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Lot 666
A 19th century parlour guitar, with floral mother of pearl detailing, rosewood sides and back, the brass fittings for the gear heads are stamped 'C.EON', in original case with label for Broxton Station Cheshire, 93cmThe guitar originally belonged to a Lady from Carden Park Cheshire and has passed through the family. She used to play it in the morning while the maid brushed and styled her hair. There is written card internally of the ebonised case for 'Y. P. Guivier, music string warehouse, 6 Golden Square, London'. CONDITION REPORT: Guitar lightly grubby and with age wear patina of light scratches, heaviest to one side of the strings on the front board and to one side of the back. Some rusting to the screws / tuning keys. Possibly the back of the shaft / finger board and tuning head has been re-ebonised. There is one worm hole near to the top of the head. Case heavily scuffed and worn and with some old worm holes. The instrument was insured in 1984 for £200 where it was described as mid 19th century and probably London made. No makers label
Lot 712
Essex & Cammeyer five string zither banjo, bearing a presentation plaque to Miss Rosie Skinner by Messrs Essex & Cammeyer, 1899, the back with transfer printed floral decoration, with 8" skin and 25" scale, soft case (at fault) *Miss Rosie Skinner was the daughter of banjo maker, player and teacher, Charles Skinner. The instrument was presented to Miss Skinner after winning a competition
Lot 615
FIve double course Guitar by Alexandre Voboam Le Jeune, 1675 and later, the head with shaped outline bearing ten ebony pegs, the face of the head with a central band of ebony and ivory pistagne inlay, the fingerboard currently with six gut frets and five ebony frets on the table, the back of the head and neck with alternating ebony and ivory string banding, the stained lightly flamed maple back with visible restorations around the heel, the sides with two parallel ivory bands, the fine grain spruce table, fingerboard and rosette with alternating ebony and ivorypistagne inlay, the ebony bridge flanked by freted floral moustaches, inset three-tier architectural rose, in a 17th/18th century leather-covered case Inscribed Alexandre Voboam Le Jeune 1675 on a rectangular ivory plaque to the face of the head Overall length 34.25", 87cm; string length 24.5", 62.2cm *This guitar is included in - Florence Getreau 'Recent Research about the Voboam family and Their Guitars' in 'Journal of the American Musical Instrument Society Volume XXXI 2005': AJ2 in list p.14 - this is one of ten guitars known by Alexander Voboam le Jeune, six are in museums, two unlocated, two in private collections
Lot 416
A 19th Century Rosewood Truncheon, possibly Trobriand Islands, of slender tapering cylindrical form, the upper section carved with bands of geometric motifs, the string bound pommel with braid wrist strap, 39cm; a 19th Century Dark Patinated Wood Musical Instrument or Pegged Measure, of unusual stepped wedge form, the fretted haft pierced at intervals for pegs, 51cm (2)
Lot 410
Stroviols Violin circa 1910 Registered Trademark, Popular Model. 4-string twin Aluminium Horn example often favoured by Jazz Musicians. NB: Stroviols and other phono or Horned String Instruments were developed at the turn of the 20th century to assist in sound recordings onto wax cyclinders. These such instruments gave a much sharper sound which was needed. As recording Techniques improved and wax cyclinder players lost popularity to the development of the disc recordings, production of the Stroviols gradually slowed. Today they are still played, only as a novelty instrument.
Lot 264
A late 19th Century Chinese ivory puzzle ball on stand, the 10cm diameter ball carved in high relief with dragons, the stand incoporating a small puzzle ball knop supported by a female figure playing a string instrument upon a horse with a flag bearer to her side, raised and fret carved cicular plinth, full height including ball 40cm, on a wooden standCondition Report: Appears generally good overall with no obvious detrimental damage or repair, inner puzzle balls not checked
Lot 828
Single manual harpsichord by Giovanni Battista Boni da Cortona, Cortona, circa 1620, the case of false inner/outer construction, the exterior with later paintwork in shades of light green and creamy-brown divided by a dark brown band, the main portion of the lid interior painted with an extensive rural landscape with a bay in the distance, the keyboard flap painted recently in the style of the main section, the soundboard with a piered parchment rose, the keyboard with arcaded boxwood naturals and ebony accidentals, the partly enharmonic keyboard, compass currently FF, GG, AA, BB then C/E to c3, with broken octave and divided accidentals d♯, g♯, d1♯, g1♯, a1♯, one 8ft register, raised on two trestle stands.Length 6ft. 4â…žin., 195.3cm.; width 2ft. 6¼in., 76.8cm.; case depth 8â…žin. 22.6cm.*Recorded by Donald Boalch in Makers of the Harpsichord and Clavichord, 1440-1840 (3rd edition edited by Charles Mould), pp. 250-251. Referred to and illustrated in A History of the Harpsichord by Edwards L. Kittick, pp. 136-137, 485, note 23, Plate 6-4. Also see 'Some Notes on Giovanni Battista Boni da Cortona, Giralmo Zenti and others' by Frederick Hammond , Galpin Society Journal XL, December 1987, pp.37-47 for further information on the maker. A further reference to this harpsichord can be found in an article 'Italian Split-key Instruments with fewer than Nineteen Divisions to the Octave' by Christopher Stembridge and Denzil Wraight, the Journal of Performance Practice, 1994, No.2, p. 156, Item 7.The attribution to G. B. Boni is courtesy of Dr. Denzil Wraight who is quoted in Boalch in a letter to the owner "the lower moulding identifies the instrument quite conclusively…Thus I have no doubt about the attribution. The moulding referred to is illustrated in silhouette in The Historic Harpsichord, Volume III (editor Howard Schott) in the chapter 'The Identification and Authentication of Italian String Keyboard Instruments' by Denzil Wraight, p. 107. The moulding illustrated is from the Boni harpsichord in the Brussels Musical Instrument Museum.This harpsichord has been the subject of a number of alterations including conversion to a two-manual instrument. Under Mr. Mackenzie's instruction it was returned to what was believed to have been its original specification of a single 8ft. register. Boalch suggest that it had passed through the hands of Franciolini but it does not appear in any of his published catalogues. Other owners recorded by Boalch were Elizabeth Moss, Alec Hodsdon and Michael Thomas. A number of respected restorers have worked on the harpsichord in more recent times
Lot 12E
Magna Graecia, South Italy, Apulian, attributed to the Strotgen Painter, ca. 340 to 330 BCE. A masterful Apulian red-figure volute-krater (mixing bowl) attributed to the Strotgen Painter, the vase of a monumental scale, presenting an elegant form with extensive iconography and elaborate decoration (see extended description below), all expertly delineated in red-figure technique with additional fugitive white, orange, and red pigments. An exceptional and important work displaying mesmerizing artistry and the utmost technique. Size: 17.5" W at widest point x 31.5" H (44.4 cm x 80 cm) Refined vases like this volute krater were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Furthermore, virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by delineating them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail. Side A of this volute krater features two figures delineated in added white pigment within a naiskos; the figure on the right sits upon a crimson mantle, and faces right; however his head is turned in three-quarter view, as he plays a kithara (a seven-string instrument of the lyre family) in the nude. Standing to his left is a youth, partially draped in an orange himation with cascading folds billowing over his physique, who leans upon a knobby staff. Surrounding this pair of figures and the naiskos are four offering bearers, three female and one male. Adorning the neck is a helmeted head, depicted in profile to the left, delineated in added white and orange, emerging from a stylized flower (or possibly patera) and flanked by a verdant surround of flowering sinuous vines, with a register of eight-petaled flowers above and a band of frets on the shoulder below. The volutes boast molded relief mascaroons in the form of frontal facing female heads with curly coiffures and gently smiling faces in added white, orange, and red pigments. Side B features four additional offering bearers, three male and one female, sitting and standing around a stele that is adorned with ivy vines on its base, a register of Greek key at the lower end, a ribbon at the center, and a cap of zigzags, striations, and trios of dots, with elaborate palmettes on the neck, framed by registers of wave, egg-and-dart, and laurel leaves above and a band of frets on the shoulder below. The volutes on this side present molded relief mascaroons in the form of frontal facing female heads of the same likeness as those on the obverse, though painted in black. Adding further interest to this impressive iconographic and decorative program are the elaborate palmettes beneath each handle and four plastic (completely in the round) swan heads emerging from the shoulders and flanking the handles - a pair of white swans above Side A, a pair of black swans above Side B, this black-and-white contrast (also seen in the mascaroons) perhaps symbolizing day and night, good and evil, or life and death. In the Classical world, the swan symbolized grace and beauty, and was oftentimes associated with love, poetry, and music - related particularly with lyres and instruments in the lyre family like the kathara featured on this piece. Furthermore, the swan was regarded as sacred to Aphrodite and Apollo. According to Greek mythology, sacred swans circled the island of Delos seven times when Apollo was born, because it was the seventh day of the month. Zeus showered his son with lavish gifts including a chariot drawn by swans and a lyre. Aphrodite also rode a chariot that is sometimes depicted pulled by swans, though oftentimes by doves, and she is commonly depicted riding a swan. Finally, in the story of Leda and the Swan, Zeus, assuming the form of a swan, famously seduced Leda. A remarkable vase of the so-called Ornate Style by the Strotgen Painter of an impressively grand scale, decorated with an ultra fine hand as well as in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. A comparable volute-krater, with duck heads on the shoulders and a similar elaborate decorative/iconographic program sold at Christie's for $158,500 (7 December 2011, Christie's Special Exhibition Gallery, Lot 128) - http://www.christies.com/lotfinder/Lot/an-apulian-red-figured-volute-krater-attributed-to-the-5509164-details.aspx. Another example from Royal Athena Galleries, attributed to the workshop of the Baltimore Painter and with an arguably less sophisticated painting technique, is listed for $45,000. Follow this link - http://www.royalathena.com/PAGES/GreekCatalog/Vases/SouthIt/GJP0602R.html Provenance: Ex- Collection of James Farmer, Maryland, collected from major galleries and auction houses between 1995 and 2005; Ex-Christie's New York (7 December 1995, Lot 92); Ex-Leo Mavrovitis collection Condition: Restored from fragments, minor losses, repainting along fractures. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121212
Lot 55
A set of six Edward VII silver circular buttons embossed with a shoulder length profile of a young girl, each 1in diameter, by E.J Trevitt, Chester, 1902, in black leather fitted case and six smaller buttons embossed with a figure playing a string instrument, each .625ins diameter, by Sydney & Co, Birmingham 1902
Lot 15
A Broadcaster five string banjo by J & A M London (the 5th peg removed to create four string instrument), the finger board, body wall and resonator back applied with simulated mother of pearl, the 27 cm diameter head with brass mounted body and resonator, 94cm overall length, with soft case - Est £60 - £90
Lot 657
A 19th century oval backed mandolin bearing paper label to interior reading Raffaele Martea Allievo Di Vinaccia Fabbricante Distrumenti Armonici Anpoli with mother of pearl inlay to bridge, together with an eastern worked timber two string instrument (displayed on top of miscellaneous cabinet)
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561 item(s)/page