A 19th century ormolu and painted porcelain mantel clock, the decorated cast shaped case with fruiting urn crest above arched panel painted en grisaille with two amorini holding an urn, the rectangular 11.5cm dial below painted in the same style having Roman numerals and moon hands, Vincenti drum bell striking movement, a further painted panel to both sides, all on an elaborate base with oval panel to the centre, with velvet lined ebonised stand, 48cm high including stand 44 x 28cm (17 x 11in)
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A 19th century French marble and ormolu mounted clock garniture, the neo classical style case surmounted with a bronze female bust, probably Diana, with crescent mount to her hair, above a black dial marked 'Rollin / R de Dunkerque, Paris', with countwheel bell striking drum movement, female caryatid front corners to the case, together with an accompanying pair of urn ornaments 52cm (20in)
A 19th century three piece champleve enamel clock garniture, the bronze case surmounted by a two handled urn above 8.5cm gilt dial, bell striking drum movement, all flanked by two quivers of arrows, upon a shaped base and disk feet, with an accompanying pair of amorini stem three light candelabra (3) 41cm (16in) one candlestick repaired (see photo). Surface lacquer worn in places. Enamelling mostly in good order, though dirty in places. Movement not tested for any length of time.
A small collection of antique Russian jewellery and coins, the pieces were brought out of Russia circa 1919, thence by descent to the present owner, and include a 19th century silver and paste brooch adapted from a substantial clasp, mounted with engraved leaves and millegrain tendrils, and set with pink, white and blue round cut pastes, suspending a chain and three tasselled pendants, pin with safety catch, dvoinik mark 1880-1890 for silver (84) and a galera (sailing ship) for the town of Kostroma, overall dimensions 6.4 x 11.8cm; also a pair of articulated pendant earrings, with each post headed by a flowerhead of five white round cut pastes around a smaller red stone, suspending a leaf and tendril motif set with white pastes, above a removable bunch of grapes set with six further white stones (one lacking), length 5.9cm; together with an articulated filigree pendant with bell fringe, length 8cm; and three 19th century Russian coins (6)
A FRENCH ORMOLU AND BLUE PORCELAIN CASED MANTEL CLOCK by Japy Freres, the twin barrel movement striking on a bell and with backplate stamped GMF 329, 3" porcelain dial with Roman numerals, the square case with Corinthian corner columns and putto on dolphin surmount, mythological figures to porcelain, flared leaf cast base and bracket feet, raised on shaped gilt wood base, 8" x 7 1/2" x 14" (Illustrated)
A FRENCH WHITE MARBLE AND ORMOLU MOUNTED PORTICO CLOCK, 19th century, the twin barrel drum movement with outside count wheels striking on a bell, 4 1/2" white enamel dial with Arabic numerals signed Guibet Paris, the case with a laurel wreath surround and with urn surmount with floral spray, stepped demi lune support with four columns and urn finials, beaded edging and turned feet, 11" x 5 1/2" x 23" (Illustrated)
AN OAK LONGCASE CLOCK by John Lawson, Bradford, the thirty hour movement with anchor escapement and outside count wheel striking on a bell, 13" arched brass dial with silvered chapter ring having Roman and Arabic numerals, the centre chased with foliage, calendar dial and signature, painted moonphase with inscription "He Appointed the Moon for Seasons", the associated oak with scrolled pediment having brass finials and roundels, plain frieze on turned columns, arched door and panelled base, 91" high
A GILT METAL STRIKING CATHEDRAL CLOCK, signed Dent, 82 The Strand, the twin barrel movement with outside count wheel striking on a gong positioned in the base, backplate stamped Raingo Freres Paris and numbered 3254, silk suspension, 3" dial with Roman numerals and with signature, the arched Gothic case with bell tower surmount and fluted columns, stepped oblong base and bracket feet, raised on conforming ebonised stand with glass dome, 11" x 8" x 21 3/4" (Illustrated)
A MAHOGANY LONGCASE MUSICAL CLOCK, the Edwardian eight day triple weight driven chiming movement with anchor escapement, rack striking on a bell, quarter chiming with eight hammers striking on a nest of bells, 13" associated arched brass dial signed Thomas Lister, Halifax, the silvered chapter ring chased with foliate scrolls and with signature, Roman and Arabic numerals, painted moonphase, the associated mahogany case crossbanded with stringing, scrolled pediment with verre eglomise panels, brass finials and roundels on fluted columns, arched door flanked by quarter columns, canted base with cut corner bead panel, on bracket feet, 88 1/2" high (Illustrated)
A WALNUT LONGCASE CLOCK by J. Windmills, London, early 18th century, the eight day movement with anchor escapement rack striking on a bell, 11 1/4" square brass dial with silvered chapter ring having Roman and Arabic numerals, the matted centre with ringed winding holes, seconds dial and calendar aperture, the banded walnut case with ebony trim and stringing, moulded cornice over fret frieze on plain engaged columns, panelled door with lenticle, panel base, on plinth, 19 1/2" x 79" (Illustrated)
A 12 bolt diving helmet by Siebe Gorman & Co, altered for use as a shallow water helmet:, the bonnet numbered '2936' the corselet numbered '2964', the bonnet with oval side windows and guards, front convex face plate with guard, spit cock to left, rear air inlet, rear exhaust valve with wheel adjustment and bell shaped cover, and two lashing eyes, the corselet also signed as per title to front, 44cm high *Anthony Pardoe notes- The locking device on the corselet is a 'gate' for a drop catch, whilst the top has the remains of a 'peg and chain' However as this was used as an open helmet a thumb screw has been fitted to prevent the top from turning. This is an early helmet, with the exhaust valve quite close to the back of the head even though it has a wheel adjustment. This valve has a bell shaped cover which is such an early design that it is not shown in the 1935 fourth edition of R.H.Davis's 'Deep Diving'. Other indications of this being an early top are the convex front window glass, the two 'lashing eyes', one behind the side window, and the other on the opposite side to the teardrop shaped spitcock. The copper curved bracket attached to the air inlet, we believe was used to fix the helmet to a beam on a pub ceiling. Since acquiring the helmet, brails of the correct age have been sent from New Zealand should the helmet ever need to be made fully operational. To my way of thinking these two odd halves are a complete entity just as they are. * see pages 18-19, vol 1, 'Diving Helmets and Equipment Through The Ages'.
A shallow water diving helmet by Aqua bell Corporation of Windsor, Wisconsin, U.S.A.:, clear Perspex bonnet with yellow plastic collar with filling cap, moulded air intake to top, , signed as per title to collar, 47cm high. * see page 22, vol 1, 'Diving Helmets and Equipment Through The Ages'.
A print after G H Davies for the Siebe Gorman book 'Deep diving & Submarine Operations', together with a framed set of reproduction cigarette cards of Diving interest:, the print notable for the inclusion of two additional self contained divers and diving bell that were not included in the book version and were added at a later date, 40cm x 62cm and 37 x 44cm respectively (2) * Notes- George Horace Davis (1881- 1963) is perhaps best known as the 'special artist' of the Illustrated London News for whom he created 'cutaway' drawings and illustrations of tremendous detail. He was also brother of Sir Robert H Davis (1879-1965), Managing Director of Siebe Gorman * see page 203, vol 2, 'Diving Helmets and Equipment Through The Ages'.
CECIL CHARLES WINDSOR ALDIN, RBA (1870-1935) OLD ENGLISH INNS, eight, lithographs, by Eyre & Spottiswode Ltd, all signed by the artist in pencil, six also with original remarque and partly hand coloured, FATG blindstamp, 44.5 x 36.5cm or the reverse, ebonised frames with printed title label on the backboard (8) ++The lot in apparently excellent condition, unexamined out of the frames, the frame also in good condition, the black painted and ground slightly chipped on several. The lot comprises the following subjects: The Mermaid Rye, The Golden Cross Oxford, The George Inn Norton St Philip, The Bell Stilton, The King's Head Chigwell, The New Inn Gloucester, The Spread Eagle Midhurst and The George Inn Dorchester, the last lacking the label from the backboard
A FRENCH ORMOLU MOUNTED MARBLE LYRE CLOCK IN LOUIS XVI STYLE, LATE 19TH C with swinging paste set bezel, the enamel dial painted in polychrome with swags and inscribed Lenoir..., having bell striking movement, 56cm h ++In good original condition dusty but complete the reverse of the pendulum bob with crudely applied additional weights for regulation retaining the original grid-iron pendulum and mounts
A FRENCH ORMOLU MOUNTED TORTOISESHELL AND CUT BRASS 'BOULLE' BRACKET CLOCK AND BRACKET, 19TH C the case surmounted by a child pouring water from a shell into the bill of a swan, the dial cast with portrait of Louis XIV and martial trophies, the bell striking movement stamped on the square backplate ROBLIN & FILS FRERES PARIS, 98cm h overall ++Basically complete with minor losses only, much encrusted with dirt and polish, gilding on some of the ormolu rubbed but the mounts all present (with the original large eyes for mounting)
A FRENCH ORMOLU MOUNTED TORTOISESHELL AND CUT BRASS 'BOULLE' BRACKET CLOCK, 19TH C the domed case surmounted by the figure of Minerva, the door with the Fates, having bell striking movement with medallic backplate, 115cm h and a contemporary 19th c clock bracket (2) ++In good original condition with minor losses/damage only, the II enamel numeral plaque cracked, a note in the case reading pinions being replaced 1981, much dust/dirt
*Natural history. A mixed collection of approximately 600 prints and engravings, mostly 19th century, engravings and lithographs, many with contemporary hand colouring, including birds, mammals, insects, reptiles, botany, fish and domestic animals, including approximately forty mounted, with examples by Pauquet, Fournier, Howitt, Fitch, Pass, Lizers and Bell, various sizes and condition (approx.600)
Tyack (George S.). A Book About Bells, 1st edition, circa 1898, numerous black and white illustrations including frontispiece with tissue-guard, some light spotting, original green cloth, boards and spine slightly rubbed, 8vo, together with Raven (J.J.), The Bells of England, 1st edition, 1906, 8 black and white plates, contemporary inscription to front endpaper, some light spotting, original gilt-decorated red cloth, boards and spine slightly rubbed, 8vo, plus Morris (Ernest), Towers and Bells of Britain, 1st edition, 1955, numerous black and white illustrations, original red cloth in dust jacket, spine faded and repaired with tape to head and foot, 8vo, plus other late 19th-century and modern bell and bell ringing reference and related, mostly original cloth, some in dust jackets, G/VG, 8vo (2 cartons)
Robinson (Mrs Mary). Poems, 1st ed., J. Bell, 1791, engraved portrait frontispiece after Sir Joshua Reynolds, , list of subscribers (including the Prince of Wales), errata leaf at end, one or two light spots, ownership inscription to initial blank, marbled endpapers, contemporary green half calf, rubbed and scuffed, 8vo First collection of poems by Mary Robinson (1757 or 1758-1800), English actress, poet and novelist. She was popularly known as 'Perdita' (the heroine in Shakespeare's The Winter's Tale) which she played in 1779 at Drury Lane, her performance attracting the attention of the Prince of Wales, who offered her twenty thousand pounds to become his mistress. Needless to say he ended the affair in 1781, without paying up, and later she became known as 'the English Sappho' for her poems, and along with her contemporary Mary Wollstonecraft, championed women's rights. (1)
Hafez (Aams-al-Din Mohammad, of Shiraz). The Works of Dewan Hafez: With an Account of his Life and Writings, Calcutta: A. Upjohn, 1791, title in Persian and English, with woodblock British royal and East India Company coats-of-arms at head, imprint within decorative border, text in Persian in nasta'liq and naskhi type, later pencil annotation throughout, lacking leaves 79 and 80 from the third part, tiny hole to title imprint affecting one letter, tiny marginal wormhole affecting title and first 8 leaves, pp.8-9 of second part cut short and into a couple of words, a couple of other catchwords in second part just trimmed by the binder, leaves 5 and 6 of third part sometime neatly remargined, leaves 119 and 120 in third part mis-foliated as published, last 19 leaves stained and with other lighter staining mainly confined to gutter affecting various gatherings, marbled endpapers, contemporary ownership stamp of Mr Strachey on endpaper, possibly repeated in ink manuscript in Persian below, label of Carberry Tower Library, contemporary half calf, worn, spine and corners crudely repaired with tape, folio (270 x 175mm), together with Bell (Gertrude L.), Poems from the Diran of Hafiz, Heinemann, 1928, original cloth, 8vo First item: Very rare first printed edition of the celebrated Persian lyric poet, who lived 1315-1390. The edition itself was compiled by Abu Taleb Khan Landani (1753-1805/06; administrator at Lucknow and author) based on 12 manuscripts. 'By common consent [Hafez] represents the zenith of Persian lyric poetry. In no other Persian poet can be found such a combination of fertile imagination, polished diction, apt choice of words, and silken melodious expressions' (Enc. Iranica Vol. XI, Fasc. 5, pp. 461-465). This edition was printed in 1200 copies by Aaron Upcott (fl.1785-1800). 'The first printed edition using movable type was commissioned by Richard Johnson of the East India Company [...] In a letter to Johnson prior to its publication, Sir William Jones, the famous orientalist and translator of Hafez, had complimented Johnson on taking up the task: "An impression of your Hafiz will, indeed, be a valuable acquisition to the publick; and I hope some years hence to offer up a copy of it on the tomb of the divine poet near the crystal stream of Rucnabad"' (Enc. Iranica Vol. XI, Fasc. 5, pp. 479-483). Only 7 institutional copies have been traced: BL, Cambridge, Bodleian, Edinburgh, Marburg, Princeton and Chapel Hill. Shaw 186 (not calling for the first part of 15 ll., nor the second part of 5 ll.). (2)
A Late 19th Century Bretby Bamboo Charger, moulded in low relief with scenes of Japanese lore and legend, picked out in tones of red, green and gilt, black outer band with key-type banding, 34cm diameter, impressed marks, model no. 1467; together with a pair of relief carved plaques & a 19th century old school bell (4).
TWO MID-20th CENTURY SIGNAL BOX BLOCK INSTRUMENTS each of four plastic conjoined square sections with integral bell and tapper, the upper two sections with needle indicators above switch handle section and base section having bell and tapper, upper section of one marked 'UP MAIN LINE TO STN BOX' and the other 'D.N. MAIN TO THORPE JNC' each 20 1/2" (52cm) high x 6" (15.3cm) wide
UNBRANDED, PROBABLY STANDARD ISSUE PRE-WAR ELECTRIC BLOCK INSTRUMENT LABELLED 'SLOW LINES BANGOR No 2', mahogany and brass cased with integral bell and key, the oblong white cardboard fqace with upper red needle indicator for down line, lower black needle indicator for up line, 24 3/4" (63cm) high x 11" (28cm) wide overall
UNBRANDED, PROBABLY STANDARD ISSUE PRE-WAR ELECTRIC BLOCK INSTRUMENT LABELLED 'PLECK JUNCTION' (Walsall area), mahogany and brass cased the inner part of brass front door hinge stamped LNWR and having integral bell and key, the oblong white cardboard face with upper red needle indicator for down line and lower black needle indicator for up line, 24 1/2" (62.2cm) high x 11" (28cm) wide overall
UNBRANDED PROBABLY STANDARD ISSUE PRE-WAR ELECTRIC BLOCK INSTRUMENT LABELLED 'PLECK JUNCTION - SLOW LINES' (Walsall area), mahogany and brass cased having integral bell and key, the oblong white cardboard face with upper red needle indicator for down line and lower black needle indicator for up line, 24 1/2" (62.2cm) high x 11" (28cm), (the lower panel door housing switch, knob damaged and lacking right hand stile)
Björk's Alexander McQueen 'Bell' dress, 2004, worn for the 'Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)' video from the 'Medulla' album, of silver-grey satin entirely covered with tinkling silver bells, with integral struts to form the double-bell shape of the bodice and skirt, with boned corset and broad inner straps, separate satin waist corset for extra support, with laces and zip to fasten (2) Exhibited: MOMA New York, March 8th to June 7th, 2015. Björk commissioned her friend and collaborator Alexander McQueen to design and make this extraordinary, sculptural dress for a promotional video for the remix of the song, but this time additional bells were added to the music. She asked McQueen for a dress 'that looked like a bell'. He did a brief outline sketch of the shape which she liked. The dress was flown to her in Iceland for filming - with no further discussion or fittings. Such was their close relationship that she felt secure that the dress he designed would work. The film was shot at twilight in early September 2004. Björk dances and sings against the stark Icelandic backdrop of Hjorleisfshofoi, Iceland, accompanied by school children ringing hand bells. She accessorised this dress with heavy leather walking boots and a visor-like mask made from plaited hair. CONDITION REPORT: We have a bag of loose bells that need to be re-sewn onto the dress. They were in the packing crate after transit from the MOMA exhibition in New York. There are no hugely obvious gaps. The areas around the zip fastening look a little bare but the video of Bjork dancing in the dress show that it was like this originally. At the side of the zip centre front waist area, there is a visible grey satin fabric return (which should be concealed by a bell(s).
Björk's Alexander McQueen 'Kimono' dress worn for the album cover of 'Homogenic', 1997, un-labelled, comprising: blue and white damask satin kimono woven with prunus blossom, and lined in oriental scarlet satin figured with foliate roundels, with wide bell-shaped sleeves, elongated front hem panels; the obi-sash of pink and brown basket-weave effect satin with navy stripes, bust approx. 86cm, 34in; together with a Christian Dior coiled brass necklace (3) Björk approached Lee McQueen, Katy England and the photographer Nick Knight to work on her 'Homogenic' album cover. She had seen and liked the sinister but beautiful image of Devon Aoki in Visionaire magazine, which they had recently produced. Devon appeared with geisha hairstyle in an oriental silk dress with deep funnel collar from McQueen's 'La Poupée' collection. Björk wanted an equally powerful, other-worldy look for her album cover, explaining that she wished to be depicted as a warrior - a warrior who fought not with weapons, but with love: 'I had ten kilos of hair on my head, special contact lenses, a manicure that prevented me from eating with my fingers, and gaffer tape around my waist and high clogs so I couldn't walk easily', she said of the fashion shoot. At the same time as Björk's photoshoot, McQueen was working on his 'Eclect Dissect' Givenchy couture collection Autumn-Winter, 1997-98 (presented in July 1997). The collection combined ethnic, tribal and cultural influences from all over the world. In the Paris show the fabulous towering 'Masai' style necklace made by Shaun Leane for Björk's album cover was re-used and there are numerous 'japonism' references in the collection with kimono dresses, oriental embroidery and geisha-inspired hairstyles. It seems that ideas spawned by the collaboration with Björk were re-interpreted and expanded in that show. However, Björk's dress was not made in Paris but hand-made in London by the McQueen studio. CONDITION REPORT: Damp staining to front 'tails', otherwise good condition. It was worn just once for the album cover. Fabric is fresh and good.
A Jacques Griffe couture black satin cocktail dress, circa 1960, with woven thumb-print label, with integral boned taffeta corset the V-neckline edged with satin plumes, bell-shaped skirt with weighted hem, bust 92cm, 36in CONDITION REPORT: Lacking some silk feathers to each shoulder - revealing tulle base, mainly shoulder area. Satin is generally good, the odd minor scuff. Hem has been raised by 3 1/2cm/1 1/4in
A gold lamé cocoon-like opera cape, mid 1920s, woven with orientally inspired foliate motifs, lined in gold satin, with Indian filigree metal bell to rear neck, the front sleeve openings adorned with large metal thread tassels; together with an ivory velvet cocktail dress with shirred swag to one hip, c.1922, bust 97cm, 38in (2) CONDITION REPORT: Cape is generally good condition, gold lamé has faded to silver in places, tassels are good. The star motif and belt centre back may be later added. The dress has spot stain near front neck opening, perspiration stains at underarms, gold lining is good - I suspect may have been replaced in the 1930s. Hem isn't well sewn, it has a deep return and may originally have been longer.
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