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Perkins George Mawer & Co.
Lot 310

Delicate silver christening (Birmingham 1965) together with a silver plated half pint tankard

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Perkins George Mawer & Co.
Lot 311

Silver gravy boat (Birmingham 1936) on claw feet, 7.7oz

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Perkins George Mawer & Co.
Lot 312

Nice silver christening tankard (Birmingham 1936) 5.2oz

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Perkins George Mawer & Co.
Lot 314

Victorian silver gilt double handled and double spouted cream jug (London 1881)

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Perkins George Mawer & Co.
Lot 316

VINERS OAK CANTEEN (8 PLACE SETTING) OF SILVER HANDLED, KINGS PATTERN CUTLERY (SHEFFIELD 1963)

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Perkins George Mawer & Co.
Lot 80

2 boxed John Deere models, 1:32 scale being 2 tractors in gold and silver and model 4020 and 7280R together with a JCB farm trailer 1:16 scale

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Hansons Auctioneers and Valuers
Lot 162

Comics: A collection of assorted English and American Marvel: Alpha Flight, Star Brand, Captain America, Silver Surfer, Master of Kung Fu, Moon Knight, The Hulk, Micronauts, New Mutants, Iron Man, Night Stalker, Dark Hold, Cable, Excalibur, Guardians of the Galaxy, and other Comics, including comics with various characters and ages. General condition is good, but have been read. Not backed. Please assess photographs. (one box)

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Hansons Auctioneers and Valuers
Lot 167

Comics: A collection of assorted English and American Marvel: The Hulk, Ghost Rider, Silver Surfer, Namor, Malibu, Image, Defiant, Valiant, Iron Man, War Machine, X-Men, ROM, Venom and other Comics, including comics with various characters and ages. General condition is good, but have been read. Not backed. Please assess photographs. (one box)

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Hansons Auctioneers and Valuers
Lot 171

Comics: A collection of assorted English and American Marvel: Silver Surfer, Wolverine, Venom, The Hulk, Spider-Man and various other miscellaneous Comics, including comics with various characters and ages. General condition is good, but have been read. Not backed. Please assess photographs. (one box)

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Hansons Auctioneers and Valuers
Lot 69

Matchbox: A collection of assorted boxed Matchbox Models of Yesteryear vehicles, of varying make; together with two 6 vehicle Silver Jubilee Matchbox Superfast Trade Packs; and one 5 vehicle incomplete Silver Jubilee Superfast Trade Pack. Vehicles all generally in good order. Some boxes in need of a clean. Please assess photograph. (one box)

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Rogers Jones & Co
Lot 1

A 1905 NEW ZEALAND INTERNATIONAL ALL BLACKS RUGBY UNION JERSEY MATCH-WORN BY LOOSE FORWARD FRANCIS TURNBULL GLASGOW (1880-1939)The most iconic of all historic rugby union jerseys characterized by the quilted overlay to shoulders, leather neckline with believed original lace, large embroidered ‘silver fern’ and stitched 'hidden' ‘M’ to hem, unique to the 1905 All Blacks jerseys and believed to stand for 'Mary' (Mary Stubbs and her husband John founded J Stubbs, Hosiery Manufacturer, later to be known as the Manawatu Knitting Mills). The back of the jersey stitched with white canvas square bearing printed No.7. Believed to be the first time that an ‘Originals’ jersey has appeared at auction with the playing number remaining on the back. It is thought that the numbers were tacked on to player's backs in most cases.Together with framed period black and white team photograph ‘NEW ZEALAND v WALES at Cardiff, December 16th, 1905’ with player’s names listed below, 46 x 56cms, incl. frameProvenance: the jersey was swapped with Wales’s Charles Meyrick Pritchard (1882 – 1916) after the famous Wales v New Zealand ‘Match of the Century’ on 16th December 1905. Preserved with other important jerseys, caps and photographs by Charlie Pritchard which form a collection entered to this auction by Charlie Pritchard’s great-grandson. In recent years the collection has been archived and exhibited at the World Rugby Museum at Twickenham Stadium.The 1905 New Zealand Rugby Union team were the first to tour outside of Australasia. By the time the tour arrived for the match against Wales, the All Blacks had not conceded a single point in their last 600 minutes of rugby. They had played 27 matches scoring 801 points and conceding just 22 and had won all three of their preceding international matches, two without conceding any points (12–7 against Scotland, 15–0 against Ireland and 15–0 against England).They became known as ‘The Originals’ and for the first time labelled ‘The All Blacks’ by the British Press. In readiness for the tour, the New Zealanders had embraced new strategies and had studied assiduously what was permitted within the laws of the game. The tour was a benchmark in world rugby and laid the framework for all rugby tours since. It cemented Rugby Union as New Zealand’s national sport, embedded the sport in the national psyche and commenced a ‘new order’ of world rugby with The All Blacks at the helm, a position which has rarely been threatened in 120 years.Wales versus The Originals, in Cardiff, is a match regarded as one of sport’s greatest with over 47,000 spectators at the Arms Park. It was eagerly anticipated by swathes of rugby fans and by the press, according to the South Wales Echo's report on the morning before the match, 'Never in the long annals of Rugby football has a match excited more widespread interest than today's International at Cardiff. The all-conquering career of the New Zealanders has been watched with a keenness that has never been equalled, and as they were meeting a side whose style more closely resembles their own than any they have met on their brilliantly successful tour...The Great Western Railway Company had made arrangements for thirty excursion trains from all parts of the country, the first of which arrived at about 10.20am. This was from Frome and the West of England, and was a long train, crowded. At 10.50 the Ogmore and Garw Valleys contingent came - a large and enthusiastic crowd of footballers - closely followed by people from the Western Valleys of Monmouthshire, from Weymouth, Birmingham, Liverpool, Swindon, London, Paignton. All reports went to show that these trains were full, and a special from London, due to arrive at 12.10, brought 700....the officials at the TVR station, Cardiff, estimate that, including ordinary, the trains on their service from mid-morning brought from 12,000 to 15,000 people into Cardiff up to 1 o'clock. A similar estimate as the Rhymney railway station shows that up to the same hour about 8000 to 9000 people had arrived over that line'.Even before the eagerly anticipated kick-off the match had become a landmark game given that the Welsh supporters sang ‘Hen Wlad Fy Nhadau (Land of My Fathers)’ in response to the New Zealand player’s stirring performance of the Haka. The South Wales Echo commented that its effect was electrifying. It was the first time a national anthem had been sung before any sporting fixture.There had already been a degree of controversy leading up to the test, particularly in relation to the choice of referee John Dallas. Also with regards to the tactics New Zealand had brought with them to the Northern Hemisphere, in particular the role of captain Dave Gallaher as a roaming wing-forward. Many remarked the tactic as unsporting with the intent of obstructing opposition players. The controversy continued as the game developed with decisions seeming to go against The Originals. The referee, wearing formal clothes including walking shoes without bars or sprigs in wintry conditions, struggled to keep up with play. But the experience Welsh team crafted a first half try through Teddy Morgan. In the second half there was a ‘try that never was’ when Bob Deans, The All Blacks centre-three-quarter, was adjudged to have grounded the ball short of the try-line. Wales’s first half try was enough to seal a 3-0 victory for the home-side. New Zealand’s incredible unbeaten run was over and a 'humorous' obituary card 'In memory of the New Zealand Football Team' was printed and circulated in Wales.On their first overseas tour the All Blacks played thirty-five matches, winning thirty-four of them, scoring 976 points and conceding only fifty-nine. . The loss to Wales and its controversial manner rankled the New Zealanders for years to come but it acted as a catalyst for future successes and their superiority in subsequent tours.Frank Glasgow was one of the successes of The Originals tour, playing 27 of the 35 matches, he appeared in all five international games and was the leading scorer amongst the forwards with a points tally of 32. Glasgow was said to be a tough, athletic, and an intelligent loose forward. Originally from Dunedin, Glasgow represented Wellington, Taranaki, Hawke's Bay, and Southland. A bank-manager by trade, Glasgow generally played in the front-row but also played as flanker and back-row forward. He also played occasionally as hooker including against the Anglo-Welsh tourists in 1908 when he scored a try against the tourists.

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Rogers Jones & Co
Lot 3

A 1908 AUSTRALIA RUGBY UNION JERSEY MATCH-WORN DURING THE WALLABIES INAUGURAL NORTHERN HEMISPHERE TOUR & AS 1908 OLYMPIC WINNERSPale blue with white collar and three buttons, bears embroidered stem of waratah flower above embroidered ‘AUSTRALIA’ which was a distinctive addition to the jersey to indicate the national representative side, interior label for J Pearson, Sydney.Preserved with other important jerseys and caps by Charles Meyrick Pritchard (1882 – 1916) which form a collection entered to this auction by Charlie Pritchard’s great-grandson. In recent years the collection has been archived and exhibited at the World Rugby Museum at Twickenham Stadium.Charlie Pritchard did not play against Australia. He was selected for Monmouthshire v Australia to be played in October 1908, however that match was cancelled due to waterlogged pitch. As a Monmouthshire jersey is not present in the Charlie Pritchard collection, it is possible, perhaps likely, that Pritchard sought out an Australia jersey after the announcement that the match was not to be played.In 1908 Australia embarked on their first Northern Hemisphere tour with matches in Britain, France, and America. The development of Rugby Union in Australia at this point was lagging behind The All Blacks, The Springboks, and the Home Nations. They had no official national colours, so a pale-blue jersey was worn as the tour was organised by the New South Wales Rugby Union, represented by pale blue. Neither did they have a self-appointed nickname such was the fashion for touring nations. Australia’s captain Herbert Moran was aghast to hear that the British press had already labelled them ‘The Rabbits’, so a more fitting and less fluffy moniker was quickly approved by the tourists. They have been known as the Wallabies since.Thirty-five tour matches were scheduled with three Tests, one each against Wales, France, and England. The French Test was also cancelled due to bad weather. Due to the ongoing dispute around amateurism, Ireland and Scotland did not extend invitations to the Wallabies. Their objections on this occasion where in relation to the three shillings daily allowance given to each Australia player.As well as ensuring that they had a tour nickname, the Australian tour organisers team felt it necessary to follow in the success of the New Zealand’s Haka and the Springbok’s Zulu-infused battle-cry. So, the Wallabies invented their own war-cry to be performed before most matches. But in contrast to the All Blacks stirring rituals, the Australia’s Aboriginal inspired efforts left many spectators cringing into their overcoats and was viewed sneeringly by the British press. Such theatre became even more surreal in Cardiff before their match against Wales, when Welshman Percy Bush responded to the Australian war-cry by charging onto the pitch brandishing a sword and shield - intended to be an amusing riposte!Few people suggested the team would do well in their British tour. Australia was still finding their feet and it would have been a mighty challenge to follow the PR successes of New Zealand in 1905 and South Africa in 1906. The doubts about the ability of the tourists were confounded by the British press who continuously patronised the emerging rugby nation by reflecting on the teams' first twelve international matches which resulted in only a single win. But against limited expectations, the Australians performed admirably, winning 25 of 31 matches and with some commentators conceding that the team would have achieved better results if they had not picked up so many unlucky injuries including two players breaking legs (one of them while the player was performing touch-judge duties).Of the Test matches, the team lost against Wales, but beat England. These matches were the first ever encounters between an Australian team and their hosts. The Wallabies scored a credible 438 points on tour to 149 against, scoring 104 tries in the process and averaging better than three tries per game with 80 scored by the backs and 24 by the forwards. The 1908 Wallabies were raw, but the sneering press and ridicule may well have been a motivational factor, they played attractive open rugby resulting in many tries scored. It was a brand of running rugby and good sportsmanship that were in the best traditions of the game and for which Australia became synonymous.In the same year as the Wallabies tour, the Olympic Games were being held in London. The Australian team entered the rugby tournament and were the only other team alongside Cornwall representing Great Britain. The interest in the Olympic rugby final was lukewarm with the final being held in the last week of Games that had taken place over six months. Australia had already beaten Cornwall, the British county champions early in the tour. France was expected to contest the medal, but had withdrawn, leaving just Australia and Cornwall to play for gold and silver medals.The match was played on an area alongside the Olympic Games swimming pool which measured 110 yards in length with a long line of netting stretched beside to catch flying balls. Large mattresses were spread along the rim of the pool to prevent injuries to falling players. One day was allocated, to what was called, the Olympic rugby tournament. The Wallabies strode to an easy 32–3 victory and so were crowned Olympic Champions for 1908. And so, the year 1908, against all odds, will be remembered as a very successful year for Australia rugby union. Condition Report:restored tear just under the collar above the badge.There is a hole on the back just unedr the collar

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Hampel Fine Art Auctions
Lot 107

Höchst seltener Satz von acht Vermeil-Salz-Gewürzfässern aus dem Besitz von König Ludwig II von BayernHöhe: 5 cm. Breite: 8 cm. Tiefe: 5,3 cm.Länge der acht Löffel: 8 cm. Etuisgröße: 7 x 19 x 16,5 cm bzw. 7 x 23 x 15,5 cm.Jeweils Silberstempel „13“, Meistermarken „E.W.“ für Eduard Wollenweber (1847-1918 München).Ehemals Schloss Herrenchiemsee.Beigegeben ein Provenienznachweis von Prinz Joseph Clemens von Bayern (1902-1990).Ein handschriftlich unterzeichnetes Schreiben des zuletzt am Europaplatz München-Bogenhausen in dessen Villa ansässigen Urneffen, des Kunsthistorikers und Sammlers Prinz Joseph Clemens von Bayern (Sohn von Prinz Alfons von Bayern und Prinzessin Louise Victoire d´Orleans-Alencon) bestätigt auf Briefpapier mit Königskrone: „Hiermit bestätige ich, daß die 2 Kassetten mit je 4 Salzgefäßen für König Ludwig II. von Bayern für Schloß Herrenchiemsee gefertigt und von ihm benutzt wurden.“ In zwei original Etuis mit goldener Innenprägung des Hoflieferanten Eduard Wollenweber, München. Silber, matt- und glanzvergoldet, in Kaltarbeit nachziseliert. In tadellosem Zustand.Die einheitlich in Silber getriebenen Gefäße („Nefs“) im Stil des Rokoko, als „Salzschiffchen“ längsoval gestaltetet, jeweils auf vier kurzen Füßchen. Das Innere durch Zwischenwand für Salz und Pfeffer bzw. Gewürze getrennt. Die in Schweifung gemuldeten Oberseiten zweifach zu den Schmalseiten hin abgedeckelt, dazwischen je ein stegförmiger Henkel in Rocailleform. Seitlich Rocailereliefs, auf den Deckeln C-bogig eingefasste Kartuschen, darin Sonne- und Mondmotiv in Strahlengloriole. Zu jedem Vierer-Satz 4 kleine ebenfalls vergoldete Löffelchen mit Muscheldekoration an der Unterseite der Laffen. Dem Stil entsprechend waren die Salzschiffchen für das Speisezimmer im Schloss Herrenchiemsee bestimmt. Es befindet sich im Nordflügel des schon ab 1873 geplanten und 1878 begonnenen Baus. Oval im Raumgrundriss, wurden Innendekorationen im Stil Louis XV nach Vorbild des Pariser Hotel de Soubise gestaltet. Dieses Speisezimmer erhielt nach Wunsch des Königs eine in den Boden versenkbare Speisetafel, bekannt als „Tischlein deck-dich“. Sie wurde im darunterliegenden Geschoß von der Küche gedeckt und dann wieder nach oben gekurbelt. Bekanntlich pflegte Ludwig II abendlich in einer imaginierten Gesellschaft zu speisen. Büsten der Hofgesellschaft von Versailles, wie Madam Pompadour, Madame Maintenon etc. waren die Gesprächspartner, mit denen er sich ungestört unterhalten konnte, gelegentlich wurden entsprechende Bühnentexte durch einen Hofschauspieler, wie Joseph Kainz rezitiert. Ludwig hatte bereits lange vor Baubeginn sämtliche Ausstattungselemente, so auch Geschirre und dergleichen nach eigenen Vorstellungen entwerfen und herstellen lassen. So ist auch hier anzunehmen, dass die Gefäße bereits vor 1878 entstanden. Zu den Entwerfern zählten die Hofarchitekten und Maler wie Franz Brochier, Franz Stuhlberger, Philipp Perron und Julius Hofmann. Es ist denkbar, dass die beiden separat gefüllten Etuis für die Schlösser Herrenchiemsee und Linderhof benutzt wurden.Nach dem Tode des Königs gingen die Schlösser in das Eigentum des Königreichs Bayern, später des Freistaates über. Der größte Teil des beweglichen Inventars, Geschirre, Silberobjekte, Gebrauchsutensilien etc. wurden sogleich veräußert, um die Kabinettskasse zu entschulden. Etliche Objekte gelangten auch in den Besitz der Familie Wittelsbach. So kommen derartige Gegenstände nur äußerst selten in den Handel. Silbergegenstände für den König wurden fast ausschließlich dem königlichen Hoflieferanten Eduard Wollenweber in Auftrag gegeben.Die original lederbezogenen Etuis innen mit dunkelblauem Samt bzw. hellblauer Seide gefüttert, im Deckelinneren in Goldprägung Marke des Hoflieferanten Wollenweber, München, Theatinerstraße 36. Literatur: Vgl. Alexander Rauch, Schloss Herrenchiemsee Räume und Symbole, München/Berlin 1993.Vgl. Alexander Rauch: Schloss Herrenchiemsee. Kapitel: Die kleinen Appartements. München/Berlin, 1995.A.R. (1380441) (11)Very rare set set of eight vermeil salt and seasoning vessels from the estate of King Ludwig II of Bavaria (1845-1886)Height: 5 cm. Length: 8 cm. Depth: 5.3 cm. Length of eight spoons: 8 cm. Each with silver hallmark “13”, maker’s marks “E.W.” for Eduard Wollenweber, Munich (1847-1918).Formerly Herrenchiemsee Palace.Accompanied by evidence of provenance: Prince Joseph Clemens of Bavaria (1902 – 1990). A hand signed letter by the great-nephew, the art historian and collector Prince Joseph Clemens of Bavaria (son of Prince Alfons of Bavaria and Princess Louise Victoire d’Orléans-Alençon), who was most recently resident in his Villa at Europaplatz in Munich-Bogenhausen, confirms on stationery with a royal crown: “Hiermit bestätige ich, daß die 2 Kassetten mit je 4 Salzgefäßen für König Ludwig II. von Bayern für Schloß Herrenchiemsee gefertigt und von ihm benutzt wurden.” (“I hereby confirm that the 2 cases each with 4 salt vessels, were created for King Ludwig II of Bavaria for Herrenchiemsee Palace and used by him.”). From the estate of King Ludwig II of Bavaria. In two original cases with gilt embossing on the inside by the royal purveyor to the court Eduard Wollenweber, Munich. Silver, gilt in matte and polished finish, re-chased in cold work. In perfect condition. The vessels (“nefs”) are uniformly made of silver, in Rococo style, designed as “salt boats” in an elongated oval shape, each on four short feet. The inside is separated by a partition for salt and pepper or spices. The curved tops are covered twice towards the narrow sides, each with a bar-shaped handle in the shape of a rocaille. Rocaille reliefs on the sides, the lids with cartouches surrounded by C-shaped frames, the inside decorated with a sun and moon motif in a gloriole of rays. There are four matching gilt spoons with shell decoration on the underside provided for each set of four boats. In keeping with the style, the salt boats were intended for the dining room at Herrenchiemsee Palace in the north wing of the palace, which was planned in 1873 and begun in 1878. Oval in floor plan, the interior decorations were designed in the Louis XV style based on the Paris Hotel Soubise. According to the king’s wishes, this dining room was fitted a dining table that could be retracted into the floor, known as a “Tischlein deck-dich”. Thus, it could be set by the kitchens on the floor below and lifted back up. As is well known, Ludwig II used to dine in an “imagined company” in the evenings. Busts of the society of the royal court of Versailles, such as Madame Pompadour, Madame Maintenon, etc., were his conversation partners with whom he could converse undisturbed by staff; occasionally relevant stage texts were recited by a court actor such as Joseph Kainz. Long before the start of construction, Ludwig II had all the furnishings including crockery designed and manufactured according to his own ideas. Hence it can be assumed that the vessels were made before 1878 as well. The designers included court architects and painters such as Franz Brochier, Franz Stuhlberger, Philipp Perron and Julius Hofmann. It is conceivable that the two separately filled cases were used for the Palaces at Herrenchiemsee and Linderhof. Immediately after the king’s death, the palaces became the property of the Kingdom of Bavaria, and later the Free State. Most of the movable inventory such as dishes, silver objects, utensils, etc. were promptly sold to relieve the debt of the cabinet treasury. Quite a few objects also came into the possession of the Wittelsbach family. These items only rarely appear on the market. Silver items for the king were...

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Hampel Fine Art Auctions
Lot 125

Paar SilberkandelaberHöhe: 64 cm. Gesamtgewicht: ca. 6000 g.Standring punziert mit Minervakopf Feingehaltsmarke bzw. mit Meistermarke Claude Doutre Roussel.Paris, 1860-1895.Silber, gegossen, ziseliert. Über drei mit Blattwerk verzierten Volutenfüßen der im Stil Louis XV reliefierte Fuß mit Balusterschaft und Tülle. Diese mit Blattwerkumkränzung und Aufnahme eines einzusteckenden Aufsatzes, der mit fünf Brennstellen in vegetabiler Art in zwei unterschiedlichen Höhen ausgeformt ist. Ehemals elektrifiziert. (1381582) (13)A pair of silver candelabraHeight: 64 cm. Total weight: ca. 6000 g.Foot rim with Minerva head hallmark and maker’s mark Claude Doutre Roussel.Paris, 1860 - 1895.Silver; cast and chased.

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Hampel Fine Art Auctions
Lot 130

Großes Londoner SilbertablettHöhe: 78 cm. Breite: 54 cm. Gewicht: 9100 g.Meistermarke Philip Rundell (1746-1827). Bodenseitige Markung mit Lion passant, Londoner Beschau, Meistermarke, date letter und duty mark.London, 1821.Silber, getrieben, gegossen, ziseliert. Weiter rechteckiger Spiegel mit ornamentalem Bandelwerkdekor und zentralem graviertem viergeteilten Wappen. Kurzseiten mit gegossenen Schlangenhandhaben, die Ecken mit Rocailledekor und vegetabiler Zier. Die Fahne mit gegossenem Weinlaub- und Fruchtdekor. Auf vier gemuschelten Füßen ruhend. (1381502) (13)Large London silver trayHeight: 78 cm. Width: 54 cm. Weight: 9100 g.Maker’s mark by Philip Rundell (1746 – 1827). Hallmarked on underside. London, 1821.

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Hampel Fine Art Auctions
Lot 132

30 silberne TellerDurchmesser: 12,4 cm. Gesamtgewicht: 2436 g.Meistermarke Luigi Vernazzi (1771-1836).Parma, um 1870.Silber, getrieben. Mit weitem Spiegel steil auf ragendem Bord und konisch auslaufender Fahne, diese mit dem gravierten Wappen des Roberto I von Parma. In tapezierter Reisekassette, diese ebenfalls mit bekröntem Monogramm „R. I.“. (1381506) (13)30 silver platesDiameter: 12.4 cm. Total weight: 2436 g. Master’s mark Luigi Vernazzi (1771-1836). Parma, around 1870. Silver, embossed.

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Hampel Fine Art Auctions
Lot 136

Paar silberne Tafelaufsätze28 x 51 x 39 cm. Gesamtgewicht: 10760 g.Am Rand punziert 925er Feingehalt sowie Beschauzeichen Casprini.Florenz, 19./ 20. Jahrhundert.(1381591) (13)A pair of silver centrepieces28 x 51 x 39 cm. Total weight: 10760 g.Florence, 19th/ 20th century.

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Hampel Fine Art Auctions
Lot 140

Bedeutende, museale Silberfigur einer Heiligen mit kleinem ReliquienschreinHöhe: 31 cm. Rückseitig am Mantel ovale Silberpunze (Löwe nach links). Wohl Antwerpen (Leuven?), um 1500.Standfigur in künstlerisch hochwertiger Silber-Treibarbeit. Die Körperhaltung im sogenannten „Weichen Stil“ der „Schönen Madonnen“. Das hochgegürtete Kleid fällt bis zum Boden, an dem ein Fuß spitz vortritt. Der Boden leicht Kalotten förmig gewölbt, im Schlangenhautdekor punziert. Bodenrand achtseitig geschnitten, mit kleinen Lochungen der ehemaligen Befestigung. Das Kleid weist gebogte Parallelfalten auf, unterhalb der Ärmel leicht spitzbogige Schüsselfalten. Der Mantel oberhalb der Brust durch geknotete Verschnürung an Rosetten zusammengehalten, weist über den gesamten Saum eine breite Bordüre auf. Darin gotische Inschriften in Majuskeln. Das Haupt bekrönt mit einem geflochtenen Reif mit zentraler Kreuzrosette. Darunter das Lockenhaar, das das Gesicht rahmt und am Rücken in Fülle bis zur halben Höhe der Figur breit herabfällt. Die linke Hand hält ein offenes Buch, die rechte einen kleinen verglasten Reliquienschrein. Der verschlossene Deckel dachförmig, mit bekrönenden Blättern.Die ehemalige Identifikation als „Maria Aegyptiaca“ erklärt sich durch die fülligen Haare. Sie lebte im 4. Jahrhundert, wird zunächst als Sünderin, dann aber als reuige Büßerin in der Einsiedelei jenseits des Jordans überliefert. Ihre angeblichen Reliquien gelangten nach Rom, Neapel und Antwerpen. Der Stil dieser Silberfigur, beeinflusst von Frankreich, was der Augenschnitt verrät, lässt sich durchaus ins katholische Flandern verorten, was auch der Reliquienverehrung in Antwerpen entspricht. Antwerpen als Hüterin der Reliquien der Heiligen war daher auch ein Zentrum der Schaffung von zahlreichen Bildwerken und Graphiken.Anmerkung:In dem kleinen Reliquienschrein drei Büttenpapier-Fragmente mit verblassten Aufschriften in Schriftzügen des 15. Jahrhunderts, sowie Reste alter Seide, ebenfalls altersbedingt gebräunt und brüchig, die Datierung um 1500 nochmals untermauernd. (13816825) (13)Important, museum-quality silver figure of a Saint with small reliquaryHeight: 31 cm. Oval silver hallmark (lion to the left) on the reverse of the mantle. Probably Antwerp (Leuven?), ca. 1500.Notes:In the small reliquary three fragments of laid paper with faded inscriptions in 15th century lettering, as well as remnants of old silk, also browned and brittle due to age, further supporting the dating around 1500.

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Hampel Fine Art Auctions
Lot 141

Bartolomeo Borroni, 1703 Vicenza – 1787 Rom, zug.GRUPPE VON VIER SILBERFIGURENCa. 35 x 12 x 9,5 cm. Gesamtgewicht: ca. 2300 g.Standring mit römischer Beschau.Rom, um 1730.Vier feine Silberskulpturen, die die Jungfrau Maria, den Heiligen Josef, die Heilige Anna und den Heiligen Joachim darstellen. Jeweils in Silber getrieben und ziseliert. Über ovalem Stand mit rocaillegerahmtem Lapislazuli-cabochon. Jeweils mit Strahlennimbus. Teilweise besch.Literatur:Vgl. Costantino G. Bulgari, Argentieri gemmari e orafi d‘italia, Rom 1958, S. 197, Nr. 304. (13816823) (13)Bartolomeo Borroni,  1703 Vicenza – 1787 Rome, attributedGROUP OF FOUR SILVER FIGURESCa. 35 x 12 x 9.5 cm.Total weight: ca. 2300 g.Standing ring with Roman inscription.Rome, around 1730.Literature:cf. Costantino G. Bulgari, Argentieri gemmari e orafi d’italia, Rome 1958, p. 197, no. 304.

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anticomondo Spielzeugauktionen
Lot 6040

Tippco, Silver Racer, US Z. Germany, 20 cm, Blech, UW + Funktion ok, min- LM, Okt, Z 1-2

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NAGEL AUKTIONEN GmbH
Lot 591

Paar goldene Haarnadeln mit Phönix-KöpfenChina, Ming-DynastieL. 15 cm, 26 gGold, massiv gearbeitet, graviert, 26 g.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999 - Vgl.: Phönix-Haarnadeln (fengchai) in ähnlicher Profilausrichtung sind bereits seit der Song-Dynastie bekannt: Adornment for Eternity : Status and Rank in Chinese Ornament“, Julia M. White, Emma C. Bunker, Denver Art Museum, 1994, S. 180, Nr. 92. Ein Paar goldener Haarnadeln mit Phönixköpfen, datiert in die Song-Dynastie: “Chinese Gold & Silver in the Carl Kempe Collection”, Bo Gyllensvärd, Stockholm, 1953, S. 116-117, Nr. 56. - Partiell Gebrauchsspuren, etwas berieben

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NAGEL AUKTIONEN GmbH
Lot 593

16 Haarnadeln aus SilberChina, Qing-DynastieL. 6,5-11 cmSilber, teils vergoldet und mit Email. Symmetrisch und geschwungen geformt.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999 - Vgl.: Symmetrische gestaltete Haarnadeln, ebenfalls mit Email: „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 124, Fig. 6-7.

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NAGEL AUKTIONEN GmbH
Lot 595

21 Haarnadeln teils aus SilberChina, Qing-Dynastie und eventuell früherL. 6-20 cmTeils mit Symbolen. Paar Haarnadeln mit Genreszenen. Silber und andere Metalle, teils vergoldet. Repoussé, teils durchbrochen gearbeitet, einige massiv. Paar Haarnadeln in der Art eines buddhistischen Rasselstabs.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999 - Vgl.: Goldene Haarnadel in der Art eines buddhistischen Rasselstabs, datiert Ming oder später: “Chinese Gold & Silver in the Carl Kempe Collection”, Bo Gyllensvärd, Stockholm, 1953, S. 104-105, Nr. 47. Ähnliche Haarnadeln: Museum of Applied Arts and Siences, Sydney, Inv. Nr. 2019/56/8; Smithonian Museum, Washington, Inv. Nr. S2012.9.2038; British Museum London, Inv. Nr. 1991,0525.11; „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 122, Fig. 1, S. 124, Fig. 6-7, S.126, Fig. 14, 18.

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NAGEL AUKTIONEN GmbH
Lot 596

Elf Haarnadeln aus Jade und GlasChina, Qing-DynastieL.11 - 18,5 cmPhönix, Blüten und Symbole. Silber bzw. Bronze, teils vergoldet und mit Email, besetzt mit Jade, geschnitzt, teils durchbrochen, Koralle, Karneol, Lapislazuli, Glasperlen, seidenumwickelte Drähte. Ein Haarpfeil aus Knochen, Silber mit Email-Resten.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999 - Vgl.: Ähnliche Haarnadel mit Jade: „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 123, Fig. 4. - Gebrauchsspuren. Ein Anhänger lose dabei

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NAGEL AUKTIONEN GmbH
Lot 597

19 Teile Haarschmuck mit EisvogelfedernChina, Qing-DynastieL.4-20 cm, B.2-12,5 cm.Blüten, Schmetterlinge und Phönixe.Vergoldetes Silber und Kupfer mit Eisvogelfedern, Steinbesatz mit Koralle, Türkis, Glas und Perlen.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999 - Haarschmuck mit Eisvogelfedern: „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 126, Fig. 15-18; ähnliche Bögen mit Eisvogelfedern: S. 127, Fig. 19; ähnlicher Haarschmuck mit Eisvogelfedern: Wriggelsworth, S. 31.

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NAGEL AUKTIONEN GmbH
Lot 600

Elf Kämme und ZubehörChina, Qing-Dynastiediv.Die kleinen Kämme wurden von Damen, aber auch von Herren am Gürtel getragen und dienten zum Ordnen des Haars, bei den Herren auch für den Bart.Holz, vermutlich Bambus, teils eingefärbt. Griffe aus Holz, bzw. Silber und anderen Metallen. Anhänger aus Metall, Holz, Koralle, rotem Achat, Seidenquasten. Ein Kamm mit Metall-Etui. Maße: Etui: 9 x 3,3 cm. Ein Kamm ausklappbar mit Fisch-förmigem Etui, Anhänger aus grüner Jade. Ein Kamm aus Schildpatt mit Opalen und Jade. Ein Paar Kämme mit Seidenquasten. L. 9,4 cmAus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999 - Vgl.: Ähnliche Kämme mit Etuis: „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 146-147, Fig. 25-28

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NAGEL AUKTIONEN GmbH
Lot 601

Gruppe von 18 KämmenChina, Qing-DynastieB. 6,2-13,5 cmSteckkämme mit Drachen und floralen Motiven. Ein Satz von fünf und 13 einzelne.Silber und andere Metalle, teils vergoldet, einer mit Email.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999 - Vgl.: Ähnliche Kämme: „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 130-131, Fig. 29-30

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Omnia Veilinghuis
Lot 104

A second grade 835/1000 silver tobacco box, C. Kooiman v. Dam, Schoonhoven 1846.

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Omnia Veilinghuis
Lot 112

A Biedermeier silver cabinet, Holland, Willem III, 19th century. Walnut and mahogany glued, profiled shade with crest cut out in the center in C-volutes, beveled styles with turned vase knobs, glazed all around with carved edges, rear mirror, contoured base, resting on volute legs, cross leg with carving with floral motifs in the center , h 200 x w 110 x d 45 cm.

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Omnia Veilinghuis
Lot 121

An ajourned second grade 835/1000 silver boat-shaped bread basket with pearl edge decoration, year letter 1926, maker's mark: Gerritsen & van Kempen n.v., Zeist (1926/1961), 456 grams, h 10.5 x l 29 x w 20.5 grams.

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Omnia Veilinghuis
Lot 122

A second grade 835/1000 silver tobacco box, C. Keppel, Schoonhoven 1819.

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Omnia Veilinghuis
Lot 139

A Sterling silver openwork chocolate basket, Georgian III style, England 20th century, 250.5 grams, h 8.5 x l 20.5 x w 12 cm.

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Omnia Veilinghuis
Lot 15

A second grade 835/1000 silver women's wristwatch with enamelled numerals and decoration of roses. Mechanically running, marked Anker. Complete with matching second grade 835/1000 silver bracelet.

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Omnia Veilinghuis
Lot 155

A second grade 835/1000 silver sewing accessory in walnut and rosewood case, 19th century. Includes a thimble, needle, needle case, scissors and awl.

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Omnia Veilinghuis
Lot 156

A horn cup with silver mount, England, around 1800. Engraved decor of a carriage with horses in a landscape and monogram 'WRE', h 9.5 x Ø 7 cm.

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Omnia Veilinghuis
Lot 159

A blue/white porcelain contoured plate from the 19th century, 2nd grade 835/1000 silver handle, China, Kangxi, around 1700. Blue underglaze decor of flowers on a rock in a garden on the shelf, the lip with flora in planar division and parsley decor, marked with shell bottom, maker's mark: W. Birza, Loppersum (1815-1831), Ø 25 cm (frit).

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Omnia Veilinghuis
Lot 200

A 28-piece second grade 835/1000 silver Art Nouveau hors d'oeuvre cutlery with hammered decoration, year letter 1913, in original case.

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Omnia Veilinghuis
Lot 205

A 3rd grade 800/1000 silver 5-light candlestick with a weighted base. Gross weight 2073 grams, height 38 cm.

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Omnia Veilinghuis
Lot 209

A partly hammered 1st grade 925/1000 silver occasional spoon, Frederik Rudolf Pregt, Amsterdam 1744-1787.

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Omnia Veilinghuis
Lot 219

A Chine de commande porcelain tea caddy with silver frame and lid, China, 18th century, h 16.5 cm.

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Omnia Veilinghuis
Lot 225

A second grade 835/1000 silver milk jug, France 19th century, h 7 cm.

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Omnia Veilinghuis
Lot 252

A second grade 835/1000 silver brazier on wooden base and bone legs. Fa. J.M. van Kempen and Zn, Voorschoten 1859.

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Omnia Veilinghuis
Lot 253

A men's vest pocket watch with key winding in silver case and ditto chain, England, Chester 19th century.

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Omnia Veilinghuis
Lot 265

A Sterling 925/1000 silver cutlery fragment, consisting of; spoons, forks and serving spoons, total 3.2 kg. Ditto knives, fork and cheese slicer on silver handles, total gross weight approximately 1.4 kg.

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Omnia Veilinghuis
Lot 268

A silver vintage design stiff bracelet and ditto pendant, design: Menno Meyer, Gouda, tot. 2x.

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Omnia Veilinghuis
Lot 283

A 2-row pearl necklace and an 18 kt 750/1000 gold clasp with a pearl and 4 rose cut diamonds set in silver.

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Omnia Veilinghuis
Lot 284

A second grade 835/1000 silver wet fruit scoop, year letter 1933. Round decorated container with relief decoration of fruit, the stem ending with strawberries, length 21.5 cm.

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Omnia Veilinghuis
Lot 296

A knife on a silver handle with crowning of a rider on horseback, 18th century, length 31.5 cm.

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Omnia Veilinghuis
Lot 299

A second grade 835/1000 silver pierced boat-shaped chocolate basket, year letter 1911. Master's mark: Begeer, C.L.J., Utrecht (1904 / 1951), 90.5 grams, h 5 x l 14.8 x w 9.2 cm.

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Omnia Veilinghuis
Lot 30

A 3rd grade 800/1000 silver cake server with hammered decor, ca 1900.

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Omnia Veilinghuis
Lot 308

A hammered second grade 835/1000 silver brooch with cabochon cut red corals. D.P.M. Gaillard, Schoonhoven 1907-1941.

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Omnia Veilinghuis
Lot 316

A second grade 835/1000 silver fish scoop, 19th century. Master's mark: Kempen & Sons, Fa. J.M. van, Voorschoten (1858/1924), length 32 cm.

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Omnia Veilinghuis
Lot 318

A second grade 835/1000 silver wet fruit scoop with hammered decoration. YES. Melis, 's Hertogenbosch, year letter 1868.

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Omnia Veilinghuis
Lot 319

A second grade 835/1000 silver soup serving spoon, Haags Lofje, year letter 1921. Master's mark: Gerritsen & van Kempen n.v., Zeist (1926/1961). Hereby ditto potato serving spoon and sauce spoon, total 328 grams, up to. 3x.

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Omnia Veilinghuis
Lot 328

A second grade 835/1000 silver sugar sprinkling spoon. H. van Delden, Zwolle 1835.

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Omnia Veilinghuis
Lot 330

A second grade 835/1000 silver potato serving spoon and two vegetable spoons, Haags Lofje, year letter 1923. Master's mark: Gerritsen & van Kempen n.v., Zeist (1926/1961), total 307 grams, tot. 3x.

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Omnia Veilinghuis
Lot 340

A second grade 835/1000 silver sugar spoon with twisted handle and hammered decoration, year letter 1889.

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Omnia Veilinghuis
Lot 341

A second grade 835/1000 silver soup serving spoon, Haags Lofje, year letter 1914. Master's mark: Oving Bz., H.E., Groningen (1905/±1935), 227 grams.

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Omnia Veilinghuis
Lot 362

A bar of 100 grams of fine silver, Schöne precious metal, Amsterdam.

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Omnia Veilinghuis
Lot 364

Six 3rd grade content 800/1000 silver large and small place settings, Germany, Gebr. Friedlander + some spoons, total 1615.5 grams. Matching knives with ditto silver handles, gross weight 741 grams. Includes additional silver-plated parts.

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