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Lot 1499
A group of mostly silver jewellery, comprising; a marcasite set brooch, designed as a large moth with red gem set eyes, four further brooches, a smoky quartz set single stone ring, a band ring, a bangle, a colourless gem set pendant, a neckchain and a pair of square cufflinks with enameled decoration.
Lot 1548
A Victorian gilt collar necklace, in an oval link design, decorated with beaded edges and on a snap clasp, a single row necklace of graduated cultured pearls, on a diamond set clasp and mostly costume jewellery, comprising; five brooches, a clip, a pair of earclips, three imitation pearl necklaces, a green stone bead necklace and a multiple row bead necklace.
Lot 657
*Horizontal Mill Engine. A good live steam model engine, possibly by Stuart, the cast iron bed with single cylinder horizontal motion flywheel, governor and drain cock, driving a sand-stone knife or scythe sharpener wheel via an overhead pulley system, on wood base, 14.75in (37.5cm) long, together with a live steam vertical boiler with single oscillating cylinder driving via a crank or vertical driving wheel, with burner on base, 10.25in (26cm) long (2)
Lot 777
*British Empire Medal, Civil Division, E.II.R. (John Connor), in `Royal Mint` case of issue, extremely fine. B.E.M., London Gazette 8.10.1957. John Connor, Conductor, Scottish Omnibuses Ltd. (Edinburgh) Douglas Maitland Tocher, Sergeant, Edinburgh City Police Force (Edinburgh).. A man heard what appeared to be sounds of someone moaning coming from a small stone building behind the wall at the side of a road. The building was blocked up apart from a small jagged hole measuring 22 inches across by 15 inches high in one of the end walls, approximately 4 feet from the rising ground beneath, on the outside of the building. The man saw two hands gripping the edge on the inside of the building and detected very strong gas. He tried to grasp the hands and saw that a boy was trapped inside and partially overcome by fumes. He tried to pull the boy clear but without success and, as the effects of the fumes were becoming more apparent, he ran to a nearby garage and obtained the assistance of Mr. Connor, who vaulted the wall separating the building from the footpath and crawled through the hole. He reached ground level on the other side, about 6 feet below the hole, and at once detected the strong fumes. Groping about in the darkness he found the body of a boy lying on the floor. The boy was semi-conscious and, picking him up, Connor pushed him head first through the opening from where he was pulled to safety. By this time Mr Connor was beginning to feel the effects of the fumes and experienced a choking sensation. It was not without difficulty that he managed to pull himself up to the hole and regain the outside. At this stage it was not believed that there was any other person trapped inside but Sergeant Tocher and a Constable went to the building and the Sergeant examined the interior through the hole. He heard a grunting sound and thought that he saw the form of a boy lying in the darkness below. He discarded his tunic and, after tying a handkerchief over his nose and mouth was forced through the opening. He found the body of the boy lying unconscious near the hole. He picked him up and hoisted him out head first though the opening to the other police officers. Sergeant Tocher then searched the building and found five fire extinguishers scattered on the floor, three of which had been discharged. The extinguishers were passed outside by Sergeant Tocher, who, after ensuring that there was no one else inside, endeavoured to get through the hole. By this time the effects of the fumes had begun to tell on him and he experienced great difficulty in raising himself the six feet from the floor level. A large stone was pushed through the hole for him to stand on. With this aid he managed to reach the lower edge of the opening. His arms were seized and he was pulled to the outside where he collapsed. Fully aware of the heavy concentration of fumes, Mr. Connor and Sergeant Tocher entered the confines of the building, faced with a drop of six feet on the inside and uncertain as to how they would find a way out. Both men displayed considerable determination and courage in effecting the rescue of the boys. (1)
Lot 1
A pair of massive carved Portland stone gatepier balls probably 17th century 100cm.; 39ins high; ball diameter 61cm.; 24ins Reputedly removed from Redgrave Park, Suffolk, England. The Domesday Book (1086) records that the Manor of Redgrave was originally given to the Abbots of Bury St Edmunds by Ulfketel, Earl of East Anglia. (Ulfketel was leader of local resistance against the invading Danish armies in 1004 and 1010.) In 1211 the Abbot of Bury St Edmunds had a hunting lodge on the site and around 1545 a prestigious mansion, known as Redgrave Hall, was built by Sir Nicholas Bacon, later Lord Keeper of the Privy Seal to Queen Elizabeth. He rebuilt the Hall in Tudor style with a symmetrical front around a courtyard with flanking wings. Some of the remains of Abbot Sampson’s lodge were included in the walls. An oil painting circa 1630 shows the Tudor mansion, with a number of large gate pier balls, which may well be these examples flanking the main gate of the house. The youngest of Sir Nicholas Bacon’s sons was Sir Francis Bacon, 1st Baron Verulam; an essayist and philosopher, whose work laid the intellectual foundations of modern science. He famously died by contracting pneumonia while studying the effects of freezing on the preservation of meat. In the mid 19th century a credible theory was put forward that he was also the author of the plays conventionally attributed to William Shakespeare. In 1702 the Park and Hall were bought by Sir John Holt, the Lord Chief Justice. In the 1760’s his grandson rebuilt the Hall and remodelled the Park in classical style, with the help of celebrated landscape designer ‘Capability’ Brown, at which time the gatepier balls were presumably removed and relocated and subsequently sold following the demolition of the Hall in 1947.
Lot 3
An impressive set of twelve composition stone lidded urns circa 1935 137cm.; 54ins high Provenance: Removed Witley Court in Worcestershire, England. Witley Court is a Grade 1 listed building and was once one of the great houses of the Midlands, but today it is a spectacular ruin after being devastated by fire in 1937. It was built by Thomas Foley in 1655 on the site of a former manor house near Great Witley. Subsequent additions were designed by John Nash in the early 19th century and the Court was subsequently bought by the Dudley family in 1837. The site was acquired in 1953 by its current owners, the Wigington Family of Stratford-upon-Avon, for £20, 000, and is in the guardianship of the Secretary of State for Culture, Media and Sport, and managed on its behalf by English Heritage since 1984. This impressive run of lidded urns were supplied in 1935, as identical replacements for the existing decaying ones on the parapet of the portico designed by the architect John Nash in 1805, however the disastrous fire in 1937 prevented this from happening and the urns were then put into storage until being disposed of by English Heritage a few years ago. Get pic from picture store called Whitley fire 2 Caption to pic should read The fire at Whitley court in 1935 showing the Nash lidded urns on the parapet of the portico
Lot 10
A set of four carved gritstone allegorical figures, circle of Jan Pieter van Bauerscheit Low Countries, early 18th century on later composition stone pedestals, representing Fidelity, Pride, Vanity and Fecundity the figures 94cm.; 37ins high, 170cm.; 63ins high overall Jan Pieter van Bauerscheit the Elder, born Wormersdorf in 1669, architect and sculptor, lived and worked in Antwerp where he was buried in the church of Saint Waudru in 1728. In 1691 he is recorded as a pupil of Peter Scheemaeckers the Elder and in 1694-5 registered in the guild of Saint Luke as a Master. Baurscheit was appointed assistant director of the Antwerp Mint (1709), sculptor to the King (1714-1715) and sculptor to the Emperor (1717). He established one of the leading workshops in Antwerp which was continued after his death by his son Jan Pieter Van Bauerscheit the Younger (1699-1768). Ensembles of putti in the guise of temporal and mythological subjects such as the vices, virtues and deities were particularly sought after in the Netherlands, where they decorated the town houses and country seats of its wealthy merchant population. One of the most successful workshops which produced this type of sculpture was that of the Van Baurscheit family in Antwerp. Originated by Jan Pieter van Baurscheit the Elder in the late 17th century, In 1691 he is recorded as a pupil of Peter Scheemaeckers the Elder and in 1694-5 registered in the guild of Saint Luke as a Master. Baurscheit was appointed assistant director of the Antwerp Mint (1709), sculptor to the King (1714-1715) and sculptor to the Emperor (1717). Several drawn designs for allegorical putti by Jan Pieter van Baurscheit the Younger closely resemble the present group. Good examples include a sheet with four putti representing the Elements illustrated in Europäische Barock am Niederrhein (op.cit., no. 194) . In this group pride is representd by a peacock, fecundity by a rabbit, fidelity by a dog and vanity by a casket of jewels.
Lot 17
A rare Coade stone gatepier in the form of a muzzled and coroneted bear surmounted on a coronet 89cm.; 35ins high see footnote to lot ......... This piece forms the cresting to a coat of arms. The muzzled bear head with foliage was adopted by a few families including Berreton, Brereton, Gauntlet, Parker, St Michael, St Mitchell, Vincent and White. It was almost certainly individually commissioned as one of a pair to serve as gate piers tops at the entrance to an estate. Literature; See Fairburn’s Crests of the Families of Great Britain and Ireland, 1986 New Orchard Further research has revealed that this was one of a pair of armorial bears with coronets made for the gate piers of Hennerton House, Wargrave, Berkshire by the well known architect and designer C.H.Tatham.See Mrs Coade’s Stone,SPA, 1980 page 195
Lot 18
A rare Coade and Sealey figure of Venus the headless and armless figure supported by dolphins on rectangular base stamped Coade and Sealey Lambeth 1803 180cm.; 71ins high Provenance; Removed from the car park of The Old Bull and Bush public house, North End Road, Hampstead, London in the 1980’s. Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade’s Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar’s Lane exhibition Gallery. The firm became Coade and Sealey from this date and following Sealey’s death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade’s manufactures resembling a fine-grained natural stone, have always been famed for their durability. Alison Kelly in her book Mrs Coade’s Stone records that this figure was complete until the 1960’s and originally held a scarf above her head, before losing an arm in the 1970’s and then being further damaged in the 1980’s. Literature; A. Kelly Mrs Coade’s Stone, London, 1980, pages 131 and 405 and illustrated with head page 132.
Lot 27
A large George II carved Portland stone sundial mid 18th century the 18in bronze dial signed Heath and Wing, London and with armorial coat of arms with latin motto amori et fideli together with indistinct monogram, calibrated with hours, minutes, compass points and later gnomon 140cm.; 55ins high The partnership of Heath and Wing were operating between 1751 and 1773 at various addresses around The Strand in London. (See engraving).
Lot 28
A monumental and rare Victorian carved Portland stone sundial 427cm.; 14ft high Multi facetted sundials are most usually to be found in Scotland and carved in a reddish brown sandstone. This impressively large example, carved in Portland stone would almost certainly have been individually commissioned for a large estate.
Lot 49
A rare Handyside cast iron fountain circa 1860 on associated stone plinth and with later brass spout 195cm.; 77ins high Andrew Handyside established the foundry in 1806 and by 1851 the firm had expanded and operated out of the Britannia Iron Works, Derby. At the Great Exhibition they exhibited Medici vases, a bacchanalian vase and a bronzed vase decorated with busts of Peel, Nelson, Watt, Wellington, Stephenson, Scott, Shakespeare and Milton, together with a fountain. At the time, the foundry was described as being |from the magnitude of its operations is second to none in England| 1873 incorporated at a Limited Company. They produced two catalogues one circa 1850 and one in 1874 in which this fountain is illustrated
Lot 63
After Bernini: An impressive composition stone figure of the young David French, late 19th/early 20th century 180cm.; 71ins high Gian Lorenzo Bernini 1598-1680 was an Italian artist who worked principally in Rome. He was the leading sculptor of his age and also a prominent architect. In addition he painted, wrote plays, and designed metalwork and stage sets. Between 1618 and 1625 Bernini was bribed to decorate with sculptures the villa of his patron, Cardinal Scipione Borghese. The sculpture shows a scene from the Old Testament First Book of Samuel. The Israelites are at war with the Philistines, whose giant warrior Goliath has challenged any of the Israelite soldiers to settle the conflict by single combat. The young shepherd David has just taken up the challenge, and is about to slay the giant with a stone from his sling: David’s nudity is only partially covered by a robe. At his feet lies the armour he has just shed, as he is unaccustomed to it and believes he can fight better without it.
Lot 28
Various pairs of ladies` earrings, comprising peridots on chain drop, blue foil back stone on bar drop, both with shepherd crook fittings, a pair of antique drops set with amethyst, shepherds crook fittings, pear shaped crystal drops with hook wire fittings, cultured pearl studs, approx. 8mm, post & butterfly fittings, all stampede, tested, h/m or tagged 9ct gold & a pair of cultured pearl studs, approx. 4mm, post & butterfly fittings, stamped & h/m 18ct gold (gross 6.4g) (6)
Lot 86
Opal & diamond Art Deco drop earrings, approx. 50mm, comprising teardrop shaped opals, approx. 16mm, one stone lively, the other stone quite dull, hanging from ornate shaped drops each set with seven early brilliant cut stones of various sizes, total weight approx 0.40 carats, hook wire fittings with clip fastener, all in white gold, stamped & tested 18ct (4.0g)
Lot 89
Ladies` garnet ring, comprising oval garnet in rub-over setting within an ornate frame, split scrolled shoulders, stamped 9ct gold, size N or 6.1/2 US (3.3g) & a ladies` marquise shaped ring, centre stone missing, surround of seed pearls, three stones missing & one stone damaged, stamped 18ct gold, size O or 7.1/4 US (2.6g) (2)
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398886 item(s)/page