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Click here to subscribeOsbert Lancaster C.B.E. (British, 1908-1986), figural study of sailors, signed lower right in pencil, limited edition lithograph in colours, numbered 48/75. H.54cm W.36.5cm. Together with one further architectural study by the same hand, signed lower right, limited edition lithograph in colours, numbered 75/59. H.44.5cm W.63.5cm
BEN M. FORTUNA [AMERICAN 1919-2004], OIL ON CANVAS, H 48", W 39", MODERN ABSTRACT: On yellow, signed lower right and framed. Ben Fortuna, 1919-2004. Mr. Fortuna was an artist and a designer with a wide range of experiences from which he drew his uniquely innovative creations. Mr. Fortuna received a Master of Arts degree in industrial design and studied for some time under the visual artist, John Carroll. During World War II he was part of the Engineering Corps, focusing on camouflage work. Later he became Vice-President of the American Precision Products Company where he was in charge of Styling and Product Design. He was also associated with Sidney Blumenthal & Co., Inc. as a stylist for all fabrics. In 1953, Mr. Fortuna began his own business as a consultant specializing in fabric and industrial design, color and architectural interiors. Mr. Fortuna drew upon his industrial design expertise and united it with his paintings [circa 1946-1980] which have been referred to as organized abstractions. Within his prolific body of work, geometric shapes, vibrant colors, and bold lettering co-mingle on the canvas graphically evoke emotions drawn from an excellent sense of design. Mr. Fortuna’s paintings have been displayed at the Museum of Art in Detroit, the Museum of Art in Chicago, and at the Butler Institute of Art, Youngstown, OH. Mr. Fortuna’s painting, "Le Hot Jazz", was featured in the article, "Each Painting Has Its Own Story" [Detroit Free Press, November 14, 1954], and his work, "Jumboogie", was featured at the Michiana Regional Art Exhibition, South Bend, IN [1956]. Mr. Fortuna was a resident of Franklin, MI for 66 years.
A FRENCH CHARLES X ORMOLU MOUNTED PORTICO MANTEL CLOCK, of Gothic Revival design, the gilt dial having black painted Roman numerals, engine turned rosette to centre, the eight-day movement striking on a bell, with an elaborate cast gothic tracery arch and rosette pendulum; the case of architectural design cast with gothic tracery, the four columns with finely cast foliate capitals and bases, the plinth base on foliate bracket feet, 52cm high x 25cm wide. See illustration
A well engineered model of a Simpson & Shipton short stroke rotary steam engine, built by Mr D. Russell of Fraserburgh from drawings by Stewart Hart based on the 1851 original engine, the steam chamber linked by connecting rods to the open crank, having brass cup oilers, set on eight reeded architectural column supports, eccentric driven steam valve, metal clad steam chamber, steam inlet, spoked flywheel 17cm diameter, finished in black paintwork, mounted on hardwood plinth measuring 21cm x 21cm, overall 24cm high. Note: This engine was patented in 1848 by two Manchester engineers - Joseph Simpson and James Alfred Shipton. It is a rotary steam engine, but it still uses connecting rods to drive the crankshaft. The ‘cylinder’ or perhaps better described as a chamber, sits on a table carried on four short columns. Inside the chamber is a piston lying on its side. Passing through the piston is an eccentric shaft, connected to the outer ends of the shaft are cranks. Connecting rods drop from these cranks to the crankshaft carried on bearings fixed to the base. Steam enters the chamber through a balanced slide valve and impinges on the side of the piston rolling it around inside the chamber.
A late 20th Century gilt brass Congreve type rolling ball timepiece, made at R.A.E. Farnborough, with single train fusee movement, the tilting table mounted between four turned columns, the arched architectural pediment with three subsidiary dials for hours, minutes and seconds, width approx 32cm, with wooden stand and key (stand disassembled, lacking ball and some faults).
A late George III oak eight day longcase clock, the 13 inch square painted dial with centred subsidiary seconds dial and date aperture within a ring of Roman numerals an architectural ruin painted spandrels, the hood with cavetto moulded cornice over reeded turned front corner hood pilasters over a crossbanded trunk door and single panel crossbanded box base with canted front corners on ogee moulded short bracket feet (at fault), 203cm high
Massive Pair of Art Nouveau Stained Glass Panels from Life of Christ Massive Pair of Art Nouveau Stained Glass Panels from Life of Christ, Each sectional arch form panel depicting a scene from the Life of Christ, both enclosed in an elaborate architectural niche formed by Corinthian columns; the first centering the figure of the Jesus as a Carpenter accompanied by two Saints, with an aerial view of Nazareth in the upper horizon; the second centering the ordination of a Female Saint by a Bishop with Jesus, with the Basilica in the background; both panels headed by a red ground flowering blue morning glory vine architrave {Dimensions of arched panels 78 x 26 inches; under panels 18 1/2 x 26 inches} Starting Price: $1200
[ARCHITECTURE] Allen, Frank. The Great Church Towers of England, chiefly of the Perpendicular Period, first edition, Cambridge University Press, 1932, brown cloth, plate illustrations from photographs, quarto; Lloyd, Nathaniel. A History of the English House, first edition, The Architectural Press, London, 1931, green cloth gilt, illustrations from photographs, tall quarto; Howard, F.E., & Crossley, F.H. English Church Woodwork. A Study in Craftsmanship During the Mediaeval Period 1250-1550, second edition, Batsford, London, 1927, blue buckram gilt, illustrations from photographs, quarto; Green, David. Grinling Gibbons, His Work as Carver and Statuary 1648-1721, first edition, Country Life, London, 1964, vermilion buckram gilt, illustrations from photographs, quarto (spine faded; covers damp marked); Cooke, Robert. West Country Houses. An Illustrated Account of some Country Houses and their Owners, in the Counties of Bristol, Gloucester, Somerset and Wiltshire, first edition, Batsford, London, 1957, navy blue cloth gilt, illustrations from photographs, tall quarto; and six other works of related interest, (11).
David Andersen Norwegian silver oval napkin ring decorated with a fox, bear and rabbit in low relief, 4.75cm wide, together with two 20th Century Danish silver caddy spoons, the first having a handle formed as two Medieval figures, the bowl decorated with a seascape and script `Danmark`, 10cm long, the second with pierced scroll handle, the bowl with architectural decoration and script `Kronborg`, 10.75cm long ** General condition consistent with age
A 19th century ivory mounted ebonised desk top thermometer The vertical ivory scale signed Chamberlain & Son, 203 High Holborn, London and standing on an architectural moulded plinth base. 51.5 cms high. CONDITION REPORTS: Generally in good condition, expected wear, some losses to mouldings, some rubbing, shrinkage cracks.
A rare Black Forest carved walnut weight-driven ‘Angelus’ cuckoo wall clock, Attributed to Johann Baptist Beha, Eisenbach, circa 1875, The wooden-framed triple train weight-driven movement with anchor escapement and wood-rod pendulum carved with Gothic tracery to bob, the striking train with external countwheel and linkages to two bellows and a cuckoo automaton which appears from behind a pair of doors within the gable of the case to announce the hour with a two-note call followed by the hour repeated on a gong, the third train with further countwheel and linkages to a monk who appears within an arched recess beneath the dial to apparently ring a bell set within the tower at six am., twelve noon and six pm., the circular wooden dial applied with bone Gothic Roman numerals and with pierced hands set within Gothic tracery to the front of the architectural case with arched recess beneath the dial and flanked by projecting spiral twist columns to the canted angles, the top with pierced spire containing a pivoted church bell above crotcheted gable incorporating circular doors for the cuckoo automaton flanked by spire finials and castellated parapet to sides, the base with inverted crotchet finials to the shaped pendant apron, (some losses to the case), 82cm (32.25ins) high excluding pendulum. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father,Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert. The design of the current lot appears in a surviving drawing by Lorenz Beha dated 1874 and was produced in very small numbers. The monk automaton is activated alongside the ‘Angelus’ striking which is intended to mark the time of prayer for the Catholic daily liturgy.
An important Charles II architectural key-wound thirty-hour hooded wall clock, Jonathan Chambers, Shefford, circa 1670, The substantial four finned pillar single-handed movement latched at the front and originally pinned to the rear with thick plates measuring 7.5 by 5.75 inches incorporating integral cast extensions for the strike detents to left hand side and with rounded-arch shaped lower edge, the going train regulated by verge escapement and short bob pendulum with unusual angled escapewheel and arbor to allow offset positioning of the contrate wheel, the backplate fitted with hour wheel on an arbor passing through the movement to the dial, the strike train with outside countwheel and hammer pivot arbor positioned to the centre of the movement fitted with hammer at the front for striking on the inside edge of a vertical bell mounted above the plates, the 9.75 inch square brass dial centred with an engraved five-petal rose motif above drapery lambrequin signed Jonathan Chambers, Fecit to lower margin within applied 1 inch wide silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, with fine generous pierced steel hand and spandrel areas engraved with unusual symmetrical decoration incorporating a dog rose over pomegranate and other fruit, in a wall mounted pedimented case veneered in a padouk-like timber with fine architecturally correct ebonised mouldings, the rising hood with applied gilt brass cherub mount to tympanum above raised mouldings to the glazed dial aperture and rectangular side windows, the backboard fitted with latch to hold the hood in raised position above horizontal table applied with a pair of tall blocks to support the movement, the underside with ebonised shaped apron flanked by conforming side brackets with a short rectangular veneered back panel behind, (case probably later) 58.5cm (28ins) high. Provenance: From the estate of an esteemed antiquarian horologist, sold at SothebyÂ’s, Bond Street, London, 22nd October 1987 (lot 197) subsequently purchased by the vendor from Asprey, London. Jonathan Chambers is recorded in Loomes, Brian LANTERN CLOCKS and Their Makers as a clockmaker, yeoman and blacksmith who was working in Shefford, Bedfordshire by around 1665. As a recusant Quaker he was prosecuted for not attending church from 1669 onwards. Chambers died in 1693 leaving his widow Alice to marry fellow clockmaker, Thomas Palmer, the following year. Only two other clocks by Jonathan Chambers appear to be recorded; a lantern clock illustrated in Hana, W.F.J. English Lantern Clocks on page 75 (Plate 29) and a walnut longcase clock sold at ChristieÂ’s, King Street, London, 16th December 1987. The current lot is well documented featuring in both Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 pages 43-7 and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 3 pages 22-5 (where the movement is extensively illustrated). As already noted the movement is of substantial proportions and is very well made with finely finished steelwork. An unusual feature is the way in which the lifting arms, detents, hour hammer and hand are mounted onto their squared arbors - they are all secured via a pin through a hole drilled to the edge of the boss of the arm/lever rather than being held by a pin across the face of the boss (ie passing through an extended section of the squared arbor). The reason why the maker went to the additional trouble of incorporating this detail throughout is unknown but it does suggest that he was endeavouring to produce a movement of the highest quality. The engraving to the spandrel areas of the dial is particularly interesting as it is clearly by the same hand responsible for very similar decoration seen on series of dials by leading makers such as Edward East, Joseph Knibb and Henry Jones all dating to the 1660Â’s or very early 1670Â’s. This series includes an eight-day longcase clock signed by Joseph Knibb of Oxford (which dates to around 1665 and also has rose engraved decoration to centre) which was sold in these rooms on Tuesday 11th March 2014 (lot 143 for £240,000). The presence of this decoration to the dial suggests that it was sent to London to be engraved, this would imply that Chambers had connections with the London clock trade (a possibility that is perhaps reinforced by bequests in his Will being made to two London clockmakers, John Harry and John Westoby). The engraving also provides very strong dating evidence for the clock placing its date of manufacture close to 1670 - making it one of the earliest thirty-hour longcase clock type movements to have survived. It is perhaps appropriate to finally note that Shefford is only three miles south of Edward EastÂ’s birthplace at Southill and six miles south of Ickwell Green, the birthplace of Thomas Tompion. Although there is no known connection between Jonathan Chambers and East or Tompion evidence in the dial and movement of the current lot would certainly suggest an awareness of the inventive approach and high standards of such makers as well as, in the case of Edward East, the shared use of an engraver.
A French Maple and Co black slate mantle clock, the architectural pediment above three marble turned columns to each side, the glazed face door opening to reveal a white enamelled chapter dial with black Roman numerals, the centre with two winder holes and inscribed 'Maple and Co, Paris', the whole raised on a plinth base.
A collection of three early 19th Century samplers, the first by Joanna Thompson aged 11, January 22nd 1842 with alphabets, numerals and flower and architectural decoration. Th second, Ann Tomlinson 3rd August 1803, with alpha/numeric's and a part completed earlier example, possibly connection to Kedleston Hall.
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![BEN M. FORTUNA [AMERICAN 1919-2004], OIL ON CANVAS, H 48", W 39", MODERN ABSTRACT: On yellow, signed lower right an](http://lot-images.atgmedia.com/SR/33875/2913619/2282-2014820142619_468x382.jpg)
![[ARCHITECTURE] Allen, Frank. The Great Church Towers of England, chiefly of the Perpendicular Period, first edition, Cambrid](http://lot-images.atgmedia.com/SR/10066/2907762/950-2014828102426_468x382.jpg)
