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Click here to subscribeA figure of Hearing or possibly a Muse, perhaps Volkstedt, 19th century The maiden in dancing pose holding a string instrument, the mound base moulded with scrolls, left in the white, 17.3cm high, V in arrows in underglaze-blue, incised 1522 Footnotes: Provenance Mavis Bimson Collection For further information on this lot please visit Bonhams.com
Unusual five string instrument with flat back oval banded body perforated with small sound holes, the fretboard inlaid with opposing mother of pearl diamond markers with similar inlay to the shaped head, 25" long; also two other unusual similar four string instruments with guitar shaped bodies, fretted necks and Stauffer style heads with foliate engraved brass machine heads and bone tuning pegs (3)
Very rare and curious instrument fitted with thirty-seven tuning forks, each connected to a board with string, perhaps for amplification, signed and inscribed twice 'Invented & Made by James Pettit, F.R.A.S., 1839' on the fascia board and to the back behind a hinged door, within a serpentine fronted stained wooden case (missing tambour front), 27" wide, 13.5" deep, 12" high - *James Pettit, F.R.A.S. (Fellow of the Royal Astronomical Society), born Bedford 1774 - died 1850. This maker is recorded as having a career in music, then was employed as a clerk in the Bank of England, also was an experimenter in Optics and made some achromatic telescopes
Good 19th century Mirecourt double bass probably by a member of the Jacquet family, French Gamba Model with flat back, unlabelled, back length 44 1/2", stop length 24 1/4", vibrating string length 42 1/2", soft case - * This instrument was donated to, and is being sold on behalf of The Patagonia Instrument Project who are a registered Charity providing Musical Instruments for Youth groups and Schools in Patagonia. The double bass is sold with related paperwork and some historical valuations.
Peter Hammill (Van der Graaf Generator) - Studio used De Armond Ashbory bass guitar, made in Korea, circa 2001, ser. no. KC01081626, with original case *A studio and rehearsal used instrument. Peter states 'A bit of an oddity. I know I have done some recording with it, buried in among string arrangements as it has the sound of an upright bass, in spite of its small proportions. I also did a bit of playing of it in the early Van der Graaf Generator trio workout rehearsals in 2006'
Two similar forged Viking style iron Axes, each with bamboo handle, a heavy African ebony Truncheon or Hand Club, a small African string Instrument with goat skin drums and wooden handle, 43cms (16 1/2") a small African Ceremonial Canoe Paddle with pear shaped boss, the handle finial in the form of a female head, 64cms (25") and two hide pouches. (7)
Original vintage advertising poster for International Music Week 1957 Lucerne August 17 - September 7 / Semaines Internationales de Musique 1957 Lucerne 17 aout - 7 septembre. The poster features a great colourful artwork by the Swiss graphic artist Celestino Piatti (1922-2007) depicting a stylised string instrument - a violin or cello with green, red, orange, yellow, pink, purple and blue shapes over it, set over a white and black background. Printed by C.-J. Bucher S.A., Lucerne. Excellent condition, backed on linen. Country of issue: Switzerland, designer: Piatti, size (cm): 104x63, year of printing: 1957.
New Windsor No. 4 Zither banjo. An early 20th century five string New Windsor Banjo, comprised of a walnut neck with ebony finger board and mother of pearl inlay. The rim is finished with a rose wood veneer & maple binding, complete with original calf skin head. instrument comes with original distressed yet complete case.
Wang Zhiming (Chinese, Lu-Mi Instruments, 6 String Violone / Viola de Gamba made by Wang Zhi Ming (Wang Zhiming, 2004), No. 104. Internal label reads ‘Lu-Mi Instruments – Made by Wang Zhi Ming – Anno: 2004 – No. 104 – Beijing’. Violone after after Richard Meares ca1660. With bow. Re-stringing required but otherwise in good condition (few marks and chips). The ribs, back and neck are made of sycamore, the top of spruce, and the fingerboard and tailpiece of sycamore with ebony veneer or birds-eye maple. Housed in purpose-build hardcase with few Toro Strings accessories. Overall height 123cm. Wang Zhiming grew up in a family of instrument makers, Overall length 123cm. In 1987, he auditioned and joined the China Philharmonic as a violinist. Wang took some time off from playing with the philharmonic in 2000 to start his workshop, where he makes violins and other stringed instruments.
A RARE TALL IVORY NETSUKE OF A KOKYU PLAYERUnsignedJapan, Osaka, 18th century, Edo period (1615-1868)The musician holding the kokyu in one hand and the accompanying horsehair strung bow in the other, clad in a kimono tied at the waist with an obi detailed with a geometric design, the smiling face with raised brows and full cheeks, the head covered with a headdress. The back with a generously excavated, angled himotoshi.HEIGHT 9.1 cmCondition: Very good condition with minor wear and traces of use. A few natural age cracks.Provenance: From a German private collection. To the pad of the foot, an old collector's number inscribed, '127.'The kokyu is a traditional Japanese string instrument, the only one played with a bow. Horse tail hair is bound to make the hair for the bow. This hair is detachable; a cord is attached to the tip of the hair on the side of the hand; and the cord is tied to a small metallic ring attached to the wood part of the bow. Most of the bows of Kokyu that are used in the genre of Sangyoku (played in combination with Kokyu and two other Japanese instruments) are long, and bows with a hair length of seventy centimeters and a total length exceeding one meter are common. In addition, a large amount of hair is used, and it is a feature of the bows of this type to have the hair string attached at a moderate tension. This charming depiction, full of character, is one which derives from a fairly prolific and thus far anonymous artist – or more likely workshop – in the late eighteenth century. The milky-white ivory and the concern with surface and line indicate they were based in or close to Osaka, and their figures are of medium rather than outsize scale and always smile.Auction comparison:Compare a related Osaka school ivory netsuke of a street vendor at Zacke, Fine Netsuke & Sagemono, 4th November 2022, Vienna, lot 8 (sold for EUR 8,596).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0347).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
TWO FAMILLE ROSE EQUESTRIAN FIGURES OF WANG ZHAOJUN QING DYNASTY, QIANLONG PERIOD, 1736-1795 清乾隆 粉彩王昭君出塞塑像（共兩件） each finely moulded with the lady wearing an elaborate headdress and colourful costume, playing a string instrument pipa on a piebald horse, all upon a rectangular base Dimensions:heights: 22.1cm and 22.4cm Provenance:Provenance: Private collection, London; acquired from Galerie Nicolas Fournery, Paris, one with a circular label from the gallery and hand-written number 'D311' on the underbelly of the horse Note: Note: Wang Zhaojun, also known as Wang Qiang, was known as one of the Four Beauties of ancient China. She was sent by the Han dynasty Emperor Yuan to marry the Xiongnu nomad chieftain Huhanye in an attempt to promote peace and stability between the two courts. The present figures depict an occurrence in Wang's journey north across the steppe, when the beauty of her voice caused a flock of geese to forget to flap their wings and fall to the ground; hence she is also known as 'falling wild goose'. Her image, holding a pipa whilst riding on a horse (see image 1) similar to the present examples, was depicted on a woodblock print book Li Chao Ming Yuan Shi Ci 歷朝名媛詩詞 published in the thirty-eighth year of Qianlong reign, corresponding to 1773AD. A closely comparable example of similar design and colour palette was sold at the Guest & Gray Gallery, London, Ref: Y913.
* Chinese copper incense burner, circa 18-19th century, of circular form, with two upright handles raised from the rim, a low relief string pattern encircling the middle, shallow tripod feet, width 10cm, together with Chinese metal incense burner, similar age, a Qinlu (incense burner used when playing Guqin, the Chinese traditional instrument), of archaic original rectangular form (Ding), with a row of studs under the everted rim, a pair of ear-shaped handles, the body supported by four feet, width 8 cmQTY: (2)NOTE:Provenance: The David & Sarah Battie Collection.
A Mittenwald violincello, early 20th centuryLength of back 73cm (28.75in), red brown colour, wear and restorations, in tan soft case.Provenance:John & Arthur Beare of 179 Wardour Street, London, purchased by Miss Lodwich Ellis in 1946, thence by descent to the vendor.Footnote:A receipt accompanying this instrument from J & A Beare indicates that it was purchased on 30 September 1946. Beares were established in 1865, becoming J & A Beare in the 1890s and moving to their Wardour Street premises in 1926, remaining in the Soho area until 2000 when they opened their current establishment at 30 Queen Anee Street, Marylabone.Condition:Further dimensions:1. the length of the neck (bottom edge of pegbox to top edge of main body) - 11in (280mm)2. the length of the 'stop' (top edge of main body to centre of bridge foot) - 16in (405mm)3. the total sounding string length (bottom edge of the pegbox to the top edge of the bridge) - 27.25in (692mm)Overall in need of refurbishment and generally appearing tired, not currently playable but complete. Varnish throughout has large areas of cracklure. Stress crack adjacent to the heel. Old cracks to lower bout ribs. Chips and marks to purfling.
Strohgeige mit 2 Trichtern, um 1910Made in England. Viersaitige Geige mit Metallmembrane am Korpus und 2 Aluminiumtrichtern, Ebenholzgriffbrett, verwendet als Studioinstrument für Aufnahmen von Phonographen-Zylindern, müßte gereinigt werden. - Literatur: Marty, "Gramophone", 1981, S. 178. - Ausgefallenes, seltenes Sammlungsstück! Mit einem Bogen in Original-Koffer. Start Price: EUR 350 Zustand: (3-4/3-4)Twin-Horned Stroh Violin, c. 1910England, four-string violin with metal cone diaphragm on the body and 2 aluminum horns, ebony fingerboard, used as studio instrument for recordings of phonograph cylinders, with bow and original case, in need of cleaning. - Literature: Marty, "Gramophone", 1981, p. 178. - A rare instrument and a collector's item. Start Price: EUR 350 Condition: (3-4/3-4)
Group of four 19th century antique Italian tooled leather jewelry or trinket boxes. With gilt filigree and floral decoration throughout. One box in the shape of a violin or string instrument case.Height ranges from 3/4 in to 1 3/4 in; width ranges from 1 1/2 in to 6 3/4 in; depth ranges from 1 1/2 in to 5 in.Condition: All the boxes open and close smoothly. Wear throughout consistent with age and use. One of the "eye" pieces of the clasp on the largest box is missing; the clasps are missing on the medium rectangular box. The clasps do not line up and close on the instrument shaped box. Wear and stains to the silk lining of the boxes. Scratches, wear, losses to the gilding, and cracking to the leather throughout.
GIBSON B-25 TWELVE STRING ACOUSTIC GUITAR 1969 serial number 566020 in natural finish and faux tortoise shell scratch plate. This instrument is from the collection of Jimmie MacGregor MBE. Musician, writer, broadcaster, played during performances and on recordings throughout his career. Condition Report:Available upon request
JOHN BAILEY APALACHIAN DULCIMER a four string dulcimer with a 17 fret diatonic fingerboard 58.5cm, and 71cm bridge to nut, the sound holes stylised hearts, presented to Jimmie MacGregor by the maker John Bailey. Jimmie and John were good friends and Jimmie customised various instruments in John's workshop. This instrument is from the collection of Jimmie MacGregor MBE. Musician, writer, broadcaster. Condition Report:Available upon request
BANDURRIA a Spanish 12 string bandurria, pear drop two piece back, 12 fret, indistinct label to the interior. This instrument is from the collection of Jimmie MacGregor MBE. Musician, writer, broadcaster, played during performances and on recordings throughout his career. Condition Report:Available upon request
GALLOTONE CHAMPION 3/4 SIZE (MID-1950S) SIX STRING GUITAR MADE BY THE GALLO COMPANY OF SOUTH AFRICA. THIS GUITAR IS SHOWING SOME AMAZING AGE RELATED PLAY WEAR AND IS NONETHELESS A FANTASTIC COLLECTORS ITEM WITH A BEAUTIFUL PARLOR STYLE BODY. IT IS ALSO MADE FROM LAMINATED WOODS MEANING "GUARANTEED NOT TO SPLIT" AS STATED ON ITS INTERIOR LABEL. THERE ARE 2 STRINGS MISSING, BUT CAN VERY EASILY BE RE-STRUNG. THIS GUITAR IS A WONDERFUL INSTRUMENT, MADE FAMOUS BY THE LIKES OF JOHN LENNON WHO WAS A WELL KNOWN PLAYER OF THE GALLOTONE CHAMPION. THE GALLOTONE COMPANY WAS A SOUTH AFRICAN BASED INSTRUMENT MANUFACTURER OWNED BY THE COUNTRY'S LARGEST RECORD COMPANY, GALLO AFRICA. GALLOTONE MADE BUDGET INSTRUMENTS INTENDED FOR THE STUDENT MARKET, AND WERE EXPORTED TO MANY COUNTRIES DURING THE 50'S AND 60'S.
Part of the Crystal Melodies' collection. Depicts a clear string instrument. Includes a rhodium metal stand. Swarovski laser etched marking on the base of the lute. Stand: 1.5"L x 0.75"W x1.75"H. Artist: Martin ZendronIssued: c. 1992-1997Dimensions: 1.25"L x 0.75"W x 3.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
An early 20th century enamel and white metal chatelaine, the oval clip with blue enamel border and central cast figure of a winged lady playing string and bow instrument, suspending a conforming blue enamel chain with seal and three figure head detail, and a further white metal associated chain with propelling pencil, overall length 18cm, 1.4ozt (at fault)
Ca. 618-907 AD.A mould-formed pottery tomb attendant figure represents a woman adorned in a traditional attire that epitomizes the artistic and cultural achievements of the Tang era. The lady wears a long robe with a red-painted skirt, complemented by cream-colored upper clothing. The pointed tips of her shoes emerge from the bottom of the robe, emphasizing the attention to detail in her representation. She holds a pipa, a stringed musical instrument. Her smiling face is framed beneath a large hair bun, exuding elegance and grace. The figure stands gracefully atop an integral flat base, showcasing its excellent condition and retaining its original paintwork. The pipa, prominently featured with this figure, was a popular and widely played musical instrument during the Tang Dynasty. It is a plucked string instrument with a pear-shaped body and a fretted neck. The pipa was introduced to China during the Han Dynasty and underwent further developments in design and technique during the Tang Dynasty. It became an integral part of the imperial court music, as well as the entertainment and cultural scenes of the time. The instrument's popularity extended beyond the court and was embraced by musicians and performers from various social strata. The inclusion of musician figurines, such as this tomb attendant holding a pipa, in Tang Dynasty tombs serves as a testament to the appreciation for music and artistic expression in Tang Dynasty culture. These figurines were believed to accompany and entertain the deceased in the afterlife, providing comfort and enjoyment in their eternal journey. They reflect the value placed on music as a form of cultural expression, entertainment, and spiritual significance during the Tang Dynasty. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. Size: L:360mm / W:140mm ; 1.21Kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
A clear figure of a string instrument with a rhodium metal stand. Swarovski mark. This item has its original box: 3.25"W x 5"H. Stand: 1.5"L x 0.75"W x 1.5"H. Artist: Martin ZendronIssued: 1992-1997Dimensions: 1.25"L x 1"W x 3.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
A very rare, dated, mid 18th century mahogany-crossbanded oak longcase clock with Dutch strike and bolt-and-shutter maintaining powerHenry Hindley, YorkThe inverted bell top with shaped cresting flanked by twin capped pedestals over a stepped multi-part cornice raised on freestanding reeded Doric columns, the long trunk door with mahogany crossbanded edge on a matching panel base and apron. The 12 inch arched brass dial with large subsidiary date dial framed by addorsed dolphin mounts over mask-and-scroll spandrels enclosing the silvered Roman and Arabic chapter ring signed either side of VI, the finely matted centre with running seconds and matted shutters for the maintaining power. The weight driven movement secured to the (replaced) seatboard by twin J-bolts locating into the lower edges of the plates which are united by four typical turned baluster pillars of particularly good colour, the going train with maintaining power engaged via a pull cord below, the striking train with rack striking system on a bell, (originally Dutch striking, now one bell hammer removed). The frontplate with engraved date 1743. The tapering steel rod pendulum with brass faced lenticular bob, and a pair of lead weights. 2.41m (7ft 11ins) high.Footnotes:Henry Hindley was born 'Henry Hindle' in 1699 to Margaret Proctor and Henry Hindle, a blacksmith, in Great Harwood, near to Blackburn. The Hindles were a well-known blacksmith family in Great Harwood, going back at least 150 years. It has been suggested that Henry served his apprenticeship in Wigan and at least two clocks signed Hindley de Wigan and dated to around 1720, are known to exist, which would support this conclusion. It is unknown who his master was; John Burgess, a Wigan clockmaker and gun smith, has been suggested, though there is no concrete proof that this was the case. Henry was the eldest of eleven, possibly twelve children. His sister, Katherine, was around a year his junior, followed by John (1704), Elizabeth (1705), Sarah (possibly another sister, though not confirmed), Mary (1708), Anne (1709), Edith (1711), another Anne (1713), the twins Margaret and Alice (1714), and the youngest of the siblings, Roger, who was born in 1716. By 1731, Hindley was in York, obtaining the Freedom of the City in March of that year. In order to gain Freedom in York, a horologist either had to be apprenticed in York, or pay for their freedom, with gifts being accepted in lieu of payment. Hindley accordingly gifted two specially made eight-day longcase clocks; one for the Mayor of York's home (Mansion House) and another for the Common Hall/Guildhall. He also agreed to maintain both clocks for a year (after which point, he would be paid for servicing them) and was subsequently granted his freedom. At some point, he married a woman named Sarah, and the couple had at least two children, Elizabeth and Joseph. The latter was born around 1728 and would likely have been apprenticed to his father.Hindley originally appears to have lived in Petersgate, before moving in 1741 to the corner of Blake Street and Stonegate. Around the time of his move to York, he seems to have apprenticed his younger brother Roger, though no formal record of this apprenticeship exists. Roger would later move to London, seemingly around the time that Henry moved to Blake Street and Stonegate. His main trade was watch-cap manufacture, and as no finished timepieces are known with his signature, it is assumed he built his career on supplying parts for the trade. He was known to have married, and the couple had at least one son, John. The last known record of this part of the Hindley family is in 1785, where Roger is noted as still an active horologist. In addition to changing residence in 1741, Henry Hindley made the acquaintance of John Smeaton, who would eventually become a London scientific instrument maker and civil engineer, as well as a life-long friend and posthumous promoter of Henry Hindley. During their first meeting, Smeaton references a wheel-cutting engine in Hindley's possession, and of Hindley's own manufacture around this time, which was equipped with an endless screw, and the ability to cut up to 360 teeth. Smeaton was so intrigued with the machine and its manufacture, that he would later deliver a lecture before the Royal Society in 1785, specifically about the machine and Hindley's process for dividing circles. The machine was acquired by a varied string of clockmakers, after Hindley's death, and alternatively run down and restored. It is unknown what eventually became of it.In addition to clocks, around 67 of which are extant (most being longcases, followed by turret clocks and then spring driven clocks) Hindley was known to have made at least two equatorial telescopes. The first was made around 1754, a contemporary opining that the mounting for the telescope was originally made to test the accuracy of Hindley's wheel cutting engine. He advertised the finished telescope for sale in the local newspaper of August that year, though it seemed to generate little interest. The telescope languished until 1761, when it was bought by a landowner, William Constable, to watch the transit of Venus. The second telescope Hindley made appears to have been made on commission for the Duke of Norfolk. Additionally, a pyrometer and rack-driven fusee engine are known to have been made by Hindley. Elizabeth died in 1762, the exact cause being unknown. Sarah followed shortly after, around the end of the same year. Henry continued his business until his death in 1771, reportedly after a 'lingering illness', though he managed to install a turret clock made for St. John's Church in Manchester before his death. One of the last jobs completed before his death, poetically, was the servicing of the clocks he had made for the Manion House and the Guildhall. He was described in his obituary as a 'Clock, Watch, and Mathematical Instrument maker.' Joseph took out a notice the following week, that he would be continuing his father's business. In 1774, shortly after completing work on the Holy Trinity Church's clock in Hull, Joseph also died, apparently in the middle of making an atmospheric steam engine for the same town's waterworks. He was described as a clock and watchmaker, with his obituary declaring him 'a most ingenious man, and esteemed one of the best Mechanics in the North of England.' Joseph had no children, nor did he ever marry, meaning that six months later, all the tools he inherited from his father were sold off, including the famed dividing engine.For further information on this lot please visit Bonhams.com
1973 Fender Jazz Bass - Sunburst (Left handed) Made in USA.Including the original hard case.• Original pickups• Original bridge• Original "Fender" stamped tuners• Original pots, cap and wiring• Original Chrome dome top knobs• No pickguard• Volume for the bridge pickup, volume for the middle pickup, master tone• Brass shielding plate in the control cavity• Bound Maple Neck, Rosewood fretboard with block inlaysSerial number: 403916A six-digit serial number between 370000 - 520000 dates an instrument to 1973Stamped neck plate, logo, parts and provenance date this bass to 1973.Potentiometers stamped with "1377329" date this instrument to the 29th week of the year in 1973.All moving parts are moving and free from rust. Truss rod works, saddle screws work, tuners work. The frets have plenty of wear but still play well, fretboard is in great condition with no dings or scratches. The body has dings and scratches to the front and outside edges.Specifications:Neck• Neck Material: Maple• Neck Finish: NitrocelluloseScale Length: 34"• Fingerboard: RosewoodFingerboard Radius: 7.25"• Number of Frets: 20• String Nut: Bone• Nut Width: 1.625" (41.3 mm)Electronics• Original Fender Jazz Bass Pickups - Bridge and Middle• Controls: Middle pickup volume, bridge pickup volume, Master ToneHardware• Bridge: 4-Saddle Fender bridge• Hardware Finish: Nickel/Chrome• Tuning Machines: Fender• Control Knobs: Knurled chrome dome top knobs
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