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Click here to subscribeA mid 19th Century bobbin-turned beech frame stool, the rectangular padded seat on X-shaped support, 49cm wide/Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
An Edwardian white painted open armchair with shield shape back and vase splat, the serpentine seat on square tapering legs and spade feet and a late George III mahogany semi-circular fold over tea table with lockable well, gateleg action square section, tapering legs and brass caps and castors, 76cm wide/Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Broken at back, rubbed and loose arms,
A 19th Century carved and stained beech armchair with scroll carved top rail, scroll arms and serpentine seat, upholstered in ivory and green striped fabric, on a rocker base/Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
A VICTORIAN SILVER OVAL TEA CADDY BY JAMES GARRARDLONDON 1889With an urn shaped finial to the flat hinged cover, engraved with a coat of arms, 135.5cm (5 1/4in) long, 534g (17.15 oz)These are the arms of Viscount Templetown of County Antrim Ireland, a title in the Peerage of Ireland. Although the assay date of 1889 would suggest that the engraving was carried out for George Frederick UPTON (1802-1890), the 3rd Viscount, I suspect that the arms were intended for Henry Edward Montagu Dorington Clotworthy UPTON (1853-1939), 4th Viscount, son of the 3rd Viscount. The ancestral seat is at Castle Upton, County Antrim. The blazon: sable, a cross moline or crest: on a ducal coronet gold a warhorse passant sable bridled, saddled and accoutred of the first supporters: dexter - a warhorse sable caparisoned as the crest. sinister - a knight in complete armour proper, garnished or, the plume on his helmet gules, holding in his sinister arm a shield charged with the arms of UPTON motto: VIRTUTIS AVORUM PRAEMIUM Condition Report: Hinge tight, cover sits well, no key, light scratches commensurate with age and use, engraving fine. Generally good Condition Report Disclaimer
A faux bamboo doll's folding deck chair, with woven cloth seat --13in. (33cm.) high; a reproduction swing chair; two folding chairs; three doll display items; two Tri-ang large scale red Jones KL44 Crane; Tri-ang Transport Lorry (missing grill), Mobo tortoise, Chad Valley spinning top and other items (toys generally poor)
A Victorian button back red upholstered low armchair on turned supports and casters, 69cm wide x 67cm deep x 37cm to seat together with a blue gingham upholstered child's armchair with embroidered farmyard animals on square supports, 46cm wide x 46cm deep x 23cm to top of seatCondition report: Upholstery on both chairs worn and a little dirty, casters and legs with marks and scratches, repairs to legs of child's chair
A set of twelve Carolean style chairs with caned backs and seats each carver, 63cm wide x 60cm deep x 125 cm high (two carvers and ten standards)Condition report: Caning damaged to one seat and damaged to the back of a different chair. Minor marks, dents, scratches and losses overall due to age and use.
A set of six Georgian oak standard chairs with vase splats and later brown leather upholstered inset seats, each 47cm wide x 48cm high at the seat x 49cm high at the backCondition report: Marks, scratches and wear due to age and use, some minor splits and marks to legs, overall moderate to good condition, sturdy
A George III mahogany dished top tripod table, the tilt top on turned column, 53cm diameter x 70cm high together with a 20th century high backed child's chair with leather studded upholstery on four supports united by a perimeter structure, 24cm wide x 24cm deep and a 20th century mahogany three rack Canterbury with single drawer, by redman & Hales Ltd, on four square caster feet, 50cm wide x 32cm deep x 50cm highCondition report: Table with dents, marks and scratches consistent with age and use, table top with cracks, extensive repairs to feet, of solid construction; child's chair upholstery scratched and worn, marks and scratches all over, small chip to the seat front; Canterbury with surface level dents and scratches
A pair of Edwardian elbow chairs with pierced splat backs and sides, satinwood and ebony inlaid decoration and turned supports, each 54cm wide x 42cm deep x 46cm high at the seat x 79cm high at the backCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
An early to mid 20th century Howard style upholstered armchair with square tapering legs and casters, 74cm wide x 85cm deep x 41cm high at the seat x 85cm high at the backCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
An antique country made spindle back Windsor armchair with turned supports, 55cm wide x 40cm deep x 39.5cm high at the seat x 97cm high at the back together with an early 19th century ash and elm spindle back Windsor armchair, 50cm wide x 49cm deep x 101cm high and a further 19th century spindle back chair (3)Condition report: First chair with signs of old woodworm to the seat and repair to one leg, possibly replaced legs; the others with marks, scratches and wear possibly slightly loose joints, no major damages
A 17th century French oak chair 38cm wide x 31cm deep x 87cm high together with a 19th century ladderback rocking chair with a rush seat, 48cm wide x 99cm highCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
An Edwardian Howard & Sons upholstered armchair with square tapering legs and brass casters, 73cm wide x 85cm deep x 38cm high at the seat x 82cm high at the back, the back left leg stamped and numbered 12762 and 367 Howard & Sons Limited Berners Street and having stamped Howard & Sons brass castersCondition report: Frame in good condition with minor marks to the legs, base upholstery with some stains and marks, feather cushion, for reupholstery
A set of six Victorian walnut balloon back dining chairs with upholstered seats and cabriole legs, each 45cm wide x 45cm deep x 46cm high at the seat x 86cm high at the backCondition report: Dents, marks and scratches all over consistent with age and use, brocade coming away from seat edges, some old repairs - see images. Upholstery in good condition.
A late 19th / early 20th century green leather upholstered wingback armchair with square legs and later casters, 82cm wide x 80cm deep x 41cm high at the seat x 86cm high at the backCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
Corgi Toys - A boxed Corgi #53 Massey Ferguson 65 Tractor with Shovel. The model with red bonnet, black and white decals, silver metal steering wheel, cream engine and rams, silver bucket and seat with red plastic hubs, appears to be in Excellent - Near Mint condition with a couple of minute marks and some age related marks to rubber tyres. The model sits in a Very Good yellow and blue picture box with some slight creasing, a small mark one one side and some general wear. (This does not constitute a guarantee)
Orwell Lady: a 3.5 hour river cruise for 2 on the River Orwell with afternoon tea You and your guest are invited to sail away on a 3.5 hour river trip from Orwell Quay, Ipswich all the way to the historic Harwich Harbour, the Pilgrim Fathers’ departure point on the Mayflower and Samuel Pepys’s parliamentary seat. Sail through the Prince Philip Lock, under the iconic Orwell Bridge, home to the Peregrine Falcons. See HMS Ganges at Shotley and the UK’s largest container port at Felixstowe, before returning to Orwell Quay. Whilst taking in some of East Anglia’s most iconic seascapes, you will enjoy a traditional afternoon tea, with a generous treat of assorted sandwiches, savoury rolls, wraps, quiche, handmade fruit scones with local preserves & cream, cakes & pastries all homemade, served with tea and coffee. Donated by: Orwell River Cruises https://orwellrivercruises.com T&C’s Apply Date to be mutually agreed between final bidder & Orwell River Cruises Subject to related government social distancing guidelines Experience may not be resold or re-auctioned Travel & accommodation not included
Ca. 618–907 AD. Chinese Tang Dynasty. A beautiful marble statue of a seated bodhisattva depicted wearing voluminous robes elegantly draped over his wide shoulders and broad, muscular chest and cascading in deep folds over his pendant legs, falling to the sides of his seat and continuing down his back; the remains of his right arm resting on one thigh. Bodhisattvas are common figures in Buddhist literature and art. A bodhisattva is one who seeks awakening (bodhi)—hence, an individual on the path to becoming a Buddha. Perhaps the most striking feature of this marble fragment is its realistic portrayal of a seated figure revealed beneath drapery. The remains of his developed pectoral muscles appear above his inner garment that crosses from his left shoulder downwards to the right hip. The voluminous outer garment spreads in unevenly spaced pleats and folds that suggest the natural effects of gravity as they fall across the arms, pendant legs and the front edge of the seat supporting him. Provenance: Roger Moss OBE 1936-2020 (formerly the President of“The Oriental Ceramics society); item was acquired during his life in Hong Kong 1980-2003. Size: L:(with stand) 575mm / W:320mm ; 30k+g
Ca. 300–400 AD. A seated figure of the Bodhisattva Maitreya, the Buddha who is believed to be incarnated in the future for the salvation of mankind. Carved from a fine grained grey chlorite-schist, the figure displays sensitive treatment of the carving, particularly in the details of the robes. The head is turned to the left and is crowned by an elaborate headdress composed of a turban with strings of jewels and a characteristic fan shaped piece gathered to the front. The face is expertly carved with a sensitive, slightly smiling mouth, heavy lidded eyes and a straight nose characteristic of Eastern Roman art, and a moustache more commonly associated with indian art. Between the eyes is an Urna, one of the symbols of a great being that depicts the third eye that enabled the Bodhisattva the ability to see past the mundane world of suffering. The ears are pierced and elongated from the heavy earrings commonly worn by aristocrats of India and Central Asia at the time. Behind the head is a large halo.The body is strongly proportioned and across the chest are three strands of necklaces, one running diagonally across the chest and strung with a series of amulet cases known as Kavacha. These amulets are still worn in India today, and they were popular in the Roman Empire, with examples depicted on the famous Faiyum mummy portraits from Egypt. The left hand rests on the knee, whist the right was originally held up to the face in the so-called “pensive” manner that is a characteristic of Maitreya images. The figure sits on a throne with lattice work panels, and on the seat is a large cushion. The right leg is slightly drawn up in the so-called “royal ease pose”. The throne in turn is supported by a lotus flower, with the petals rendered in exceptionally fine realism.Maitreya is believed to be the future Buddha, who currently resides in the Tushita heaven. As a Bodhisattva he has achieved enlightenment, but not entered Nirvana, instead choosing to help living creatures achieve enlightenment too. His name is derived from the Sanskrit word Maitri, meaning “friend” and this in turn may be derived from the Persian deity Mithras, also known as Mithra or Mitra, whose name also meant friend. Indeed, it is possible that the cult of Maitreya may have been influenced by the Persian deity as Central Asia and parts of India were ruled by the Persian Empire prior to its conquest by Alexander the Great. The pensive pose that Maitreya displays, represents him seated in the Tushita heaven contemplating the suffering of living beings, and waiting until the time when he can enter the world for its salvation. This future time is believed to be when the teachings of the Buddha have disappeared and mankind is living in extreme suffering. Maitreya will then be incarnated in the world to save all living beings.The treatment of the robes, jewellery and headdress show that he is represented as a noble of the time from Northern India and Central Asia, and it would have been members of the elite who would have dedicated these reliefs at monasteries and popular sites of pilgrimage. This would have been a meritorious act in the hope of a better rebirth. The practice of offering reliefs seems to have come from Greece and Rome, where it was one of the primary acts of devotion. The production of devotional images, such as this, probably began in the late second century AD. These images were produced for worship by both the laity and the monastic community, and their production coincides with a decline in the popularity of narrative panels, almost all of which illustrate the sacred biography of the Buddha. This shift has often been seen as marking a transition in Buddhist ideology from the earlier Hinayana school of teaching, which emphasized the veneration of relics, to later Mahayana practices centred on the veneration of images of Bodhisattvas and cosmic Buddhas.Compared to the art of peninsular India, Gandharan art can be described as more naturalistic, both in the rendering of the body and in the movement of the garments. The representations of the Buddha and Bodhisattvas were inspired by the representation of Hellenistic and Roman gods and aristocracy. One of the closest parallels of art from the time of the Roman Empire is that from Palmyra, which was a trading hub between India and the west. Here, the religious and funerary reliefs display close similarities in the rendering of the facial features and carving of the folds of the garments, and especially in the decorative elements, such as the jewellery, to those depicted on Gandharan pieces. This clearly demonstrates the close trading ties between the east and the west that resulted in the sharing of cultural motifs and styles. This was not something new however, as the grey chlorite-schist so popular for the creation of Gandharan sculpture, was employed millennia earlier in the production of vases and small sculpture from Mesopotamia, and which were exported across the Near East and the Indus Valley civilisations.The item was researched by Bret Gaunt. For a similar piece see The Art Gallery of New South Wales, Australia, accession number 7, 1997; Beguin, G. (2009). Buddhist Art. Bangkok: River Books, 212, fig. 23. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:870mm / W:350mm ; 30k+g
Ca. 200–300 AD. Roman. A beautiful gold ring with a hollow circular band, flared shoulders, and an ellipsoidal bezel inset with a carnelian stone depicting a left-facing profile bust of Fortuna (or Tyche) wearing a turreted crown and a scarf tied over her chignon. In Roman religion, Fortuna was the goddess of chance or lot who became identified with the Greek Tyche; the original Italian deity was probably regarded as the bearer of prosperity and increase. As such she resembles a fertility deity, hence her association with the bounty of the soil and the fruitfulness of women. Her iconography was known to the whole ancient classical world due, among other things, to the famous monumental statue of Tyche made for the city of Antioch by Eutychides of Sikyon in about 296 BC. In Italy, Fortuna was worshipped extensively from the earliest times. At Praeneste (near Rome) her shrine was a well-known oracular seat, as was her shrine at Antium. For a gem with a similar intaglio depicting Tyche sold at Christie's, see https://www.christies.com/lot/lot-5004613. To find out more about Roman jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Provenance: Private UK collection; From an old British collection formed in the 1990s. Size: D: 210mm / US: 4 / UK: U; 1.56g
Ca. 100–300 AD. Roman. A beautiful bronze ring with a circular band that flares around the shoulders and an applied oval bezel featuring two standing figures flanking a column that supports a lion with a flailing tail; the figure on the left seems to be holding a cornucopia and wears a turreted crown, which may identify her as Fortuna (or Tyche). Fortuna, in Roman religion, was the goddess of chance or lot who became identified with the Greek Tyche; the original Italian deity was probably regarded as the bearer of prosperity and increase. As such she resembles a fertility deity, hence her association with the bounty of the soil and the fruitfulness of women. Her iconography was known to the whole ancient classical world due, among other things, to the famous monumental statue of Tyche made for the city of Antioch by Eutychides of Sikyon in about 296 BC. In Italy, Fortuna was worshipped extensively from the earliest times. At Praeneste (near Rome) her shrine was a well-known oracular seat, as was her shrine at Antium. To find out more about Roman jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: L:5 3/8mm / W:K 1/2mm ; 5.8g
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