Y A Regency mahogany, tulipwood banded, ebony strung and brass mounted Personal Weighing Machine or Sanctorius's Balance, early 19th century, in the manner of Thomas Weeks after the original model by John Joseph Merlin, with integral height measure, 135cm high together with a set of cup weightsProvenance: From The Hon. Sir William McAlpine Collection The mechanism here was invented by Wyatt circa 1741 for the purposes of weighing vehicles, the mechanism was scaled down by Merlin. An example by Merlin is preserved in the collection of the Science Museum, London. Weeks sold his version from his museum in Titchborne street. Several examples of these have been known to come on the antique market, all signed for the maker Thomas Weeks. One was published in Mallett's catalogue in 2009.
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A Regency mahogany 'chamber' table, circa 1815, attributed to Gillows, the hinged compartment to the rear edge of the top enclosing a pen tray and divided ink well sections, 74cm high, 91cm wide, 49cm deep For a closely related model of table see, Christie's, London, Important English Furniture, 14th June 2001, Lot 177 (£15,275). A sketch for this type of table appears in Gillows Estimate Sketch Books, dated 1810 and is referred to as a 'chamber writing-table' (No344/144, p.11, Westminster City Archives). Gillows supplied four tables of this pattern in 1811 to T.W. Egerton for Tatton Park, Cheshire (N. Goodison and J. Hardy, 'Gillows at Tatton Park, Cheshire', Furniture History, 1970, pp.28,30,32 and 35, pl.16B). Related examples having one drawer is most common, therefore the current example having two drawers is a less common variant. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Metalware appears original. No key present, both locks are open. One drawer with strip of later tape applied to underside, the other drawer with thin section of timber applied to the underside. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A Spanish or possibly Spanish Colonial alabaster model of St George slaying the dragon, 18th century, the Saint portrayed astride his rearing horse, a drape billowing behind him, on a tiered and moulded octagonal section base, 44cm high, the base 19cm wideCondition Report: Old repairs to horse's front right leg and a gesso-like substance between the horse and the rockwork base, where it was likely previously re-attached.The rear is quite coarsely carved without the same degree of finish, suggesting that it was intended for frontal viewing.Rubbing to exposed edges including the facial features, slight nibbling to edges of socle.There is a roughly circular aperture to the upper edge of the drape, which may be the design.Full condition report available on request. Condition Report Disclaimer
Rinaldo Rinaldi (Italian, 1793-1873), a sculpted white marble model of a standing putto, mid 19th century, standing contrapposto with a drapery tied across the hips, and raising a latticed basket above his head, inscribed R. Rinaldi F and dated 1853, the putto 100cm high, 115cm high overall including moulded plinth and square basePaduan sculptor Rinaldi trained at the Accademia delle Belle Arti in Venice before studying under Antonio Canova. Examples of his work are held in the collections of the Walker Art Gallery, and a statue of a Sibyl graces the gardens at Cliveden, Buckinghamshire.Condition Report: some slight pitting to abdomen, as well as some weathering and loss to fingers.Repaired crack to base and footCondition Report Disclaimer
Y A nest of George IV satinwood, ebonised, and rosewood crossbanded quartetto tables, circa 1825, 70cm high, 49.5cm wide, 35cm deep Condition Report: Marks, scratches and abrasions comensurate with age and use. Some old chips and splits and some old repairs, some minor losses. The tops of the largest two tables with some minor additional staining and abrasion. (see images) Some neat old repairs towards the centre of tops with very thin fillets of veneer this is likely to compensate for some minimal movement causing very tiny gaps to veneers. (see images) No obvious breaks to legs or uprights. The joint of the lowest cross stretchers to each table has been likely re- secured over time with very small tacks. This has been disguised variously by filler (see images) Some signs of a very small number of work holes to the lower part of some lower stretchers legs. The tables are of solid structure. There is some very minor movement to joints, this is often the case with this model of table. The tables largely sit flat on the floor, one or two of the tables may have some minor movement from standing perfectly flat. Some experienced and minimal attention by a restorer could improve the appearance of some 'faults' further without significant expense. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer
Donato Barcaglia (Italian, 1849-1930), lo Spazzacamino, a sculpted white marble model of a street urchin, the boy portrayed in rustic dress and with a half eaten loaf of bread and a brush tucked under his left arm, seated on a fluted and shaped plinth and raised on a further naturalistically modelled base with foliage, inscribed D. Barcaglia Milano to the reverse, on a further moulded circular plinth, 79cm high; presented on a further green serpentine marble columnar pedestal, approximately 184cm high overallDonato Barcaglia was born in Pavia and trained at the Accademia di Brera in Milan. He became well-known as a portrait sculptor, though during his long career he also sculpted a number of allegorical and social genre groups such as this urchin boy. A version of this model by the sculptor sits in Paddington Street Gardens, Marylebone. This 'Street Orderly Boy' was presented to the parish of St Marylebone during the Second World War.Condition Report: One or two small losses to foliage behind and beside the plinth, also evidence of old repairs in these same spots, where there are remnants of clear residue. Possible very subtle restorations to right ankle and hat brim. One or two small chips to the lowermost edge of the base (though the carving is quite naturalistic and intentionally coarse there). The outline of the seat is also a little irregular though again this is likely the design. The marble is quite an even, creamy colour with one or two spots of slightly yellow-ish discolouration and a blue scuff mark to the corner of the seat. Very slight sugaring in areas particularly the brush, though this doesn't detract and overall the marble appears smooth, and has possibly been gently cleaned.The column has a few scuffs and nibbles, and currently has a small bit of wood between two of the upper sections perhaps for support. One or two of the veins of the plinth show evidence of filling.Condition Report Disclaimer
A French patinated bronze model of a young girl playing with marbles, after the Antique, cast by Ferdinand Barbedienne, late 19th century, with stamped inscription F. BARBEDIENNE FONDEUR and stamp for Reduction Mecanique to the shaped socle, 24cm high, 26cm wideCondition Report: This bronze has a very glossy patination, with some slight colour variegation mainly to the base, upper back and feet. Some scratching to upper edge of base, and to the side of the figure. Underside is felt-covered and bears a descriptive paper label. Condition Report Disclaimer
A polychrome painted plaster or composition anatomical model of a horse, early 20th century, possibly German, the bones and organs with numbers, mounted to an ebonised rectangular plinth, 63cm high, the plinth 53 x 19cmCondition Report: Usual minor marks, knocks and scuffs overall consistent with age and use, as well as some dust in the recesses.The exposed bone rear leg is attached to the body with a pin, and comes loose quite easily, and may benefit from being more firmly attached.Small hairline surface crack to front left hoof, and one or two further minor surface nicks. One small chip to the tip of the nose. Some of the shallow inconsistencies to the surface may also be a result of the casting process.Minor areas of scratching and scuffing to paint, particularly to neck, ear and near mane. There also seems to be a pale wash or mottling to the painted upper part of the 'covered' side of the body, though this may be something that could possibly be addressed by a gentle clean. Condition Report Disclaimer
A large carved limestone model of Demeter or Autumn, 20th century, holding a sheaf of wheat against her partially draped body, raised on a scrolled pedestal, 203cm high overallCondition Report: Usual minor marks, knocks and wear overall consistent with age, as well as the slight nibbling, green residue (to plinth) and gentle loss of definition commensurate with outdoor exposure. The plinth has repaired cracks to the front, left side and rear as well as one or two losses to corners. The stone is quite porous and as a result there are shallow surface losses overall. Minor chips to edges of wheat and drapery, and a little wear to the tip of the nose and other exposed extremities due to exposure. The rear is partially flat carved.Please refer to additional lot images for visual reference to condition.Condition Report Disclaimer
An English lead model of a spreadeagle, likely 19th century, with articulated feathers and standing atop a rockwork base, presented on a limestone plinth, the bird 59cm high, 61cm wide, the plinth 75cm highA pair of lead eagle finials similar in size and handling though dated to the 18th century was sold at Christie's London, 7 December 2006, lot 74, £9,600Condition Report: Both wings have darker seams where they join the body and may have been reattached. chip to beak and possibly one or two of the feathers.Surface is a little mottled and variegated in colour, darker finish beneath the wings and some more brown patches. plinth has repair to upper part, also a little weatheredCondition Report Disclaimer
A monumental sculpted white marble model of a perched parrot or eagle, possibly Italian, with stylised features and boldly carved feathers, its claws resting on an integral rectangular section plinth, approximately 88cm high, 55cm wide, 150cm longCondition Report: Repairs to talons, Small losses and nibbling to plinth particularly rear corners.Some slight wear/darkening/minor pitting to surface commensurate with age, and likely previous outdoor exposure.Repaired damages to tail.Condition Report Disclaimer
An English sculpted limestone model of a lion, probably 19th century, portrayed standing and with boldly carved mane, on an integral rectangular slightly domed and naturalistically carved plinth, 79cm high, the plinth 103 x 58cmProvenance: By repute, formerly Chitlegrove Estate, CotswoldsThis characterful and idiosyncratic portrayal of a lion is similar to the recumbent example in limestone at Woolbeding, West Sussex (National Trust inventory number 1353848).Condition Report: Surface is a little weathered and lichen/moss covered overall commensurate with age and outdoor exposure. Losses to mane most vibislby to lower portion. Old repairs to tail and front right leg. Nibbling to edges of socle.Condition Report Disclaimer
An English lead garden model of Eros, probably early 20th century, in the manner of the Bromsgrove Guild, portrayed with bow and quiver, and holding a love heart in the raised left hand, on an integral shaped plinth, 76cm high overallCondition Report: Weathering to surface commensurate with age and outdoor exposure.Repair to right leg, and areas of more pronounced scuffing to left knee and raised hand, where the surface is a little dented.The bow may have once had a string.Condition Report Disclaimer
A patinated bronze model of a walking boar, modern, naturalistically modelled, 46cm high, 85cm longCondition Report: The brown patination has patches of verdigris, commensurate with having been out of doors. Other than the above colour inconsistencies, the bronze does not appear to have structural damages.Condition Report Disclaimer
A Victorian green painted garden bench, possibly Coalbrookdale, late 19th century, the shaped back- and armrests with scrolled foliate and grape design, cast with model and diamond registration numbers to backrest, approximately 75cm high, 126cm wide Provenance: Private Collection, The Manor House, Stanford in the Vale, Oxfordshire A similar example is illustrated in Georg Himmelheber, Cast Iron Furniture, 1996, fig. 118Condition Report: The bench bears the usual minor marks, knocks and scuffs overall consistent with age and use.The green painted finish looks like it was at one point refreshed. One bolt cap lacking from the seat, though the entire construction appears stable. Minor signs of oxidisation between back- and armrests. In perfectly presentable condition. Please refer to additional lot images for further visual details.The bench is quite firmly bolted together and will not be dismantled for transportation.Condition Report Disclaimer
Model collection die cast models 2 Readers Digest includes BOAC Bus in original box and Fyffes West India and Canary Bananas delivery lorry in original box. Good condition We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
A wooden model of a red-brick villa, 19th century, realistically painted and mounted on a wooden board,41cm wide37cm deep28cm highCondition report: Chips, losses and scratches to the paintwork and raised areas of roof. One chimney slightly loose. Evidence of some repairs. Some cracks and splits, including one running the width of the base.
John William Waterhouse RA (1849-1917)Study for 'Psyche opening the Golden box'black and red chalk22.5 x 30.5cmInscribed by a previous owner ''study' by J W Waterhouse RA bought by me at Christie's sale 23.7.1926 (Mrs J W Waterhouse's sale) James Nivel (?)' in pencil.Provenance: The artist’s widow, Mrs. Esther Waterhouse, by whom sold Christie’s, London, 23 July 1926, ‘The Remaining works of the Late J.W. Waterhouse, Esq., R.A.’,Mrs George Packham; presented to her by Mrs L A Duran; by descent to Mrs M Duran in 1980.The story of Psyche, like many Greek myths, is one of great drama and passion. Psyche, a mortal princess, is cursed by Venus who is jealous of her beauty, which has inspired many to worship her rather than pay their respects to Venus. She sends her son Cupid to shoot an arrow at her to make her fall in love with a monstrous creature. Instead, Cupid scratches himself and falls in love with Psyche. Abandoned by her family, she is saved by Zephyrus, god of the west wind, and carried away to Cupid’s palace where she is waited on by invisible servants. There, Cupid visits her every night but she is not allowed to see his face. Encouraged by her jealous sisters, she lights a lamp one night to see her lover’s face and injures Cupid in the process by dropping hot oil on him and he flees. She travels the earth searching for him and entreats Venus to help her. Venus instead sends her on a series of impossible tasks, the fourth of which is to take a golden box to the underworld to obtain a dose of beauty from Proserpine. She is told not to look in the box. Like Pandora, however, she cannot resist and opens the box, finding within it not beauty, but sleep, and she falls into a deep slumber. Cupid eventually finds her, takes her to Zeus, who allows her to become a goddess and marry Cupid on equal terms.Waterhouse painted many mythological subjects including several depictions of Psyche: Psyche Entering Cupid’s Garden, 1904 (Harris Museum and Art Gallery) and Psyche opening the Golden Box, exhibited at the Royal Academy in 1903 (private collection). The finished picture shows Psyche, seated in a dark wood, bending her head low as she peers into the slightly open box. A small plume of smoke rises from the interior. Fewer than 150 preparatory sketches by Waterhouse are known. They consist mainly of model’s heads - generally the most important element of the painting - in chalks. Here we have a typical preparatory sketch, confidently exploring the composition with fluid strokes, exquisitely modelling the flesh of the shoulder and back of the model. Not much is known about Waterhouse’s models and while it has been argued that he had a single muse who he returned to repeatedly over the decades (Miss Muriel Foster has been identified as a contender), it may also be the case that he chose a series of women with the same swan-like neck, doe eyes, modest features, full of understated grace that made his paintings both sensual yet innocent; a duality that has delighted viewers for more than a century.Condition report: Inscribed in pencil by previous owner. The paper is a light beige/grey and could be a little faded. Some scattered spots of foxing. Some light discolouration and smudges of surface dirt throughout, in particular close to the edges. Lots of pentimenti visible. The pencil writing is a little smudged, and there is a pencil mark lower left. A pin hole centre top, and at each extreme corner. Attached to backing card by hinges of tape. A thin border of tape around the outside of the back of the sheet. Many specks of brown discolouration and grey lines verso (we assume dirt). The surface of the paper verso has some scuffs as if it was stuck down previously.
A George IV rosewood worktable, by Gillows of Lancaster, the drop-leaf top with a sliding and ratcheted reading/writing slope over two short drawers, one with an inkwell and pen tray, flanking two frieze drawers over a work basket, on turned reeded legs, 72cm wide45cm deep79cm highLiterature: Susan E Stuart, 'Gillows of Lancaster and London 1730-1840', plate 335, for a similar example.Eight slightly different versions of this popular model appear in Gillows' 'Estimate Sketch Books between 1825 and 1857'.Condition report: Leather surface replaced. Split beneath lift-up writing surface. Some fading and discolouration throughout. Dropdown leaves do not sit perfectly flush to sides, indicating that they have bowed/ swollen slightly. Some small splits and lifting to veneer in places. Knocks, scratches and small losses throughout. Some areas of replacement to veneer. Stains and marks to bag. Knocks and scuffs to supports. General wear throughout. In general, nicely constructed and overall a good quality piece as one would expect.
A good scale model bone model cannon,the barrel carved with the 'VOC' monogram of the Dutch East India Company, the whole crisply carved and well-worked with an adjustable and detachable barrel and revolving wheels,37cm long14.5cm highThe Dutch East India Company, Vereenigde Oostindische Compagnie ('VOC'), was founded in 1602 to trade with Mughal India. The company was nationalised by the Dutch Government in 1799 with VOC territories becoming Dutch Government colonies.Condition report: A patch to the underside of the cannon barrel. One clip securing barrel broken and glued. One bracket/handle to rear 'stock' damaged and missing. Knocks, splits, losses and areas of repair throughout.
An AT2 inert Anti-Tank mine, used by the British, German and Norwegian forces, the long antenna acts as a scratch fuse, as a vehicle passes over the antenna wire it scratches the underside of the vehicle triggering the mine designed to penetrate the belly of a vehicle, this model is fitted with a parachute to reduce the impact when dropped from the air during placement, together with two WWII period butterfly bombs, two inert DRILL unfired U.S Military MK-149 aircraft fuses, four Hungarian High Explosive rounds, WWII period, all inert
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