang, Gerhard Schopfel and Gunther Seeger. The Defence Medal signed by Sir Alan Boxer, Sir Brian Burnett, T Franks, Sir Peter Le Cheminant, Laddie Lucas, Sir Laurence Sinclair and Sir Peter Wykeham. This is such a rare sought after collection. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 21
Mary Martin (British, 1907-1969)Opposition signed, titled and dated 'Mary Martin '56/'Opposition'' (verso)oil with plaster relief and gouache on panel61 x 122.1 cm. (24 x 48 in.)(unframed)Footnotes:ProvenanceThe Artist, from whom acquired by John Weeks, 1962, thence by descent to the present ownerPrivate Collection, U.K.Mary Martin was an innovative Constructivist artist, part of an avant-garde group which included Victor Pasmore, Robert Adams, Adrian Heath, Anthony Hill and her husband Kenneth Martin, who she had met while studying at the Royal College of Art. Martin explored the possibilities of making constructed abstract art, often using the medium of the relief and three-dimensional shapes to do this, starting from the late 1940s and early 1950s. She is best known for her complex reliefs which used square and rectangular shapes organised in different permutations and often to dazzling effect, exploring the many combinations she could create from the repetition of one simple element, which later centred around the cube. As she herself wrote in 1957, 'the end is always to achieve simplicity'. Mary and Kenneth had two children, John and Paul, born in 1944 and 1946 respectively, and caring for their sons limited the output of Mary's work at this time. In the late 1940s her work was still quite representational and richly coloured, including Still Life with Fruit from 1948 (Private Collection), which glows with orange and yellow tones. Her first abstract work was made shortly after, and she moved quickly to a palette of mostly grey, white and black, using almost no colour at all between 1949 and 1956. Opposition, painted in 1956, is an extremely rare work by Martin. Not only is the medium very experimental – oil with plaster relief and gouache – but it shows an unexpected foray into colour too. In 1957 she commented: 'At first, in an abstract work, colour is eliminated or severely restricted in order to free it from association. Once that has been achieved and colour becomes free, one can again use as wide a range as the form demands.' (M. Martin, 'The End is Always to Achieve Simplicity', 1957, quoted in A. Grieve, Constructed Abstract Art in England After the Second World War: A Neglected Avant-Garde, Yale University Press, New Haven, 2005, p.92). In 1956 she began to experiment with colour more fully, which we can see in the present work. This makes Opposition all the more refreshing and shows an increasing confidence in this new mode of working. White still forms the basis for the work, but is joined by black, pink, red, green, brown, turquoise and pale blue. Not only does Martin's use of colour mark this work as very significant, but the medium is a departure from many of the materials she was using at that time too. Previously her constructed reliefs used mostly plywood, Perspex and stainless steel cut into square or rectangular shapes, so the shift to painting as well as soft, modelled plaster and curving lines shows a facet of her working practice that is very little-known. Opposition is therefore an unusual but important work, perhaps even unique in its medium and use of colour for this date, using a complex palette, painting and curved forms when most of her work of this time was characterised by hard-edged geometry, a slim range of colours and materials which could be cut or cast.The present lot was acquired directly from the artist by the architect John Weeks in 1962, whom Martin collaborated with on a number of occasions, including on a pavilion at the seminal This is Tomorrow exhibition in 1956 at the Whitechapel Gallery in London. The exhibition evolved from an initial idea from architect and writer Theo Crosby for an exhibition involving architects, artists, designers and theorists and was a collaboration with members of the Independent Group. The thirty-eight participants formed twelve groups, which worked towards producing one artwork, and the result was a series of interactive installations, with Mary Martin, Kenneth Martin and John Weeks forming group 9. Mary Martin also collaborated with Weeks in 1957 for a relief for Musgrave Park Hospital, Belfast. She used similar proportions for the work, titled The Waterfall, as Weeks and his partner Richard Llewelyn Davies used in the design of the hospital, also incorporating materials used in the construction of the building – including warm grey brick, white painted cement and satin-finished stainless steel. In thanks for this commission, the artist gave Weeks a relief from 1954, White Relief with Black. Weeks and Martin shared many things, not just a common aesthetic, but also a concern for art and architecture that had a social relevance, with Weeks devoting much of his architectural practice to hospitals.With unique provenance and extremely rare in its use of materials and colour, Opposition presents a fascinating insight into Martin's working practice in the mid-1950s, when she was an active member of the nearly all-male Constructivist movement. An avant-garde artist but also a working mother, not only are pieces from this period scarce but it is even more unusual to find one in this experimental style. It is an honour to present this very special work to the market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 28
Vanessa Bell (British, 1879-1961)Street Scene in Tuscany oil on panel25.4 x 35.9 cm. (10 x 14 1/8 in.)Painted in 1912Footnotes:ProvenanceThe Artist's EstateWith Anthony d'Offay, London, 1983, where acquired byMrs M. Cohen, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Anthony d'Offay, Vanessa Bell. Paintings and Drawings., 20 November-12 December 1973, cat.no.6Vanessa Bell visited Italy in the spring of 1912 with Clive Bell and Roger Fry, and painted several small oil on panel townscapes in Pisa and elsewhere. Street Scene in Tuscany is a rare, early example painted with impressionistic fluidity and colour hues typical of the period. Bell had seen the ground-breaking exhibtion, Manet and the Post-Impressionists organised by Roger Fry at The Grafton Galleries in 1910 with works by Gauguin, Cézanne, Matisse and Van Gogh. In 1912 her work was included in the Second Post-Impressionist Exhibition where, alongside Duncan Grant, she found herself in the company of Pablo Picasso and Henri Matisse. We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 103
Post-Byzantine Orthodox cross, Mount Athos, 17th century.Cedar wood.In the 19th century it was mounted inside a silver-plated metal cross.Measurements: 7 x 4.5 cm; 21 x 10 cm (blessing cross).The cross has two sides: one depicting an archaic crucified Christ with stiff legs at whose feet is the skull of Adam; on Christ's side is the profile of the Virgin; the other depicting the baptism of Christ with St John and the dove of the Holy Spirit.Post-Byzantine crosses are rare on the market, often kept in museums. They are small crosses carved from olive, cedar or boxwood and depict scenes from the life of Christ.They were originally intended as pectoral crosses, but were later incorporated into objects for liturgical use: in our case, it was transformed into a blessing cross in the 19th century by inserting it into a solid silver and silver-plated structure (the structure is made of silver-plated metal, the decoration of the leaves is solid silver). This cross has been the object of deep devotion; the sculpted figures show the wear and tear of the relief due to rubbing against the pectoral of the wearer.
Lot 106
Italian school of the 18th century.Skull "Memento mori", 1735.Patinated terracotta.Contains monogram "A", dated.Measurements: 19 x 12 x 11 cm.This magnificent and rare object contains a monogram and is dated 1735. Vanitas, representing human skulls, were used as meditation objects or, rather, to enrich the cabinet of curiosities. These objects were intended as a reminder of the mortality and finite life of human beings. The origin of the use of the skull as a reminder of the end of human life may have its roots in Ancient Rome, especially in the face of the generals who entered the streets of the capital victorious and who, on their backs, carried a servant who reminded them that they too were men.
Lot 111
Spanish school of the 16th century."Christ Crucified".Carved wood.Measurements: 50 x 51 cm.Round sculpture representing the body of Christ at the moment of the Crucifixion, although it should be noted that in this case it is not anchored to the cross which must have existed originally. It is a very stylised Christ, anatomically speaking, dressed only in the cloth of purity. The delicate face, close to the style of Gaspar Becerra, stands out.Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although with his genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of depicting the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" - not to be confused with the Maiestas Domini or the Pantocrator), Christus patiens ("resigned" - not to be confused with the Christ of patience) and Christus dolens ("suffering" - not to be confused with the Vir dolorum). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved).
Lot 37
Bolognese school of the mid-18th century."Reliquary of Saint Catherine of Siena".Gilded and polychrome wood. Some of the objects in solid silver.There is a restored break in the top of the urn. The urn is damaged.Measurements: 50 x 35 x 28 cm.Large Bolognese Baroque reliquary of Saint Catherine of Siena from the mid-18th century. This rare object of devotion comes, after several generations, from an Italian family from Bologna deeply devoted to the saint, who came into possession of the precious relic in the 18th century and decided to have a showcase built with the diorama of the saint's room in Siena in order to preserve it. The showcase, in the Bolognese Baroque style, is made of carved and gilded wood and ends with a niche containing, in a crown of lilies, a hair of Saint Catherine of Siena closed by the papal seal. The scroll above the relic reads: "Capelo di S. Catera". Inside the showcase there is a table and a chair, as well as some objects related to the saint, such as the crucifix, the book and the inkwell, the oil lamp and the ointments she used when she went to visit the sick. Some of these objects are made of solid silver. Catherine Benincasa (Italian: Caterina Benincasa), in religion Catherine of Siena was born on 25 March 1347 in Siena, Tuscany, and died on 29 April 1380 at the age of 33 in Rome. She was a Dominican mystic tertiary who had a great influence on the Catholic Church. She was declared a saint and Doctor of the Church on 29 June 1461. The piece is in a good state of conservation, with small losses and old restorations to the window, but the original gilding has been preserved.
Lot 47
Transitional Romanesque-Gothic Christ, 13th century.Bronze.On upholstered wood.Measurements: 17 x 10 cm. (figure); 22,5 x 22,5 cm.(support).Figure in bronze, representing a Christ with four nails, with the head inclined on the right arm. The body lacks naturalistic pretensions, as was usual in devotional art of the Romanesque period. The four nails (later reduced to three) and the long cloth (the cloth of purity is reduced by half, leaving the thighs uncovered) are also fully Romanesque solutions. Despite the fact that the period could be a Gothic piece, it remains faithful to Romanesque solutions: the body is resolved in a synthetic manner, abstracting from the elemental, enlarging the hands and heads as these are the parts that are mainly intended to be shown. A profusion of incisions chisel the body, outlining the ribs, the details of the crown and the drapery, adding great richness to the bronze.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most common themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity.
Lot 14
A RARE KRIEGSMARINE SIGNAL BOOK, GERMAN, 1940-1944,Signalbuch der Kriegsmarine, Berlin: Oberkommando der Kriegsmarine, 1940, Third Reich Naval High Command bound with Marineliste 1944 (Kriegsliste) zum Signalbuch, Aufgestellt im Juli, 1944. Folio (315 x 240 pp); 117 pp; containing hundreds of hand-coloured signals and flags in text, numerous annotations in red ink, manuscript and paper corrections throughout. Laminated tabs in first work; Some soiling to tabs of second work, commensurate with use. Original black leather over thick boards with metal studs and corners on both covers, spine titled Signalbuch 1940 (number obscured), 13in x 10in x 2 1/2in (33cm x 25.5cm x 6.5cm) Footnotes:Used widely within the German Kriegsmarine and during WWII, these Codebooks were used aboard submersible boats to communicate with surface vessels and their shore bases. Common phrases can be substituted by a series of number or letter codes which were then transmitted via Morse Code. The Allies were eventually able to locate E-boats by triangulating their signals, aided by numerous captured codebooks of this kind that would have been studied and used at Bletchley Park.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 22
A RARE SYSTEM BEYER KRYPTO POCKET WATCH CIPHER, DANISH, CIRCA 1933,the centre reading KRYPTO System Beyer Pat. anm., by the Danish Cipher Machine Co. Ltd. of Copenhagen, the watch within polished nickel case, with ring of alphabet scale, within a disc with alphabet and punctuation scales, the 'winder' with plunge operating control, 2 1/4in (6cm) diameter Footnotes:This intricate cipher device was promoted as a machine that removed the need for code books altogether, and was developed in conjunction with the Danish Army Technical Corps and the Royal Engineers. The coding system itself is based on the theoretical calculations of the Danish engineer A. Køhle.The chances of decoding messages encrypted on the Krypto device are extremely small - reaching the correct position for a period of letters would require 80,910 different combinations. One contemporary article proclaimed that 'the certainty of the system is considered to be perfect and the coding systems may be altered indefinitely'.The present pocket watch cipher is extremely rare, with approximately half a dozen known examples of this type.Literature:cf. Denmark Abroad Vol. XXVII, August 1933.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 24
A RARE HEIMSOETH UND RINKE 3-ROTOR ENIGMA CIPHER MACHINE, BERLIN, 1942,serial number A 11787, inner front panel with 'Klappe schliessen', rotors IV (A10656), I (A5713) Wa69, III (A10440) WaA316 and Type B reflector serial no. A2280, standard QWERTZ keyboard of 26 keys, white on black backgrounds, battery switch, ebonite Steckerbrett [plugboard] with 8 stecker cables (6 plugged into the Steckerbrett and 2 spares stored in the top lid of case), battery casing numbered 24, upper lid with 9 bulbs, contrast filter, and original 'Zur Beachtung' instructions inside the lid In its original stained oak box, with hinged front panel, 11in x 6in x 13 1/2in (28cm x 15.2cm x 34.5cm) overall Footnotes:Patented by Arthur Scherbius in 1918, the Enigma machine utilizes three interchangeable rotors which scramble plain-text messages and produce a cipher text message which is then sent, generally via Morse code, to a receiving party with an Enigma set up in the same configuration as the sending Enigma. All of the machines could use the interchangeable wheels from any enigma, so to find a matching set of wheels with the same serial number as the Enigma is extremely rare. Though the German military was familiar with the Enigma, it was not adopted as their primary cipher device until 1926, when they discovered that all German naval coded messages had been intercepted and read by the British during the latter half of WWI.At the end of the Second World War, this Enigma machine was captured and subsequently used by the Norwegian Police Security Service (Overvaakingspolitiet). It is therefore safe to assume that the rotors and the B reflector of A11787 have the modified Norwegian wiring.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 26
A RARE HEIMSOETH UND RINKE 3-ROTOR ENIGMA CIPHER MACHINE, BERLIN, 1938,serial number A 8904, inner front panel with 'Klappe schliessen' and 'ENIGMA' stamps, rotors I (A5042), II (A18219) Wa69, III (A8152) WaA316, and metal stamped Enigma label inside the lid, original, and D reflector serial no. A11389, standard QWERTZ keyboard of 26 keys, white on black backgrounds, battery switch, ebonite Steckerbrett [plugboard] with 8 stecker cables (6 plugged into the Steckerbrett and 2 spares stored in the top lid of case), battery casing, upper lid with 9 bulbs, contrast filter, and original 'Zur Beachtung' instructions inside the lid, in original stained oak box, with hinged front panel and leather carrying handle, 11in x 6in x 13 1/2in (28cm x 15.2cm x 34.5cm) overall Footnotes:The Enigma D reflector (Umkehrwalze D) in Enigma machine A8904 is of particular importance. It is a field re-wirable reflector introduced by the Luftwaffe in 1944 as a means to improve the cipher security of the Enigma. It was first observed on January 2, 1944 in Norwegian traffic. As the UKW-D was not distributed very widely and introduced late into the War, it is very rare. This factor also stopped it from causing as significant a headache for Allied codebreakers as it could have caused. More information about the Umkehrwalze D is available at: https://www.cryptomuseum.com/crypto/enigma/ukwd/index.htmThis example of the three rotor enigma machine 'Modell 1' was used principally by the army (Wehrmacht), and was their favoured enciphering device. British attempts to break the Enigma code were fruitless for years. The breakthrough eventually came after the creation of the famous British codebreaking centre Bletchley Park. Using the technology transferred to them from the brilliant Polish codebreaking team, as well as documents supplied by the French Intelligence from a German spy. Alan Turing, along with Knox, Foss and many others were able to break the Enigma code in 1941, shortening the war by an estimated two years, and saving countless lives.It is unknown exactly how many enigma machines were made, but we know that relatively few survived the war. Rather than have the machines fall into enemy hands, commanders were ordered to destroy these secret machines upon retreat, and documents pertaining to their manufacture were burned or in many cases simply lost. On top of this, Churchill announced that he had ordered all Enigma machines to be destroyed at the end of the war.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 5
A RARE NIKON 1 CAMERA, JAPAN, 1948-1949,No. 609637, 24 x 32mm format, chrome, the baseplate engraved MADE IN OCCUPIED JAPAN externally, with Nippon Kogaku Tokyo Nikkor-H.C f/2 5cm lens, No. 811112, with maker's ever ready case, Footnotes:As the inaugural camera produced by Nikon, the Nikon 1 is an important part of the history of camera manufacturing. It was first announced in the October 1947 issue of Kouga Monthly, five months before its official release, simply named the 'Nikon Camera'. The model was later renamed the Nikon 1 to distinguish it from future iterations. The Nikon 1 received orders from across the globe, including exports to Hong Kong, Singapore, Europe, and the United States.According to Peter Braczko's Nikon Pocket Book (1996), the Nikon 1 had a limited production window of March 1948 to April 1949, with only a few hundred examples ever actually making it to market. The reason for its discontinuation and rarity was that the American slide cutting machines used the existing Leica format of 24 x 36mm, whereas the Nikon format was 24 x 32mm. In 2016, a Nikon 1 camera sold in Europe for 384,000 Euros, a record for any Nikon camera.Further details on the history and design of the Nikon 1 can be found at: https://imaging.nikon.com/history/chronicle/history_e/index.htmThis lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 63
A RARE COMPLETE SET OF JAMES MOXON GEOMETRICAL PLAYING CARDS, LONDON, 1690's,fifty two copper engraved playing cards, comprising 4 suits of 13, each with geometrical figures or scientific instruments, together with a facsimile copy of a Discourse of the Mechanick Powers. By Monsi. Des-Cartes. Translated from his own Manuscript Copy... Printed and Sold by J. Moxon at the Atlas in Warwick-Lane, 1697, each card 3 1/2in x 2 1/4in (8.9cm x 6.0cm) Footnotes:Literature:Derek Long, At the Sign of Atlas: The Life and Work of Joseph Moxon, a Restoration Polymath, 2013, p. 42.James Moxon (d.1708) was the son of Joseph Moxon (1627-1691), the second person to make printed globes. James is known to have collaborated with his father on several projects since at least the mid-1680's. Joseph Moxon first published engraved playing cards in November 1676 - an Astronomical set advertised as 'useful, pleasant and delightful for all lovers of ingenuity'.The following sets comprised Geographical cards, and Carving Cards produced by both Joseph and James Moxon. After Joseph's death in 1691, James Moxon published a set of Geometrical cards by the mid-1690's, of which the present Lot is a rare and complete example.For further information on this lot please visit Bonhams.com
Lot 147
Venetian School, c. 1620 Ottoman Honey Merchant Oil on unlined canvas Dimensions: 77 (H) x 103 cm. (L)  (30 3/8 x 40 ½ inches) This incredibly rare early depiction of an Eastern Mediterranean or North African honey merchant is thought have been painted circa 1620. It predates the Flemish-French painter Jean Baptiste Vanmour (1671-1737) by around 100 years. Vanmour has been considered, until the emergence of this painting, to be the earliest and most refined recorder of Ottoman secular life. In the present painting, the honey merchant sits in his carpeted tent in obvious control of the trade around him. His accountant sits in deference whilst the apiarists and their workers present their straw skeps, or hives. This fascinating scene of everyday life in the Ottoman world, an Empire which included the Eastern Mediterranean and North Africa, illustrates much more than at first glance. Such an early depiction executed in oil on canvas is exceptional. Aside from the two iconic painters Gentile Bellini (active about 1460; died 1507), with his portrait of the Sultan Mehmet II of 1480 in the National Gallery, London and the aforementioned Van Mour, there are scarce western depictions of Ottoman or North African existence.  The artist of Ottoman Honey Merchant was probably Venetian both on stylistic and cultural grounds. The artist seems to be aware of the Bassano family of artists, reflecting their same blocky figures. The book-keeper turned away from the viewer is also familiar stylistically tothe Bassano dynasty. Certainly the strong and particular narrative content suggests therecording of a first-hand experience, although the potential name of this itinerant artist is not currently known.  Venetians were still the largest foreign community in Istanbul during the sixteenth century and remained the Ottomans’ most important international trading partners well into the seventeenth century. This mutually beneficial relationship provided each partner with access to key ports and valuable goods. Though territorial wars intermittently interrupted their relationship, both empires relied on trade for their economic well-being. As a Venetian ambassador expressed, ‘being merchants, we cannot live without them.’  The Ottomans sold wheat, spices, raw silk, cotton and ash (for glass making) to the Venetians, while Venice provided the Ottomans with finished goods such as soap, paper and textiles. The same ships that transported these everyday goods and raw materials also carried luxury objects such as carpets, inlaid metalwork, illustrated manuscripts and glass.  Honey was a highly significant commodity in Ottoman Empire during the period 1200 to 1700.  It was produced in huge quantities in almost every non-arid coastal region, from the Black Sea all the way to modern day Morocco, although it was most abundantly harvested in Attica and Turkey. The honey was used as a sweetener but also as a preservative for fruitsand fresh produce like meat, the wax from the bees was a pleasant-smelling core source of lighting and the honey could also be used medicinally as a natural antiseptic. Unsurprisingly, the Ottoman rulers had their own tax code for honey, with the duty collected being one akcËeor two akcËes from each beehive, depending on the locality and custom. The painting is redolent with period detail:  the merchant sits on a flat weave rug; in front of him is a painted tray (possibly either metal or papier maché) with a brass coffee pot and a white, glazed cup and saucer.  He wears prayer beads on his wrist.  The blue and white tent has been erected close to a town gateway which can bee seen beyond.  The book-keeper wears what appears to be a black burnous with a white hood;  this garment derives from the Berber Nomadic tribes and therefore strongly suggests that the scene could be identified as being North African.  To the right are three black men, almost certainly enslaved (the middle of the three being heavily disguised in a dark hood).  There was an ancient slave trade across the Sahara to the Mediterranean coast and also up the East coast of Africa and the Red Sea As there were restrictions on the enslavement of Muslims, “pagan†areas further to the South became an important source of enslaved people.  Ottoman areas of Anatolia and Attica tended to enslave Christians from the Black Sea and the Balkans, often prisoners of war.  Therefore the existence of the three figures to the right emphasises the likely location of this picture as being North Africa.  A secular painting of such antiquity of any trade is profoundly rare.  But the fact that the trade illustrated is the buying and selling of honey and beeswax is even more enthralling, it being one of the most universal and ancient of foods, sources of light and medicine.  There is evidence of human harvesting of honey from over 8,000 years ago.  And the honeybee itself has become a symbol of the natural health of the planet: bees are vital for the preservation of ecological balance and biodiversity in nature. They provide one of the most recognisable ecosystem services, that being pollination, which makes production of food possible. By doing so, bees protect and maintain ecosystems as well as animal and plant species, and contribute to genetic and biotic diversity.  Bees also act as indicators of the state of the environment. Their presence, absence or quantity tells us when something is happening with the environment and when appropriate action is needed. Therefore, this painting is a uniquely complex and layered object, addressing the history of art, trade, culture, race, dress, custom, food and natural sciences.
Lot 193
To be sold without a reserve. Eric Gill ARA (1882-1940) The Thorn in the Flesh Wood Engraving on Paper Signed lower right 'Eric Gill' Dated '1921' Literature: Cat. No. 184 - The Engraved Work of Eric Gill C.f. E.1009-1952 in the V&A. Provenance: An exceedingly rare signed version of one of Gill's most provocative and well known works, from the collection of Kerrison Preston, the William Blake scholar who would have bought it most likely from Gill directly or via an agent. The work has remained in the family until now. Dimensions: (Framed) 13.5 (H) x 12 in. (W) (Paper) 6 (H) x 5 in. (W)
![A rare vellum-bound book of numismata Published 1693 in Latin by Bielkius Property of a Lady [title-page] Polycarpi Ten](https://cdn.globalauctionplatform.com/d722c9cf-c199-4211-9ff6-af0a0107dfb7/14e97154-92ce-4d66-9796-af0b00c7ecd4/468x382.jpg)
Lot 228
A rare vellum-bound book of numismata Published 1693 in Latin by Bielkius Property of a Lady [title-page] Polycarpi TenzelI Selecta numismata aurea argentea et aerea maximi moduli, ex nummophylacio illustrissimi comitis AntonI Guntheri, S.R.I. quatuor-viri, comitis Schwarzburgi & Hohnsteinii, dynastae Arnstadii, Sondershusae, Leutenbergae, Lohrae, et Clettenbergae, &c
Lot 683
Worcester sauce boatporcelain, circa 1755-57, painted with the 'Wavy line Fisherman' pattern and 'Rock in Panel' decoration, no mark, 10cm highLiterature: See page 112 , Branyan, French and Sandon - Worcester Blue and White Porcelain 1751-1790 2nd EditionNote:- this sauceboat has a rare rock in the panel, not a leaf sprig.Firing/stress crack to the handle. Some glaze marks in places as expected.
Lot 160
UNITED KINGDOM. Elizabeth II, 1952-. Gold 2 pounds (double sovereign), 2002. Royal Mint. Proof Fine Milling. Commemorating the 50th anniversary of the accession of Queen Elizabeth II. This was the first time since 1893 the shield of arms was used on the reverse of a coin. Very rare variety with fine milling. An unknown amount of these coins exist and were only recently discovered.Fourth crowned head of Elizabeth II facing right; IRB below; ELIZABETH · II · DEI · GRA REGINA · FID · DEF. Design by Ian Rank-Broadley. / Crowned Royal Shield of Arms of the United Kingdom, laurel wreaths around, date below. Design by Timothy Noad. Edge with fine milling.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 2122737-010. NGC Census in this grade: 90, equal-finest graded.Total NGC Census: 135Reference: S-SD5 (was 4421); KM-1027Mintage: 6,947.Diameter: 28.4 mm.Weight: 15.9761 g. (AGW=0.4711 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 80
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1872/1 M. Melbourne. Shield; 2 over 1. In 1871 it was decided to open a second mint in Australia, this time in Melbourne, to service the increasing demand for gold coins. From now coins would bear the same design as the British sovereigns, identified by a mint mark in the lower section of the reverse of the coin. Dies of the new designs and bearing the date 1871 were prepared in London and left Southampton via boat on 30 September 1871. However, after transferring the package to the steamer Rangoon on 1 November, the boat hit a rock on the Southwest coast of Ceylon. Despite this terrible fate all passengers and a small number of packages were saved. The 1872/1 overdate is testament to the survival of at least one of the 1871 dies as local engraver Julius Hogarth was commissioned by the Melbourne mint to create the overdate die. An extremely rare variety with a captivating story and truly historical significance.Young head left, WW on truncation; date below, with 2 struck over 1; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.Ex-TCC Auction 51, Lot 509. In secure plastic holder, graded NGC AU Details, certification number 2126678-007. NGC Census in this grade: 2.Reference: S-3854; Marsh-59A; McD-120cDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 85
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1888 S. Sydney. First Legend. DISH.S7. Jubilee bust left, spread J.E.B. with hooked J on truncation; first legend position; VICTORIA D: G: BRITT: REGINA F: D:. / St George on horseback slaying the dragon right, horse with short tail; mintmark S in groundline; date and B.P. in exergue. Edge milled.Extremely fine, edge knock. Extremely rare. Reference: S-3868A; Marsh-139 [R3]; DISH-S7; McD-176Mintage: 21,870.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 10
A fine Elizabeth I bronze mortar, cast with a rare head of a man, by Henry Oldfield II, Nottingham (fl.1582-1620), circa 1590With four lug handles, two of which are cabled and two with iron rings (for suspension over fire), and spaced by individual letter stamps, 'I', 'e' and 'I', in blackletter, and under a further 'I' cast in deep relief the head of a bearded man wearing a Tudor cap, 22cm diameter, 15.5cm highProvenance: Robert Spalding CollectionThe Christopher Bangs CollectionLiterature:This mortar is discussed and illustrated M. Finlay 'English Decorated Bronze Mortars & their Makers' (2010), p. 93. fig. 169
Lot 100
A rare George II paktong strawberry-dish type chamberstick, circa 1740The socket with moulded rim atop a slotted stem to hold a snuffer, screwed into a fluted edged pan, with loop carry handle fitted with copper rivets, height 9.5cm, diameter 13.5cmLiterature: See Keith Pinn, ‘Paktong - the Chinese Alloy in Europe 1680-1820’ (1999), p. 107, pl. 71, for a comparable example.
Lot 11
An exceptionally rare 13th century Gothic bronze mortar, English, or possibly Scottish, circa 1250With four handles, two with suspension rings (for use over a fire) and pairs of split-column pilasters, 29cm across handles, 23cm diameter, 16cm highProvenance: Robert Spalding CollectionThe Christopher Bangs CollectionLiterature:This mortar is discussed and illustrated M. Finlay 'English Decorated Bronze Mortars & their Makers' (2010), p. 16, fig. 9A comparable mortar, with a monastic background, excavated at Barnwell Priory, Cambridgeshire, in 1872, and formerly in the collection of a pharmacist, Cromer, Norfolk is illustrated Ibid., p. 15, fig. 7. Another, in the Mark Munson Collection, is illustrated p. 16, fig. 8. The author illustrates two further examples, both excavated in Glasgow, p. 16, figures 10 & 11. The former, found in the crypt of Glasgow Cathedral, in 1993, is particularly comparable to this Lot.
Lot 16
A rare early 17th century brass-handled and iron Ell rule, Flemish, dated 1601 With three engraved calibrations on one side and four on the reverse, the handle cast as a figure with peaked hat pierced for suspension, 82.5cm long Provenance: With Michael Dunn, New York ,and Syd Levethan (The Longridge) & Christopher Bangs Collections. An Ell is an historic measure of length, used mostly for measuring cloth. The name is thought to be derived from the latin for arm 'ulnia' and was assumed to the average length of a person's arm. Unsurprising, Flemish, Danish, Scottish and English Ells are all of different sizes!
Lot 18
A rare and unusually large George III brass curfew, circa 1800Of half-round hood form, with rolled rim and large single-curved strap handle held in place by copper rivets, 58cm wide, 46cm high, 27cm deep.Provenance:Benjamin F. Edwards III & Christopher Bangs CollectionsSee the Victoria & Albert Museum Collection, London, for comparable examples, (n. M.5-1940 & 94-1891).
Lot 199
A rare Elizabeth I pewter figural spoon, circa 1560-80Having a fig-shaped bowl with wrigglework scroll-decoration, a short and flattened stem, the rare terminal cast as a human figure, namely a standing lady, with facial features and hair rolls, hands resting on hips, wearing a gown with cross-hatched decoration, length 11.9cmLiterature: See G. Egan ‘Playthings From The Past’ (1996) for three comparable flat human figures, one of which is a spoon terminal, fig. 9
Lot 202
A rare 16th century pewter broad-rimmed dish or large saucer, English, circa 1550The plain rim with under-edge rounded moulding, bossed centre and gentle booge, owners’ pentagram to rim, diameter 19.5cm, rim 3.6cm, (37%)Provenance: Sandy Law Collection. Sold Phillips, Chester, 25 September 1997, Lot 229
Lot 238
A rare Louis XIV/XV brass and glass photophore, French, circa 1700-25 With original glass ‘bucket’-shaped storm shade, flared octagonal and knopped stem, on a dished octagonal base, engraved with panels of latticework, birds and foliage, traces of silvering, height 32.5cm, shade diameter 14cm, base diameter 16.5cm For similar paired examples see Christie's, New York, Jayne Wrightsman Collection, 14 October 2020,Lot 2, acquired from Mallets, London ($25,000) and The Hubert de Givenchy Collection, Christie's Paris, 17 June 2022, Lot 171 (€60,480). Literature: F.J.B Watson, 'The Wrightsman Collection: Furniture, Gilt Bronzes, Carpets' (1966), p. 345 fig 176 A, B.
Lot 269
A rare and fine Charles II brass cluster-stem socket candlestick, circa 1680The cast square stem formed as eight conjoined columns, topped with internal scalloped rim, and bound by three ridged bands, the hollow ‘drip-tray’ with downswept upper and lower edges, screwed to a square base with circular depression and similar downswept rim, traces of silvering, height 20cm, base width 12.6cmLiterature:For an identical candlestick see Schiffer, ‘The Brass Book’ (1978), p.180, fig. A (I). And for comparable examples see: C. Bangs, ‘The Lear Collection’ (1995), p. 346-7, pl. 137 & 138 & pp154-5; R. Gentle & R. Feild, ‘Domestic Metalwork 1640-1820’ (1998), pp. 126-7, figs. 20-22 and E. Koldeweij, ‘The English Candlestick 1425-1925’ (2010), p. 82, no.48. See Christie’s, London, The Lear Collection, 1998’, Lot 182 (£6900)
Lot 28
An early and rare 17th century brass-handled iron Ell rule, circa 1600-20,With four engraved calibrations on one side below the letter 'H' and five on the reverse below the letter 'B', the handle cast as a figure with peaked hat and hands resting on hips, 79cm longProvenance:The Christopher Bangs Collection
Lot 287
A Rare William III portrait firing glass, circa 1785-1805 The ovoid bowl on a short plain stem and thick firing foot, the bowl engraved with a wreathed portrait of William III to sinister within the inscription 'The Immortal Memory', the reverse with an Irish harp with 'Maid of Erin', four pillars surmounted by a royal crown flanked on opposing sides by a vine stem bearing a cluster of grapes with a leaf and tendrils, 11.5cm high Provenance: Edward V. Phillips Collection Scratches to foot. Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
Lot 321
A rare and good Elizabeth I carved oak and polychrome-decorated panel, circa 1560Designed with a large coat of arms, against a strapwork decorated ground, Latin inscription to base reads ' Oliver Brigges Armiger and Anna his wife, daughter of Humphrey Coningsby Armiger de.', height 42cm, width 22.7cmArmiger refers to a person entitled to heraldic arms. Oliver Brigges was born in 1535, possibly in Westmoreland, and married Anne Coningsby (date unknown). He died c. 1598, at Ernestrey Park, near Ludlow. Humphrey Coningsby (d.1535) was a Justice of the Peace for Hertfordshire, and was knighted by Henry VII in 1509 . He was present at the coronation of Anne Boleyn.Provenance: Doughton Manor, Gloucestershire
Lot 345
A rare Elizabeth I/James I oak joint stool, West Country, circa 1600-20Having a double-reeded top, flat run-moulded rails with bicuspid-shaped, scroll-carved and punch-decorated lower edge, the inverted-baluster turned legs with leafy S-scroll-carved blocks, joined all round by cable-carved stretchers, height 53.5cm, width 49cm, depth 29.5cmProvenance: Doughton Manor, Gloucestershire
Lot 346
A rare pair of Charles I oak joint stools, circa 1630-40Each top with single-reeded long edges and square ends, with lunette-carved rails and rising-baluster over squat-ball turned legs joined by plain stretchers all round, on turned feet, the end stretchers, unusually for an English joint stool of this period are slightly inset, height 58.5cm, width 49.5cm, depth 29.5cm, (2)Provenance: Doughton Manor, Gloucestershire
Lot 35
An impressive Victorian oak tally stick, dated 1853With incised calibrations and small punched motifs, inscribed ‘Barth Comben Reeve 1853’, and with stamped initials to ends, 310cm longBartholomew Comben (1801-1873) was a seaman, foreman and publican on the Island of Portland, Dorset. He was a local officer, or Reeve, of the Portland Court Leet, a Manorial Court. This Lot can be referred to as a rare 'Portland Reeve Staff'. The Reeve Staff was a method of reckoning tenant rents to 'The King, as Lord of the Manor', an ancient custom which still prevails in Portland, although there is now in use a 'Reeve Book'. During the 19th century the majority of tenants were illiterate, hence the use of a Reeve Staff. On the long square stick are numerous incised marks, symbolising the five ancient hamlets of the Island, and beneath these long and short notches representing the rent to be paid by each tenant according to a log book. Individual amounts were separated by small dots or triangular cuts. The staff varies in length and design from year to year, according to division of rent and the number of tenants. Provenance:The Christopher Bangs Collection
Lot 359
An Impressive and rare Elizabeth I joined oak standing livery cupboard, circa 1600Having a rectangular plank top, above a leafy-strapwork carved frieze with fluted corbels, and two deep panelled cupboard doors with intricate carved strapwork, flanking a deep pyramidal carved arch enclosing a flowering urn, all spaced by leafy-carved pilasters of waisted outline, raised on stop-fluted columnar front supports, united by a boarded base and triple-panelled rear, leafy S-scroll base rail, the sides of the cupboard with conforming carving, 137cm wide, 58cm deep, 135cm high
Lot 43
A rare George II brass revolving plate warmer and stand, circa 1750Having four long finial-topped spokes, on a revolving X-form carrier, and a stand of three downswept legs terminating in flat pad feet with circular support, 29cm wide, 55.5cm Provenance:The Christopher Bangs Collection Literature: For a comparable exampled see R. Gentle and R, Feild 'Domestic Metalwork 1640-1820' (1998), p. 289. fig. 1, dated to circa 1740. It is noted plate warmers 'are rarely found in brass, usually made of iron. Plates were stacked in the centre and the upper section revolves'. See also P. N. & H. Schiffer, 'The Brass Book' (1978), p. 380, fig. d.
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