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Lot 1023
A RARE SOLVIL DASHBOARD MOUNTING CHRONOMETRIC STOPWATCH, SWISS, 1920‘S the nickel plated case enclosing a white dial with split sweep seconds hand and subsidiary minutes and hours dials, the outer rim with 20 -1,000 scale for speed/distance calculation, winder at 12 o'clock, the dial rotating within case to reveal return button on the right and split seconds stop/return on left9.5cm diameter
Lot 448
AN UNUSUAL EARLY 20TH CENTURY OTIS KING’S POCKET CALCULATOR/WALKING CANE with metal mounted extending calibrated shaft marked SCALE No. 414; on a stainless and tapering malacca shaft94.5cm overall All parts move freely and as intended, the scales are discoloured around the top and bottom edges, the ebonised brass cover is worn.
Lot 358
Mixed technique on bronze, signed Nano '02, edition 2/34. Measurements: 42 x 72 x 12 cm. Colombian sculptor Nano L—pez (Bogot‡, 1955) exhibited for the first time in Colombia 20 years ago, at the Museum of Modern Art in Bogot‡, when art critic Marta Traba highlighted his creative talent. Now, for 20 years, L—pez has lived in Walla Walla, Washington, where he is still dedicated to sculpture, only now he carves granite, sculpts marble and melts and bends steel, to create all kinds of figures on a monumental scale. In addition to his works made in bronze with all kinds of techniques and patinas, L—pez has specialized in making monumental sculptures for other artists, in a workshop especially dedicated to it. From scale models and small-scale models, L—pez expands them and makes them in cast bronze. L—pez recently exhibited a series of paintings and sculptures in the United States, where the artist depicts the essence of the human condition with intense charges of strong emotions. Perhaps the combination of his classical training and his experimental character is what results in a work of very rich and textured surfaces with different elements taken from nature. Having his central studio in Walla Walla, Washington. Origin: Spanish private collection. Having its headquarters in Walla Walla, Washington. Origin: Spanish private collection. Having its headquarters in Walla Walla, Washington. Origin: Spanish private collection.
Lot 27
ATTRIBUTED TO CLAUDE MICHEL, CALLED CLODION (FRENCH, 1738-1814) OR PERHAPS JOSEPH CHARLES MARIN (FRENCH, 1759-1834): A TERRACOTTA BUST OF A BACCANTECirca 1800The young female with downcast eyes, her curling hair adorned with a fruiting vine wreath, her head turned slightly to dexter, her right arm adorned with an amulet and her loose drapery exposing her right breast, supported on a swept and beaded gilt bronze circular socle and raised on a 'bleu turquin' marble dwarf plain column pedestal with shallow stepped circular and square gilt bronze base, 32cm high overallFootnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family descent.Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Claude Michel, called Clodion, was perhaps one of the most celebrated European sculptors of the 18th century. Born in Nancy in northeast France, he was a contemporary of Houdon and Fragonard and in his teenage years he travelled to Paris to enrol in the studio of his uncle Lambert-Sigisbert Adam's sculptural studio working on competitions pieces for the Academy. He subsequently enrolled as a pupil at the studio of Jean Baptiste Pigalle (French, 1714-1785) which fortuitously enabled him to win the prestigious Prix de Rome. Leaving Paris in 1762 to travel to Rome, Clodion spent nine years refining his craft and studying the works of the classical world and antiquity and was undoubtedly influenced by the works of his compatriot Poussin. He also importantly acquired several high-profile clients and patrons including Catherine the Great of Russia and the Duc de la Rochefoucauld. Clodion returned to Paris in 1771 upon the request of the Marquis de Marigny, Directeur des Batiments du Roi and established a studio in an area of the city where the Place de la Concorde is now located. He quickly achieved great success and was awarded several important, large-scale commissions. Despite interest in his larger works, it is however his intimate terracotta groups depicting nymphs, satyrs and cherubs such as in the offered lot which perhaps define Clodion's importance as one of the most famous sculptors of the 18th century. These innovative works, often executed in terracotta in a highly recognisable style were heavily influenced by antiquity and his Bacchanalian subjects were defined by incredibly fine modelling and a meticulous attention to detail.Many of Clodion's terracottas are not dated and many were also left unsigned. The current lot depicts a priestess or female follower of the cult of Bacchus typical of Clodion's output in the late 18th and early 19th century. The Bacchante characteristically wears a wreath of finely modelled fruiting vines in her flowing hair, typically celebrating the themes of Bacchus, the god of wine and fertility. The subject, like much of Clodion's work in terracotta reveals the sculptor's fundamental influences - that of classical and antique sculpture which he studied in Rome alongside the work of his fellow compatriot Poussin. Furthermore, the composition of the bust is stylistically very much in the manner of the sculptor, showing the animated character of the sitter including the detail to the curls and locks of her hair, together with individually tooled bunches of grapes.Joseph Charles Marin was a student of Claude Michel and made several attempts to win the Grand Prix de Sculpture before the French Revolution, only winning it in 1801 with a bas-relief of Caius Gracchus leaving his wife Licinia.Although Marin was a pupil of the sculptor Joseph Chinard (French, 1756-1813), Clodion was perhaps a much stronger influence on Marin's early style in the late 18th century although he subsequently went on to adopt a more austere and severe style in the manner of the later neo-classical sculptors.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 77
A mid Victorian ebony, calamander, abalone, mother of pearl, ivory, bone, rosewood, purpleheart, sycamore and fruitwood marquetry collector's cabinet1870-1875, possibly by Jackson and GrahamWith line-inlaid borders and stringing, the top surmounted by a baluster gallery to the rear, above a stylised foliate inlaid frieze comprised of alternating palmettes and lotus-leaves flanked by rosette tablet angles, over a twin double panelled door, the upper panel inlaid with a still life of assorted shells, moluscs, coral and seaweed, the lower door panel inlaid with stylised foliate and scrolled angles, enclosing a total of eleven satinwood veneered and mahogany lined drawers comprised of eight long drawers over three deep drawers, flanked by stylised foliate, palmette and honeysuckle inlaid angles, on a plinth base, the lock stamped: 'CHUBB PATENT, 128 QUEEN VICTORIA ST., ST. PAUL'S, LONDON, 800354', 96cm wide x 67cm deep x 148cm high, (37 1/2in wide x 26in deep x 58in high)Footnotes:The repeating inlay running across the frieze of the offered lot is redolent of some Greek revival or 'Neo-Grec' designs published in 1856 within 'The Grammar of Ornament' by Owen Jones (1809-1868). Worthy of particular comparison are several decorative patterns inspired by ancient Greek vase ornamentation which feature among Plates XVI and XVII, Greek No.'s 2 and 4. Owen Jones was among the most notable designers employed by the renowned cabinet making combination of Jackson and Graham so it seems probable that the present cabinet was indeed executed by this firm. Added to this, the use of ivory (amongst the various other exotic materials) inlaid into ebony, along with its distinctive stylised foliate embellishments, are certainly characteristics very much in keeping with those pieces produced by Jackson and Graham during the period 1865-1875. Jackson and Graham (fl. 1836-1885)Jackson and Graham were one of the most successful and prestigious firms of the early and mid-Victorian periods. Based in London, they were responsible for enhancing the reputation and improving the renown of English cabinet makers throughout the rest of the World. In 1836 the partnership of Peter Graham (1811-1877) and Thomas Charles Jackson (1807-1848) was founded at 37 Oxford Street, but by 1839 the venture had developed to incorporate 37 & 38 Oxford Street, as well as an additional location at 18 Newman Street.In 1845 the company was recorded in the Post Office Directory as cabinet makers, upholsterers, carvers, gilders and house agents. However, by as early as 1866 they had grown sufficiently quickly as to include locations at 29, 33, 34, 35, 37 and 38 Oxford Street, together with the ownership and running of addresses at Perry's Place, Freston Place and Newman's Yard. In the 1860s, as part of their operation, Jackson and Graham employed 250 workers. During the 1850s the firm set up a steam engine for the more rudimentary sawing requirements, however by the next decade they had established machine-carving as well. By 1875 their total number of employees had reached within the region of 600 to 1,000. The rapid rise of the business is summarised in a London Directory advertisement of 1866 in the following way: 'Jackson and Graham announce... that they have recently made great additions to their former extensive premises, which render their establishment the largest of its kind in this or any other country. The Spacious Show Rooms and Galleries are filled with an unrivalled stock, the prices of which are all marked in plain figures at the most moderate rates for ready money. The extensive Manufactory adjoining, with machinery worked by steam power, is fitted with all means and appliances to ensure superiority and economise cost. Each of the departments will be found as complete as if it formed a separate business...' Only one decade on from this, another detailed account of the company is provided in J.H. Pollen's publication of Bevan's 'British Manufacturing Industries' (London, 1876). It elucidates a business which was as almost entirely automated as any other at that time in Victorian Britain, utilising and manipulating steam in order to power their wide assortment of machinery. Yet, despite this fact, the substantial contribution of highly skilled human labour and craftsmanship was also simultaneously championed therein. And, probably in part due to their employment of specialist foreign inlayers or marquetry experts, the firm's output easily rivalled anything then being produced in Europe, as evidenced by the numerous awards they were honoured with over time. Jackson and Graham used every opportunity to display their 'wares' at the various International Exhibitions which took place throughout much of the second half of the 19th century. They did so in order to showcase the very best of what they could produce. Their notable participation at the first and most famous of these, the Great Exhibition of 1851, was described thus by the 'Art Journal': 'Messrs Jackson and Graham, the eminent upholsterers of London are large contributors to the Great Exhibition of many important articles of their manufacture'. At the 1851 Exhibition in London, they received a prize medal for their exhibits.For the 1855 Paris Exhibition the firm showed a large Eugene Prignot-designed cabinet to the public, which was thereafter acquired by the Victoria and Albert Museum for £2,000: W.81-981, where it is still housed today. Among the more significant furniture supplied for the 1862 International Exhibition in London were a pollard oak sideboard and a Louis XVI style ebony and ivory cabinet with an onyx top. Again, they were honoured with multiple awards in London, but also gained similar trophies five years hence at the Paris Exposition. In 1871 an ebony and inlaid cabinet, which followed a design by R.S. Lorimer, was displayed by Jackson and Graham at the International Exhibition. They were also involved at Vienna in 1873 and took part in London the next year. However, it appears that at the 1878 Paris Exposition, which was their ultimate event of this scale and scope, they obtained the Prix d'Honneur for the British section. Whilst for the star item, known as the 'Juno' cabinet, they in fact achieved the 'Grand Prix' before the Viceroy of India bought the piece for £2,000 (now in the Victoria and Albert, W.18: 1-6 1981). Their principal documented commissions include work provided for; the Ball Room at Buckingham Palace; the Palace of the Khedive in Cairo, Egypt; the City Carlton Club; and the Livadia, a yacht belonging to the Czar of Russia.It should be noted that a great deal of the success of this business was allied to the fact that they often employed the major designers of the day. Such prominent figures as Owen Jones, Thomas Jeckyll, Bruce Talbert and Christopher Dresser all worked at one time or another for Jackson and Graham. As on the offered lot, the particular emphasis in the designs of Owen Jones was largely upon ebony pieces inlaid with ivory and sometimes also metal. During the period 1862-c.1864, Alfred Morrison commissioned Jackson and Graham together with Jones to produce extensive work at Fonthill House in Tis... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 403
A Scottish George III silver twin-handled trophy cup, by P. Cunningham & Son, Edinburgh 1807, embossed and chased throughout with scrolling foliage and C-scrolls, the front with central cartouche, crested, between two Scottish figures, one playing the bagpipes, the other in Highland dress, on spreading foot with outer repeating scale border, inscribed to the underside of the foot ‘E & J. Fogo 1808’, height 23cm. £500-£800 --- The crest and motto ‘Aut Pax Aut Bellum’ (Either peace or War) is of the Gunn Clan.
Lot 555
`As for the burial painting…the frame is demolished…the canvas is rolled up and in poor condition…´COURBET GUSTAVE: (1819-1877) French Painter. An innovator who rejected academic convention and leaded the French Realist movement. Courbet was active in politics and was imprisoned in 1871 for his involvement with the Paris Commune, having to live in exile in Switzerland until his death. An excellent content and rare A.L.S., `Gustave Courbet´, two pages, 8vo, Ornans, 15th August, n.y., to Mr. Verveer, in French. Courbet refers in the present letter to four of his well-known paintings Retour de la Conférence, Vénus et Psychée, Les Femmes and one of his masterpieces which brought fame to Courbet L´Enterrement à Ornans (`A Burial at Ornans´). His painting Les Femmes having been refused to be exhibited at the Paris Salon exhibition, Courbet states `Il parait que par souvenir de la Conférence les curés auraient agi de représailles et qu´ils auraient obtenu par l´influence de l´impératrice que soit refusé le tableau de cette année Les Femmes que je vous envoie´ («It seems that by memory of the Conference the priests would have acted in reprisals and that they would have obtained by the influence of the Empress that the painting of this year The Women, which I send to you, be refused ») Courbet further remembers his own actions in Belgium and expects there a different welcome to his works saying `Je me souviens de l´action que j´ai pris à Gand et Bruxelles et à Anvers dans la révolution des libéraux et des catholiques… Je suis en droit de croire que le tableau n´aura pas à Bruxelles le même blâme qu´à l´administration des Beaux-Arts à Paris´ («I remember the action that I took in Ghent and Brussels and in Antwerp during the revolution of the liberals and the Catholics… I have the right to believe that the painting will not have the same blame in Brussels as in the Administration of Fine Arts in Paris »)Before concluding Courbet explains to his correspondent the updated situation of his painting A Burial at Ornans, stating `Quant au tableau de l´enterrement il m´est impossible d´accéder à vos désirs malgré tout mon désir et l´honneur que vous me faites en le désirant. Le cadre est démoli, le chassis a servi, la toile est roulée et en mauvais état par le temps. J´ai donné ordre à mon concierge de délivrer le tableau de Venus et Psychée à Mr. Carpentier et Desforges et de l´avertir qu´il était à sa disposition s´il ne venait pas le chercher avant le temps indiqué par vous. Veuillez m´avertir de ce qui se passsera à propos de ce tableau qui m´intéresse beaucoup´ («As for the burial painting, it is impossible for me to accede to your wishes despite all my wishes and the honour you do me by wishing it. The frame is demolished, the stretcher has resisted, the canvas is rolled up and in poor condition because of the time passing. I instructed my concierge to deliver the painting of Venus and Psychée to Mr. Carpentier and Desforges and to inform him that it was at his disposal if he doesn´t pick it up before the time indicated by you. Please let me know what will happen to this painting as I am very interested in it ») A letter of very interesting artistic and historical content. With blank integral leaf. Small overall age wear and minor creasing. Few extremely small professional repairs to the verso. G Salomon Leonardus Verveer (1813-1876) Dutch Painter, a marine and landscape artist. Verveer was one of the most successful artists of his time. Retour de la Conférence (1862) was a painting by Courbet showing drunk priests. The watercolour was destroyed by fanatics and can only be seen on photographs. Courbet said about this painting `Ce tableau fait rire tout le pays et moi-même en particulier. C'est le tableau plus grotesque qu'on aura jamais vu en peinture. Je n'ose pas vous le dépeindre, seulement c'est un tableau de curés´ ("This painting makes the whole country laugh, and myself in particular. It is the most grotesque painting that we will have ever seen in painting. I dare not depict it to you, only that it is a painting of priests")Courbet refers to Empress Eugénie de Montijo (1826-1920) spouse of Napoléon III. A Burial at Ornans was painted in 1849-50, and is considered one of the major turning points of the French art of the 19th century. Ornans was Courbet´s birthplace and the funeral records his great-uncle funeral. His exhibition at the 1850-51 Paris Salon created an immediate and explosive reaction. The very large scale Painting is displayed at the Musée d´Orsay in Paris. Courbet said `The Burial at Ornans was in fact the burial of Romanticism´. Twenty years later, when Courbet´s political views had changed , he repudiated this work saying that it was `worth nothing´
Lot 604
TWOMBLY CY: (1928-2011) American painter of large-scale and graffiti works. A good signed 4 x 6 card photograph by the American Painter, the attractive image depicting his 1962 art work, Vengeance of Achilles, being an oil, crayons and pencil on canvas. Bold dark pencil signature, `CY Twombly´, with his name alone, to a clear area at the base of the image. EX
Lot 615
SCHNABEL JULIAN: (1951- ) American Painter and Filmmaker. Schnabel as a proponent of independent arthouse cinema has obtained multiple awards including Academy Award nominations for Best Director. Signed 8 x 10 photograph by Schnabel, the artistic image depicting the American artist standing in a full-length pose, before one of his large-scale paintings. Signed in bold black ink across the image. EX
Lot 645
NADAR: (1820-1910) Gaspard-Felix Tournachon. French photographer, caricaturist and balloonist, the first person to take aerial photographs (1858). A good A.L.S., Nadar, one page, 4to, Boulevard des Capucines, Paris, n.d., to [Paul] Gavarni, in French. Nadar writes a charming letter of introduction, 'Bonjour a mon cher Maitre et ami! Voici deux de nos amis Martinet et Royer - deux plus enthousiaste de vous peut etre que tout le monde, ca qui est difficile tout de meme. Les hommes ont collectionne votre oeuvre autant q'uils l'ont pu: ils desirent autant qu'il sera possible, completer et ils sont surtout heureux, me disent-ils de cettre occasion de se trouver avec vous. Si cette lettre doit leur servir de Sesame, ouvre toi! Je la leur donne bien volontaire, et j'en prends occasion de vous serner bien cordialement la main' (Translation: 'Hello my dear Master and friend! Here are two of our friends Martinet and Royer, two who are perhaps more enthusiastic than everyone else, which is difficult all the same. These men have collected your work as much as they could: they want to complete it as much as possible and they are above all happy, they tell me, about this opportunity to be with you. If this letter is to serve them as Sesame, open up! I give it to them very willingly, and I take the opportunity to shake your hand very cordially'). In a postscript Nadar has penned an intriguing calculation, seemingly a puzzle, involving various letters and figures, asking 'Comprenez vous celui la?' (Translation: 'Do you understand this one?'). With holograph address panel to the verso. A letter of good association. Some very light, extremely minor age wear, VG Paul Gavarni (1804-1866) Sulpice Guillaume Chevalier. French illustrator who, like Nadar, was keenly interested in the question of aerial navigation and made experiments on a large scale with a view to find the means of directing balloons.
Lot 650
TUNICK SPENCER: (1967- ) American Photographer. Tunick is worldwide known for his large-scale nude shoots. Attractive signed colour 8 x 10 photograph by Tunick, the artistic image showing one of his large-scale nude shoots, with nude bodies laying on the shore. Signed in bold black ink to the lower right corner. Autograph obtained in person in Munich. VG
Lot 17
Salt glazed stoneware Aquatic pattern vase, attributed to Martin Brothers, circa 1890, incised with grotesque fish, alternating with moulded stylised scale pattern sea creatures, enriched in mottled glazes and white slip, (with firing crack and associated hairline crack to base, some chipping to foot rim, crack and uneven base stabilized with plaster, apparently unmarked) 25cm highCondition ReportSurface marks, accretions and crazing. Areas of loss to the glaze at the base, firing crack and associated hairline crack to base, some chipping to foot rim, crack and uneven base stabilized with plaster. General wear and tear.
Lot 306
UnattributedWatercolour drawing'Little Mystery - JH Greet Master'Built 1887 a top sail schooner, cargo vessel, ,Built for John Stephens of Par by W. Date, Kingsbridge, Devon, ‘Little Mystery’ measured 84 feet in length by 32 feet in the beam with a tonnage of 114 gross. It was one of a fleet of schooners that regularly crossed the North Atlantic with a variety of cargoes, trading to and from Newfoundland for over 30 years. Many of the sailing merchantmen suffered heavy losses during the First World War including the ‘Little Mystery’, which was sunk by enemy gunfire off the Isle of Wight in June 1917. To give an idea of scale, the model is fitted with a number of crew on deck.appears to be on card with slight tears and creases (under glass), 24 x 44cmlabel verso 'From Canadian Pacific Railway Company to ... Traveller and Tourist Agency , Winchester, Hants' and two other labels top corners, torn away.
Lot 419B
Six cased diecast model cars to include Kyosho 1:43 scale Ferrari 250 GTO,Kyosho Lotus Elan, Fly Car model slotcar Ford Capri RS Turbo, Trofeu 1901 Porsche 936/76 1st 24H Le Mans 1976, Quartzo 4006 Lotus 49B 'Gold leaf' Graham Hill Monaco GP 1968 winner and QFC99007 Cooper-Climax T51 Belgian GP 1960 (6)
Lot 424B
Quantity of Vanguards 1:43 scale diecast model cars to include VA06408 Vauxhall Velox alpine green, VA04100 Ford Cortina MKII GT ermine white and black, VA09300 MG ZT trophy blue, VA06808 Hillman Minx foam white and apple green, Corgi Casino Royale 1:36 scale CC0309 Austin Martin DB5, Corgi Jaguar E-type 40th anniversary edition, etc (9)
Lot 356
Circa 15th-16th century A.D. A scale-tanged iron knife with one cutting edge and wood scales, sub-rectangular brass pommel with an incised figure to each face: a female figure holding a communion wafer and goblet of wine, one hand seemingly in the benison gesture of blessing; a couchant hart facing right to the other face. Cf. The British Museum's Portable Antiquities Scheme, record ids. SF-355926 and NLM-9CB648, for comparable examples. 30.1 grams, 17.7 cm long (7 in.). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.
Lot 357
15th-16th century A.D. A scale-tanged iron knife with one cutting edge and wood scales, bifacial brass pommel with incised detailing: one face showing a robed female figure wearing a veil in profile left; one face with a geometric scheme, likely representing two fishtails with a tally mark of five between, likely an allusion to the story of Jesus and the five loaves, two fishes; knife bolster with ropework detailing and Latin inscriptions 'DEVM' to one face, 'TIME' to the other face, meaning 'Fear God'. Cf. The British Museum's Portable Antiquities Scheme, record id. NLM-9CB648, for a pommel of similar style. 37 grams, 18.1 cm long (7 1/8 in.). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.
Lot 358
15th century A.D. A slender knife with single-edged iron blade, scale-tang hilt with original wooden scales; openwork trilobe finial with reserved quatrefoil on a hatched field to both faces, likely a stylised crown; blade stamped with a maker's mark, possibly taking the form of a chalice. Cf. Wheeler, M., London Museum Medieval Catalogue, reprinted Ipswich, 1993, pl.XI. 32 grams,16.5 cm (6 1/2 in.). Found on the Thames foreshore. Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.
Lot 359
Circa 15th century A.D. A scale-tanged iron knife with one cutting edge and tapering wood scales, the blade stamped 'X' to one face, bifacial brass pommel in the shape of a crown with incised detailing. 30 grams, 19.8 cm long (7 3/4 in.). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.
Lot 407
16th century A.D. A group of five domestic and personal single-edged knives comprising: one scale-tang with slender blade, brass bolster and grip with wooden scales, scooped upper edge and hatched field with reserved 'N'; one with rounded end to the blade, conical brass grip with incised scale and braid detailing; one with rounded end to the blade, whittle-tang grip with brass rectangular finial, braided motif to the short faces, images of standing saints to the broad faces; one small triangular blade, whittle-tang grip with brass bolster, D-shaped finial with reserved initial 'H' to one face; one with short blade, whittle-tang grip with brass finial of a human head with horse-shoe crown. See Catalogue of London Antiquities in the the Guildhall Museum, London, 1903, plates LXXXIII and LXXXIV. 192 grams total, 10.7-19 cm (4 1/4 - 7 1/2 in.). Found Thames foreshore. Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. [5]
Lot 63
3rd-2nd century B.C. A rare and important shallow rectangular tray with incised palmettes to the corners, arcaded band to the inner face of the flanged border, narrow parcel-gilt band to the outer face of the upstand; separately cast sphinxes with lion-paw foot to each corner, wings outspread supporting each corner of the tray. Cf. Sharvit, T., ‘A Marble Sphinx Statue from Horvat Omrit’ in Israel Studies in Archaeology', pp.97-116, fig.15; Pfrommer, M., Metalwork from the Hellenized East, catalogue of the collections, Malibu, 1993, for discussion. 6.3 kg, 56 cm (22 in.). From an important North London collection formed before 1980. Accompanied by a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 610/130537. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114486-195655. Trays of this character were used to serve food at formal banquets known as a symposium, which were a key Hellenic social institution. The symposium was a forum for men of respected families to debate in philosophical discussions. They were also frequently held to celebrate the introduction of young men into aristocratic society. Symposia were also held by aristocrats to celebrate other special occasions, such as victories in athletic and poetic contests. This salver was probably made in one of the major urban centres of the Hellenistic kingdoms, most likely Antioch, capital of the Seleucid Empire. Antioch was founded near the end of the fourth century BC by Seleucus I Nicator, one of Alexander the Great's generals. The city's geographical, military and economic location benefitted its occupants, particularly features such as the spice trade, the Silk Road and the Persian Royal Road. Antioch was noted for its production of luxury items, such as silver ware, which eventually led to it rivalling Alexandria as the chief city of the Near East. At the height of its power the Seleucid Empire included central Anatolia, Persia, the Levant, Mesopotamia, and what is now Kuwait, Afghanistan, and parts of Pakistan and Turkmenistan. The decorative elements of the salver are realised in fine detail and reflect the pure Greek tradition. The scroll-bordered scale ornament must be regarded as the oldest decorative composition among Hellenistic vessels. It already appears in analogous form on Attic marble grave loutrophoroi of the late Classical period (Pfrommer, 1993, fig.38, p.40), showing a close relationship between the ornament on the vessel and the late Classical-early Hellenistic repertoire. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 241
A FULL LIFE GUARD TROOPER'S UNIFORM AND SWORD ENSEMBLE, comprising EIIR helmet, the white metal skull with gilt crowned oak and laurel leaf wreath helmet plate, rayed white metal star with central garter HONI SOIT QUI MAL Y PENSE, fluted white metal finial with brass rayed star foot, rosette bosses, leather backed chin chain, leather liner, white plume, the red tunic with black collar and cuffs trimmed with bullion ribbon, quilted liner, gilt bullion shoulder boards and aiguillette, brass trimmed metal cuirass, scored leather liner, brass scale straps, buff leather shoulder belt with black patent pouch applied with pierced gilt Royal arms, white leather breeches and gloves, black leather boots slit up the back, spurs, complete with regulation pattern trooper's sword, 86cm fullered blade, pierced scroll hilt, leather liner and knot, wire bound fishskin grip, contained in its steel scabbard complete with belt and suspension straps.
Lot 361
A VINTAGE GRAUPNER BOXED SCALE MODEL REMOTE CONTROL PIPER PA22 AEROPLANE - with various accessories including boxed remote control, a vintage unbuilt Balsa Messerschmi22ME109 boxed unbuilt scale model Williams Renault 1992 Livery and a boxed unbuilt Hobbikit Speedwell Galleon Junior Construction set
Lot 325
Collection of good quality 20th Century dolls house furniture in Georgian style, comprising: an extending dining table, a pair of half-round side tables, tall boy, two chest of drawers, library table, set of four chairs, cutlery box, and a pair of larger scale tray top tables, and a small quantity of glassware, treenware, etc.
Lot 515
A 19th century Austrian wood carving of Saint Florian. Figure posed as standing in full Roman mail, scale and plate, holding a flag in his left hand, and a pail of water in the other, pouring water on a burning house below. Carved from one piece of wood. Florian was a Christian holy man, and the patron saint of Linz, Austria; chimney sweeps; soapmakers, and firefighters. His feast day is 4 May. Florian is also the patron saint of Upper Austria, jointly with Leopold III, Margrave of Austria.
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