A group of 18th century and later glasses comprising: three glasses, each with a funnel bowl, faceted stem and conical foot with etched landscape scenes and gilt rim, 14.5cm high; three glasses, each with a trumpet bowl, double opaque twist stem, conical foot and vine etched bowl, 16cm high; two cordial glasses, each with an ogee bowl, double opaque twist stem, conical foot, gilt floral decoration, 12.5cm high; three glasses, each with a bell bowl, double opaque twist stems, plain foot, 12cm high; and a glass with an ogee bowl, faceted stem and conical foot, 15cm high (12)
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A Baltic flintlock ball butt holster pistol with two stage barrel, octagonal at the breech engraved with foliate scrolls, the fine quality lock of rounded form engraved with neo-classical bell flowers and a grotesque mask, the cock with a finely chiselled bell flower, the full stock with ball shaped butt entirely covered in silver wire decoration and small panels of mother-of-pearl, with a brass pear shaped trigger and no trigger guard 40cm long, 28 bore
A late Victorian mahogany longcase clock the twin train movement striking on a bell, the painted dial with black Roman numerals and two subsidiary dials, the corners painted with the Seasons, the hood with broken swan neck pediment over columns, the case with panelled doors flanked by pillasters on a plain base with bracket feet 214cm high
A large 19th century mahogany and walnut longcase clock the twin train movement striking on a bell, the cream dial with black Roman numerals, two subsidiary dials, painted landscape panels, inscribed `S. Wehrley Leeds`, the case with broken swan neck pediment over columns, panelled door and base 240cm high
DDS John Kielty Bell (b.1937). The Deep Sea Diver; Doubt; The Graffiti Artist; Picasso’s Tea Cosy; The Rat Catcher; Steppenwolf. 6 works, oil and ink on card. All signed at lower corner, two dated ‘05 and one dated ‘06. All with the artist’s certificate of authenticity on the verso. Each c.10 x 7.5cm (4 x 3 in) (6)
* Bell ( William Charles 1830-1904). Miniature portrait of a Gentleman, 1854, fine miniature portrait, water and body colour on enamelled copper, signed and dated on verso, near contemporary pressed glazed metal frame, presented in an American hinged cast resin case, image size 35 x 28mm. Examples of Bell’s work are in the Royal collection. A fine example in very good condition. (1)
An oak eight day longcase clock, mid 18th century, the 10 inch square dial signed `Gillbert Bullock, Bp Castle` (Bishops Castle) to the centre, the two later winding holes within a chapter ring of Roman numerals and leaf moulded corner spandrels, the associated eight day movement striking on a single bell, the plain hood over a long trunk door, on a planked box base and cut-out plinth, 201cm high
A George III oak crossbanded mahogany thirty hour longcase clock, the 12 inch square dial signed `Matthew Bushell` to the centre with date aperture below, within a chapter ring of Roman and Arabic numerals, the movement striking on a single bell, the hood with a scroll pediment over a square hood door with turned front corner hood pilasters, above an ogee moulded long trunk door, on a box base with canted front corner and later plinth support, 209cm high Note: Brian Loomes notes a Matthew Bushell active in Bold circa 1761, in `Watchmakers and Clockmakers of the World, Volume 2`.
A brass lantern clock, 17th century, the 6 inch brass dial signed `Robert Cosbey Neeve, Rattclife Cross`, with single iron hand to the centre and engraved tulips within a 1 inch wide chapter ring, the movement now with anchor escapement but still with going train to the fore and strike train behind, now with 37 inch long pendulum and twin weights, the case with slender corner columns, urn finials, dolphin engraved frets and brass side doors (lacking bell and the front left foot), 38.5cm high, 15.5cm wide, 14.5cm deep, the angled loop and spikes to the rear standing 5cm proud
A late Victorian French gilt-metal and marble mantel clock, the eight-day duration movement striking the hours and half hours on a bell with an outside countwheel, the white enamel dial having black Arabic hour numerals with coloured swags of floral decoration between decorative gilt-brass hands, the movement set within a gilt-metal drum held by two putti between which the pendulum swings, standing on a white marble base surmounted with a floral and bird mount, height; 37cm.
A French Empire mantel clock, the eight-day duration movement striking the hours and half hours on a bell with an outside countwheel, the white enamel dial having black Roman numerals and decorative gilt-brass hands, the ormolu case with classical Romanesque mounts to the front with the clock movement set to one side within a bronze casing on top of which is surmounted a bust of Napolean with, standing to the side, the figure of a winged Herald holding a plaque declaring ‘Paix d’Europe’, height: 46cm.
Le Roy et Fils, Paris, a gilt-metal and porcelain-mounted mantel clock, the eight-day duration movement striking the hours and half hours on a bell, the backplate stamped with the mark of the maker ‘Le Roy et Fils, Paris’, with the matt-gilt porcelain dial decorated with a pink cherub and with black Roman numerals set onto a blue ground and signed ‘Le Roy et Fils, 13-15 Palais Royal, Paris, and ‘211, Regent Street, London’ being their retail outlets, with matching porcelain panels set within the front of the shaped case, the whole surmounted by a figure of a seated putto, all standing on a gilt-wood plinth, on an ebonised base, height: 48cm. * Basile Charles Le Roy was the Master Clockmaker to Napoleon & along with his son Charles-Louis were clockmaker’s to the Princess Pauline and the Duke de Bourbon. Examples of their work are in all the major collections as well in the Ministere de la Guerre, Paris. The Maison de Le Roy was founded in 1785 at Palais Royal and continued until the death of Charles at Versailles in 1865.
Francis Mitton, Chichester, an oak longcase clock, the eight-day duration movement striking on a bell and having turned, finned pillars with decorative steel-work, the twelve-inch square brass dial having a matted dial centre with ringed winding holes, engraved ‘C’ scroll decoration to the date aperture, cast ‘female-head’ spandrels to the four corners, a subsidiary seconds dial, a raised silvered chapter ring engraved with black Roman numerals, ‘fleur
A late-Georgian Westcountry mahogany longcase clock, the eight-day duration movement striking the hours on a bell, with the twelve-inch painted arched dial having black Roman numerals, floral corner spandrels, a seconds dial, date aperture and decorated with a depiction of an angel at a window signalling to a bearded gentleman reading, with brass ‘thistle’ hands, the mahogany case having a short door with canted corners to the trunk and stringing to the base, the hood having wavy moulding to the door, barley twist columns with cast brass capitals, wavy cresting and eagle finials, height: 210cms.
Matthew Bushell, an oak & mahogany longcase clock, the thirty-hour movement striking the hours on a bell with an outside countwheel, the eleven-inch square brass dial having cast ‘female-head’ spandrels to the corners, an engraved matted centre with ringed date aperture and ‘false’ winding holes, a blued steel single hand and a raised, silvered chapter ring engraved with black Roman numerals, Arabic five-minute markings, ‘fleur-de-lys’ half-hour markings and signed on a silvered cartouche ‘Matthew Bushell’, the oak case having mahogany cross-banding to the shaped trunk door and base, with mahogany pillars to the hood, a blind-fret to the top freize, with scroll dentil moulding to the cornice and a shallow caddy to the top, height: 214cms. * Matthew Bushell is recorded as working at Aston by Budworth, Cheshire living in a house now called ‘The Clockhouse’ and repaired clocks in Arley Hall, 1760
John Silver, Woodstock, an oak longcase clock, the associated thirty-hour plated movement striking the hours on a bell with an outside countwheel, the eleven-inch square brass dial having cast ‘cherub & crown’ spandrels to the corners, a matted centre with ringed centre hole, blued steel hands and a raised, silvered chapter ring engraved with black Roman numerals, Arabic five-minute markings, ‘meeting-arrowhead’ half-hour markings, diamond half-quarter-hour markings and signed either side of VI o’clock ‘John Silver of Woodstock fecit’, the oak case having a panelled door, cut-down base, angled sides to the hood and a shallow caddy top, height: 198cm.
James Glass, Bristol, a mahogany moon-phase longcase clock, the eight-day duration movement striking the hours on a bell, with the thirteen-inch painted arched dial having black Roman numerals, cottage scenes painted to the four corners, a seconds dial and date aperture, with boxwood and decorative brass hands, the arch having a moon-phase date disc, the mahogany case having a short door with barley-twist columns to the trunk and boxwood & ebony stringing and inlay to the base & trunk, the hood with wavy moulding to the frame, barley twist columns with cast brass capitals, wavy-top cresting and eagle finials, height: 220cms (inc. finial) * James Glass, is recorded as working at 31, Old Market Street, Bristol from at least 1825 until 1856 and married Ann Brooks on the 6th of March 1825 at St. Philip & Jacob Church. He was paying insurance premiums on six houses in Bristol & Somerset and was still renewing in 1856 obviously supplementing his clockmaking business by buying, selling and renting property.
A George III green painted and gilt open armchair in the Hepplewhite manner, the shield shaped back decorated with a boy on a swan and stylised foliage, the downswept arms with bell flowers and the tapering square legs similarly decorated, together with a similar George III green painted open armchair decorated with flowers and foliage (some damage) (2).
A 19th century oak and mahogany longcase clock, with a swan-neck pediment, turned and fluted supports, long door with canted corners and on bracket feet, 11" square painted dial with Roman numerals, subsidiary date aperture, floral spandrels and inscribed, `Hart, Malmsbury`, thirty-hour movement, striking on a bell, 208cms, (82").
Greene (Graham, author, 1904-91) 5pp., 8vo, Antibes, 18th January 1980 - 10th October 1981, discussing one of his plays, Yes and No, "I see what you mean about the end of the play but I must admit I have no idea for `the extreme of absurdity` and the shedding of light. The play is intended to be purely farcical and therefore I prefer to think that the confusion is worse confounded rather than any light is cast. I would like to discuss with you the stage for Yes and No", mentioning that Archibald Stirling "wants to do a film of The Honorary Consul and about a reading of some of Greene`s short stories, "I rather wish I had heard them. Everyone however tells me they were very well read"; and a small group of others, comprising: a copy of a letter from Greene to Michael Imason, with a revised page of Yes and No, 1979; a 10pp., typescript of a revised version of Act III of Yes and No, with notes in pencil by Midgley, and a page of corrections to the script of For whom the bell tolls, folds, v.s., v.d.(qty)
Shepard (Ernest H., painter and illustrator numerous pp., v.s., v.d., Woodmancote, Lodsworth, West Sussex, 29th March 1956 - 28th November 1969 & some undated, on various subjects, including, on illustrating, "I have had a nice offer from G. Bell (publishers of Pepys etc) which is giving me some concern. It is to illustrate a book of old French fairy stories by Lancelyn Green... though I doubt for any profit... . I do hope your drawings are going better than mine - I think a thing looks right when I knock off in the evening & then, next morning, it looks horrible and I want to begin all over again", an allusion to Christopher Robin, "... I am trying to work out for Punch, for Badgers are partial to bulbs and Brock the badger is a leading character. They are quite enthusiastic about it at Punch and now the difficult part will be to keep the story going along, with new adventures. A boy an everyday boy not like C. Robin, goes ahead with Brock. The trouble is I have to make sure of being 4 weeks in hand", The Wind in the Willows, "I am getting much enjoyment from making the coloured drawings for `Wind in the Willows`. Did I tell you they are going to do a larger 21/s- Edition in the autumn... . It is rather a nuisance for Scribners have sent back my design for the colour jacket for `Wind in the Willows` as it is quite the wrong size - It was their fault as they gave me the size of the book & never said that the thing was to be a panel with their own type of lettering above. However I hope I may do a better one, now that I know I have till mid September. Yesterday afternoon Norah and I went out to look for a nice Willow tree, not too easy to find round here and we went Miles, then at Selham, which is only two miles away on the way home I found one by the Rother, quite a nice one, not pollarded, but good enough", his autobiography, "I have now started on the drawings for my book and find that easier than the writing. It is rather startling to find what a lot I can remember, I suppose that, by drawing everything as I did, events & people & places got fixed at the back of my mind... . I have written to John Betjeman to ask him to review it when the time comes" and the launch, "The Army and Navy Stores are really putting their backs into publicity & being most helpful including a window display of `Wind in Willows` drawings borrowed from Methuens", reminiscences about his childhood home in Kent Terrace, London, "The outside is exactly as it was even down to the lamp post in front... we tried to get inside but it was empty & locked up... it was Crown property & we should get permission... this was not good enough, so, remembering what I used to do when I was 7, I led them round to the mews at the back where the garden door was not locked. Then we got in through the back door... the place has been empty for over 10 years... some of the floors have even fallen in but we got up to the top and I fear that I got a lump in my throat - so many things still there - banisters, doors etc even the little niche behind the front door...", Baynes`s work, "... you showed me some rough sketches for your Arabian Nights and among them, was one of the nativity. I fell in love with it and asked if I might be allowed to buy it..."an amusing account of a visit by two of Pauline Baynes`s aunts, "I have tried to point out to them the inadequacy of your accommodation & the difficulty of supplying meals. I have not the least doubt that you will be expected to provide transport for this invasion. Besides numerous suitcases they have two enormous trunks, so nothing short of a bus would suffice. The two women bicker about the house all day, so it is difficult to see how you will be able to work"; and a small quantity of other items including a photograph of Shepard, a photocopy of a letter from Shephard to Baynes and newspaper cuttings of obituaries, folds.
* Golden Cockerel Press Bibliographies. Chanticleer, 1936, signed limited edition ((300); Pertelote, 1943 (200), signed; Cockalorum, limited edition (250) signed by Christopher Sandford, few lists and prospectuses inserted (stamped for Deighton Bell); Cock a Hoop, 1976 (300) signed, all t.e.g. others untrimmed, quarter morocco backed patterned boards, a fine set in slip case
* Flora and Fauna. Martyn (Thomas) Flora Rustica, vol I only, 1792, 8vo, 93 coloured plates, some age staining, rebacked; Loudon (J) The Ladies` Magazine of Gardening, 1842, 8vo, coloured plates, marginal tear to frontispiece, somewhat age worn, repaired cloth; Bell (T) A History of British Quadrupeds, 1837, 8vo, woodcut illustrations, half calf, good; another flora (recased, worn) (4)
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