HUGH BRAUN: THE ENGLISH CASTLE, B T Batsford, 1936, 1st edn, orig cl, d/w + RICHARD WYNDHAM: SOUTH-EASTERN SURVEY, B T Batsford, 1940, 1st edn, orig cl, d/w + H J MASSINGHAM: COTSWOLD COUNTRY, B T Batsford, 1941-2, 2nd edn, orig cl, d/w + JOHN RODGERS: ENGLISH WOODLAND, B T Batsford, 1942, 2nd edn, orig cl, d/w + J H B BELL ET AL: BRITISH HILLS AND MOUNTAINS, B T Batsford 1943-4, 2nd edn, orig cl, d/w + JOHN RUSSELL: SHAKESPEARE’S COUNTRY, B T Batsford 1949, 4th edn, orig cl, d/w + H L EDLIN: BRITISH WOODLAND TREES, B T Batsford, 1949, 3rd edn, orig cl, d/w (7)
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England Football Squad 1969, sigd sheet, sigs include Geoff Hurst, Tommy Wright, Colin Bell, Sir Alf Ramsey (1920-1999), Sir Bobby Charlton etc – Provenance: Collected by the vendor’s father while working at Heathrow Airport for BAA 1964-72 in press and public relations, handling VIP movement through the airport
A Second World War 1939 Air Ministry (Scramble) Bell, inscribed to front `A.M. 1939` below crown, 29.5cm, 27cm diameter, complete with clapper. By Repute RAF Kemble - Royal Airforce Kemble was constructed out of the third phase of the RAF`s `expansion plan`, which concentrated on training and maintenance bases. Work started in August 1936 when contractors began clearing the site in preparation to receive aircraft the following year for storage. The first unit to arrive at Kemble, was No.5 Maintenance unit, which formed at Kemble on the 22nd of June 1938 and was to be the unit associated with Kemble nearly all its service life, eventually becoming the RAF`s oldest MU. At the end of 1939
A Victorian Scottish mahogany eight-day longcase clock, Farquarson, Dundee, mid 19th century, the four pillar rack and bell striking movement with 13 inch white painted Roman numeral break-arch dial with subsidiary seconds and calendar dials and signed Farquarson, Dundee to centre, the angles with four seasons spandrels beneath ploughing scene to arch, the swan neck pedimented case with shaped-top trunk door flanked by split baton applied uprights, on panel-fronted plinth base with bracket feet, 210cm (6ft 11ins) high excluding eagle finial.
A Victorian Scottish mahogany eight-day longcase clock, C. Thomson, Kilmarnock, mid 19th century, the four pillar rack and bell striking movement with 13.5 inch white painted Roman numeral break-arch dial with subsidiary seconds and calendar dials to centre and signed C. THOMSON, KILMARNOCK to chapter ring, the angles with four seasons spandrels beneath figural scene to arch, the swan neck pedimented case with crossbanded rectangular trunk door flanked by canted angles, on plinth base with turned feet, 224cm (7ft 4ins) high.
A French belge noir and veined red marble drum head mantel clock, late 19th century, the eight-day bell striking movement with circular white enamel Roman numeral dial in a cylindrical red marble drum supported via carved scrolls on a plinth base incorporating shaped apron, 29cm high; with a pair of gilt metal five light candelabra each with upright cast in the Art Nouveau style and on stepped red marble base, 47cm high.
A Regency brass mounted ebonised chamfer top bracket clock, unsigned, circa 1825, the five pillar twin fusee bell striking movement with anchor escapement and 8 inch circular convex silvered brass Roman numeral dial within cast brass bezel, the case with raised chamfer top upstand and fluted frieze to the cavetto moulded cornice above shaped brass fillet inset quadrant panels to front door flanked by brass inlaid canted angles and lions mask ring handles above rectangular fishcale frets to sides, on moulded base with brass ball feet, 41cm (16ins) high.. Provenance: The property of Viscount Portman, Spencer House thence by descent to The Late Henry Clive and Mrs. Clive, formerly of Perrystone Court, Herefordshire. condition report:** Movement appears to be complete and original, it will run and strike but is due for a clean and overhaul. The pendulum is fairly long which has necessitatied a hole to be cut in the bottom of the case and a box applied to the underside to enclose where the bottom of the pendulum bob passes through. This detail appears to have been done a long time ago possibly at the time of manufacture. The movemernt securing brackets are original and there are no signs of this case ever containing a different movement and dial. The convex section of the dial is backed onto a flat circular brass plate which appears to be a piece of salvaged brass as it has a couple of old sporious filled holes and other surface blemishes, the dial itself is discoloured/tarnished but undamaged. There is a possibility that at some point early in the clocks life that the dial was changed from a white painted version to the current engraved silvered brass arrangement (hence the salvaged brass plate). The case is generally in presentable condition, the only noteworthy faults being a fairly crude repair to the strip of veneer lining the top flat section along the back of the case, this could very easily be improved by a good case restorer. as well as some light scuffing next to the bezel where attempts have been made to open the front . Otherwise damage limited to minor bumps scuffs, scatches cracks and small veneer chips commenserate with age and use. Brass fittings appear original and retain original lacquered finish albeit discoloured in places (particularily the feet). Clock comes with case lock key but no winder. IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS Movements, dials and cases Movements and dials are described as relating to the cases in which they are housed in one of the following three ways: the case... we are of the opinion that the movement and dial started life in the current case. in a case... we are of the opinion that the movement and dial are in a case of correct period and type (and may well be original to the movement and dial), however there is evidence to suggest that they may not have started out life together. now in a case... we are of the opinion that the movement and dial are no longer in the original case or one of correct period and/or type. Pendulums, weights, winding and case keys Unless specifically indicated otherwise in the catalogue description it can be assumed that all clocks are sold with the requisite pendulum and correct number of weights (where appropriate), however we cannot guarantee that they are original to the clock. We do not indicate in the catalogue description whether winding or case keys are present with any specific clock. As many are consigned without keys please check with the department to establish whether they are present or not prior to bidding. Condition Due to the mechanical nature of clocks and the fact that most are of great age we cannot offer any guarantee as to whether they are in working order or free from major faults or restoration. Although we endeavour to catalogue items in a fair and informed manner, omission of any comments or observations regarding the condition or originality of a clock in the description does not necessarily indicate that it is free from significant faults, restoration or is in working condition. We would strongly advise any prospective purchaser to view the item in person or request a condition report and/or further images prior to bidding. Measurements Dial measurements are given in inches, other dimensions such as height are given in centimeters (and inches for English clocks). The measurement given for the height of a longcase clock excludes any removable finials in order to provide an approximate minimum ceiling height in which the clock can be accommodated.
A George III mahogany and crossbanded serpentine fronted chest of drawers, circa 1770, in the manner of Thomas Chippendale, with a baize lined brushing slide, above four graduated drawers flanked by scrolling ourswept corners with carved acanthus, trailing bellflower and fluting, on bracket feet, 83cm high, 121cm wide, 61cm deep. Bearing retailer’s ivorine plaque for ‘M. Harris & Sons, 44/52 New Oxford Street, London, WC1. This dressing chest of drawers relates to a design for a ‘French Commode Table’ in Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director, 1754, pl. XLVIII. A further device characteristic of his work is the use of paneled pilasters invariably headed by scrolled brackets above pendent strings of finely carved and detailed husks or bell flowers. Related pilasters are found on documented examples of mahogany case furniture dating from the 1760s, such as the pair of Library Bookcases supplied to Sir Lawrence Dundas for 19 Arlington Street in 1764, and the Library Table and Commode Clothes-Press, both commissioned for Nostell Priory in 1766. The design of handle used for this commode was much used by Chippendale at Nostell Priory, including on a green and gilt japanned clothes-press (C.Gilbert, The Life and Work of Thomas Chippendale, London 1978, vol. II, p146, fig. 263). For a closely related chest of drawers see Masterpieces of English Furniture, The Gerstenfield Collection, Edward Lennox-Boyd, Christie, Manson and Woods Ltd, 1998, page 191, Pl. 2. This chest with similar outswept front corners, by repute from Lyme Park, Cheshire condition report:** Marks, scratches and abrsasions consistent with age and use. Some old closed splits, minor repairs and restorations to feet .Cleaned restored condition overall
A SET OF EDWARDIAN SILVER POSTAL SCALES, GEORGE BETJEMAN & SONS, LONDON, 1905 the rectangular base with canted sides, the balance pivoting on bell-shaped openwork supports behind the set of five silvered brass weights of 1/2 to 4 ounces 16cm wide, loaded Although silver Edwardian and Victorian spring operated postal scales appear quite regularly, balance type scales in silver are rarely seen. For another set of balance scales on a glass base see Christie`s South Kensington, The James Walker Collection of Silver and Vertu, 13th July 2006, lot 341, sold for £1,800 hammer. George Betjeman & Sons were perhaps the largest fancy goods manufacturers in the world at the end of the 19th and start of the 20th centuries. Supplying luxury goods traders such as Asprey, it is stated (The Stationery Trades Journal, 31st January 1894) `that Betjeman`s is one of the few firms possessing the necessary machinery for putting a log of wood in at one end of the factory and turning it out as a highly-finished dressing case at the other, every portion of it being manufactured by them`. Their large works in Pentonville Road (noted by a scion of the family, the late poet laureate Sir John Betjeman, in his blank verse autobiography `Summoned by Bells`) is listed as making a bewildering array of objects, often desk and dressing table accessories, including in 1879: blotting books, inkstands and letter balances. (John Culme, The Directory of Gold and Silversmiths, Woodbridge, 1987, Vol.1, pp.43/44)
THREE SILVER MUSTARD POTS one plain oval with reeded rims, lid rising to an urn-shaped finial, angular handle, W.H. Haseler Ltd., London, 1901, 11cm long; one oval with two bands of palework piercing, domed lid, scroll handle, James Dixon & Sons Ltd., Sheffield, 1900, 11cm long; and one plain bell-shaped, lid with onion dome finial, angular handle, with loaded base and fixed blue glass liner, Sydney & Co., Birmingham, 1918, 9cm wide 225gr. (7oz) excluding loaded example and two blue glass liners (3)
A Nikon EM camera with Nikon 50mm 1.8 lens and Bell & Howell 3.8/70-150mm macro lens, and other accessories in carrying case; a Minolta X-700 camera with MD zoom 35-70mm 3.5 lens fitted, a Super Paragon Auto Zoom 3.8-4.8/70-200mm lens; an Auto Teleconverter MC 2X for MD; an Owner`s Manual and other accessories in carrying bag
Advertising - A Guinness pottery ashtray, with transfer print of Sam Weller, by Cauldon Potteries, 11.5cm diameter; a Schweppes mirror, the bevelled glass plate set in a card frame with printed Celtic knot decoration, the easel-back with label for James Walker of Dublin, 27.5cm high; a promotional trinket tray, possibly also for Schweppes, the transfer-printed decoration depicting a classical maiden filling a glass from a waterfall, 14.5cm long; a Schweppes patinated brass table bell, 14.5cm high; two Vim printed tin money boxes, each 7cm high; a Vim six-inch printed tin ruler, with T-square extension; a Player`s metal ashtray; and two wooden rulers, (10).
An oak and mahogany longcase clock, signed - Jones, Newtown, the case with a broken swan-neck pediment, branded and crossbanded, rose frieze with marquetry design of scrolling foliage, and a running stallion, shaped door, bracket feet, arched painted dial, river landscape scenes to the lunette and spandrels, a subsidiary seconds dial and date aperture, eight-day movement, striking on a bell.
A large 18th century Bronze Pestle and Mortar, bell shaped bearing the marks AMES BVSH O.D.P and dated 1705 and decorated with raised grain and leaf motif along with Prince of Wales Feathers. The Pestle having ridged handle, double hand grip and bulbous end. Mortar 14`` diam at top x 10`` high. Pestle 16 1/2`` long x 3`` wide at the end.
Charles I, shilling, Tower, group D, fourth bust, type 3a, m.m. crown (Br. 493/502; N. 2225; S. 2791); shilling (2), Tower, group D, fourth bust, type 3.1, m.m. portcullis (Br. 481/483; N. 2223; S. 2789); shilling, Tower, group D, fourth bust, type 3.a, m.m. bell (Br. 486/488; N. 2223; S. 2791), the second and last with some scratches, fine to good fine (4)
Charles I, threepences (3), Aberystwyth, m.m. book (S. 2984), Oxford, 1646/4, m.m. lis (S. 2995), York, m.m. lion (S. 2877); halfgroats (7), Tower, m.m.’s lis, crown, harp, triangle, star, (P), sun (S. 2822, 2828, 2829, 2832 (2), 2833, 2836); penny, Tower, m.m. plume (S. 2840); halfpenny, Tower (S. 2851); Æ farthings (3), Richmond type 2, tower m.m., Maltravers type 2, m.m. bell on both sides, Rose type 4b, m.m. crescent (S. 3183, 3198, 3206), generally fair to fine, some better (15)
Ireland, Henry VIII, groats, first harp issue (2), crowned H-A (Anne Boleyn, 1534-5) and H-K (Katherine Howard, 1540) at shield (S. 6472, 6474; DF 201, 203); Philip and Mary (1554-1558), groat, 1555, m.m. portcullis (S. 6501; DF 235); Elizabeth I (1558-1603), base groat (1558) (S. 6504); Æ halfpenny, 1601, m.m. star (S. 6511; DF 257); James I (1603-25), first coinage, shilling, first bust, m.m. bell (S. 6512; DF 259); first coinage sixpence, first bust, m.m. bell (S. 6514; DF 260); second coinage, shilling, fourth bust, m.m. rose (S. 6516; DF 261), the first cracked and repaired, fair to fine (8)
An Exceptional and Extremely Rare Chinese Imperial White Jade Ghanta, Qing Dynasty, the stem inscribed with a four character Qianlong reign mark, and of the period 1736-95. 18.2cm high 10.2cm diameter. The dome delicately carved with lotus petals and Tibetan bija syllables, vajra and dharmachakra motifs. The handle carved as a half-vajra surmount above a Buddha`s head. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953. Catalogue Note;The bell or ghanta, represents the female aspect of wisdom and supreme knowledge and combined with the thunderbolt or vajra, they form the most important symbols in Tibetan Buddhism. Together they represent the perfect union of wisdom and compassion, the two principles necessary for attaining enlightenment. Other ritual objects include the dagger or phurba, skull-cup, and thigh-bone trumpet. An almost identical white jade ghanta in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (III), Volume 42, p.134, no. 112. Another of a slightly different design, in the collection of the Potala Palace in Lhasa, is illustrated in Treasures from Snow Mountains, Gems of Tibetan Cultural Relics, by Chen Xiejun, & Wang Qingzheng, p.31, no.5, Shanghai Museum. A third example, again of a slightly differing form, was sold at Beaussant Lefevre, Paris 18th November 2005, lot 37, cf. Orientations, Volume 36, no.7, October 2005, p.29. refer to department
A Victorian black and rougé marble mantel clock, with bronze Apollo mount, the 4 inch dial with ring of Roman numerals and twin winding holes, marked `Paris` and bearing Elkington and Co. retailer`s mark, the case of aesthetic design with bronze classical side mounts, the eight day spring driven movement stamped `B.R 178 38012`, striking on a single bell, the bronze bust of Apollo unsigned, 47cm high overall, 33cm wide, 17cm deep
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123509 item(s)/page