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Click here to subscribeLate 18th/early 19th century English viola bearing a label inscribed Forster, the one piece back of faint medium curl with similar wood to the sides, the head of narrow curl, the table of a medium width grain and the varnish of a chestnut brown colour on a golden ground, 15 7/16", 39.20cm, case
French violin probably by and labelled Fait par G. Apparut en 1922 no. 77, the two piece back of irregular medium curl descending from the join, the sides and head of similar wood, the table of a medium width grain and the varnish of a reddish colour on a golden ground, 13 15/16", 35.40cm
French violin by and labelled H. Derazey, Mirecourt Medaille de 1st Classe, Exposition Universelle 1855, the one piece back of faint medium curl with similar wood to the sides and head, the table of a medium width grain and the varnish of a plum red colour on a golden ground, 14 1/16", 35.70cm
German violin by and labelled Karl Friedl, Stutgart - Anno 1950, the one piece back of faint medium curl with similar wood to the sides and head, the table of a fine width grain widening to the flanks and the varnish of a reddish-brown colour on a golden ground, 14 3/16", 36cm
French violin of the Louis Guersan School labelled Ludovicus Guersan Prope Comoedian Gallicam Lutetiae, Anno 1746, the two piece back of faint medium curl with similar wood to the sides, the head of plainish wood, the table of a fine width grain and the varnish of a golden-brown colour, 14 1/8", 35.90cm
French violin labelled C.A. Miremont, fecit Parisius, Anno Dni 1868, the one piece back of fine curl with similar wood to the sides and head, the table of a medium width grain widening to the flanks on the bass side and the varnish of a dark reddish-brown colour on a golden ground, 14 1/16", 35.70cm
1973 Martin D-18 acoustic guitar, made in USA, ser. no. 3xxxx7, the mahogany back and sides with various marks and blemishes including two hairline cracks to the bass rib, the table with surface scratches, most significantly between the sound hole and bridge, frets with minor wear, hard case, condition: good for age
French violoncello of the H. Derazey workshop, unlabelled, the two piece back of faint medium curl with similar wood to the sides and head, the table of a fine width grain widening to the flanks and the varnish of a dark red colour on a golden ground, 29 3/4", 75.60cm (at fault)
French violin labelled Gand..., probably by Didier Nicolas L'Aine and in need of extensive restoration to the table, the one piece back of faint medium curl with similar wood to the sides and head, the table of a medium width grain and the varnish of a plum red colour on a golden ground, 14 3/16", 36cm (at fault)
Good English viola by and labelled William H. Luff, Maker London 1970, the one piece back of faint medium curl with similar wood to the sides and head, the table of a medium width grain and the varnish of a light reddish-brown colour on a golden ground, 16 5/16", 41.40cm, bow, case
English violin by Lockey Hill circa 1780, unlabelled, also branded Longman & Broderip, no. 26 Cheapside, no. 13 Hay-market, London below the button, the two piece back of medium curl with similar wood to the sides and head, the table of a fine width grain and the varnish of a light reddish-brown colour on a golden ground, 13 15/16", 35.40cm
1970s Gibson J-45 Deluxe acoustic guitar, made in USA, ser. no: A4xxxx6, mahogany back and sides with some lacquer checking and other light surface marks, the table also with lacquer checking and other various imperfections, typical ageing to body binding, some wear to frets
19th century French small bodied guitar, the open peg box with an engraved pearl boss, brass tuning strips and bone buttons, 16 fret ebony fingerboard, bound rosewood back and sides and fine grain table with multi-string banding to the edges, engraved pearl rosette to the sound hole and inset rosewood finger rest
A COLLECTED CANTEEN OF CUTLERY for 6 place settings, by Roberts & Belk and Mappin & Webb, Sheffield 1964 and later, comprising 6 table forks, 6 dessert forks, 6 soup spoons, 6 dessert spoons, 6 teaspoons, 6 table knives with stainless steel blades and silver handles, and 6 dessert knives, Old English, shell and drop pattern(c.53oz weighable silver)
A PART CANTEEN OF VICTORIAN QUEENS PATTERN CUTLERY, predominantly by George Adams, London 1874, comprising a set of 6 tablespoons, a harlequin set of 6 table forks, one by WR Smiley, London 1845, a set of 5 teaspoons, a set of 5 dessert spoons and 6 dessert forks, four by George Adams, London 1874 and two by WR Smiley, London 1845, initialled (c.65.7oz) (a lot)
A CONTINENTAL ENAMELLED TABLE SNUFF BOX, of cartouche form, enamelled in polychrome against a white ground with a man riding a horse beside a moat, with painted floral trails to the sides, with unmarked gilt metal mounts, with painted mark VP and scroll cross mark to the base, c. 10.5cm wide.
A GEORGE III MAHOGANY BACHELORS DRESSING TABLE, the rectangular top above a frieze drawer with brass swan-neck handles, opening to a leather-lined writing surface, and fitted compartments below, with two small drawers around a large kneehole on square tapering legs, brass toes and roll casters, 30.5" high x 39" wide
BASSIE & CO: A FRENCH "EXHIBITION QUALITY" MARQUETRY CENTRE TABLE, the shaped top with a marquetry picture of a young girl feeding a donkey in a rural setting, birds, dogs and insects within a rococo revival border and foliate edge against a rosewood ground, all divided by geometric laid kingwood veneers, with a gilt metal border, the table with a single flush fitting drawer and shaped sides with conforming foliate marquetry, on cabriole legs with gilt metal mounts and feet, mid-19th century, 31" high x 60" wide. This table is accompanied by the original receipt from "Bassie & Cie Fabrique D'Ebenisterie De Luxe ... 89 Boulevart Beaumarchais", the receipt dated 1859.
A COLLECTED VICTORIAN AND LATER CANTEEN of fiddle and thread pattern cutlery, monogrammed, comprising a harlequin set of 12 tablespoons, London 1864 and later, with some George Adams examples, a set of 6 dessert spoons, by George Adams, London 1864, 6 teaspoons by George Adams, London 1864, a harlequin set of 12 dessert forks, six by George Adams, London 1864, a harlequin set of 12 table forks, mixed makers and dates, and a basting spoon, London 1894, (c.120.8oz weighable silver) (a lot). See illustration
A COLLECTED CANTEEN OF GEORGE IV AND LATER IRISH FIDDLE PATTERN CUTLERY, Dublin assay, comprising: 12 tablespoons, 11 dessert spoons, 12 table forks, 12 dessert forks and 12 teaspoons, crested, some items by Peter Walsh, Dublin 1831 (c.107oz weighable silver) (a lot). See illustration
A GRADUATED DOUBLE-ROW CULTURED PEARL NECKLACE, knotted, the largest pearl c. 8.3mm wide, the smallest c. 3.5mm wide, united by a white stone and moonstone cluster clasp, in unmarked yellow metal, c. 18in. (46cm) long and a single row knotted pearl necklace with a table cut diamond to the clasp, c. 20in. (51cm) long. (2).
DONNE, LONDON: A 19TH CENTURY TWIN CHAIN FUSEE MAHOGANY TABLE CLOCK, with carved case and shaped pediment, striking on a gong, possibly by Griffith Donne or Lewis Donne, 20.5" high. See illustration. According to the vendor, this clock was believed to have been the boardroom clock of De Beers Diamond Mines.
AN AMERICAN PAINTED MAHOGANY EXTENDING DINING TABLE, the rectangular top with a broad painted border of scrolling gilt decoration against a green ground with six additional leaves, on six turned reeded carved and painted legs with polychrome decoration and gilt capitals, 19th century, 29" high, the top 113" (fully extended)
A RENAISSANCE ENAMEL AND GEM-SET PENDANT, with a pelican in Piety within a border of foliate scrolls incorporating masks and cornucopia, set with emeralds, rubies and pearls, the reverse with cross keys enamelled motif, possibly Papal, 6.7cm long, on a section of enamelled chain set with table-cut stones and pearls, with loops at either end, c. 24cm long, probably late 16th/17th century, with extensive losses. See illustration. The chain may be compared to a necklace from the Gutman Collection, No. 53, illustrated in 'Renaissance Jewels and Jewelled Objects - The Melvin Gutman Collection', page 148/149, published by the Baltimore Museum of Art, 1968. Provenance: Private collection, Poland. Thence by descent.
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