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Diamond single stone ring, the white mount stamped '18ct', the old mine cut diamond measuring approximately 5.9mm x 5.7mm x 4.2mm deep, calculated as weighing approximately 0.9 carats, size O, 4.3g gross approxThe old mine cut appears fairly white with a hint of colour. There are no obvious visible inclusions but there is an inclusion/small abrasion to the edge of the girdle that runs towards the table., approx SI clarity. The claws are all present with signs of wear from age and use. Signs of sizing to the shank which is stamped ‘18ct’.
Chinese white metal and enamel model of a 'junk' boat, early 20th Century, the deck with thatched canopy, a figure tending to plants beside, over another figure seated at a table, on wave-moulded base, stamped W. H. L. within an oval beneath, 16cm long x 10cm high, in yellow plush fitted box
19th Century tortoiseshell tea caddy of cushion form with plated hinged cover and ball feet, together with two George V silver mounted tortoiseshell dressing table items, comprising an oval pin tray, the reserve decorated with silver piqué work, London 1915, and a similarly decorated lidded cut glass jar, London 1914; 10cm high and smaller
Early 20th Century Chinese occasional table, the moulded hardwood frame with pink marble inset to the rectangular top over conforming apron on square section supports with block scroll feet, 50cm x 40cm x 53cm highThere is heavy wear on two sides on top, one of the legs has a chip at the top and there are scuff marks on the legs.
Early 20th Century Chinese hardwood and mother-of-pearl inlaid three-tier occasional table, the rectangular top with inset pink marble panel within inlaid border over pierced and inlaid frieze and two under tiers, raised on square section supports with block feet, 65cm x 40cm x 76cm highThe pink marble top has a crack through it and shows signs of a glued repair. Some of the inset mother-of-pearl decoration is missing and has losses. The table is structurally sound but some of the panels are warped. Light surface scratches and wear from age and use.There are paint spot all over.
Early 20th Century Japanese ebonised, parquetry and mother-of pearl inlaid table cabinet, the rectangular top with moulded scroll ends over an arrangement of sliding doors, drawers and pair of serpentine doors with engraved mounts enclosing cupboard with single drawer, over a long drawer on plinth base, 51cm x 27cm x 58cm highThere is damage to the lacquer on all sides and on top. There are small losses to the decoration. There is some white paint on the front of the base. All of the drawers and doors open smoothly
Pair of 19th Century Bohemian overlay (white on green) glass table lustre vases, each of flared form, the lappet rim with medallions alternately painted with female portraits and floral sprays, raised on knopped stem over spreading circular base, 27cm high, (a/f)One of the pieces has a repaired crack about 1/3 the way around and down over the rim around 2.5 inches. The other has production imperfection where the white from the inside of the vase meets the green of the stem, it’s unlevel and looks like a crack but isn’t, there is also a small chip around the same area. Both pieces have gilt wear.
Late 19th Century French brass table and porcelain table clock, in the form of a Chinese table screen, with dragon cresting over floral ceramic panel (cracked) framing a 3.5-inch Arabic dial, the timepiece movement with vertically-mounted lever platform escapement, stamped E.G. L. within an oval (for E. Gay and Lamaille), the elaborate frame raised on pierced uprights and stretcher applied with two figures, between pierced oval pendants, 44.5cm high
Impressive Black Forest carved linden wood table clock, circa 1900, with cellular Roman dial, Japy Freres two-train movement outside countwheel-striking on a bell, the impressive two-section case carved with an eagle swooping upon a heron or similar wading bird, a rabbit beneath, over two further birds amidst foliage, 90cm high
Victorian rosewood and ebonised work table, the hinged rectangular moulded top enclosing maple lined interior with arrangement of compartments with line inlaid covers, raised on turned and fluted tapered supports on acanthus capped shaped downswept legs with ceramic castors, 61cm x 48cm x 83cm high
Rare late George III inlaid mahogany 'rent' table, probably Estate-made, the moulded rectangular top over double-height cockbeaded faux twin drawer front, enclosing a secretaire (the upper 'drawer' hinged), with retractable green baize-lined writing surface opening to reveal two small central drawers between three banks each of three hinged 'rent' compartments, each with inlaid patera - ABCD, EFGH etc, within crossbanding, in turn over two short external drawers raised on tapered square section supports, 107cm x 57.5cm x 86cm high
Mid 19th Century ormolu mounted walnut centre table or bureau plat, the moulded double serpentine top with blind-tooled oval skiver, within boxwood line inlay, one end with short drawer having lock stamped VR, on slender cabriole supports with gilt sabots, 112cm x 60cm x 75cm high
George IV mahogany drum library or centre table, circa 1825-30, the circular top with blind-tooled tan skiver over reeded edge and an arrangement of four cockbeaded drawers alternating with four false fronts, raised on turned stem and four downsept supports with reeded knees, brass caps and swivel castors, 106cm diameter x 76cm high
Modern walnut-cased canteen of silver King's pattern cutlery, for six settings each of dinner, lunch and dessert forks; table, soup, tea and demi-tasse coffee spoons; fish knives, and four serving spoons, sponsors mark of C. Robathan & Son, Birmingham, 1976, 3,020g approx, plus six dinner and six lunch knives, with unmarked stainless steel blades and hollow silver handles (not weighed), matching silver-handled carving knife, fork, and sharpening steel, all Birmingham, 1976 (hollow ware sponsored by Dixon & Sons, Sheffield, 1976), in green baize-lined fitted box, 48.5cm x 36cm x 10cm high
* World War One Munitions Factory. A photograph album relating to a munitions factory in Lyon, c. 1917, a total of 29 vintage gelatin silver prints mounted to stiff card leaf versos with neat ink captions at foot, 5 manuscript section titles, contemporary cloth-backed boards, backstrip deficient, oblong small folio (20 x 26 cm), together with 2 related blueprints titled 'Table d'opérations pour obus explosifs de 75 monoblocs' and 'Table d'operation pour bombes-flèches de 150 mm en pôle', the first with some red and blue highlights, both 31 x 42 cmQTY: (3)
* Stereoscopic daguerreotype. Portrait of an unidentified young man, probably a Gurney family member, by William Edward Kilburn, 1850s, the young bearded man seated with a cane and hat on the table beside him, tinted studio sky background with clouds and some gilt highlights, contained in a stereoscopic daguerreotype leather wallet with Kilburn's gilt details to underside of flap, some wearQTY: (2)
* Baden-Powell (Robert, 1857-1941). An original hand-made poster for a tug of war match on board ship, signed 'R.S.S. BadenPowell, RMS Orient, 23.3.07', pen & ink and watercolour on thick white wove paper, entitled 'CHALLENGE', showing caricatures of a suffragette and a boxer upper left and right, both figures in profile facing each other with fists raised, with ink and watercolour caption below on 9 centred lines: 'The SUFFRAGETTES of the Captains Table have challenged not only the Orient - but THE WHOLE BLOOMIN' WORLD to a Tug of War - and so have the MEN! 2PM TODAY. There will also be Mixed Bathing (I should say Hopping), Tschschtaiskowsky Stakes, Spotting for Gents, Elephant Sticking (Natural History Section), Murphy Manipulation, etc. etc.', a few spots, 37 x 26 cm, framed and glazedQTY: (1)NOTE:Provenance: purchased from Christie's, London, 28 November 1997, lot 342, where it was noted that 'Baden-Powell presented the sketch to the vendor's grandfather, a passenger of the R.M.S. Orient, bound for South Africa. Baden-Powell was ambidextrous and apparently drew the two figures simultaneously.'
* Doyle (Arthur Conan, 1859-1930). Author, creator of Sherlock Holmes and writer on spiritualism. Autograph Letter Signed, ‘Arthur Conan Doyle’, The Compton Arms Hotel, Minstead letterhead, 9 December 1925, to Mrs Thorn, sending her an assortment of pamphlets (not present), discussing in detail, spirit phenomena, his own psychic experiences and further mentioning the infamous ‘Margery’ case, ‘…When your friend goes into a trance ask…who is the young man’s Guide…When any new entity visits or speaks you will say ‘Do you believe in God?… We - my wife and I - got a direct voice the other day at our second sitting for it. A clear ‘Good evening’ came from above our heads. We were thrilled…. I don’t know if you have followed the Margery case and the persecution of Mrs Crandon in Boston…’, very light stain to bottom of first page with no loss of legibility, 2 pages in a close hand, 8voQTY: (1)NOTE:Mina ‘Margery’ Crandon (1888-1941) was a Boston medium who found herself embroiled in one of the most bitter controversies in American psychic research. Her followers claimed that she was one of the greatest mediums who ever lived, while her critics called her a fraud: her most famous being the escapologist Harry Houdini whose obsessive crusade against her almost cost him his own career. In his introduction to a substantial article in the Boston Herald (26 January 1925) and published shortly after the present letter was written, Conan Doyle wrote – ‘It is Christmas morning and I sit at a table which is heaped with documents and photographs. They are the dossier of the Crandon case. Perhaps one should not work on Xmas day and yet there is no day so holy that one may not use it for the fight for truth, the exposure of evil and the defence of the honour of a most estimable lady. The Margery case will live in history and it is perhaps fitting that I should have some hand in the record since the matter was in a double sense of my begetting.’ The ‘Margery’ book to which Doyle refers in this letter, is likely to be J. Malcolm Bird’s “Margery” The Medium, (1925), which was written in support of ‘Margery’ Crandon.Conan Doyle became absorbed by spiritualism in later life, writing and lecturing on the subject. Interestingly, Conan Doyle was eventually buried in the churchyard of All Saints in Minstead Village having previously been buried vertically in Crowborough.A letter of excellent content and apparently unpublished.
* Wagner (Richard, 1813-1883). German composer and conductor. Autograph Letter Signed, ‘Rich. Wagner’, [London], 1855, to Léonie Praeger, in French, in full, ’Carissima Sorella! Croyez-vous le temps assez bon, pour entreprendre notre Promenade? Si vous avez le moindre doute, et comme l'affaire ne presse pas du tout, je vous prie de vous en dispenser pour aujourd’hui! Faites-moi une toute petite réponse, si je dois venir vous chercher dans un Hansom, ou non? En tous cas je goûterai des 4 heures les delices de votre table d’hôte! Votre bien cordialement, dévoué frère, Richard Wagner, Conducteur d'omnibus de la société philharmonique, 1855’, (translated as: ’Dearest Sorella! Do you think the weather is good enough to undertake our walk? If you have the slightest doubt, and as the case is not pressing at all, please dispense with it for today! Give me a tiny answer, should I pick you up in a Hansom, or not? In any case, I will taste the delights of your table d'hôte for 4 hours! Yours sincerely, devoted brother, Rich. Wagner, Omnibus conductor of the philharmonic society, 1855’), a little age soiling, one page, pasted on to an old album leaf and later excised with 3 later paper hinges to left margin and an old explanatory ink note to verso identifying the recipient and mentioning that the letter was published in ‘Wagner as I Knew Him’, adhesion remains to original paper mount, 1page, 8vo QTY: (1)NOTE:In the 1850s Wagner was exiled from Germany because of his involvement with radical political groups in Dresden. He was dependent on conducting to earn money, and so in the spring and summer of 1855 he visited the UK to conduct with the Philharmonic Society of London (later the Royal Philharmonic Society). Some account of Wagner’s tough time in London is given in Ferdinand Praeger, Wagner as I Knew Him (1892), chapters 18 & 19. This letter to Ferdinand’s sister is quoted in full after the following paragraph: ‘Think of the anger of Wagner! two symphonies and two overtures in the same evening, besides the vocal music and concerto! This was the fourth concert [30 April 1855] at which a double dose of symphony and overture was administered to an audience incapable of digesting such a surfeit; it was these "full" programmes, reminding him of the cry of the London omnibus conductors, “full inside," which led him humorously to speak of himself as “conductor of the Philharmonic Omnibus." In the subjoined letter addressed to my wife, anent their daily promenade for the "banquetting," as he called it, of the ducks in the Regent's Park, he subscribes himself as above.’ (p. 257).
* Irish-American Political Broadsides. Speech of Robert Emmet, Esq., delivered at the Sessions House, Dublin, Philadelphia: William Smith, circa 1860s, letterpress in 4 columns with large hand-coloured lithograph vignette at head, image approximately 280 x 360 mm, some light toning, visible sheet size 62 x 45 cm, together with two related contemporary lithographic broadsides from the same publisher and printer William Smith: Protest against the British Government [and] Ireland's Illustrious Sons, the first showing Emmet flanked by angels holding rolls of names of Irish patriots including Mitchel, Meagher, O'Brien, Gavan Duffy, et al., pencil inscription to lower right blank area, visible sheet size 74 x 52 cm, the last showing the figures of Sarsfield, Grattan, Wolfe Tone, Emmet, Curran and other great Irish patriots seated around the table, small tear (25 x 20 mm) within uppermost part of image, visible image area 53 x 68 cm, all mounted QTY: (3)
Suffolk Estate Plans. Plans of Estates in Easton, Letheringham & Charsfield in the County of Suffolk; The Property of the Rt. Hon: The Earl of Rochford, 1794, Survey'd & Plann'd by Isaac Johnson, Woodbridge, Suff., continued down to 1830, calligraphic title, half-title and summary of the estate with reference to each farm &c, followed by 10 pen and ink and watercolour wash estate plans with cartouches and table of contents giving field names with gross and nett areas in terms of acres, roods and perches, each 48.5 x 30 cm when opened, a few scattered light pencil annotations and some dust soiling, mostly re-guarded with linen strips, late 19th-century burgundy roan, upper cover stamped 'Plans' in gilt, heavily rubbed, 4to (32 x 26 cm)QTY: (1)NOTE:The ten plans are for: The Park, The Property of the Earl of Rochford; Martley Hall: Mrs Plant; Bonds; Richard Levett; Bentries & Cobbs: Stephen Catchpole (2 maps); The Lodge: William Cooper; Old Hall: Joseph Amoss; Wood grounds: Earl of Rochford &c; Detached lands; Sundry people; General view of the Parishes of Easton and Letheringham. A further five farms are listed at the foot of the contents summary but in such a way as to imply these were not to be included in the present survey.Isaac Johnson (c. 1754-1835) was the son of the surveyor John Johnson (1722-1780), and his wife Mary. He was baptized at Pettistree, Woodbridge, Suffolk. He was probably trained by his father at Alderton, Suffolk, and probably worked with him, as this album suggests, until John's death in 1780. In 1772 he opened a writing school at Alderton and then in 1784 moved to Woodbridge where he married Elizabeth Maxwell. His account book for 1791-1796 survives and shows that he had 165 clients, earning £1,069 in surveying fees for these five years. His fine draughtsmanship led him to draw all the churches and various other antiquities of Suffolk.
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1181390 item(s)/page