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Lot 154
A circa 1920 German biscuit fired porcelain posy vase or hat pin holder as a bell hop with flowers, a Contniental porcelain pen holder as a china man in a boat (very damaged), a Royal Worcester witch candle snuffer (very damaged), a pair of Victorian Staffordshire greyhound quill stands, two Continental porcelain pigeon figures and two modern Staffordshire style spaniels
Lot 1025
A Mappin & Webb carriage clock, bright cut engraved silver corniche case with visible escapement, hallmarked London 1975, bright cut engraved Roman dial, the double fusee movement striking on a bell, limited edition No.74/200, height 16cm, in original fitted Mappin & Webb presentation case, with accompanying Bicentenary brochure
Lot 8
*Clarice Cliff. A Vanessa Bell 'Bloomsbury' pattern part dinner service produced for Clarice Cliff, Wilkinson Ltd, circa 1930s, comprising pair of tureens, covers and stands, a smaller tureen and cover plus ladle, six soup bowls and covers, sauce-boat, two oval platters, five dinner plates, six dessert plates, five side plates (some damage) Vanessa Bell (1879-1961) was an English painter and interior designer plus a member of the Bloomsbury Group and the sister of Virginia Woolf. (36)
Lot 91
*Scrimshaw. A 19th-century whale's tooth with later decoration, engraved with a ship entitled "Heather Bell" Hobart Town to London, 13.5cm long, together with another with later decoration engraved with a whaling scene, 'South Whales 9 Oct 1851', 15.5cm long (2)NB: This lot has been amended (new estimate)
Lot 58
*Mixed silver. A large electroplated cocktail shaker, in the form of a hand bell with reeded decoration and mahogany handle, stamped 'Patent Pending', 29 cm high, together with six sterling silver decanter labels for Port, Whiskey, Vodka, Gin and Bourbon, large Victorian saltglaze stoneware barrel for 'Ginger' with Royal Coat of Arms and brass tap, 26 cm high and other items (13)AMENDMENT : 3 are sterling silver, 5 are plated
Lot 350
*Blake (William, 1757-1827). Standing King Holding a Sceptre, a fortified town behind, circa 1819, pencil on wove paper, showing a full-length male figure wearing a crown and holding a staff before the walls of a castle, with colour-notes inscribed 'Lt. Pl' on the figure's robe, 'gold' on hem of cloak, and 'w' on sleeve and skirt, probably by John Varley, 200 x 155 mm (8 x 6 ins), framed and double-glazed, with later 20th century handwritten notes in ink on paper attached to verso Provenance: John Varley; William Christian Selle, thence to Selle's daughter who married H. Buxton Forman, by whom given to William Bell Scott in 1870; Miss Alice Boyd, Penkill Castle, passed 1897 to her niece Miss Eleanor Margaret Courtney-Boyd, passed 1946 to her niece Miss Evelyn May Courtney-Boyd; M.D.E. Clayton-Stamm, 1967; sold Christie's 15 June 1971, where purchased by the family of the present owner. Butlin, The Paintings and Drawings of William Blake (1981), 692, 73-74. From the small Blake-Varley Sketchbook of 1819, published in facsimile by Martin Butlin in 1971. Exhibited at the Tate Gallery, London, from 1969 to 1971. During 1819 and for some time thereafter, William Blake made a large number of pencil drawings known as Visionary Heads in the company of his friend the landscape painter and astrologer John Varley. Varley was Blake's close companion from their first meeting in 1819 until Blake's death in 1827. Of the three sketchbooks used by Blake, the first is known as the smaller Blake-Varley Sketchbook (Butlin 692), the second as the larger Blake-Varley Sketchbook (discovered in 1989), and the folio Blake-Varley Sketchbook (undiscovered, although individual drawings from this album have been identified). Varley had been introduced to Blake by his pupil John Linnell, and the meetings during which the drawings were made took place (according to Alexander Gilchrist, Blake's first biographer), 'During the favourable and fitting hours of night; from nine or ten in the evening to one or two, perhaps three and four o'clock in the morning'. Both Blake and Varley were interested in physiognamy, astrology, and the related science of phrenology. Gilchrist describes these visionary s‚ances in some detail: 'Varley it was who encouraged Blake to take authentic sketches of certain among his most frequent spiritual visitants. The Visionary faculty was so much under control, that, at the wish of a friend, he could summon before his abstracted gaze any of the familiar forms and faces he was asked for. This was during the favourable and befitting hours of night; from nine or ten in the evening, until one or two, or perhaps three and four o'clock, in the morning; Varley sitting by, 'sometimes slumbering, and sometimes waking'.' Varley would say, 'Draw me Moses,' or David; or would call for a likeness of Julius Caesar, or Cassibellaunus, or Edward the Third, or some other great historical personage. Blake would answer, 'There he is!' and paper and pencil being at hand, he would begin drawing with the utmost alacrity and composure, looking up from time to time as though he had a real sitter before him...'. (Gilchrist, Life of William Blake, Pictor Ignotus 1863, page 251). (1)
Lot 320
*Scott (William Bell, 1811-1890). View of the interior of the Great Hall, Newcastle Castle, 1846, pencil and watercolour, showing a female figure and two children beside a fire in the great hall with armour on the walls, titled in red lower left 'Hall in the Castle 1846', and further titled in pencil below image to mount 'Hall. Norman Castle. Newcastle', 12 x 17.5cm (4.75 x 6.75ins), framed and glazed Provenance: From an English private collection formed circa 1950-1970, thence by descent. William Bell Scott became head of the Government School of Design in Newcastle upon Tyne in 1843, and he lived in Newcastle until his retirement and return to London in 1864. (1)
Lot 349
*Blake (William, 1757-1827). Head of a girl, 1819, pencil on paper, profile portrait to the right of a young woman with braided hair, sheet size 15.5 x 20cm (6 x 8ins), image size 13 x 11cm (5.25 x 4.25ins), mounted, framed and glazed Provenance: John Varley; William Christian Selle, thence to Selle's daughter who married H. Buxton Forman, by whom given to William Bell Scott in 1870; Miss Alice Boyd, Penkill Castle, passed 1897 to her niece Miss Eleanor Margaret Courtney-Boyd, passed 1946 to her niece Miss Evelyn May Courtney-Boyd; M.D.E. Clayton-Stamm, 1967; sold Christie's 15 June 1971, where purchased by the family of the present owner. Butlin, The Paintings and Drawings of William Blake (1981), 692, 79-80. Exhibited at the Tate Gallery, London, from 1969 to 1971. Butlin suggests that this drawing is comparable with the inscribed drawing of Corinna, the Theban poetess (Butlin 708), described by Allan Cunningham as the 'lovely creature'. (1)
Lot 92
A 19th Century rosewood and inlaid portico mantel clock, the French eight-day bell striking movement regulated by a countwheel and numbered 307 to backplate, with silvered Roman numeral dial and moon hands, the architectural case with box stringing and marquetry inlay decoration and gilt metal mounts to the columns, on an associated plinth base 42cm high
Lot 95
GERMAN ORMOLU CLOCK GARNITURE OF EIGHTEENTH CENTURY DESIGN by Franz Hermle, Germany, the signed two train movement striking on a bell, the enamel dial with Roman numerals, two front winding hole, pierced steel hands, the gilt case with urn finial, on gilt and green marble base, 51cm high; with a pair of matching seven light candelabra side ornaments, 70cm high (3)
Lot 353
*Science and medicine. A group of scientific and medical letters and related ephemera, mostly 19th century, including autograph letters from Sir Charles Bell (third person, seal tear with some loss), John Richard Farre, Sir William Jenner, Joseph Hooker, William Buckland, William Clift, John Couch Adams, Sir R.I. Murchison, Sir Robert S. Ball, J.W. Strutt, Baron Rayleigh, Friedrich Max Muller (x2), T.H. Huxley (third person), Sir James Paget, William Fairbairn, Sahib Singh Sokey, and others, plus pencil signature and sentiment of Florence Nightingale (somewhat soiled) and ink signature of Sister Elizabeth, plus 19th-century prescriptions, etc. (a folder)
Lot 100
Knight (T.A.). A Treatise on the Culture of the Apple & Pear, and on the Manufacture of Cider & Perry, 2nd edition, enlarged, Ludlow, H. Procter, 1801, page 75 with closed tear, a few light spots, contemporary tree calf, spine a little rubbed, 8vo Provenance: Frances Mary Richardson Currer (1785-1861), her bookplate and manuscript note to front endpaper "Forsyth's sale, 3.0, 1835'. "England's earliest female bibliophile" (Seymour de Ricci) inherited and collected for the library at Eshton Hall, in Skipton and likely inspiration for Charlotte Bronte's nom-de-plume 'Currer Bell'. (1)
Lot 418
Bell (John). The Principles of Surgery, 3 volumes (bound in 4) 1st edition, 1801-08, engraved titles to volumes one and two part two, additional engraved title to volume two part one, and half-title to volume two part two, eighty-eight engraved plates (including nineteen hand-coloured and two folding), numerous engraved and stipple-engraved illustrations to text (including one hand-coloured), some toning, offsetting and occasional light spotting, some small worm tracks to gutter margin of volume two part two, repaired marginal tear to I3 volume one, 2pp. publisher's advertisments, library ink stamp to titles of volumes two to four, ownership inscriptions to titles of each volume, recent calf gilt, 4to John Bell, the Scottish anatomist and brother of Charles Bell, is regarded as a founder of surgical anatomy. He was the first to ligate the gluteal artery and tied the commin carotid and internal iliac. His illustrations were his own work, and were of a high standard. (GM 5581). He had a compassionate approach to his patients, set aside an hour a day in his surgery to see poor patients and set out a rational and scientific approach to his surgery based on experience and precedents. Norman 177; BMI II, lot 492. Most recorded copies seem to have 87 plates including twelve with hand colouring, though the Norman copy has 105. (4)
Lot 216
A fine George III mahogany musical automaton longcase clock by Samuel Smith of London, the eight day, six pillar three train movement with an anchor escapement and striking on a bell and playing six tunes from a 9.5cm pinned cylinder on a graduated set of eight bells, the arched brass dial with a silvered chapter ring with Roman and Arabic numerals, the matted centre signed 'Samuel Smith LONDON', with subsidiary seconds dial and date aperture, with foliate cast spandrels and strike / silent and chime dials, the arch painted with a Georgian interior with figures playing instruments with a lady at a harpsichord, inscribed 'FAL LA LA, HOME SWEET HOME, MARCH IN ROB ROY, BLUE BELLS OF SCOTLAND, MARINERS HYMN, 104th PSALM', the hood with fluted pilasters and glass side panels, the case with outline mouldings on bracket feet, 230.2cm high. Case and movement possibly associated.
Lot 186
A late 19th century French ormolu mantel clock, the eight day movement with an outside countwheel striking on a bell, the backplate numbered '518', with a medal of honour mark, the white enamel dial with Roman and Arabic numerals in a Louis XV style case with a putto surmount above ram's heads, garlands of flowers and war trophies, 47cm high, 36.5cm wide, 19.6cm deep.
Lot 211
A George III mahogany longcase clock by Thomas Hall of Romsey, the eight day four pillar movement with an anchor escapement striking on a bell, the arched dial with a silvered chapter ring with Roman and Arabic numerals, with cast brass spandrels, strike / silent dial and date aperture, the arch inscribed 'THOMAS HALL RUMSEY', above a moon phase, the hood with blind fret carving and giltwood finials, 237cm high.
Lot 208
An oak longcase clock by William Wilkins of Devizes, the thirty hour turned and posted frame movement with an anchor escapement and striking on a bell, with a brass dial, the chapter ring with Roman numerals and signed 'W Wilkins Devizes', with cast spandrels and matted centre with single hand and alarm dial, the bell top hood with a fabric backed pierced fret frieze and brass finials, the base later, 227cm high. William Wilkins (c.1693-1776) of St. Johns, Devizes, Clock and Watchmaker.
Lot 210
An oak longcase clock, the eight day five pillar movement with an inside countwheel striking on a bell, with a silvered chapter ring with Roman and Arabic numerals, signed 'Wm Speakman in Old Street', with an engraved matted centre with subsidiary seconds dial and date aperture, with cast cherub and crown spandrels and herringbone edging to the dial, the hood with a raised top and fluted columns, the later case has been long associated with the dial and is applied with an unusual bone dial indicating the days of the week, the inside of the trunk door with an interesting old label relating to a previous owner Harry Spencer Andrew Foy, 219.4cm high. William Speakman was apprenticed to Peter Closon and was made Master of the Clockmaker's Company in 1701.
Lot 189
A late 19th century patinated bronze and porcelain chinoiserie clock garniture, the eight day movement striking on a bell, the backplate stamped 'R & C PARIS & LONDON 1533', for Richard & Cie, the rectangular dial painted with Roman numerals and with figures and butterflies and inscribed 'MONK BROTHERS', the case with an urn surmount and elephant head masks and painted with figures, the conforming vases painted with landscapes, 40.5cm high, 27.7cm wide, 13cm deep. (3)
Lot 212
A George III mahogany longcase clock by Thomas Read of Manchester, the eight day four pillar movement with an anchor escapement and striking on a bell, the painted enamel arched dial decorated with figures and four season spandrels, the centre with a shepherd and a young lady, with subsidiary seconds and date dials, signed 'Thos Read MANCHESTER', the arch with a moon phase, the hood with a broken swan neck pediment, the case inlaid with stringing and marquetry with urns of flowers, scrolling leaves and oval paterae with a lancet arch door on bracket feet, 242cm high.
Lot 205
A 19th century mahogany chiming bracket clock, the eight day three train movement striking on eight bells and a gong, the arched brass dial with a silvered chapter ring with Roman and Arabic numerals with cast foliate spandrels and three subsidiary dials, chime / silent, slow / fast, chime on eight bells / Cambridge Bells, the bell top case above a ripple moulding with gilt brass mounts and cast foliate paw feet, with side carrying handles, 62cm high, 37.8cm wide, 25cm deep.
Lot 204
A mahogany quarter repeating verge bracket clock, the five ringed pillar movement with a knife edge verge, with a floral engraved backplate, the full quarter repeat on two bells, the brass dial with mock pendulum and date aperture in the matted centre, with mask and scroll spandrels, the arch with a silvered boss signed 'Robert Smith, London', in an inverted bell top case with brass handle and block feet, 46cm high.
Lot 198
λ A late 19th century French brass and tortoiseshell boulle marquetry mantel clock, the eight day movement with an outside countwheel striking on a bell, stamped 'LEROY A PARIS', the gilt brass dial with enamel Roman numerals, the case with a putto surmount and applied with scrolling leaves, 45.5cm high, 23cm wide, 13.5cm deep, together with a matching bracket. (2)
Lot 615
A Victorian bronze 56lb bell weight by De Grave & Co., engraved with 'BOROUGH OF CROYDON 1896', with maker's mark, various portcullis marks 'VR' and 'ER' stamps, and the number '2291', the handle engraved '56lb AVOIR', 30.5cm high, in a fitted stained wood box, together with matching 28lb and 14lb weights, both in a fitted box and a matched set of Avery brass weights from 7lb - 1/2dram, in a leather case. (17)
Lot 215
A George III mahogany musical automaton longcase clock by Joseph Miles of Shaftesbury, the eight day five pillar three train movement with an anchor escapement and striking on a bell and playing six tunes from a 9cm pinned cylinder on a graduated set of eight bells, the arched brass dial with a silvered chapter ring with Roman and Arabic numerals, the engraved centre with a castle and a boat, signed 'Joseph Miles, SHASTON', with subsidiary seconds dial, with rococo cast spandrels and with subsidiary date and tune dials, the arched top with a painted automaton rondel with chickens and a flying bird, the hood with a pagoda top and brass finials, with blind fret panels, the case with stop fluted quarter pilasters, with a panelled base and bracket feet, 265cm high. Case and movement possibly associated.
Lot 214
A George III mahogany longcase clock by Guy of Shaftesbury, the eight day four pillar movement with an anchor escapement and striking on a bell, the silvered arched dial with engraved scrolls and swags, Roman numerals and signed 'GUY Shaftesbury', with subsidiary seconds dial and date aperture, with a moon phase and inscribed 'THE MOONS AGE', the case inlaid with stringing and with brass mounted fluted columns, 212.3cm long.
Lot 181
A late 19th century French ormolu and porcelain mounted mantel clock, the eight day movement striking on a bell by 'Japy Freres' with 'GRANDE MEDAILLE d'HONNEUR' mark and numbered '2156', the enamel dial with Roman numerals, in a Louis XVI style case with ribbon tied flowers and painted panels of classical landscapes and an amorous couple, 35cm high, 23.7cm wide.
Lot 179
An Empire ormolu mantel clock by L. Mallet, the eight day movement with an outside countwheel, striking on a bell, the case surmounted with a classical mother with her child, the base with palmettes, laurel leaves and with a central scene of a mother and child, the white enamel dial with Roman numerals inscribed 'L. Mallet' and 'H. DE M.D. D'ORLEANS' and 'N.957', 37cm high, 25.5cm wide, under a glass dome. (2)
Lot 1531
A plain stem wine glass, mid-18th Century, with bell bowl on a teared stem and fold-over foot, height approx 15cm, together with another plain stem wine glass, mid-18th Century, with rounded funnel bowl and fold-over foot, height approx 14.3cm and a glass rummer with short stem and circular foot, height approx 13cm.
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123896 item(s)/page