A FINE AND RARE LARGE FOLDING KNIFE FOR EXHIBITION, LOCKWOOD BROTHERS, SHEFFIELD, MID-19TH CENTURY with two burnished broad folding blades, each double-edged over the upper portion, formed with a scalloped back-edge, stamped ‘Lockwood Brothers’ divided by an engraved running rhea above ‘Pampa’ on one face, stamped ‘Lockwood Brothers Sheffield’ at the base and with the letters ‘CX’ divided by a pair of vertically arranged crosses (small areas of staining), finely milled gilt liners and spring backs, highly figured exotic hardwood chamfered scales retained by seven rivets with German silver caps, one inlaid with the maker’s name ‘Lockwood Brothers’ divided by a running rhea above the letters ‘Pampa’ , with finely milled and engraved German silver terminals decorated with scrolls and foliage, those at the pivot end with a vacant panel, perhaps for the date, on each face, and remaining in fine condition throughout, 40.5 cm (closed) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 77. Stated to have been made for the 1851 Great Exhibition and shown at thirty one subsequent cutlery exhibitions until 1905. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
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A MULTI-BLADE PENKNIFE FOR EXHIBITION with over one hundred folding blades and accessories including awls, borers, saws, corkscrews, tweezers, scissors, pincers, scribes, bodkins, needles, nail files, bradawls, and spanners, fitted at each side with mother-of-pearl scales (small cracks) retained by five minute screws and with elaborately writhen German silver borders at the top and bottom, 12.0 cm (closed) ProvenanceThe directors of Lockwoods, Sheffield. LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 73. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
˜ A SALESMAN’S DISPLAY OF TWENTY-FIVE POCKET KNIVES, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH/EARLY 20TH CENTURY each struck with the maker’s details at the ricasso, comprising twenty-one with ‘Real Pampa’ blades; four with natural staghorn scales, eleven with polished horn scales, one with ivory scales, one with brass scales stamped ‘Goldfinger knife’ and the remainder with hardwood scales, mounted on board with stock numbers in ink and makers details in gilt letters, with cover, 43.0 x 35.0 cm LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 196. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
˜ A SALESMAN’S DISPLAY OF TWENTY-FOUR POCKET KNIVES, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH/EARLY 20TH CENTURY each struck with the maker’s details at the ricasso, comprising thirteen with ‘Real Pampa’ blades; twelve with natural staghorn scales, seven with polished horn scales, three with ivory scales, one two with hardwood scales, mounted on board with stock reference numbers in ink and makers details in gilt letters, with cover, 43.0 x 35.0 cm LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 199. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A DISPLAY BOARD FOR THE MANUFACTURE OF A TWO-BLADE POCKET KNIFE ‘PAMPA’, LOCKWOOD BROTHERS, LAST QUARTER OF THE 19TH CENTURY, formed of a paper-covered board inscribed in gilt letters with the manufacturer’s details, displaying the thirty-seven stages of manufacture, comprising the two spring bars each in five stages, spear and pen blades each in seven stages, bolsters, brass fillets and final assembly in five stages, consecutively numbered in ink, 30.5 cm x 25.5 cm LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 69. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
FIVE LOCK KNIVES BY LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH CENTURY, A FIGHTING KNIFE AND THREE FURTHER POCKET KNIVES the first five with ‘Real Pampa’ blades, three with natural staghorn scales, one with polished horn scales and one with hardwood scales; the sixth with folding locking blade signed ‘Taylor’ and ‘Real Knife Witness’, German silver double quillons and natural staghorn scales, and three further pocket knives with natural staghorn scales, the first: 12.8 cm (closed) (10) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 243. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
THREE POCKET KNIVES, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH/EARLY 20TH CENTURY AND THIRTEEN FURTHER POCKET KNIVES the first two marked ‘Real Pampa’, signed at the ricasso and with CX’ mark; the third similar, with additional folding blade; five folding knives by Joseph Elliott & Sons, with signed blades and natural staghorn scales; another by the same maker with two folding blade and another smaller knife by the same maker; two by Allen & Son; and four further pocket knives, the first: 10.8 cm (closed) (16) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 114. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A PRUNING KNIFE, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH EARLY 20TH CENTURY AND SIXTEEN FURTHER PRUNING AND OTHER KNIVES the first with folding ‘Real Pampa’ blade with makers details and stamps at the forte and natural staghorn scales (one flattened, perhaps for display); thirteen further pruning knives, and three pocket knives by various makers; the first: 11.0 cm (closed) (17) The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
FOUR BUTLER’S KNIVES, LOCKWOOD BROTHERS, SHEFFIELD, 19TH CENTURY AND FOUR FURTHER KNIVES the first four with two folding blades of differing size, signed at the ricasso, a further small hooked blade, corkscrew, and nickel bodies engraved with a rhea and ‘Real Pampa’; another, Joseph Elliott; another, John Petty; another, Allen & Son, and a locking knife with nickel body, Joseph Rodgers & Sons, no. 6 Norfolk Street Sheffield, the first: 10.5 cm (closed) (8) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 139. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
THREE PENKNIVES, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH CENTURY AND FIVE FURTHER KNIVES the first with five folding elements including pick and awl, and natural staghorn scales; the second marked ‘Real Pampa’ and with six folding elements; the third with three folding elements including tuning fork and pincers, the fourth smaller, with four folding elements; the fifth and sixth Allen & Sons, the seventh, Petty, with five folding elements; and the eighth, Joseph Elliott, with two blade and staghorn scales, the first: 8.7 cm (closed) (8) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 138. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
SIX POCKET KNIVES, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH CENTURY AND TWELVE FURTHER POCKET KNIVES, the first to fourth with three folding blades marked ‘Real Pampa’ and with polished horn scales; the fifth and sixth with a single folding ‘Real Pampa’ blade and natural staghorn bodies; the seventh to tenth, Joseph Elliott, with staghorn bodies; and eight further pocket knives, various makers, the first: 10.5 cm (18) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 158. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
˜ A SMALL PENKNIFE, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH CENTURY, AND TWENTY-ONE FURTHER SMALL PENKNIVES the first with signed folding ‘Real Pampa’ main blade, two further folding accessories, and German silver-mounted staghorn scales; the second by the same, with four folding blades and tortoiseshell scales; a premium stock knife, George Wostenholm, Sheffield, with three folding elements, in associated box; two fruit knives, Brookes & Crookes, Sheffield, with folding blades and mother-of-pearl scales, and seventeen further small penknives, the first: 9.0 cm (closed) (22) The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
FIVE PRUNING KNIVES, LOCKWOOD BROTHERS, SHEFFIELD, AND NINETEEN FURTHER PRUNING KNIVES, LATE 19TH/EARLY 20TH CENTURY with natural staghorn scales, the first and second with two folding blades, the larger marked ‘Real Pampa’; the third, fourth and fifth with single folding ‘Real Pampa’ blade; the sixth, Lockwood Sons, with single folding blade; five large pruning knives, Allen & Son, Sheffield; six smaller pruning knives, Allen & Son, Sheffield; another by the same, with two blades; and six further pruning knives, the first: 9.8 cm (closed) (24) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 160. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
TWO PRUNING KNIVES, LOCKWOOD BROTHERS AND SIX FURTHER PRUNING KNIVES, SHEFFIELD, LATE 19TH/EARLY 20TH CENTURY with folding blades, the first two marked ‘Real Knife Pampa’ and with rhea on one face, struck with the maker’s details, ‘CX’ and cross marks at the ricasso, and with polished and natural staghorn scales respectively; the third to sixth similar, by Joseph Elliott & Sons, with natural staghorn scales; the seventh by W. Saynor Ltd and the eighth by Allen & Scott, the first: 9,.5 cm (closed) (8) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 112. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
TWO PRUNING KNIVES, LOCKWOOD BROTHERS AND SEVEN FURTHER PRUNING KNIVES, SHEFFIELD, LATE 19TH/EARLY 20TH CENTURY with folding blades, the first marked ‘Real Knife Pampa’ and with rhea on one face, struck with the maker’s details, ‘CX’ and cross marks at the ricasso, and with natural staghorn scales; the second with the maker’s details, ‘CX’ and cross marks at the ricasso and polished horn scales; the third by Joseph Elliott; the fourth and fifth by Allen & Son; the sixth by Alexander Birmingham, with barrel mark; the seventh with barrel mark; the eight and ninth by Thomas Turner & Co., the blades and chequered scales marked ‘Encore’, the first: 10.5 cm (closed) (9) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 112. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
˜ THREE THREE-BLADED FLEAMS, LOCKWOOD BROTHERS, SHEFFIELD, 19TH CENTURY AND TEN FURTHER FLEAMS the first three with three ‘Real Pampa’ folding blades and brass scales; two two blade fleams, by the same with ‘Real Pampa’ blades and horn scales; two single-blade fleams by the same with horn scales; two three blade fleams, Joseph Rodgers & Sons, 6 Norfolk St, Sheffield, with brass scales; three further fleams by the same, with horn scales; a small fleam, J. Gibbins, with tortoiseshell scales, and another, P. Salt, with horn scales, the first: 7.8 cm (14) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, pp. 162. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
THREE SMOKERS POCKET KNIVES, LOCKWOOD BROTHERS AND ANOTHER, EARLY 20TH CENTURY the first with four folding elements including ‘Real Pampa’ blade with trademark, button hook and corkscrew, nickel-silver body marked ‘Real Pampa’; the second and third with four folding elements including pricker and nickel-silver bodies; and the fourth similar, by Joseph Elliott and Sons, Sheffield, the first: 7.8 cm (closed) (4) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 140. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
THREE MOTHER-OF-PEARL MOUNTED SMALL POCKET KNIVES, LOCKWOOD BROTHERS; SEVEN FURTHER MOTHER-OF-PEARL MOUNTED POCKET KNIVES AND SIX POCKET KNIVES WITH GERMAN SILVER BODIES the first three of differing size, each with folding ‘Real Pampa’ blade signed at the ricasso, and mother-of-pearl scales; the fourth and fifth similar, Joseph Rodgers, no. 6 Norfolk Street, Sheffield; five further pocket knives, similar; a smoker’s pocket knife, Lockwood brothers, with German silver body, five further smoker’s pocket knives and another pocket knife, in its leather pouch, the first: 9.2 cm (closed) (16) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 183. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A BOWIE KNIFE, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH/20TH CENTURY with single-edged blade formed with a false swage at the point, stamped with the maker’s details and the letters CX divided by a double cross, German silver hilt comprising shaped cross-piece and grip cast with neo rococo designs in low relief, 28.8 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 257. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A DECORATED PAIR OF SCISSORS FOR EXHIBITION, LOCKWOOD BROTHERS, SECOND HALF OF THE 19TH CENTURY AND SIX SMALLER DECRATED SCISSORS the first with highly polished blades signed by the maker and marked ‘CS’ on one ricasso, gold-bladed grips decorated with a pierced and engraved panel featuring the trademark letters ‘CX’, reah and ‘Pampa’ and remaining in fine condition (one small area of surface rust); the remaining scissors for sewing, of delicate construction, one decorated with a pair of birds, one with tracery, and four with designs of scrolls, the first: 28.5 cm overall (7) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 86. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
LOCKWOOD BROTHERS, SHEFFIELD, CATALOGUE, CIRCA 1890, ANOTHER, DATED 1923 AND ANOTHER, MID-20TH CENTURY the first comprising fifty seven plates with printed board covers (worn); the second comprising one hundred illustrated pages, paper covers; the third comprising two hundred and six illustrated pages, paper covers, together with three printing blocks from a Lockwood brothers catalogue and a retailers sign ‘We Stock Lockwood’s Pampa Cutlery’ (7) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 206 (the printing blocks). The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A SMALL AXE, THORNHILL, LONDON, LAST QUARTER OF THE 19TH CENTURY with curved axe-blade formed with a sharp leading edge and delicately scalloped back-edge, struck with the maker’s details and ‘VR’ divided by a crown on one face, tapering moulded rear pean with the initials ‘AHW’ conjoined for branding, iron haft with moulded neck en suite with the pean, fitted with a pair of tapering rounded hardwood panels with finely chequered grips over the lower portion, 35.0 cm LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 59. Axes of this type were probably carried by head gamekeepers and other senior staff on larger rural estates. Thornhill & Co. are recorded 1820-1912. This well-known firm exhibited at the Great Exhibition of 1851, the Paris Exhibition in 1878, and the Sportsman’s Exhibition in Islington in 1882. For a full history see Culme 1987, pp. 448-9. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A CELADON JADE 'TURTLEDOVE' FINIAL, JIU, HAN DYNASTY 漢代青玉雕臥鳩China, 206 BC to 220 AD. Finely carved, the bird facing forward, well detailed with round eyes, distinct elegantly curved brows, an inward-curved beak holding a small ball, and a feather issuing from the head, the wings tucked against its sides, the plumage finely defined with incised lines and carved grooves, the underside with a circular recess for attachment to a staff. Opinion: The present lot is an exceptional example of an early jade carving representing the pinnacle of Han dynasty jade craftsmanship. This superbly carved bird is remarkable in two aspects: the dynamic design combined with the attention to naturalistic details.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art.Condition: Very good condition with some old wear and weathering, few minuscule nicks, microscopic encrustations and surface alterations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 90.3 g Dimensions: Length 9 cmIn Chinese legend, Liu Bang (c. 256-195 BC), Emperor Gaozu of the Han dynasty, was once assisted by a divine turtledove to escape from his arch-rival Xiang Yu (232-202 BC), and became a symbol of benevolent rule and heavenly protection. Staffs or swords with mythical bird finials made from jade were also recorded in Han dynasty literature as special gifts given to the elders of the aristocracy to manifest benevolent rule and heavenly protection.Literature comparison: See a white jade sword pommel in the form of a mythical eagle, Western Han dynasty, excavated from a tomb at Longgangsi, Shaanxi Province, illustrated by Gu Fang, The Complete Collection of Jades Unearthed in China, vol. 14, Shaanxi, Beijing, 2005, page 149. Note the closely related head with similar round eyes below distinct curved brows and inward-curved beak, as well as the underside with a circular recess for attachment to a staff. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 5 April 2016, lot 29 Price: HKD 1,720,000 or approx. EUR 244,500 converted and adjusted for inflation at the time of writing Description: A pale green jade turtledove, Western Han dynastyExpert remark: Compare the feather issuing from the head. Note the size (6 cm) and the similarities in the material.漢代青玉雕臥鳩中國，公元前206 年至公元 220 年。青玉質地溫潤，雕斑鳩作蹲伏狀，頭部突出，鳥翎自鳥首向背部延伸，身上琢出勾轉的平行線紋以示其翅膀，身下有收縮的足部，鳥尾刻出下垂的尾羽，工藝精巧。此類臥鳩流行於漢代中期至東漢，用途為鳩杖的杖首。 來源：義大利羅馬Filippo Salviati教授私人收藏，Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。他對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。 品相：狀況極好，有一些磨損和風化，少量微小的刻痕、輕微結殼。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：90.3 克 尺寸：長9 厘米 傳説漢高祖劉邦 (公元前約 256-195 年)，還沒有統一天下時，有一次和項羽 (公元前232-202 年) 作戰，受一隻斑鳩庇佑得以逃脫。劉邦很感激斑鳩，即位為皇帝之後，就做鳩杖，賜給老人。 文獻比較： 見一件西漢鷹形玉劍首，出土於陝西省龍岡寺遺址，見古方編，《中國出土玉器全集》，卷14，陝西，北京， 2005年，頁149。請注意非常相近頭部有類似的圓眼，下面有明顯的彎曲的眉毛和向內彎曲的喙，底部一個圓形的凹槽，用以安裝劍筒並固定劍莖。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2016年4月5日，lot 29 價格：HKD 1,720,000（相當於今日EUR 244,500） 描述：西漢青玉雕臥鳩 專家評論：比較頭部特色。請注意尺寸(6 厘米) ，以及相似的材質。
A LARGE LACQUERED AND GILT COPPER-ALLOY TRISHULA FITTING, TIBET, 17TH - 18TH CENTURY 十七至十八世紀西藏鎏金銅漆彩三叉戟Composed of a central skull issuing three larger and two smaller blades, the edges decorated with red flames. The skull with large eye sockets and pierced smile revealing sharp fangs and a tongue, details picked out in orange and green, the design mirrored to the reverse. Provenance: From an old private collection in Amsterdam, Netherlands, acquired in the Hong Kong trade during the 1980s. Condition: Fine condition with expected old wear, minor scratches, few tiny losses, dents, small cracks, wear to the pigments. Displaying very well overall.Weight: 2.5 kg Dimensions: Length 74.4 cmThe trishula has early origins related to concepts of trinity within the Vedic traditions and was the quintessential implement held by the god Shiva. In tantric Buddhism, it became linked as the magical weapon of Padmasambhava, illustrated in the crook of his left arm as a trident topped staff in his most iconic form as Guru Rinpoche.Literature comparison:Compare a five-pointed fire flaming trishula with a skull connecting the handle and prongs illustrated in Henss, Buddhist Ritual Art of Tibet, 2020, fig. 220. Compare a related trishula with skull and five flames, in the Musee Guimet, accession number MA 5918.Auction result comparison:Type: RelatedAuction: Christie's Paris, 13 June 2013, lot 54Price: EUR 11,250 or approx. EUR 13,500 adjusted for inflation at the time of writingDescription: A rare gold, silver and copper-inlaid iron trishula, Tibet, 16th/17th centuryExpert remark: Compare the related form, flame details, central skull design, and similar size (71 cm).Auction result comparison:Type: RelatedAuction: Bonhams Paris, 15 December 2022, lot 124Estimate: EUR 6,000Description: A silver and steel ritual trident head (trishula) partially gilded and inlaid with silver, eastern Tibet, 17th/18th centuryExpert remark: Compare the related form, flame details, and central skull design. Note the much smaller size (50 cm).十七至十八世紀西藏鎏金銅漆彩三叉戟正中央爲一個骷髏，其頭上有三個大和兩個小的叉，邊緣飾有紅色火焰。骷髏頭有大眼窩，齜牙咧嘴並吐出舌頭，細節以橙色和綠色挑出，正反面相同。 來源：荷蘭阿姆斯特丹私人收藏，上世紀八十年代購於香港。 品相：狀況良好，有磨損、輕微劃痕、極少的缺損、凹痕、小裂縫、顏料磨損。 重量：2.5 公斤 尺寸：長74.4 厘米 三叉戟的起源與吠陀文化中的三位一體概念有關，是濕婆持有的法器。在密宗佛教中，它與蓮花生大士的法器相關，在他的左臂彎曲處有這個最具標誌性三叉戟。 文獻比較： 比較一件五尖火焰燃燒形的三叉戟，帶有連接手柄和尖頭的骷髏頭，見Henss，Buddhist Ritual Art of Tibet，2020年，圖220。比較一件相近的五尖火焰燃燒形的三叉戟，收藏於Musee Guimet，館藏編號MA 5918。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2013年6月13日，lot 54 價格：EUR 11,250（相當於今日EUR 13,500） 描述：十六至十七世紀西藏鐵製嵌金銀銅三叉戟 專家評論：比較相近的外形，火焰、中心有骷髏，以及相似尺寸(71 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎邦瀚斯，2022年12月15日，lot 124 估價：EUR 6,000 描述：藏東 十七/十八世紀 銀及局部鎏金鋼錯銀三叉戟 專家評論：比較相近的外形，火焰、中心有骷髏。請注意尺寸較小(50 厘米)。
A CARVED WOOD FIGURE OF SHOULAO, c. 1900sChina, late Qing Dynasty (1644-1912) to Republic period (1912-1949). The standing immortal is carved wearing long flowing robes, with a smiling and benevolent expression on his face. He is holding a tall, gnarled staff in one hand and a large peach in the other, with a finger citron and a further peach attached to the belt behind.Condition: Good condition with minor wear, age cracks, a small loss to the base and a chip to the robe. Provenance: Austrian private collection.Weight: 1080 gDimensions: Height 34.5 cm
A BACTRIAN LAPIS LAZULI INTAGLIO TALISMAN WITH A FIGUREPresumably ancient region of Bactria, c. 2500 years old. Of flattened oval form, engraved to one side with a seated figure, holding a staff in one hand and a bird in the other, pierced to the top. The stone of a deep blue hue amid veins in various shades of gray beneath subtle glimmering mica flecks.Condition: Good condition with expected traces of use and age as well as natural imperfections to the stone. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 68.8 g Dimensions: Height 6.6 cm
A LAPIS LAZULI FRIEZE OF A DIGNITARY WITH SNAKEWestern Asiatic region, presumably 7th century. Of irregular rectangular form, carved in relief with a dignitary seated on a stool and a further figure with a staff, both grasping a snake depicted in the center. The stone of a deep, striking blue hue amid patches and veins in various shades of gray beneath subtle glimmering mica flecks.Condition: Good condition with traces of age and wear, minor losses, the stone with natural imperfection and minor encrustations. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1266 g (excl. stand) Dimensions: c. 15 x 16 cm (excl. stand)With a modern stand. (1)
George Perfect Harding (1781-1853) - Portrait of the English Actor, Playwright and Theatre Manager David Garrick three-quarter length , wearing a grey jacket and white cravat, with a Tricorn hat under his arm, holding a staff in his right hand, signed also extensively inscribed with a biography on the sitter, pencil and watercolour, 4.5" x 3.5" ** Provenance with J. & W. Vokins, Great Portland Street, London also sold by Sotheby's in their good English and continental portrait miniature sale on the 16th December 1974 lot 65 ** David Garrick was the leading actor of the English stage from 1741 to 1776 and the manager of Drury Lane Theatre from 1747 to 1776, his domination of every department of the theatre is something unique in the history of the stage. A great deal of his fame must be due to his brilliant use of publicity, and used visual arts as a vehicle to capture his own more transient art, commissioning Zoffany 's first theatrical painting in 1762 (No. 21) and many others from him and other artists in subsequent years. He also encouraged the production of copies and engravings (39-42) which were dispersed on the continent as well as in England. Samuel Foote also used Zoffany to propagate his name (24-25) and a vogue for theatrical conversation pieces, many of the best of which are shown in this section of the exhibition.
SCRUBS (T.V. SERIES, 2001 - 2010) - Set of Sacred Heart Hospital Staff Badges - Sacred Heart Hospital staff badges from Bill Lawrence's medical comedy series Scrubs. Medical personnel at Sacred Heart wore staff badges throughout the series.This set consists of 18 plastic badges in clear plastic cases with metal clips labeled for the following: "John Dorian", aka JD (Zach Braff); "Taylor Maddox" (Courteney Cox); "Kim Wyatt" (Elizabeth Banks); "Todd Quinlan" (Robert Maschio); "Lucy Bennett" (Kerry Bishe); "Cole Aaronson" (Dave Franco); "Keith Dudemeister" (Travis Schuldt); "Derek Hill" (Lee Thompson Young); "Drew Suffin" (Michael Mosley); "Jimmy Groper" (Taran Killam); "Milos Radovichovnicivsik" (Benjamin King); "Bob Bencomo," aka Colonel Doctor (Bob Bencomo); "Phillip Wen" (Charles Rahi Chun); "D. Murphy" (Johnny Kastl); "Lisa Bolton" (Jordan Zucker); "Collins Genesis"; "Joyce Papson"; and "Stu Peedo." They exhibit scratching and scuffing throughout. Dimensions: (each) 4.25" x 3" (11 cm x 9 cm)Estimate: $1,500 - 3,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
STAR WARS: A NEW HOPE (1977) - Charles Lippincott Collection: Marcia Lucas' Editorial Crew T-Shirt - A crew T-shirt from the production of George Lucas' Star Wars: A New Hope. T-shirts of this style featuring artwork by celebrated sci-fi concept artist Ralph McQuarrie were issued to the production staff, including Lucas' wife and editor Marcia Lucas, though it remains unknown if she ever wore this shirt.This gray cotton T-shirt (size S) comes from the collection of the film's advertising and publicity supervisor Charles "Charley" Lippincott. It features a graphic depicting a TIE fighter chasing an X-wing, a red planet, and a blue "Star Wars" logo. The reverse is emblazoned "Editorial Marica [sic]" in blue velvet. The shirt exhibits some discoloration and frayed fabric.Estimate: $1,000 - 2,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
STAR WARS: RETURN OF THE JEDI (1983) - William Plumb Collection: Set of Three Lawrence Noble Ewok Statues - Three Lawrence Noble Ewok statues from Richard Marquand's Star Wars: Return of the Jedi. Noble created these statues after the film release. This lot comes from the personal collection of William Plumb. It consists of one Ewok carved wax statue with a wooden staff on a brown resin base; one artist proof cold cast statue; and one bronze Ewok statue mounted on a stone and wooden base with a gold-color metal plaque. The wax and artist proof statues are signed by Noble. This lot exhibits a broken hand and staffs and bent staff on the bronze statue. Dimensions: 10.5" x 5" x 5" (26.75 cm x 12.75 cm x 12.75 cm)Estimate: $2,000 - 4,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
WARCRAFT (2016) - Set of Three Alliance Halberds - Three Alliance halberds from Legendary Pictures' fantasy epic Warcraft. Soldiers of the Alliance wielded their halberds in battle against the Orc Horde.Each of these halberds features a wooden staff mounted on top with a dense urethane blade hand-painted in the Alliance's signature silver-color and blue and engraved on both sides with gold-color Stormwind lion emblems. The set exhibits some paint flaking and cracking to the blades from age and production use. Dimensions (each): 97" x 20" x 9" (246.5 cm x 51 cm x 23 cm)Special shipping required; see notice in the Buyer's Guide.Estimate: $1,500 - 3,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
STAR WARS: A NEW HOPE (1977) - Hand-Painted Ralph McQuarrie X-Wing Starfighter and Imperial TIE Fighter Illustration - An illustration of an X-wing starfighter and an Imperial TIE fighter hand-painted by Ralph McQuarrie from the production of George Lucas' Star Wars: A New Hope. This artwork was created circa August 1976, and later printed on T-shirts for US-based crew members, including the staff at Industrial Light & Magic (ILM). The ships in the artwork were likely a deliberate choice by McQuarrie to represent ILM's work.This illustration is one of the few produced for the film that includes an X-wing. It is shown here in its final design form with four distinct engines rather than two, and features the earlier blue-striped fuselage which progressed to a red stripe later in production. The piece features a number of McQuarrie's signatures, including the orange planet in the background (similar to the well-known triangular "The Star Wars" logo McQuarrie designed), the arched framing (similar to the "Fantastic Five" painting), a soft gradient on the lettering, and airbrushed engine, laser, and motion streaks to add energy to the piece.This illustration is rendered in mixed media, primarily including gouache, on illustration board. Below the "Star Wars" lettering is a pasted-on additional piece of paper likely added to cover an earlier abandoned design element. The board also features press-on lettering reading "the star wars corp. 1976." The artwork is stored with a clear acetate cover layer and an additional paper cover that McQuarrie applied after completing it. It remains extremely well-preserved with no fading and only a minor surface tear outside of the image area. McQuarrie's original trilogy paintings are the pinnacle of his work; they are exceedingly rare and highly sought after by collectors. This is one of only a small number of McQuarrie paintings related to the first film known to exist in private collections today. Both the composition and content of the piece are superb, and a high-quality image of this artwork has never been published previously. Dimensions (on board): 16.5" x 19.25" x 0.75" (42 cm x 48.75 cm x 2 cm)Estimate: $50,000 - 100,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.
STAR WARS: THE FORCE AWAKENS (2015) - Rey's (Daisy Ridley) Promotional Prop Staff - A promotional prop of Rey's (Daisy Ridley) staff from J.J. Abrams' Star Wars: The Force Awakens. Propshop, the industry prop and set decoration fabricator that created many props for The Force Awakens, released limited-edition prop replicas in partnership with Disney and Lucasfilm. The pieces were made from original 3-D scan data from the production to ensure utmost accuracy. Used in marketing events, the 3-D-printed staff is painted gray to resemble aged metal and features linen and leather wraps that have been distressed to simulate age and a brown woven cotton strap. The staff exhibits some scuffing to its finish. Dimensions: 72" x 3" x 3" (183 cm x 7.75 cm x 7.75 cm)Special shipping required; see notice in the Buyer's Guide.Estimate: $4,000 - 8,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.
STARGATE SG-1 (T.V. SERIES, 1998) - Screen-Matched Battle-Damaged Death Glider Model Miniature - A screen-matched, battle-damaged Death Glider model miniature from the sci-fi television show Stargate SG-1. Death Gliders were Goa'uld space superiority fighters, deployed against multiple space targets. This model was screen-matched to Season 2's "The Serpent's Lair," where SG-1 and Bra'tac escaped Apophis' Ha'tak mothership in two Gliders damaged during that ship's subsequent destruction.The miniature's body is lightweight rigid foam covered in a rigid skin, painted metallic blue, silver-color, and purple with gold-color paint inlaid in etching, and is assembled in three parts, forming the fuselage and heavily curved wings. The resin and clear acrylic canopy features spider-crack damage, showing the dual-seat cockpit and decal control surfaces. Paint markings suggest the cockpit replaced an earlier canopy. Two resin staff cannons are slung underwing. The surface is painted metallic blue and purple, and etched with curved, gold-color painted lines. There are battle damage marks representing laser blasts, and gray paint depicts smoke and burn damage. It exhibits small chips to the paint and hot glue residue at assembly points. Dimensions: 41" x 21" x 11" (105 cm x 53.5 cm x 28 cm)Special shipping required; see notice in the Buyer's Guide.Estimate: $8,000 - 16,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.
ANY GIVEN SUNDAY (1999) - Coach Tony D'Amato (Al Pacino) Jacket - A Coach Tony D'Amato (Al Pacino) jacket from Oliver Stone's sports drama film Any Given Sunday. The coaching staff of the Miami Sharks had jackets featuring the team's logo, D'Amato was ultimately not seen wearing his. This lot consists of a gray nylon-blend zip-up collared jacket with two front pockets, button cuffs, a Dominic Gherardi custom tailoring label printed with the name "Al Pacino" and dated "January 1999," and white thread embroidery on the chest of a Miami Sharks logo and the name "Coach D'Amato." The embroidery exhibits a few loose threads.Estimate: $1,500 - 3,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
DARK CRYSTAL, THE (1982) - SkekZok the Ritual Master's Decorative Staff Topper Prototype - SkekZok the Ritual Master's decorative staff topper prototype from Jim Henson's and Frank Oz's fantasy adventure film The Dark Crystal. Ritual Master skekZok features several crescent moon motifs throughout his ensemble. Derived from Brian Fround's concept art but ultimately unused, this topper prototype is painted to resemble gray metal with a green patina, featuring a textured scale-like finish, inlaid red faux crystal eyes, a claw holding a faux indigo translucent faux crystal, and yellow resin talons. It is mounted to a black painted wood base. The topper exhibits light scratching and minor chipping. Dimensions: 4.5" x 3" x 7" (11.5 cm x 7.75 cm x 18 cm)Estimate: $1,500 - 3,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
JURASSIC PARK (1993) - Pair of Two Production Storyboard Binders and Production Paperwork - Two production storyboard binders and production paperwork from Steven Spielberg's sci-fi-adventure film Jurassic Park. Production created copies of storyboards and documents to use during filming.This lot consists of 70 pages of a staff and crew list; partial scripts with handwritten annotations from Dan Ondrejko and J.M. Kenny; a 30-page booklet of Kauai Location Scout Information; a 53-page booklet of Kauai Information for shooting dates during August to September of 1992; one 438-page storyboard binder; and one 316-page storyboard binder. This lot exhibits minor grime and discoloration. Dimensions: 11.5" x 11.5" x 3.5" (29.25 cm x 29.25 cm x 9 cm)Estimate: $2,500 - 5,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
M*A*S*H (T.V. SERIES, 1972 - 1983) - MASH Helicopter Panel - A MASH helicopter panel from the war comedy-drama series M*A*S*H. The doctors and other medical staff working at the 4077th Mobile Army Surgical Hospital had patients airlifted to them in helicopters from the frontlines during the Korean War.This lot consists of a helicopter side panel, made of wood, painted olive green with white and black stenciled lettering reading "4077th Mobile Army Surgical Hospital" with a white caduceus. It exhibits signs of wear from use and age, including scuffing, chipping, cracking, adhesive residue, and holes drilled around the edges. Dimensions: 32.75" x 30.25" x 0.5" (83.25 cm x 77 cm x 1.5 cm)Estimate: $1,500 - 3,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
MARVEL'S AGENTS OF S.H.I.E.L.D. (T.V. SERIES, 2014) - Lorelei's Battle-Damaged Asgardian Necklace with Broken Berserker Staff - Lorelei's battle-damaged Asgardian necklace with a broken Berserker staff from Marvel's Agents of S.H.I.E.L.D. In the Season 1 episode "Yes Men," Asgardian criminal Lorelei used her necklace to seduce Earth's men. Later, in "The Well," Norse paganists attempted to steal an ancient Asgardian staff.This lot consists of a 3-D-printed resin collar necklace painted gold-color, gilded with Asgardian patterns, and intentionally cracked by production to appear battle-damaged, as well as three steel- and gold-color resin staff pieces engraved with Norse runes and intentionally distressed to appear shattered. The necklace exhibits paint scuffing and exposed resin. Dimensions: (largest) 27" x 7" x 4" (68.75 cm x 18 cm x 10.25 cm)Estimate: $2,000 - 4,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
O BROTHER, WHERE ART THOU? (2000) - Pomade Pick - A pomade pick from Joel and Ethan Coen's crime comedy O Brother, Where Art Thou? Ulysses Everett McGill (George Clooney) demanded that a convenience store employee use his vintage pick to pull down Everett's prized Dapper Dan's Pomade.This pick consists of a metallic clamp with a hand-operated lever screwed into a long wooden staff. It is intentionally distressed by production to appear aged with rust tarnishing, and faded varnish applied to the wood. The pick exhibits some nicks from use, and its clamping mechanism remains untested. Dimensions: 6" x 5" x 50" (15.25 cm x 12.75 cm x 127 cm)Contains mechanical components; see notice in the Buyer's Guide.Estimate: $600 - 1,200Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
PIRANHA 3DD (2012) - Bloodied Silicone Piranha Puppet - A bloodied silicone piranha puppet from John Gulager's horror comedy sequel Piranha 3DD. Flesh-eating piranhas besieged customers and staff at The Big Wet Water Park.This ornately detailed static fish puppet is constructed of silicone molded around an internal metal armature and painted blue, green, and yellow with red accents around the gills and fins, glowing yellow eyes, and sharpened white fangs. Blood stains are applied throughout by production, most visibly on the underside. It exhibits spikes on the tail and dorsal fin having snapped off from age and use, and the puppet remains fragile. Dimensions: 21" x 9" x 4" (53.5 cm x 23 cm x 10.25 cm)Estimate: $2,000 - 4,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
A RARE MAORI FIGHTING STICK OR QUARTER STAFF (TAIAHA OR HANI), 19TH CENTURY with carved stylised blind face and plain tongue with a medial ridge on one face only, swollen and flattened towards the lower terminal, and with rich patina throughout, 173.0 cm overall William Ockelford Oldman records two related examples in his catalogue of 1907 and catalogue number 84 of 1910 (no. 17). Taiaha is the Taranaki name for the weapon used on the North Island of New Zealand. Another name is hani.
THE UNIFORMS OF MAJOR GV KEANE OF THE ROYAL ARMY MEDICAL CORPS the first a particularly good and rare Service Dress tunic of the pre-1913 pattern by Holt & Son, Sackville St., khaki serge with a high stand-and-fall collar bearing brass Corps badges and complete with white linen liner, plaited shoulder-straps, and Lieutenant’s rank-badges in a white worsted slash on the sleeves; the second a blue Full Dress tunic of the RAMC, also by Holt & Son, with “Dull Cherry” collar and gauntlet cuffs, both edged with gold staff pattern lace, gilt KC buttons, bimetal collar-badges and round gold shoulder-cords of infantry pattern, bearing Captain’s rank-badges in silver embroidery (lining frayed, minor surface moth damage); together with a Universal Pattern blue frock coat and a blue mess jacket with “Dull Cherry” roll collar and gauntlet cuffs, and a companion waistcoat of the same colour, with very small mounted silver buttons; and a pair of blue overalls with triple maroon stripes
MARY ANNE TURLEY-EMETT (AMERICAN, B. 1940), 'CHAIR & HARE' CIRCA. 2005 Hand-built resin, poured and cast sculpture, unsigned overall 38cm high, 12cm deep, 15.5cm Provenance: The Imogen Paine collection of rabbits Clars Auction Gallery, Oakland California 2018 Condition Report: Generally good with very mild wear as per age, use, handling and cleaning. Base with mild contact marks, the rabbit and chair are separate piecesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection Condition Report Disclaimer
A Small Quantity of Second World War Ephemera, including a framed Secret Composite Sheet Map of Germany showing the area where the Germans surrendered to Montgomery, various Second World War Civil Defence pamphlets, three publications The Fifth British Division 1939-1945, Report by the Supreme Allied Commander Mediterranean to the Combined Chiefs of Staff on The Italian Campaign 8th January 1944 to 10th May 1944, and Bomber Command, a quantity of newspapers, framed and unframed etchings
An Interesting Collection of Items Relating to Commander Anthony Bevis Lockhart D.S.C., Royal Navy, (1890-1939), comprising a leather bound folder of his Certificates dating from 15th September 1906 (Midshipman, HMS Argyll) to 12th May 1936 (Commander, HMS Victory), a gilt tooled blue morocco bound hand-written notebook "A.B.L. OVERSEAS TRIPS V.1. G.3. R.7. 1916-1918", a leather cased miniature portrait overpainted photograph, a framed display of rank braid and collar tabs, and a large leather bound scrapbook containing his commission to Sub-Lieutenant 15th November 1909, a parchment scroll from King George V dated 30th July 1919, numerous photographs, newspaper cuttings, Post Office Telegraphs, greetings cards, official programmes for Queen's Club, West Kensington Rugby Football Matches between Officers of the Royal Navy and Officers of the Army etcFootnote : - Captain Lockhart was born at Leicester in 1890 and joined the Royal Navy in 1905. After his promotion to Lieutenant in 1911, he went on to specialise in submarine warfare, serving throughout the First World War, followed by three years as the Senior Instructional Officer of the Submarine Service. He retired from the Navy in 1936, having been Chief of Staff to the Admiral commanding the coast of Scotland for the past four years. He rejoined the Navy at the outbreak of the Second World War, despite the fact that he had heart trouble. Unfortunately, he was taken ill and was forced to retire in early December 1939, sadly passing away shortly after.
The Durham Light Infantry:- a UN Medal (Cyprus) and General Service Medal 1962, with clasp NORTHERN IRELAND, awarded to MAJOR D(David) A BOWER LI, court mounted, with two sets of miniatures and a further UN miniature, together with his cap badge, two collar badges, a pair of gilt mess dress buttons, a silver quaiche engraved with a strung bugle, four related collector's plates, three engraved glass goblets, an ice bucket, two place mats, four wood plaques to DLI, Royal New Zealand Infantry Regiment, 200 Hovercraft Trials Sqn., and British Defence Liaison Staff Canberra, and two publications Officers of the Durham Light Infantry 1758-1968, with presentation inscription to the above Major Bower from the author Malcom McGregor, and Subalterns Serving with the 1st Battalion Durham Light Infantry in Korea by Brian Tonkinson (qty)
L FRANCE- A PAIR OF GLAZED PORCELAIN RABBIT BOOKENDS 20TH CENTURY Signed "L France" and marked to underside EZ/FA 14cm high bases 6.5cm wide Provenance: The Imogen Paine collection of rabbits Condition Report: Generally good with very mild wear as per age, use, handling and cleaning. Base with mild contact marks, blue ink spot to underside Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collectionCondition Report Disclaimer
JULES MOIGNIEZ (FRENCH, 1835-1894) A BRONZE MODEL GROUP OF THE RABBIT AND THE COCKEREL 19TH CENTURY Set on a naturalistic base with cockerel on a bucket, signed J Moigniez to cast base 11cm long, 16cm high Provenance: The Imogen Paine collection of rabbits Condition Report: Generally good with very mild wear as per age, use, handling and cleaning. Base with mild contact marks, with blue ink spot Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collectionCondition Report Disclaimer
BRENDA PUTNAM (AMERICAN, 1890-1975) A LARGE BRONZE GROUP- CHILD WITH RABBITS MID 20TH CENTURY Boy seated on an outcrop with integral rabbit to rock and two separate rabbits, signed and dated 1924 to cast, foundry mark for Kunst Foundry New York, standing rabbit also signed and with foundry stamp child 74cm high, standing rabbit 30cm high Provenance: The Imogen Paine collection of rabbits Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. As these look to have been outdoors for a while there are more than usual marks specifically from garden placement- and signs that they may have originally all been fixed to a static base. There are vacant screw holes to each. The foundry marks are difficult to see- and photograph. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
ANTOINE-LOUIS BARYE (FRENCH, 1795-1875) A BRONZE MODEL OF A CROUCHING RABBIT 19TH CENTURY "Lapin, oreilles couchées" ears lowered, naturalistic base on integral rectangular plinth, signed to cast Barye, stamped BARYE and numbered 4, ink inscription to underside 242 g C 9cm long, 4cm high, 4.7cm deepProvenance: The Imogen Paine collection of rabbits With receipt from Univers Du Bronze July 2014 and authentication certificate from Alain Richarme, co-author of "Catalogue raisonné des sculptures de Barye"- certifying this is a "Lifetime cast from Barye's studio (cast between 1862 and 1875), one of the only bronzes stamped and numbered by Barye's studio or by Barye himself at this period".This unusual model is rarely seen at auction. An almost identical example, but numbered 8, is held in The Metropolitan Museum, Accession Number: 1990.140, the gift of Waleed G. Maloof, in memory of Arydce Maloof, 1990.Condition Report: Good and with very mild wear as per handling and age. Small traces of gilding to surface. Base with mild wear from table contact and blue ink spotPlease see additional images for visual references to condition which form part of this condition report All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
λ IRÉNÉE ROCHARD (FRENCH, 1906-1984) A POLISHED BRASS RABBIT PAPERWEIGHT 20TH CENTURY Signed and dated I ROCHARD 1984 19cm long, 4.5cm high Provenance: The Imogen Paine collection of rabbits Condition Report: Good and with mild wear as per handling and age. Base with mild wear from table contact and with blue ink spot Please see additional images for visual references to condition which form part of this condition report All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER JOHANN HEINRICH VON DANNECKER, MARBLE FIGURE OF ARIADNE AND THE PANTHER CONTEMPORARY Set on plain mottled grey white marble plinth The figure 99cm high, 94cm wide, the plinth 60.5cm high, the plinth top 110cm x 55cm Condition Report: Please note the figure is marble. Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The overall condition is generally good- some mild edge wear from handling and the occasional darker surface mark. There are natural flaws to the main figure. One- which goes through centre of left hand plinth and into tail- which has remedial infill- presumably from manufacture. The other to reverse across drapery dropPlease see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
ANTOINE-LOUIS BARYE (FRENCH, 1795-1875) A GILT BRONZE MODEL OF A CROUCHING RABBIT 19TH CENTURY Ears down "Lapin, oreilles dressées", set on a red marble base with gilt bronze base plate, signed to cast Barye, foundry inscription F Barbedienne base 6.3cm long, 6cm high Provenance: The Imogen Paine collection of rabbits For this model but in plainer dark brown patina and without marble base, please see Christie's New York NY, 25 April 2003, lot 96, sold £2,029Condition Report: Good and with very mild wear as per handling and age. Base with mild wear from table contact and with blue ink spot, small chips to two corners of marble basePlease see additional images for visual references to condition which form part of this condition report All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
E M SAMSON (FRENCH LATE 19TH/EARLY 20TH CENTURY) A SILVERED BRONZE MODEL OF AN ALERT HARE LATE 19TH/EARLY 20TH CENTURY Set on a pink marble base, signed to cast E M Samson, stamped 4, foundry pastille with interlaced cypher (SDH?) to underside with same number and reproduction of the artist's signature 15.5cm high overall, base 7.5cm diameter Provenance: The Imogen Paine collection of rabbits Condition Report: Good and with mild wear as per handling and age, some areas to surface with deposits of old polish and dirt. Base with mild wear from table contact and with blue ink spot Please see additional images for visual references to condition which form part of this condition report All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
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