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LARGE SHELL-WORK FLOWER DISPLAY AND DOME 19TH CENTURY of large scale, with a shell-veneered and openwork urn issuing a tall densely packed flower arrangement composed of a variety of shells, wirework, and paper; above a ground with a glass pond, seahorses, shells, and a figure of a girl, in a large glass dome with a mahogany baseDimensions:108cm highProvenance:the arrangement has minor losses to many of the larger flowers but almost all the wired flowers are present. The urn base with only very minor losses, the grotto style base is mostly completethe glass dome and base in good conditionoverall a very large display of the type, would benefit from some minor restoration

PAIR OF SHELL-WORK FLOWER DISPLAYS IN DOMES EARLY 19TH CENTURY each with a shell-veneered wood urn issuing a flower arrangement composed of various shells, paper, and wirework, in glass domes on mahogany bases with turned ebonised feetDimensions:65cm high overall

A pair of Yoruba Ibeji figuresNigeriamale and female, with glass beads and cowrie shells,26cm and 25.5cm high,a Baule catapult, 19cm high, on a stand and sixteen carved stone currencies modelled as cowrie shells. (20)

A Batammariba ceremonal hatTogofibre with a pair of horns with reptile skin, hide and cowrie shells,30cm high.

A Kuba clothDemocratic Republic of the Congocut pile raffia,62cm x 44cm, a Kuba cloth, raffia, with applique and cowrie shells, 210cm long, a Berber blanket with supplementary weft and tie resist decoration, 160cm long, a Mbuti bark cloth, 62cm long, a Greek embroidered bag, 21cm high, a pair of wool mittens, two Nepal wool waistbands, 262cm and 372cm long, a fabric picture, two English face fire screen embroidered panels, two caps, a Mongolian embroidered snuff box cover and two floral embroidered strips.ProvenanceVirginia Bond Korda Collection.

Two Kachin skirtsBurmawool and cotton,162cm x 85cm and 152cm x 63cm,a Chin skirt, cotton with supplementary weft patterning and with applied cowrie shells, seeds, metal tubes and bead tassels, 103cm x 86cm and two Naga cloths, 152cm x 100cm and 153cm x 55cm. (6)ProvenanceVirginia Bond Korda Collection.

A Banjara bagGujurat, Indiacotton, mirrors and cowrie shells, with a strap handle,86cm long,two Banjara 'envelope' bags, one with applied cowrie shells, 33cm and 36cm wide, two Banjara gallas, with applied cowrie shells, 22cm and 30cm long and a Banjara kulnal, with four cowrie shells to each corner, 68cm square. (6)ProvenanceVirginia Bond Korda Collection.

A Papua New Guinea shell necklacewith seeds, beads and plastic,the main shell 12cm wide,a Himalayan bone necklace, six other shell, seed and bead necklaces, and four shells.ProvenanceHarry Beran, Cambridge (1935 - 2021)

A pair of Naga cuffsNagalandwoven fibre with applied cut cowrie shells,26.5cm long,and a Naga brass coil bracelet, with incised linear decoration, 11cm long. (3)Provenanceby repute - Christie's, London, 26th March 1985 lots 301 and 302.Romy Rey Collection, London.

A Naga man's apronNagalandcloth with applied cut cowrie shells and a metal disc, 42cm long.ProvenanceChristie's, London, Tribal Art, 24th June 1996, lot 30 part.Romy Rey Collection, London.

A Government Aircraft Insurance Policy issue by the Norwich Union Fire Insurance Society Ltd, 5th Nov 1915 - 5th Nov 1916 for a Messrs Morton. An interesting note in the text "if after Payment of the premium… Shall be destroyed or damaged directly or indirectly by Aerial Craft (hostile or otherwise) or Shots Shells Bombs or Missiles from or used against Aerial Craft..." The sum the aircraft was insured for was £1400. An interesting WWI Norfolk RFC related piece of ephemera, National Registration Act, 1915 Certificate, issued to an Annie Cartwright for the purpose of Household Duties and stamped Leyton Urban District Council and

A QUANTITY OF ASSORTED UNBOXED TOYS, to include a Marx Heavy Duty Power Shovel, Minic plastic battery operated tank, not tested, missing aerial and shells, Marx battery operated plastic tractor, not tested, some damage and wear, rusting to battery box, unmarked plastic clockwork Showmans Engine, with permanent key, in working order but has some discolouration and wear etc.

A BOXED ASTRA ANTI-TANK GUN, No.24, appears largely complete, with instructions and a quantity of shells, box complete but has damage and wear

THREE TRENCH ART OFFICERS CAPS, made from WWI shells, one has got a Royal Engineers shoulder title on the peak of the cap and RE buttons on the sides, this is dated 1916 and made from an eighteen pound shell, the second is dated April 1917 and is made from a German shell, the visor and badge are slightly loose, the third has a Gloucestershire regiment badge on the front but the date has been polished out

A STUNNING PAIR OF TRENCH ART SHELLS, with a scene that looks to be hand painted on them containing a village with a lion fighting and defeating a large bird stood on a mount, the lions are a mirror image of each other but the one where it is facing left has been rubbed but still displays well, each shell is 23.5cm in height

A WOODEN WAR ISSUE AMMO BOX containing hats, trench art and a pair of trousers, the hats are two side caps which as possibly East German and American, an Australian Hat made by Akubra in size 58, a 1976 dated pair of size 10, number 2 uniform dress trousers and two trench art shells that are dated 1957 and 36cm in height

TWO SHELLS COMPLETE WITH FUSES, the fuses screw into the shell, one has the markings of ' 5/17 452 G V.S.M' to the nose, many markings to the cases but unable to decipher, does not appear to be any visible additional work or repair to shells

TWO AMMUNITION BOXES, the square one was used to carry eighteen bombs and two mortars, this is SMK MK2 and is wooden with rope carrying handles, the second one was used to carry 105mm How (Howitzers) or possibly carried training shells, this is made of steel but the lid does not fit flush to the rest of it, there is some damage to the wooden box and it is slightly warped on the ends

A collection of large brass shells graduating in size

Deactivated mortar and shells including an unusual pair of brass shackle locks

A MODERN SHELL ENCRUSTED WALL MIRRORThe shells arranged as flower-headsWith label to the rear for Thomas Boog, Paris60.5 x 50cmProvenance: From the collection of Victoria, Lady de Rothschild 

A Georgian mahogany wheel barometer. With gilt dial and a thermometer positioned above, the case with a broken arch pediment and inlay featuring shells, H100cm

Fossils, shells, hardstone eggs, etc.

A carved shell with a depiction of the Great Eastern Steam Ship and inscribed The Great Eastern Steam Ship, 25,000 tons, Length 692ft, Breadth 83ft, Depth 60ft, a Gift, 13cm wide, the shell is holed twice and has a surface crack and chips around the edges, together with other sea shells, etc.

A tray of five brass artillery shells and a trench art ashtray.

A Bow triple shell salt or sweetmeat stand, c.1755, formed of three deep scallop shells painted to the interior with birds and flowering peony, the exteriors edged in puce, all raised on a rocky base applied with colourful shells, coral and seaweed, some filled rim chips, 17.3cm across.Provenance: the David Stopher Collection.

A Bristol shell salt or sweetmeat dish, c.1768-72, formed as a scallop shell painted with a central flower spray, the rim with a scroll and husk border in red and blue, raised on a low base applied with shells, coral and seaweed, blue X mark, 10.5cm across.Provenance: the David Stopher Collection.

A large French Palissy-style majolica trompe l'oeil dish, c.1880, the oval form modelled in high relief with a large central fish and two smaller beside a frog, a snail, small shells and leaves, all on a rough textured green glazed ground, incised signature 'R Falder' (a pseudonym for Alfred Renoleau), 38.5cm.Old paper label for the Exposition De Limoges 1880.

A French majolica Palissy-style trompe l'oeil dish, late 19th century, modelled by François Maurice with a central fish surrounded by a small terrapin, dragonflies, shells and aquatic plants on a blue ground, incised signature to the front, and a second French Palissy-style dish applied with two large fish and a langouste, incised HA monogram and indistinct mark to the underside, small losses and restorations, 41cm max. (2)

Five Continental majolica Palissy-style trompe l'oeil dishes, 2nd half 19th century, the largest circular and modelled with overlapping fish to the well, the others oval and variously applied with fish, snakes, crayfish, lizards, shells and aquatic plants, one signed underneath for Charles-Jean Avisseau, some faults, 27cm max. (5)

A large Majolica oyster stand, 2nd half 19th century, after Minton, formed as four tapering layers of oyster shells raised on a shaped revolving base, the shell interiors glazed green, the handle formed as two crossed fish and a lamprey, 33cm high.

A large Derby biscuit porcelain figure group of three putti, c.1775, one playing the lute, another with a small dog, the last with a basket of flowers, all flanking an oak tree and raised on a tall base applied with shells and clay frit, small losses, 35.2cm.Provenance: the John Buckingham Collection.

A Derby porcelain shell sweetmeat stand, c.1760-65, unmarked, with three patch marks to underside, modelled as seven scallop shells in three tiers, on a naturalistic shell and seaweed base, the interior of each shell with butterflies and insects, 18cm highCondition Report: Some condition issues. Chips to the rim of the shells, including a larger loss to the rim of one shell. Several small losses and chips to the brocade. Crazing to the shells. General surface dirt to the whole, some rubbed paint to the rims of the shells. 

Robert Race, b. 1943, Flying Seagulls, a hand-operated automaton, wood, painted wood, rope, shells, stones, driftwood, sand, 109cm highNote: Robert Race, b.1943, exhibits his moving toys, automata, and kinetic sculpture in Britain and internationally.He is a member and past Chairman of the British Toymakers Guild. His work often incorporates a wide range of natural, re-used, and recycled material to make objects which move in simple but interesting ways.Roseberys do not guarantee the working order of any automata or toy.

Neil Hardy, Blue elephant, a hand-operated automaton, wood, painted wood, plywood, wire, nylon, bearing label to underside Neil Hardy Fabulous Animals. These toys are not suitable for children., approx. 15.5cm high, 13.3cm wide, 4.6cm deep; together with two others by the same artist, comprising: Shy Tortoises, a hand-operated automaton, wood, painted wood or composition, wire, nylon, signed and dated Neil Hardy 98, approx. 12cm high, 15cm wide, 7.3cm deep; and Carnivorous Sheep, a hand-operated automaton, wood, painted wood, wool, wire, brass, signed and dated Neil Hardy 95, approx. 14cm high, 14.5cm wide, 7cm deep (3)Sir Nicholas Goodison noted:Blue Elephant: Elephants are not normally blue, but this one gets easily frightened. The simple movement raises the mouse above the surface, whereupon the elephant, with frightened eyes and well developed tusks, lifts his whole body (which is pulled up by an almost invisible nylon thread concealed behind the trunk) off the ground, standing on his trunk. The inscription reads The Rarely seen Blue Elephant defends itself from its arch enemy the mouse. This is one of Neil Hardys Fabulous Animals. Neil Hardy trained and worked as an architect until the early 1990s. Inspired by Cabaret Mechanical Theatre, he turned to automata making for family and friends, making a full-time job of it in 1992. He has made a theme of evolutionary, and of endangered species and conservation of the environment blunders in his Fabulous Animals seriesShy Tortoises: The two tortoises stick out their long necks as the single cam presses down the sprung wire that draws the heads together by increasing tension on nylon connecting threads. Then, when they touch each other, they spring back into their shells as cam trips the wire and releases the tension. The stick-on paper is inscribed The painfully shy Pink Tortoises slowly get to know each other better.Carnivorous sheep: The sheepdog crouches, panting as he watches the docile sheep after a bit of active herding. Much to his surprise, the sheep turns out to have the head of a much more fearsome creature with sharp teeth, and the dog falls over backwards in astonishment and fear. The movement is a cam and lever mechanism. The inscription reads Though always keen and eager the sheepdog never really got the hang of herding carnivorous sheep.Provenance:Blue Elephant: Purchased, Frivoli, Chiswick, London, June 1993.Shy Tortoises: Purchased, Hitchcocks, Bath, October 1998.Carnivorous Sheep: Purchased, Neil Hardy, Wimbledon, London, at Crafts Fair, Chelsea.Note: Neil Hardy worked as an architect for 13 years before becoming an automatist.His creations have been exhibited internationally, including in Japan, Australia, and Germany.His work is imbued with a sense of fun and whimsy, and he always uses animals to create amusing sculpture.Roseberys do not guarantee the working order of any automata or toy.

A pair of Meissen porcelain turquoise ground teacups and saucers, c.1742-45, blue crossed swords marks, gilders 36. marks, various Pressnummern, the cup exteriors and saucer undersides turquoise ground, each side of the cups reserved with quatrefoil panels with landscape vignettes, the saucers with further scenes within elaborate quatrefoil gilt cartouches with ombrierte scrolls and shells, the saucers 12cm diameter (2)Provenance: The Robert G. Vater Collection of European Ceramics.  Photographs: © Christie's ImagesCondition Report: Overall in good decorative order. One saucer with very, very slight wear to the gilding at 12 o'clock on the cartouche, the other saucer with a small patch of wear to the enamel of the scene at the edge of the cartouche at 7 o'clock. One cup with 0.2 cm oval flake to turquoise ground colour on lower body of cup. The other cup with a similar flake to the ground colour at the mid-point of the body near the edge of the cartouche and with some slight flaking to the gilding around the upper rim.

A set of Berlin (K.P.M.) porcelain silver-gilt mounted cutlery handles, c.1770, painted with shepherds and shepherdesses with their flocks, one shepherdess with a spindle, with flowers around a stave above, within rococo scroll-moulded cartouches enriched in gilding, comprising: six handles mounted as three-tined forks, the stems cast with shells and foliage, six handles mounted with curved knife-blades with rounded ends, and six handles mounted with spoon-bowls, the stems cast with shells and foliage, the forks 18.2cm long overall; the knives 21cm long overall; the spoons 20.6cm long overall (18)Provenance: The Robert G. Vater Collection of European Ceramics.Photographs: © Christie's ImagesCondition Report: Condition report for the porcelain elements as follows: Overall some typical wear to the gilding, particularly the gilt scrolls around the painted scenes and some minute scratches to enamels. Overall in good condition.Six knives: in good order, one with a deep scratch to one side of the blade.Six forks: in good order.Six spoons: in good order.

Twelve Meissen lobed plates, late 19th / early 20th century, blue crossed swords marks, Pressnummern 1 and 22, painted with various freshwater fish swimming in rivers, the osier-moulded borders with insects including mayflies, beetles, shells, coral, a water-boatman and dragonflies, within gilt line rims, 26.5cm wide (12)

Triang - Topper Toys UK - An unboxed "Johnny Seven One Man Army" plastic 'Seven Guns in One' toy gun. This desirable toy finished in green and black shows some signs of play and use, otherwise appears to be in Good condition overall, and comes with one plastic grenade and two armour piercing shells. The gun measures approximately 104cms in length, and is unchecked for completeness. (This does not constitute a guarantee)

A set of four contemporary Giclee prints, studies of sea shells, in walnut frames, 43 x 29cm

Partially nude figure of woman in seated position gathering shells. Modeled in the classical style.Wedgwood backstamp. Nymph at Well inscribed to base. Dimensions: 11.75"L x 9"W x 11.25"HManufacturer: WedgwoodCountry of Origin: EnglandAge related wear.

An interesting collection of sea shells in varying forms and sizes (Qty).

A quantity of old shells, amonites, old pottery pieces and beach combing finds.

A large quantity of scallop shells and a basket of small shells.

A 19thc English china basket of scalloped design with pierced gilt handles to side, with centre panel with hand painted shells, sea urchin, seaweed etc enclosed within a green gilt bordered ground, handle restored to base and top, unmarked, (h 15cm x 27cm x 20cm)

WW1 pair of medals comprising British War Medal and Victory Medal awarded to T4-088269 Dvr. P. Stather A.S.C.; with group of three WW1 miniatures including 1914-15 Star; all with ribbons; and two inert brass cased shells each marked Karlsruhe H16cmCondition Report:All in reasonably good condition but both medals and ribbons grubby/faded.

TWO CHINESE CARVED WALNUTS, A CINNABAR LACQUER BOX AND COVER, AN INKSTONE AND WOODEN CASE AND A CARVED JADE MODEL OF A FROG. The walnut shells densely carved with figures, on wooden stands, early 20th century, the quatrefoil cinnabar lacquer box carved with figures before terracing and willow, 15cm wide, a Duan inkstone carved with a carp amongst waves, incised fb at side, within wooden pebble-shaped case and cover, 17.5cm long and the mottled jade pierced with a central aperture, 4.8cm long (5)One of the carved walnuts with glued repair to base, both of the corresponding small wooden stand with restuck chip to rim. Cinnabar lacquer box in good order. The inkstone with minor surface scratching, the wooden case with old restuck repair to base, some scratching to surface. The frog with two chips to underside at feet.

THREE FRAMED CHINESE RICE PAPER PAINTINGS AND A CHINESE PORCELAIN BLUE AND WHITE BEAKER, QING DYNASTY. The paintings in gouache on rice paper, comprising: a rectangular painting with an artist or scholar decorating shells at a table before attendants and figures, another with a figure and attendants, the third depicting a family group with a baby, 27cm x 14cm max. the beaker of flared form, decorated with Shou symbols, lotus and scrolls, late 19th/early 20th century, blue seal mark, 7.3cm high (4).All are well painted. The first (with artist or scholar and shells) with large loss to rice paper top right and small further losses, the other with small tears and losses, the painting with the family with large dark brown stain to top right, loss to bottom left of paper, some discolouration overall. The tea bowl with minute rim chip and associated hairline crack, with another minute rim chip and hairline crack.

Horses foot with Birmingham silver mount, the top with cloth cushion for Dewhurst, three shells machine twist and with inscription for Paddy 1895

Glass Photographic Slides, including Mont Blanc, 1952 Alps, U.K,. shells, still life, approximately fifty five, in a mahogany box.

Seven boxed diecast mobile gun models including Britain's 105mm Howitzer, 4.7in Naval gun with shells, 4.5in Howitzer with shells, Gun Of The Royal Artillery and a B.A.T gun with shells. Also a Crescent Models 25 pounder and a Russian built artillery piece

Collection of shells

A Selection of odds to include mirror serving tray, ornate glass bowl of various shells, Shell purses, Vintage folding glasses with cases, Various ornate boxes and small wall mirror etc

"Portable Altar of the Epiphany". Carved, polychromed and gilded wood and alabaster. Castile. Second quarter of the 16th century.Measurements: Closed: 32 x 28 x 7.5 cm.; open: 32 x 38.5 x 7.5 cm.; alabaster: 15.5 x 10.5 cm.; doors: 24 x 9.5 cm each.This small portable altar is an exquisite Renaissance piece from the mid-16th century in which polychromed wood and alabaster, sculpture and painting blend harmoniously. The little altar is actually a triptych: when it is closed, it shows two delicate grisaille paintings on its doors, as is usual in this type of piece; When opened, those same sections display two reliefs of saints while the central piece is made up of a very interesting alabaster sculpture of the Epiphany or Adoration of the Magi, which could be the work of a Mechelen workshop. The framework that contains all these artistic elements is very simple, without any ornament or decoration apart from the two elegant balustraded columns that flank the altar and frame the double painting that is shown when it is closed. This type of small or larger altars corresponds to a clear devotional typology which was made to satisfy the need of certain people with sufficient purchasing power to own a piece of this kind.  It would have been placed in a small chapel or oratory  in their home. Beginning with the paintings on the exterior, which, as we have already pointed out, are grisaille, we can see that a beardless saint has been portrayed on each of the doors within a micro-architecture consisting of a niche with a semicircular finish that serves to give the sensation of depth to the scene and corporeality to the saints. Between both niches, in the upper part, there seems to be a kind of oculus or clypeus. On the left door there is a bishop saint dressed in the pontifical robes associated to his status, mitre and crosier, while under his left armpit he holds a closed book. With his right hand he seems to be holding a ribbon. On the right door is a saint who is the complete opposite of his companion, since if he seems to have decided to renounce the role of bishop, denoted by the staff and mitre which appear lying on the ground.  He wears a tunic and a kind of cap that hides his ears. Both saints have been painted in detail, showing small, angular facial features and pensive countenances. The hands, which are very delicate, are expressive and the fingers appear clenched. When the doors are opened we find the central motif of the triptych altar, a delicate alabaster relief of the Epiphany that is carved in different gradations to try to give depth to the scene.  This is also helped by the bas-relief architecture in the background that consists of pillars that support semicircular arches, partly covered by a canopy tied with a bow. This type of alabaster sculpture enjoyed great popularity during the 16th century. As was customary even in the 16th century, Saint Joseph has been portrayed as an old man slightly removed from the main scene, so much so that a very undefined bas-relief has also been used for him. The central group is carved in high relief with some parts completely free-standing.  It is made up of the Virgin Mary seated with the Child, with a classicist appearance reminiscent of Roman matrons, and before them are the three Wise Men: Melchior, with a bearded appearance, bending down to offer Jesus the gold while standing behind him, young and beardless Caspar and Balthasar wait to offer the incense and myrrh. The garments are luxurious and feature shallow but gentle, curved folds. Balthasar's attire is especially noteworthy since the author has endowed him with a turban, instead of a crown, as well as some kind of animal heads on his shoulders and knees. Finally, the inner part of the doors shows two saints who held the status of queens, as indicated by the fact that their heads are crowned. As was the case with the saints on the outside, the saints are also found inside micro-architecture, although on this occasion the niches are topped by shells, a typically Renaissance detail. Both wear luxurious dresses that are very tight on the torso, giving them a remarkable elegance, to which the postures in which they have been conceived also contribute. The saint on the left door, who carries an open book in her left hand, is Saint Catherine of Alexandria, as indicated by the presence of her most characteristic attributes: the sword and the spiked wheel, instruments of her successive martyrdom, and the body of a defeated man at her feet who must be the Emperor Maxentius, her persecutor. On the other door on the right we find another saint with the same formal characteristics, although her clothing has changed somewhat. In her left hand she carries a closed book while in her left she holds an a bow and arrow. We do not know who it may be, perhaps due to the rarity of these attributes it may be a saint of local or regional devotion which, in turn, would indicate the place for which this precious portable altar was carved. As a curiosity, on the back of the altarpiece there are a series of inscriptions, some illegible and others legible, such as the one that says ““S.DonGregorio” and “Lopez”, which perhaps alludes to the owner for whom this exquisite piece was made.We would like to thank Mr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this piece.

WOOD W.  Supplement to the Index Testaceologicus or A Catalogue of Shells. 8 hand col. eng. plates, each with many specimens, as called for. Orig. cloth. 1828.

A pair of old Italian lamps, each fashioned from two conch shells and decorated with applied transfer decoration depicting Vesuvius

Military Interest - Box of Gun Shells, six assorted sizes and shapes. Tallest 15".

A BOX OF COLLECTABLES TO INCLUDE SEA SHELLS, ADVERTISING TIN ETC

An early 20th century Japanese bronze scroll weight. A Meiji period bronze in the form of a carp with two cast oyster shells to base. Approximately 11cm long. 

A large 20th Century tribal African figure with horn set to head with inset shells to eyes. Glass bead necklaces with cloth skirt raised on pedestal base. Measures approx; 80cm tall.