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A vintage illuminated diorama - showing a 1930's mock Tudor country house interior with figures, 42 x 31 x 25cm.

A BRONZE LIFE MASK OF ANNA PAVLOVA (1881-1931 CAST BY H.J. HATFIELD & SONS, EARLY 20TH CENTURY Stamped to cast 'H J HATFIELD & SON LONDON 1/4 19cm high, 16.5cm wide Provenance: This mask was bought directly from H. J. Hatfield by Philip Astley-Jones. The company records have been destroyed and as yet the artist of the mask remains unknown. Another known mask exists in the V&A Museum collection together with the plaster cast model (Museum number S.549-1978). A further bronze casting of the mask is held at The Royal Ballet School Collections which has been on display in White Lodge Museum. This mask was included in the exhibition 'Anna Pavlova at Ivy House' in 2012.

Over four hundred 1980s/1990's 7" Indie Rock / New Wave / Post Punk / House / Trance / Electronic / Pop and Hi-NRG singles, mostly in correct picture covers and including many rarities, artists include The Members, Moss Poles, Northside, Goodbye Mr Mackenzie, The Silencers, Sigue Sigue Sputnik, Saint Etienne, The Shamen, S'Express, The Lightning Seeds, The Levellers, H2O, The Lilac Time, Latin Quarter, Les Enfants, Lemonheads, The Senators, Shakespears Sister, Shriekback, Grandplaz, Scritti Politti, Red Dragon, Red Box, Red Skins, Gary Numan, New Music, The Mighty Lemon Drops, Midnight Oil, Martha & The Muffins, Mock Turtles, Milltown Brothers, Max, Men Without Hats, Men At Work etc. Condition appears to be VG+ to NM, mostly at upper end, most have small indexing sticker

Over four hundred 1980s/1990's 7" Indie Rock / New Wave / Post Punk / House / Trance / Electronic / Pop and Hi-NRG singles, mostly in correct picture covers and including many rarities, artists include Lori & The Chameleons, Simple Minds, Simply Red, Wham, Visage, Darling, Flock of Seagulls, Gavin Friday, The Creatures, Cocteau Twins, Sinead O'Connor, Hazel O'Connor, Norman Cook, Communards, Fury Eyes, Cranberries, Furniture, Cutting Crew, Deaf School, Pet Shop Boys, Piranhas, Photos, Pig Bag, Perfect Strangers etc. Condition appears to be VG+ to NM, mostly at upper end, most have small indexing sticker

Approximately one hundred and seventy Soul / Northern Soul / Pop / Beat / Rock 'n' Roll etc 7" singles, most appear to be 1960's and 1970's to include some UK and USA releases with some rarities, including Val McKenna House for Sale, Mandells, Chuck Jackson, Etta James, Tammi Terrell, Vandellas, Ramsey Lewis, Arthur Conley, Joe Tex, Shorty Long, Aretha Franklin, Otis Redding, Willie Hutch, Bill Black's Combo, Helen Shapiro, Kelly Lester, Gino Washington, The Trashmen Surfin' Bird, The Sheep Hide and Seek, The Who, The Pretty Thing, Dodie Stevens, Jackie Trent, T-Rex, Them Baby Please Don't Go, Jack Hammer, Ricky Nelson, Sandy Nelson, Billy Fury, The Beatles, Animals, Dakotas, Kay Starr etc.

Over four hundred 1980s/1990's 7" Indie Rock / New Wave / Post Punk / House / Trance / Electronic / Pop and Hi-NRG singles, mostly in correct picture covers and including many rarities, artists include Bikini, Birdland, Blue Zoo, Blue Pearl, The Bible, Belly, Big Country, Big Audio Dynamite, Adamski, Airhead, The Alarm, Hue & Cry, Hoodoo Gurus, Hole, Hey! Elastica, Hiphoprisy, The High, Jellyfish, The Doll, Inspiral Carpets, Dexys, INXS, The Housemartins, The Impossibles, Immaculate Fool, Billy Idol, Icicle Works etc. Condition appears to be VG+ to NM, mostly at upper end, most have small indexing sticker 

Enid Blyton collection including first editions of The Castle of Adventure 1946, The Island of Adventure 1944 and The Valley of Adventure 1947 all published Macmillan, The Three Golliwogs 1944, Fifth Formers of St. Clare’s 1945, Five Go Adventuring Again 1943, Five Run Away Together 1944, The Secret Mountain 1941, Hollow Tree House 1945, Eight O’Clock Tales 1944, Family At Red-Roofs 1945, Mystery of The Hidden House 1948, Summer Term At St. Clare’s 1943, Tales of Green Hedges 1946, The Naughtiest Girl is a Monitor 1945, I’ll Tell You a Story 1942, The Mystery of The Spiteful Letters 1946 and The Mystery of The Disappearing Cat 1944 with several other firsts and a collection of later editions & similar in original bindings (60)

Over four hundred 1980s/1990's 7" Indie Rock / New Wave / Post Punk / House / Trance / Electronic / Pop and Hi-NRG singles, mostly in correct picture covers and including many rarities, artists include Transvision Vamp, Snap, Soup Dragons, Soul Asylum, Sparks, Spin Doctors, Stereo MCs, China Crisis, Talk Talk, The The, 10,000 Maniacs, Tenpole Tudor, Telex, Technotronic, Tik Tok, Thrashing Doves, Thompson Twins, The Church, Swimming With Sharks, Take That, Swing Out Sister, Tears For Fears, Teardrop Explodes, Talking Heads, Strawberry Switchblade, Swans Way, Jibard Electra, The Dylans, EMF, Divinyls, Duran Duran, Japan, Jesus Jones, Kerosene, Kissing The Pink, Korgis, Kraftwerk, UX Bahn etc. Condition appears to be VG+ to NM, mostly at upper end, most have small indexing sticker

A LATE 19TH CENTURY DOLL'S HOUSE DOLL modelled as a gentleman with moulded and painted blonde hair and side whiskers, 13cm high.

A collection of Wedgwood black basalt teapots and tea wares, 19th century and later, comprising a Nelson commemorative teapot, 17cm high, a tall teapot, with silver plated spout and cover, 25cm high, a rum kettle, cover and stand, 19.5cm high, and other items (16)From the contents of Brook House, Ongar, the former home of Gillian Raffles (1930-2021) an art dealer and owner of the Mercury Gallery in Cork Street, London in 1964. She exhibited and promoted the work of young figurative British artists and dealt in sculpture, paintings, and works of art by 20th Century British and European artists.Condition ReportOne teapot missing cover. Some chips to various pieces - spouts and extremities. Tarnished s/p.

Assorted volumes to include poetry, art, reprint society, mid-century novels - Rackham, Arthur (ills) "The Tempest", London, William Heinemann 1926, pictorial cloth, part of the original d-w but a quarter of the backstrip including titles and most of the author is missing, Riall, Richard "A New Bibliography of Arthur Rackham", Bath Ross Press, Mulberry House 1994, signed on the ffep by the author, blue pictorial cloth, Russell-Flint, W (ills) "The Canterbury Tales", 1928, colour plates, Russell, John "Baroque", Milne, A A "14 Songs from When We Were Very Young", illustrations by E H Shepherd, boards, Eade, H S "Savage Messiah", Heinemann, Kitchin, C H B "Ten Pollitt Place", Secker & Warburg 1957, d-w chipped, Hemingway, Ernest "The Torrents of Spring", 2nd impression 1933, Jonathan Cape, King, Francis "The Dark Glasses", Longmans Green & Co 1954, d-w chipped, Bowen, John "The Centre of the Green", Faber & Faber 1959, d-w chipped, Elliot, T S "Murder in the Cathedral", Faber & Faber, with d-w, Frost, Robert "A Witness Tree", d-w, backstrip missing, Hunt "The Ascent of Everest", Hodder & Stoughton, Campbell, Roy "Broken Record", London Boris Wood 1934, printed in Great Britain at the Alcuin Press, Camden, d-w not price clipped and other volumes (3 boxes) 

A large quantity of vinyl records including 90's dance, house music, etc. (3 boxes)

A collection of posters from the 1980's/90's - four tubes detailing The Royal Opera House and The Royal Ballet, approx. 40 posters in total, 51 x 75 cm each

MGA Bratzillaz Meygana Broomstix House of Witchez doll, Near Mint to Mint, NFRB, within Good Plus to Excellent packaging (surface scuffs / edge wear / creases).

Dolls House Items - Dijon - Concord - A collection of dolls house items including copper kettle, vase, cups, teapot, carpet and more, also some porcelain doll heads. Some items show signs of age and use and appear Fair to Good, the other items appear Mint and unopened. (This does not constitute a guarantee) (ba)

Ca. 30 BC - AD 200. A gold ring composed of a round hoop and discoid bezel with a ropework border. It depicts an image of a bird of prey perching with wings spread and head turned. It has an inscription in an arc above the bird's head '·al : for : ye : best ·' (all for the best). The ring's find location is close to an estate which was owned in the 14th century by the Skrene family and which included among their number a senior barrister and sergeant-at-law named William Skrene who was an Irish-born barrister and judge. The family name lives on to the present day at Roxwell with Skreens Park and for local road names nearby. William spent his professional life in England, being appointed King's Serjeant and a judge of assize, as well as Chief Baron of the Irish Exchequer in 1395-7. In addition to the estate at Roxwell, he acquired various lands in Essex, including at Writtle, Great Finborough and Stanford Rivers. William died in 1419-20 and left sons and a daughter; his heir, also called William, married Alice Tyrrell, widow of Hamo Strange, and daughter of John Tyrrell, who was Speaker of the House of Commons of England for three terms. The exact combination of motto and crest or badge has eluded researches thus far. However, the ring was found near Roxwell, Essex, and evidently belonged to a person of some wealth and status given the quantity of gold used in its manufacture and the quality of the workmanship. The style of the ring is close in appearance to a number of early 15th century examples, which began to appear with the badge and motto rather than the full armorial bearings, so it is very possible that this is the personal signet ring of William Skrene, or possibly of his sons, William or Thomas. Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 16.8g. Provenance: Private UK collection, acquired on the Dutch art market in the 1990s. This piece is accompanied by an authentication statement by Sami Fortune, ancient jewellery specialist.

4 dolls house dolls to include a man, lady and 2 children.  The man (modern dolls house model) dressed in plus fours.  Lady has painted china shoulder plate head, ginger mohair wig.  One child has  china shoulder plate head, painted features and mohair wig, other child, celluloid doll with celluloid limbs and cloth body All the clothing appears to be handmade and the lady's appears to be period to the doll using original fabrics. Approximate height of each: 8cm, 12cm, 15cm Provenance: From the Private Collection of the late Dorothy Inez Twigg

3 lady dolls house dolls dressed in black.  Two with  bisque head, glass eyes and mohair wig, cloth body and china limbs, one smaller doll with cracked head, painted features, mohair wig, cloth body and china limbs,  All the clothing appears to be handmade and period to the dolls using original fabrics. Approximate height of each: 13cm, 15cm 17cm Provenance: From the Private Collection of the late Dorothy Inez Twigg

3 lady dolls house dolls.   All with white china shoulder plates, painted features and mohair wig.  All cloth bodies and china limbs. All the clothing appears to be handmade and period to the dolls using original fabrics.  Also one doll stand. Approximate height of each: approx 14cm each Provenance: From the Private Collection of the late Dorothy Inez Twigg

3 Dolls House Dolls to include 2 ladies and a child. All the clothing appears to be handmade and period to the dolls using original fabrics. Ladies china headed shoulder plates, painted features, mohair wigs, cloth body and china limbs. Child doll - all china with articulated limbs, painted features and mohair wig. Approximate height of each: 14,cm, 14 cm and 8 cm Provenance: From the Private Collection of the late Dorothy Inez Twigg

4 dolls house dolls to include one man, one maid,  one boy and an infant.  Modern man with bisque head and limbs, cloth body.  Maid with china shoulder plate, painted black hair and features, china limbs and cloth body.  Boy doll has bond parian head, china limbs, cloth body.  All bisque baby with missing feet. All the clothing appears to be handmade and period to the dolls using original fabrics.   Approximate height of each: 8cm, 13cm, 15cm Provenance: From the Private Collection of the late Dorothy Inez Twigg

3 dolls house dolls to include 1 man and 2 ladies.  Man is modern dolls house doll with bisque head and limbs, cloth body, painted features and mohair wig.  Ladies have white shoulder plate heads, painted features, blonde mohair wigs, cloth bodies and china limbs. All the clothing appears to be handmade and period to the dolls using original fabrics. Approximate height of each: 15cm Provenance: From the Private Collection of the late Dorothy Inez Twigg

Edwardian dolls house couple with child.  Adults have china shoulder pates, painted features, blond wigs, cloth bodies, china limbs.  Modern child, all bisque, dressed in tartan, blond wig. Includes doll stand. All the clothing appears to be handmade and period to the dolls using original fabrics. Approximate height of each: Adults 17cm, child 10cm Provenance: From the Private Collection of the late Dorothy Inez Twigg

A collection of metal and brass, including a J S & S Art Nouveau brass jug, brass fire plate, jelly moulds, large Japanese brass tray, Siemens Ediswan lantern and a clock movement**PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**

A collection of china to include a Lamia Moorcroft jug a.f, four Royal Doulton figures including two Marie, a Royal Worcester milkmaid figure, and an Art Deco T.F & S Ltd Phoenix jug **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**

A collection of children's doll house furniture comprising a a few Kleeware furniture pieces, a plastic table, chairs, bedside, wooden wardrobes, wooden sofa, a bed, a vanity, a plastic oven, refridgerator, a sink, a wooden piano etc. (alot)

A Late Victorian Bisque Headed Doll, with jointed kid body, 40cm long; a cloth doll and nine pieces of dolls house furniture to include: piano, mirror, chests of drawers, sideboard, chaise longue, etc. (11)Doll has swivel action head, hair come loose leaving dried glue, wear commensurate with age. One set of drawers missing two legs, one set missing one, small nicks, scratching and general wear to all pieces of furniture. No chips to bisque head or shoulders. Body appears without splits or tears - see images. Slight chips to paint around top of one eye. Very faint line of possible crack to side of head near one ear - see images. Later plaster applied to inside of head. Eyes appear in place with small chips to paint visible from inside of head.

1920's Impressionist oil on board of a house with battlements

Spencer (Charles, 3rdEarl of Sunderland) Bibliotheca Sunderlandiana: Sale Catalogue of the Sunderland or Blenheim Library, 10 parts in 2 vol., 1 of 150 large paper copies, lists of prices and purchasers at part ends, vol. 1 with c.100 plain ff. bound-in with ms pagination and bearing contemporary press clippings and similar (sale bidding forms, an A.L.s from Simpson, catalogue receipts from P & S, and Quaritch circular extracts, all laid down), very occasional spots or minor instances of foxing, nineteenth century green half morocco, gilt, spines and some corners dis-coloured, some scuffs to extremities, original printed wrappers bound-in (lower depicting print of Victorian auction house interior), some edges unopened, 8vo, [De Ricci, 38-40], Puttick and Simpson, 1881-83.*** The magnificent library of the 3rd Earl of Sunderland (1674-1722) contained roughly 20,000 books, including many incunabula (several on vellum), Bibles, and early Continental literature. Put up for sale by the Duke of Marlborough in 1881 and offered at a total of £20,000 - Baron James de Rothschild, Lord Crawford and Bernard Quaritch were all interested, but negotiations came to naught - the subsequent five auctions, containing 13,858 lots, realised £56,581 6s. (c.£33,000 paid by Quaritch). Provenance: Anthony Hobson (1921-2014), book auctioneer, book historian (particularly bindings) and bibliophile (armorial bookplates).Captain Francis-Capper Brooke (1810-1886), Italo- and bibliophile, part of a circle of Anglo-Florentine book collectors and scholars, including Lord Vernon, Isabella Macleod and Seymour Kirkup. The Sunderland sale was notable for ‘the numerous and rare Editions of the Early Italian Writers, and Makers and Consolidators of the Italian Language' (Quaritch circular, laid-down in this copy). Brooke had his copies of the sale catalogues, prices and purchasers lists bound together, along with newspaper clippings reporting on the sales (his signature found on A.L.s from Simpson bound-in to this copy). 

A scarce early 20th century flashlight walking stick, featuring a bulb lit pommel, with a hollow amber bakelite cover. The whole pommel section unscrews to reveal a hollow compartment for a battery, and the bakelite cover is secured by means of a bayonet fitting, which when removed it reveals the small bulb inside. The hardwood shaft and pommel section are bridged by a gilt brass collar. Other than it being an item perhaps used for safety at night, it’s exact purpose is unknown. A similar battery powered flashlight stick with an amber bakelite cover was famously used by the Titanic sinking survivor, Ella White in 1912, when she used as a glowing beacon to guide rescuers to her lifeboat, and to safety (sold at Guernsey’s Auction House, New York for $62,500). Although of simple form and construction, the item was probably cutting edge technology at the time. Circa 1920’s in date. Approximately 91.5cm in length. Condition: generally good. The Bakelite pommel remains intact and free from damage. The small bulb inside also remains intact, with the filament still being unbroken. A little splintering to the wooden shaft, plus some contact marks. The ferrule tip is missing from the end, but this should be replaceable. The bulb has not been tested.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Acrylic on canvas-laid board painting titled "On the Beach (Red Rock Variation: Lake Superior Landscape)," part of the horizon series, 1985. Signed, titled, and dated along the verso. Housed in an original frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 6 1/2 in x width: 16 in. Framed; height: 8 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no major visible losses or signs of restoration. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape," 1990-1996. Printed and published by Akasha Studio, Minneapolis. Pencil signed and dated along the lower right; titled along the lower left; numbered 10/43 along the lower center.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 19 3/4 in x width: 16 in. Framed; height: 28 in x width: 24 in x depth: 1 in.Condition: The colors are bold and bright. The sheet is slightly toned. There are no major visible tears, losses, or signs of restoration. Extremely light soiling and areas of foxing along the margins. There is a slight undulation to the sheet. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Ink and color pencil on paper drawing titled "Enigma, Water's Edge, Surrealist Landscape," 1986-1993. The original drawing, executed in Batchawana Bay, Ontario, on March 4, 1986 did not include color. It is part of the artist's "Automatic" series. The color was added later on November 16, 1993. This information, along with the title, is provided on labels affixed to the verso.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 4 in x width: 7 in. Framed; height: 11 in x width: 14 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Lithograph on paper depicting an intricately drawn landscape of undulating lines which meet at a horizon in the upper quarter of the sheet, 1976. Printed by Steven M. Andersen. Pencil signed and dated along the lower right; editioned Artists Proof 10/10 along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 24 in x width: 23 1/4 in. Framed; height: 30 in x width: 29 1/4 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. Light undulation to the sheet. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

A late 19th century crescent and serpent brooch, given by Captain Henry Peel Ritchie VC, the crescent set throughout with old brilliant-cut diamonds, the applied serpent set with circular-cut demantoid garnets and with an old brilliant-cut diamond eye, the tongue modelled as blister pearl, mounted in silver and gold, fitted cased by S. Lanyon, Portsmouth, total diamond weight approximately 1.85 carats, length 6cm. £3,000-£4,000 --- Provenance: Formerly the Property of Captain Henry Peel Ritchie VC. This brooch was a gift from Henry Peel Ritchie to his wife Christiana, purchased from S. Lanyon Jewellers, 4 Ordnance Row, the Hard, Portsmouth. Ritchie ‘s naval career started at aged 14, and he quickly rose through the navy due to his keen intelligence and impressive strength. At aged 20 he was promoted to lieutenant and served the next 15 years as a junior staff officer at Sheerness Gunnery School. Whilst stationed at Sheerness, Ritchie met Christiana ‘Chrissie’ Jardine, only daughter of a wine merchant. The couple married in Edinburgh on 31 March 1902. HMS Goliath, the pre-dreadnought battleship, was transferred to the Portsmouth Division of the New Home fleet on 15 March 1907. Based at Portsmouth, she underwent a machinery overhaul there from August 1907 - February 1908. Upon completion of her refit, HMS Goliath was commissioned on 4 February 1908 for Mediterranean Fleet service. Whilst stationed on shore, Ritchie may well have purchased this brooch for his wife in Portsmouth, the brooch being retailed by the well known Portsmouth naval jewellers, S. Lanyon. Ritchie’s shore service ended in March 1911, when he was posted as senior Lieutenant on HMS Goliath. Promoted to Commander later that year, he managed the ship’s gunnery exercises and procedures whilst Goliath was part of the Channel Fleet stationed in British waters. Commander Ritchie’s war service was to prove exceptional. He was awarded the first Royal Navy Senior Services Victoria Cross of the Great War for his gallant command of H.M.S. Goliath’s steam pinnace at Dar-es-Salaam, the capital of Germany’s East African empire (now part of Tanzania) on 28 November 1914. 
 The Citation in the London Gazette, 10 April 1915 read: ‘Commander Henry Peel Ritchie, Royal Navy, for the conspicuous act of bravery specified below: For most conspicuous bravery on the 28th November 1914 when in command of the searching and demolition operations at Dar es Salaam East Africa Though severely wounded several times his fortitude and resolution enabled him to continue to do his duty inspiring all by his example until at his eighth wound he became unconscious. The interval between his first and last severe wound was between twenty and twenty five minutes’. Commander Ritchie was presented his Victoria Cross by King George V at Buckingham Palace in April 1915. Ritchie retired in 1917, deemed unfit for further service as a legacy of the wounds he had received, returning to his home city of Edinburgh. He was promoted Captain on the Retired List in January 1924. He lived at Craig Royston House in Edinburgh until his death on 9 December 1958, aged 83. Noonans Mayfair were privileged to sell Captain Ritchie’s VC and medal group, part of the Collection of the Late Jason Pilalas, lot 140, on 23 July 2024 for £240,000. Caption of photographs: Captain Henry Peel Ritchie and his wife Christiana, circa 1918, (Images reproduced by kind permission of the vendor). Condition Report Strengthening plate and solder evident to reverse of snake head section where it joins crescent - has been repaired / reattached. Construction suggests crescent brooch adapted to accommodate addition of serpent sections. Blister pearl with crack, evident in photo - solder also evident around pin attaching pearl to mouth. Diamonds bright and lively - variety of colour and clarity grades, demantoids generally well matched. Gross weight 12.3gm.

Pair of good quality country manor house satin finish curtains in a Hydrangea pattern of green and orange on a cream background, fully thermal lined and backed with pleated tops, 10 steel S hooks to each curtain, and with weighted corners. Total length approximately 2.43m, width at pleated tops 1.1m, width at bottom 2.6m.

Pair of good quality country manor house satin finish curtains in a floral pattern of Fucshia and Hydrangea of green, red and blue on a cream background, fully thermal lined and backed with pleated and roped tops, 7 steel S hooks to each curtain, and with weighted corners. Total length approximately 2.47m, width at pleated tops 85cm, width at bottom 1.8m.

Pair of good quality country manor house satin finish curtains in a floral pattern of Fucshia and Hydrangea of green, red and blue on a cream background, fully thermal lined and backed with pleated and roped tops, 9 steel S hooks to each curtain, and with weighted corners. Total length approximately 2.54m, width at pleated tops 87cm, width at bottom 1.8m.

Y A REGENCY ROSEWOOD METAMORPHIC LIBRARY TABLE AND MUSIC OR READING STAND ATTRIBUTED TO GILLOWS, CIRCA 1815 The hinged and strut top with an inset hinged book rest, the height adjustable As a table 74cm high, 68.5cm wide, 46cm deep; as a slope top stand at maximum height 128cm high This writing-table relates to a pattern illustrated in Gillows General Sketch Book, 1810, p. 51. A related brass inlaid rosewood reading table by Gillows, was supplied to William Powlett, 2nd Baron Bolton (1782-1850) for Hackwood, and sold by the Estate of the 2nd Viscount Camrose, Hackwood Park, Hampshire, Christie's house Sale, 20th-22nd April 1998, Lot 20 (£21,850 inc. BP). Another almost identical table sold Christie's, London, Important English Furniture, 2nd May 2002, Lot 151 (£13,145 inc. BP). Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The ormolu mounts stamped under a coronet 'B S & P PATENT'.Observations include: the top has a slight upward bow; the old 'varnish' type finish is removed to two places on the top; the hinged book rest does not quite hinge flush (only apparent on close inspection) and there is a crack to the top to one side; some replaced crossbanded veneers; the casters and cappings with wear and some staining; metal braces to the underside of the legs.A high quality piece of metamorphic furniture with stamped casters.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

Britain in the Blitz Bombed-out House complete building & contents The bombed-out house & contents at the end of the Britain in the Blitz exhibit comprising 3 bay windows, 2 arch-topped door frames with glazing to the tops of the frames, 3 inner windows & 3 panelled pine doors, cast iron tiled fireplace with pine surround, 13 tread wooden staircase with 81cm wide treads plus a small area of pine floorboarding. The contents comprise an oak hallstand, drop-leaf table, 2 upholstered 1930's chairs, a fire extinguisher, turned wood standard lamp, a Czechoslovakian ceramic wall posy basket, leather pouffe, iron mangle, dressing table, wicker chair plus a further cast iron fireplace upstairs.Buyer to dismantle (please see "Buyers Notes").

Britain in the Blitz Contents of the Front Room of House The contents of the front room of the house in Britain in the Blitz (excluding the wax model of Enoch Powell, the Morrison Air Raid Table & the stove). Comprising a set of 4 Beswick flying Mallard ducks,1930's setee & chair, display cabinet with contents of china, circular oak side table & contents of games, Blackout & ARP books, coloured plastic fruit bowl & Avon Ware trefoil dish, brass fire tools, copper kettle, mantle clock, postcards & ornaments on mantlepiece, oak cupboard & items on top, brass wall plate & bin, ARP first aid case, rug, Kensington Ware teaset, Wilkinson fruit shaped jam pot, wood breadboard, glass lampshade & an oak cased wall barometer, a Pye valve radio, etc..

1960's charm bracelet, wide curb link with a heart padlock clasp, in 9 ct hallmarked London 1966, with twelve charms attached, including a bell, two dogs, well, 'Good Luck' spinner charm, bottle, house, horse, St. Christopher, tankard and an anchor, all stamped or hallmarked 9 ct, length 18cmCondition Report: Gross weight 21.8gGood condition, no visible damage or repair, house charm opens and closes securely

Adam Birtwistle, British b.1959 - David Hockney, 2002; gouache and pencil on paper, signed with initials lower right 'AB', titled and dated lower left 'Hockney 2002', 76 x 56.5 cm (ARR) Note:The Glyndebourne in Lewes commissioned Birtwistle to paint a portrait of Hockney in the same year of this work, along with portraits of Sir Peter Hall, Anja Silja, Sir George and Lady Christie and Peter Sellars for the opera house’s permanent collection.

A FINE AND RARE GEORGE III ONE-DAY MARINE CHRONOMETER WITH TRANSITIONAL PART FIRED-ENAMEL DIALJOHN ROGER ARNOLD, LONDON, NO. 215 CIRCA 1804The circular four columnar pillar single chain fusee movement with Harrison's maintaining power, jewelled pivots for the escape wheel, Arnold spring detent escapement with detent set within a tapered slot cut in the backplate and secured via a screwed foot, Arnold Z-type bimetallic balance with compensating nuts mounted on extensions to each rim segment and paired brass timing screws to circumference, helical balance spring and faceted diamond endstone, the backplate with spring set-up ratchet applied to the curved mainspring pivot plate, blued backcock and pillar securing screws, and signed John R. Arnold. London, N. 215, Inv'et Fecit in a curve to the outer edge, the 3.625 inch circular silvered brass Roman numeral dial signed Arnold, London No. 215 over inset slightly convex circular white enamel subsidiary seconds dial inscribed 215 to the centre and with Arabic five minutes beyond the outer minute track, with blued steel hands and secured by a convex-glazed screw-down bezel into a brass bowl with winding hole to underside, mounted via gimbals into a later purpose-made mahogany three tier box with a winding key, the exterior with square brass escutcheon plate and flush hinged brass carrying handles to sides; together with the original mainspring (now removed and replaced due to weakness) scratch engraved Robert Clark Nov 1 to inside edge.18cm (7ins) high, 17cm (6.75ins) wide, 17cm (6.75ins) deep. Provenance:The property of a private collector. John Roger Arnold is recorded in Betts, Jonathan MARINE CHRONMETERS AT GREENWICH... as born in Greenwich in February 1769 and apprenticed to his father in 1783. In 1792 he was sent to Paris to work with A.L. Breguet who was known to/friendly with John Arnold senior. John Roger took-on the majority of the workings of the business at 102 Cornhill, London, from around 1796 and succeeded his father on his death in 1799; by the following year the workshops had been transferred to new premises at Dalston, east London. In 1805 John Roger Arnold presented the Board of Longitude with his Explanation of Time Keepers constructed by Mr Arnold, to qualify for the £3,000 longitude award which corresponded to an equal amount allocated to Thomas Earnshaw at that time. The business was moved to John Roger Arnold's house at Chigwell in 1816. The following year he was appointed Master of the Clockmakers' Company, and in 1821 he was credited with the invention of the 'U' shaped compensated chronometer balance. In 1830 Arnold took Edward John Dent into partnership (after the unfortunate demise of his adopted son and likely successor); the partnership lasted ten years before being dissolved leaving Arnold to work alone until his death in 1843. The business was subsequently acquired by Charles Frodsham. The present chronometer was produced soon after the death of John Arnold in 1799 by his son John Roger Arnold. The dial is particularly notable in that it has a white enamel insert for the subsidiary seconds, and Arabic five-minute annotations to the outer track. It is known that John Arnold senior had a strong preference for enamel dials, a practice which was continued by John Roger, but by around chronometer number 220 he had adopted silvered dials. However, it would seem that just prior to this, John Roger Arnold produced a very small number with hybrid dials which were silvered but inset with an enamel subsidiary seconds disc. The present lot would appear to be one of only two known surviving examples of this type, with the other being number 217 which is now housed in the collection of the British Museum (number 1958, 1006. 1937). The Arabic five minutes beyond the minute track is also a feature that was also phased-out around the time of the introduction silvered brass for the dials.Of additional interest is the engraved inscription to the mainspring of the present lot Robert Clark Nov 1, which mirrors that of the mainspring of number 217 - which is inscribed Robert Clark May 12 1804. This would suggest that the mainspring for the current lot was made in October/November 1803 by the specialist spring maker of that name who is known to have worked 1774-1815. From this it would be reasonable to date the present chronometer to early 1804.The last chronometer to be made with the timepiece housed in a brass drum without gimbals (contained in typical Arnold-type octagonal wooden casing) is number 217. From this it would be reasonable to suggest that present instrument was also housed in a similar manner, but as then was subsequently upgraded to brass bowl and gimbals (of a type used by Morris Tobias) in the 1830's. When the present lot was discovered by the vendor the box was missing, hence the present box was commissioned using solid timber salvaged from a contemporary table leaf and executed to match the date and style of the present bowl and gimbals. The present lot is a very rare survivor of documentary importance as it was made at a transitional period in John Roger Arnold's work. When he was evolving his dials from white enamel (with Arabic five minutes to outer track) to fully silvered; and the case from brass drum without gimbals (in a faceted wooden surround) to gimballed brass bowl suspended within a square box. Not only this, but it was also made during the height of the Napoleonic Wars and the build-up to the Battle of Trafalgar. At time when the Arnold workshop would have been busy producing chronometers for the Royal Navy so one can only imagine what this timepiece has witnessed. 

An album of approximately one hundred late 19th Century photographs, mainly English and European castles and cathedrals, others include Gogerddan Mansion, Nantgwyllt House, Wales, Venetian scenes, Parisian scenes, the Colloseo and Chiesa di S Pietro Rome, Pisa and others

Vintage dolls house furniture  to include a tiny dolls house dolly and a small crochet teddy , a bedroom and christmas  tree miniature dolls house little girl dressed doll and her toys to include a rocking horse and other toy items.. for furnishing a dolls house  (selection)

Antique dolls house upholstered-likely German- sofa and chair and bisque head lady doll and others, inc a later fish set, an antique tiny bible complete  and furniture to include a table and various effects. ( quantity) the sofa lacks a foot and all items used with age wear -please see all photographs 

Vintage dolls house doll figures together with a composition head velvet sailor doll 1930s-Group of all dolls vintage for dolls house figure purposes ( (group)

Antique small dolls German house dolls and chaise and chairs in original worn silk and furniture  and a pole screen and a pinning wheel. The dresser drop front is detached . The Parian dolls house doll is c 4” and the china lady is c 5” as a guide. ( quantity)

A collection of LPs various dates and genres to include Touch - S/T (no poster), Leigh Stephens - And A Cast Of Thousands, Lindsey Buckingham - Go Insane & Law And Order, Carolyn Hester - S/T, Wall Of Voodoo - Call Of The West, Delta 5 - See The Whirl, Stan Ridgeway - The Big Heat, Jimmy Nail - Take It Or Leave It, Romeo Void - Instincts, Girls At Our Best! - Pleasure (no bag), Sparks - Kimono My House, Pink Floyd - Atom Heart Mother, The Rutles - S/T, Matthew's Southern Comfort - Second Spring (with insert), Yoko Ono/Plastic Ono Band - Fly (with poster), Feeling The Space, Crosby, Stills, Nash & Young - 4 Way Street, Steeleye Span - All Around My Hat, Neil Young - Harvest, Jo Jo Gunne - S/T, Spyro Gyra - Catching The Sun, The James Gang - Yer' Album etc., together with three 12" singles to include Public Image Ltd - Home. New Order - True Faith and The Records - Rock And Roll Love Letter and a 10" album Christmas At The Patti. (30 LP's, 3 12" and 1 10" (34)

Collection of Lego bricks, parts and accessories from the 1980's onwards to include Fabuland figures, Lego Technic, part built 1980s Lego house, base plates, etc (4 Boxes)

A 1950's doll's house

A wicker hamper containing 1930's and later doll's house furniture, lead animals, etc.

Three 1960's House and Garden books "The Modern Interiors" published 1964, "Modern Houses and Conversions" published 1966 and "Holiday And Weekend Houses" published 1968, all 1st editions

Second World War interest:- Churchill, Winston. 1946 Secret Session Speeches, delivered by the Right Hon. Winston S. Churchill to the House of Commons 1940-1943, the Seventh and Final Volume of Mr. Churchill's War Speeches. First edition, first impression in worn dust wrapper, with damp staining and significant edgewear. Along with 1965 The Order of Service for the Funeral of The Right Honourable Sir Winston Leonard Spencer-Churchill. Orig. stapled paper wraps, some minor edgewear, otherwise smart. A good collection. Largest 8vo.

Sir William Charles Ross, zugeschrieben und andere Miniaturisten1794 London - 1860 ebendaSieben sog. Oeils dAmoureux (Augen-Miniaturen) von Mitgliedern der Familie der Herzöge von OrléansSechs der Miniaturen in Goldmedaillons in Anhängerform gefasst. Vier der Medaillons als Anhänger an einem Armband (Bracelet) montiert. Die Darstellung des Auges von Antoine d'Orléans rücks. bezeichnet "Painted by Sir W. C. Ross 1855". Gelbgold 750 und Silber, getestet. Das lose Medaillon (Marie-Amélie) GG 585 (gestestet). Aquarell und Deckfarben auf Elfenbein. D. der Miniaturen je ca. 2 cm, die Miniatur im Ledertui (Antoine d'Orléans) 2,2 cm. Die Medaillons D. 2,2 - 2,5 cm cm.Die Darstellungen des Armbands: Louise d'Orléans, Königin der Belgier (1812 Palermo - 1850 Ostende). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,8 cm. Das Goldmedaillon beidseitig mit floralem Dekor, auf der Vorderseite ein runder Lapislazuli-Cabochon. Louis-Philippe d'Orléans (1773 Paris - 1850 Claremont House, Esher, Surrey, von 1830-1848 König der Franzosen). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 2 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Auf der Vorderseite das Monogramm des Dargestellten und Datierung 1845. Im Deckel Haarlocke Louis-Philippes. König Leopold I. der Belgier (1790 Schloss Ehrenburg, Coburg - 1865 Schloss Laken, Laken). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,9 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Herzog August von Sachsen-Coburg-Kóhary (1818 Wien - 1881 Schloss Ebenthal, Niederösterreich). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,8 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Lose sind vorhanden: Maria Amalia (Marie-Amélie) von Bourbon-Sizilien, duchesse d'Orléans (1782 Neapel - 1866 Claremont House, Esher, Surrey, von 1830-1848 Königin der Franzosen). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 2 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Auf der Vorderseite das Monogramm der Dargestellten und Datierung 1855. Louise d'Orléans, Königin der Belgier (1812 Palermo - 1850 Ostende). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,8 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Miniatur etwas fleckig. Das Medaillon etwas abgegriffen. Antoine d'Orléans, duc de Montpensier (1824 Neuilly-sur-Seine - 1890 San Lucár de Barrameda). Nach F. de Madrazo. Rücks. bezeichnet "Painted by Sir W. C. Ross 1855". Aquarell und Deckfarben auf Elfenbein. D. 2,2 cm. Hinter Glas moniert. Mit schwarzem Leder bezogenes Etui. Jene als einzige Miniatur lose in einem Lederetui befindliche Miniatur mit dem Bildnis des Antoine d'Orléans verweist durch die Angabe des ausführenden Künstlers auf eine große Leidenschaft von Queen Victoria: Sie liebte Miniaturen sehr, besaß eine umfangreiche Sammlung und erfreute regelmäßig ihre über ganz Europa verstreute Verwandtschaft mit Miniaturgeschenken. William Charles Ross wurde 1837 von der Königin zum Hofminiaturmaler ernannt. Marie-Amélie d'Orléans teilte diese Leidenschaft. Sie ließ alle Arten von Porträts in Schmuckstücke einsetzen. So ließ sie sich z. B. offenbar von Mellerio, dem angesehensten Pariser Hersteller solches "Memorabilienschmuckes", vier goldene Armbänder fertigen, jedes verziert mit sechs Miniaturporträts ihrer Enkelkinder. Zwischen 1830 und 1845 sollte die damalige Königin der Franzosen bei Mellerio rund 40 solcher "bracelets-portrait" in Auftrag gegeben haben. Ein Schwerpunkt lag bei den "Medaillons à loeil". Auch ihre Tochter Louise, Königin der Belgier, schätzte die Augen-Miniaturen sehr. Diese Art von Erinnerungsschmuck wurde vor allem unter den Prinzessinnen und Fürstinnen des Zeitalters der Romantik ausgetauscht. Galt das Auge doch als "Fenster zur Seele", in Frankreich wiederum als "la voix de lâme", die "Stimme der Seele" bezeichnet. In kleinem Format konnte man der Erinnerung an die liebsten Seelen der Verwandtschaft nachhängen. Und diese war schließlich weit verstreut, man sah sich selten und noch seltener im kleinsten Kreis!Im vergangenen Jahr konnte sich das Musée Condé, Schloss Chantilly, über ein besonderes Geschenk freuen: Ein Armband aus dem Besitz von Louise d'Orléans mit acht Medaillons als Anhängern fand Eingang in die Sammlungen. In den Medaillons: Augen-Miniaturen von Mitgliedern des Hauses Orleáns! Die Medaillons stammen vom gleichen Hersteller wie die vorliegenden, jene mit den Augen von Marie-Amélie und Louis-Philippe sind auf den Deckeln übereinstimmend dekoriert, mit demselben Monogramm und den den gleichen Datierungen versehen. Das Medaillon mit dem Auge des belgischen Königs Leopold I. ist in ein Medaillon eingesetzt, das auf seinem Deckel einen Türkis aufweist, jenes seiner Gemahlin Louise an vorliegendem Bracelet hingegen einen ebenso gefassten Lapsilazuli-Cabochon. Es ist sehr wahrscheinlich, dass das vorliegende Armband und die losen Augen-Miniaturen über Clémentine d'Orléans (1817 Neuilly-sur-Seine - 1907 Wien), verheiratet mit Herzog August von Sachsen-Coburg-Kóhary, in der Familie des Nachlassenden weitergegeben wurden. Auch Clémentine war eine Tochter der miniaturenbegeisterten Marie-Amélie, es findet sich außerdem das linke Auge ihres Gatten in Miniaturform unter den Medaillons. Warum sollte nicht auch Clémentine mit einem der entsprechenden Armbänder beschenkt worden sein? Vgl. De Vos, Julien / Deldicque Mathieu, Louise d'Orléans, première reine des Belges - un destin romantique. Ausst.-Kat. Musée Condé (Schloss Chantilly) u. a., 19. Oktober 2024 - 16. Februar 2025. Paris 2024, S. 152 f., Kat.-Nr. 60: das erwähnte Armband mit Augenminiaturen aus dem Besitz von Louise d'Orléans. EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I. von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).

Faija (wohl Guglielmo Faija, 1803 Palermo - nach 1861) nach 1857Briefbeschwerer (presse-papier) mit Bildnis von Maria Amalie (Marie-Amélie) d'Orléans, Prinzessin von Bourbon-Sizilien(1782 Neapel - 1866 Claremont House, Esher, Surrey, 1830-1848 Königin der Franzosen). R. s. signiert "Faija cop.". Aquarell und Deckfarben auf Elfenbein. Im Hochoval BA 7 x 5,7 cm. Briefbeschwerer (weißer Marmor mit Messinghenkel): 9,5 x 14 x 5 cm cm. Messingrahmen (8 x 6,5 cm) mit Bezeichnung "souvenir de ta vielle mère qui laime tant".Dabei: Mit grünem Leder bezogenes Originaletui. Gebrauchsspuren.Kopie nach dem Porträt von Ary Scheffer (1857) im Musée Condé, Schloss Chantilly (Inv.-Nr. PE 447). Prinzessin Maria Amalia (Marie-Amélie), Tochter Königs Ferdinand I. beider Sizilien und seiner Gemahlin Maria Karolina, Erzherzogin von Österreich, heiratete im Jahre 1809 Louis Philippe d'Orléans (1773 Paris - 1850 Claremont House, Esher, Surrey), von 1830-1848 König der Franzosen. Der Briefbeschwerer war ein Geschenk an ihre Tochter Prinzessin Clémentine d'Orléans (1817-1897), seit 1843 mit Herzog August von Sachsen-Coburg-Koháry verheiratet. Die Miniatur konnte bei der Bearbeitung nicht ausgerahmt werden.EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Marie-Amelie, geb. Prinzessin von Bourbon-Parma (1782-1866), an Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).

François Meuret1800 Nantes - 1887 Beaumont-le-Roger / EureLouis-Philippe-Albert d'Orléans, comte de Paris(1838 Paris - 1894 Stowe, Buckinghamshire). Halbfigur mit geschultertem Säbel nach rechts, den Kopf nach links gewandt. Wolkenfond. L. s. signiert "Meuret daprès Hall [?]". Aquarell und Deckfarben auf Elfenbein. 9 x 7,4 cm cm. Mit Papier hinterklebt. Verg. Messingrahmen (15,2 x 11 cm), rücks. Stempel "A. Giroux & C". Min. besch. Mit braunem Leder bezogenes Etui mit weinrotem Samtfutter.Louis-Philippe-Albert war der älteste Sohn von Ferdinand-Philippe d'Orléans, duc de Chartres (1810-1842) und Herzogin Helene zu Mecklenburg-Schwerin (1814-1858).1864 heiratete er seine Cousine Maria Isabella d'Orléans-Montpensier (1848 Sevilla - 1919 Villamanrique de la Condesa b. Sevilla). Der Ehe entstammten acht Kinder. Der Enkel des damaligen Königs der Franzosen, Louis-Philippe I., wurde erst als Dreijähriger getauft. Bekanntestes bildliches Dokument dieser Taufe ist das Porträt von Franz Xaver Winterhalter (1842), das den kleinen Grafen von Paris in seiner Taufkleidung darstellt, im Hintergrund die Kathedrale Notre Dame in Paris (Musée du Louvre, Paris). Dort fand die Taufe am 2. Mai 1841 statt. Anlässlich der Taufe schenkte die Stadt Paris dem Täufling einen Degen, der von François Désiré Froment-Meurice hergestellt worden war (Musée Carnavalet, Paris, Inv.-Nr. OM3242; 1922 von Philippe, duc d'Orléans, dem Sohn Louis-Philippe-Alberts, dem Museum gestiftet). Die vorliegende Miniatur zeigt Louis-Philippe-Albert mit einem geschulterten Säbel - wohl in Anspielung auf den Degen des Comte de Paris. Eine Entstehung des (offenbar nicht erhaltenen) Vorbildes ist in die Zeit um 1841, dem Jahr der Taufe, vielleicht auch kurz vorher zu datieren. Sollte die schwer zu entziffernde Bezeichnung "Hall" bei der Signatur Meurets richtig aufgelöst sein, könnte die Vorlage von Adélaïde Victorine Hall (1752-1844) gestammt haben. Diese war die Tochter des zu seiner Zeit höchst geschätzten Miniaturmalers Peter Adolf Hall (1739-1793). Sie lebte in Paris, seit 1796 war sie mit Colonel Bl. Fr. Le Lièvre de la Grange, marquis de Fourilles verheiratet. 1842, ein gutes Jahr nach seiner Taufe, verlor Louis-Philippe seinen Vater bei einem Unfall mit der Kutsche. Nach dem Sturz der Julimonarchie wurde seine Familie 1848 gewaltsam aus Frankreich vertrieben und ging ins Exil nach England. 1850 starb der ehemalige König Louis Philippe von Frankreich, Louis-Philippe-Albert wurde dadurch zum Anwärter auf die französische Krone. Er sollte den Thron jedoch nie besteigen. Nachdem Kaiser Napoleon III. (Charles-Louis-Napoléon Bonaparte, 1848-1852 französischer Staatspräsident, 1852-1870 als Napoleon III. Kaiser der Franzosen) im Jahre 1870 gestürzt worden war, kehrte Louis-Philippe nach Frankreich zurück, 1886 wurde er erneut des Landes verwiesen. 1894 starb er auf dem Landsitz Stowe House in Twickenham.Die Miniatur konnte zur Bearbeitung nicht vollständig ausgerahmt werden. EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I. von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).

Maxime David1798 Châlons-sur-Marne - 1870 ParisPrinzessin Viktoria von Sachsen-Coburg-Koháry, Herzogin von Nemours(1822 Wien - 1857 Claremont House, Esher / Surrey). L. s. signiert. Aquarell und Deckfarben auf Elfenbein. 3,7 x 2,8 cm (im Hochoval) cm. Auf dünnen Karton aufgezogen. Rahmen GG mind. 750 (3,9 x 3 cm) besch.Prinzessin Viktoria von Sachsen-Coburg-Koháry heiratete 1840 Louis d'Orléans, duc de Nemours (1814 Palais Royal, Paris - 1896 Versailles). Die Miniatur sollte Bestandteil eines Armbandes (Bracelet) gewesen sein. In der Collection Royale in Brüssel befindet sich ein aufwendig gearbeiteter, mit Türkisen besetzter Armreif, in welchen eine sehr vergleichbar gefasste Porträtminiatur von Louise d'Orléans, der Schwägerin der Dargestellten, eingesetzt ist (Inv.-Nr. SF.2015.2227). Vgl. zu diesem: De Vos, Julien / Deldicque, Mathieu, "Louise d'Orléans, première reine des Belges. Un destin romantique". Ausst.-Kat. Musée Condé, Schloss Chantillly, 19. Oktober 2024 - 16. Februar 2025, u. a. Paris 2024, S. 149, Kat.-Nr. 58 (mit Abb.).EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I. von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).

A DOCUMENTED AND PROVENANCED LATE ELIZABETHAN / JAMES I LEAD BRONZE MORTAR, NOTTINGHAM FOUNDRY, INITIALLED R M, CIRCA 1600–1620. Rare and unusual mortar from the Oldfield Foundry (c1540 – 1741) cast by Henry Oldfield II. The design of the mortar is from the late sixteenth century, cast with an everted lip above a double moulded body, 15cm diameter 11cm high Note - Very interestingly much earlier 14th Century moulds have been used on the body, cast with a floriate cross, the Royal heads of King Edward III and Queen Phillipa, along with ‘Rufford’ Lombardic script letters ‘R M’ thought to originally be for the Nottingham bellfounder Richard Mellour that worked in Nottingham 1488 – 1500. These medieval stamps were acquired by the Oldfields on purchase of the foundry in the 1540’s and continued to be selectively used thereafter. Provenance - Illustrated and discussed, Michael Finlay, ‘English Decorated Mortars and Their Makers’ Fig 171, p 94. Phillips house sale, Hall, Barnstaple, North Devon, 1996. *CR No remarks.