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Lot 112
Louis XV-Elefanten-KaminuhrHöhe: 42 cm. Breite: 30,5 cm. Tiefe: 18 cm.Signiert „VIGER A PARIS“.Mitte 18. Jahrhundert.Werk: Ankerwerk, Pendel an Seidenfadenaufhängung, Schlossscheiben-Schlagwerk für Halbstunden- und Stundenschlag auf Glocke. Die Werkplatine in Gravur signiert und datiert: „Viger AParis No 665“.Dass Pendulen in dieser und ähnliche Gestaltung mit exotischen Details gerade in Frankreich beliebt wurden, geht vor allem auf das erneute naturwissenschaftliche Interesse zurück. Auch die positiven kolonialen Erfahrungen, die seit der frühen Aufklärung ein neues Bild der exotischen Kontinente schufen, haben dazu beigetragen, auch in der dekorativen Ausstattung des höfischen Ambientes die neue Weltoffenheit zu demonstrieren. Nicht zuletzt hat der Chinoiserie-Stil und der Einfluss der Kenntnisse chinesischer und japanischer Porzellan- Elefanten oder -Nashörner die Schaffung solcher Objekte gefördert. Elefantenuhren gehörten nun zu den beliebten Produkten des Kunsthandwerks. Von führenden Bronziérs unter den Hoflieferanten Louis´ XV, wie Jean-Joseph de Saint Germain (1719-1791) sind solche Exemplare geschaffen worden, in unterschiedlichsten Detailausführungen. Bei dem vorliegenden Beispiel, einer selteneren Ausführung, wird in alten Verzeichnissen und Inventaren von einer „pendule à l´ échassier“ gesprochen. Ein ähnliches Exemplar - etwa mit einem Werk von Baillon - befand sich in der Sammlung Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie´s, London, Juni 1971), weitere wenige Exemplare gelangten ebenfalls nur auf namhaften Auktionen in den Handel.Der Aufbau folgt einem bewährten Schema: Der Elefant, in brünierter Bronze, steht nach links mit hochgeschwungenem Rüssel auf einem vergoldeten, steinigen, mit exotischen Blättern und Blüten besetzten Terrain-Sockel. Über den Leib zieht vertikal ein vergoldetes Sattelband, auf dem floral gestalteten Sattel das zylindrische Gehäuse, umzogen von Blatt- und Blütenwerk, bekrönt mit einer Tiergruppe: Neben einem bellenden Jagdhündchen erhebt sich ein Kranich, der mit einer Kralle einen Stein hochhält. Dieses ikonografische Bildmotiv ist Symbol für die Wachsamkeit (da das Tier bei Beginn des Einschlafens den Stein fallen lässt und somit wieder geweckt wird). So steht das Figurenmotiv, zusammen mit dem bellenden Hündchen, in sinnvollem Zusammenhang mit der Uhr und dem Glockenschlag.Das Zifferblatt mit gewölbter Glasabdeckung in weißem Email, mit schwarzen römischen- und arabischen Minuten; signiert „VIGER“ – „A PARIS“. Die Zeiger filigran durchbrochen und vergoldet. In sehr guter Erhaltung und lauffähig. A.R. (†)Provenienz: Bedeutende amerikanische Privatsammlung.Literatur:Vgl. Hans Ottomeyer, Peter Pröschel, Vergoldete Bronzen, München 1986, Bd. I, S. 124 mit Abb. (13220123) (11)Louis XV elephant mantle clock Height: 42 cm. Width: 30.5 cm. Depth: 18 cm.Signed “VIGER A PARIS”.Mid-18th century.Lever movement, pendulum on silk suspension, count wheel striking mechanism for half hour and hour strike on bell. Engraved signature and date on clockwork plate: “Viger AParis No 665”. The reason that pendulum clocks in this or similar designs with exotic details became popular in France is primarily due to renewed scientific interest. Positive colonial experiences created a new image of the exotic continents since the early Enlightenment and contributed demonstrating the new cosmopolitanism in the decorative furnishings of courtly interiors. The chinoiserie style and knowledge of Chinese and Japanese porcelain elephants or rhinos encouraged the creation of such objects. Elephant clocks were now popular artisanal products. Such specimens were created by leading bronze makers among the purveyors to the court of Louis XV, such as Jean-Joseph de Saint Germain (1719 Paris – 1791), in the most varied and detailed versions. In the present, rarer example, old directories and inventories speak of a “pendule à l’échassier”. A similar example, such as a work by Baillon was held in the collection of Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie’s London, June 1971), a few other examples were also only sold at renowned auctions. The structure follows a proven model: the elephant, in burnished bronze, stands to the left with its trunk raised standing on a gilt rocky base decorated with exotic leaves and flowers. A gilt saddle strap runs vertically across its body, the cylindrical case on the florally designed saddle, surrounded by foliage and flowers is surmounted by a group of animals: next to a barking hunting dog, a crane rises, holding up a rock in its talon. This iconographic motif symbolizes vigilance – if the animal starts falling asleep holding the rock will wake it up again. This figural motif, together with the barking dog, is meaningfully connected to the clock and the chiming of the bell. The white enamel dial with black Roman and Arabic minutes with a domed glass cover is signed “VIGER” – “A PARIS”. The gilt hands are in delicate openwork. In very good condition and operational. (†)Provenance: Important American private collection. Literature:cf. Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich 1986, vol. I, p. 124 with ill.
Lot 171
Franko-flämische pastorale Tapisserie mit Musikanten147 x 180 cm.Franko-flämisch, frühes 16. Jahrhundert.Über einem Millefleurs-Grund links ein Querflötenspieler, rechts ein Tänzer und in der Mitte ein Schelm mit Glockenbehang und Narrenzepter. In einfacher blauer Bordüre gefasst. Rest. (†) (1331381) (13)Franco-Flemish pastoral tapestry with musicians 147 x 180 cm.Franco-Flemish, early 16th century.A flute player on the left, a dancer on the right and at the centre a knave with bell hangings and a fool’s sceptre against a millefleurs background. Framed in a simple blue border. Restored. (†)
Lot 106
dating: circa 1800 provenance: Liege, Smoothbore, two-stage barrel, octagonal at the first part then round and decorated with rings at the edges and with a strongly bell-mouthed muzzle. Engraved tang; lock with round plate signed 'H. J. Bury et Fils'. Full stock made of slightly carved wood. Iron mounts with floral engravings. Horn-tipped wooden ramrod. length 33 cm.
Lot 121
dating: late 18th Century provenance: Tuscany, Smoothbore, two-stage, 14 mm cal. barrel, with rings at the girdle, the octagonal part with gold-inlaid mark (illegible, Pistoia?); engraved tang; snaphaunce lock signed "P A AFresca," engraved with a human figure, houses and bell tower (missing parts), carvings with mask and floral motifs, sliding pan cover, beautiful, slightly carved briarwood stock (restorations from time of use, mainly on the left side behind the muzzle). Beautiful brass mounts finely engraved with floral motifs, the butt-plate with male face in high relief, iron belt hook, brass-tipped (worked en suite with ramrod pipe) wooden ramrod and iron cartridge extractor. length 40 cm.
Lot 140
dating: first quarter of the 19th Century provenance: France, Octagonal, micro-rifled, twisted, 15 mm cal barrels (bores needs cleaning, the rifling barely still visible), slightly bell-mouthed and with front sight; smooth tangs with rear sight; locks with flat plates; three-quarter wooden stocks with checkered butts and carved butt-plates. Smooth iron mounts. A horn-tipped and a wooden-tipped wooden ramrod (restoration). length 33 cm.
Lot 155
dating: circa 1800 provenance: Germany, Smoothbore, two-stage barrel, octagonal at the first part and then round after three rings, with brass front sight and bell-mouthed muzzle. Forward spring lock converted to percussion. Slightly sculpted, wooden stock with brass mounts, the escutcheon on the back with the monogram 'GW'. Wooden ramrod. length 35 cm.
Lot 231
dating: 1694 provenance: Germany, Octagonal, rifled, 13 mm cal. barrel, frame at the base, later signed and dated 'GOTTFRIED SCHIFFEL 1694', with rear sight and foresight, slightly bell-mouthed nozzle; beautiful lock with semi-internal wheel with frame carved and engraved as a snake, the lock-plate with a beautiful grotesque figure with dragon lower limbs, bow and arrow, tail shaped as a dragon's head; the large cock engraved with flowers, engraved and carved spring and spring cover, pan with pan cover and spark arrester. Lightly carved wooden stock with horn decorations, patchbox. Iron mounts, wing screws for quick girdle, anatomic ring guard, smooth and angled butt-plate equipped with support button. Set trigger. Wooden ramrod. Interesting weapon for hunting in the underwood. length 91.5 cm.
Lot 237
dating: mid-17th Century provenance: Baltic, Octagonal, 10 mm cal. barrel, slightly bell-mouthed at the muzzle, marked 'W' at the base, provided with adjustable rear sight with carved tang and foresight; angled, smooth tang; beautiful iron wheel battery engraved and carved with floral motifs and animals, snap sliding pan cover, brass button; wooden full case richly decorated with engraved brass inlays, mother-of-pearl and bone (partially green-coloured), horn butt-plate marked 'G. F. W. P. A.', patchbox, anatomical iron ring-guard, set trigger, trigger carved as a leaf, carved-tipped iron rod. Small restorations. length 119 cm.
Lot 239
dating: 18th/19th Century provenance: Italy, Smoothbore, two-stage, octagonal and round barrel, bearing at the base several fleurs-de-lis with remains of gilding that surround the crowned mark 'GIE / MUT / TI' and a crowned lily, also gilded. Elliptical, bell-mouthed nozzle. The tang engraved with leaves. Lock converted to percussion certainly mid-19th century, bearing the signature 'FRAN BIGONI', with small engravings and leaf carvings. Working mechanism. Three-quarter briar stock. Francesco (Franco) Bigoni was an arquebusier from Brescia in the first half of the 18th century ('Repertorio Storico degli Archibugiari Italiani', Barbiroli, p. 119), the period to which the rifle can be dated, also due to its shape and decorative motifs. It was later converted to percussion in the 19th century.Geronimo Mutti (Gie.) from Gardone Val Trompia, barrel maker, first half of the 18th century. His mark was 'GIE / MUT / TI'. His commercial collaboration with the Bigoni workshops is well established.For both see 'Repertorio Storico degli Archibugiari Italiani'' by B. Barbiroli, ed. Clueb: p. 119 (for Francesco Bigoni), p. 386 (for Geronimo Mutti). length 87 cm.
Lot 240
dating: Second half of the 18th Century provenance: Northern Italy, Two-stage, damask barrel, octagonal and round, with remains of a circular mark on the back. Strongly bell-mouthed nozzle. Flintlock signed 'B. Moretti and marked' M.B. 'Working mechanism. Wooden full stock with grooved butt side. Dorsal escutcheon. Partially engraved brass mounts. Iron ramrod. length 76 cm.
Lot 241
dating: First half of the 18th Century provenance: Central Italy, Smoothbore, four-stage barrel, the first part octagonal with round ribs and signature 'LAZARINO COMINAZZO' between suns, after sixteen-sided and at the end with two round segments; circular, strongly bell-mouthed nozzle; large Roman-style flintlock engraved and carved, inside scarcely legible mark 'G IV' (?). Full wooden stock slightly engraved with floral motifs with iron mounts. Iron-tipped wooden ramrod. length 81.5 cm.
Lot 242
dating: First half of the 18th Century provenance: Brescia, Smoothbore barrel with two rings at the base, signed 'A. FRANCINO' within a cartouche and above brass-inlaid floral decorations, bell-mouthed oval-shaped nozzle decorated with rings. Engraved tang. Flintlock with round lock-plate signed 'MARTINONI'; briarwood full stock with small old restorations, decorated with filigree, iron mounts with some carved flowers, opening button shaped as a shield on the back. Iron-tipped wooden ramrod with iron cartridge extractors. length 71.5 cm.
Lot 244
dating: 18th Century provenance: Bergamo, Smoothbore, round barrel, with squared base decorated with rings and engraved with a trophy and brass-inlaid floral motifs, provided with short rib; strongly bell-mouthed nozzle decorated with rings. Tang engraved on a golden background. Flintlock carved with floral motifs in bas-relief. Wooden folding stock which can be opened using a button on the back near a mother-of-pearl shield; the back fully decorated with filigree lilies and floral motifs. Steel mounts majestically carved in low and high relief, counter-plate pierced with the face of a king and a warrior among racemes and dragons; the trigger guard with a trophy depicting mask at the center. The butt-plate decorated with two trophies, one at the back and one at the rear side, provided with an oval medal at the center engraved with an eagle with open wings (it could be the coat of arms of the Martinengo family, a noble family from the namesake town in the province of Bergamo, Italy). Iron ramrod. length 88.5 cm.
Lot 258
dating: Early 19th Century provenance: London, Smoothbore, two-stage barrel, octagonal at the first part with frame engraved at the base marked 'LONDON' and with two marks of the test bench in the lower part, then round after a large ring with a circular bell-mouthed nozzle decorated with two thin rings. Engraved tang. Flintlock signed 'TWIGG', engraved en suite and with anti-friction, sealing systems and safety lock. Wooden full stock, checkered at the base and with engraved iron mounts, the ring guard and the butt-plate with Union Jack. Brass-tipped wooden ramrod. length 75 cm.
Lot 268
dating: Mid 19th Century provenance: England, Smoothbore, two-stage, brass, octagonal and round barrel, with rings at the girdle. Circular, bell-mouthed nozzle, with moulded muzzle. At the back a snap bayonet with a blade of triangular section bearing traces of antique bluing and pitting; flattened spring. At the back the signature 'L. RICHARDS 55 STRAND LONDON'. The tang with locking slide and engravings. Lock probably converted from flintlock. Lock-plate with small engravings and signature 'JOHN RICHARDS'. Mechanism with safety lock to unlock. Internal components with traces of antique bluing. Full wooden stock with checkered grip. Brass mounts engraved with trophies and floral motifs. Horn-tipped wooden ramrod and cartridge extractor. length 77 cm.
Lot 321
dating: 18th/19th Century provenance: Turkey, Round, smoothbore, 18 mm cal. barrel, with pierced rear sight at the base and short, wavy-walled rib, the entire surface visible with brass inlays of floral and geometric motifs (missing parts), bell-mouthed nozzle decorated with grooves, the central band with engravings and foresight; underneath five loops for fixing. length 115 cm.
Lot 322
dating: 16th/17th Century provenance: Italy, Smoothbore, three-stage, iron barrel, carved with irregular patterns in bas-relief on a granulated background at the first part, smooth at the central part with a ring at the edges; bell-mouthed nozzle carved as a monster's head and engraved with stars. Folded tang. Enlarged vent converted to percussion. length 66 cm.
Lot 364
dating: first quarter of the 19th Century provenance: Europe, Two-stage barrel with strobgly bell-mouther muzzle, provided with front sight, decorated on the back with carvings. The tang with leaf decoration. Military-type flintlock entirely made of iron. Working mechanism. Wooden full stock. Iron mounts and ramrod. length 99,3 cm.
Lot 385
dating: late 18th Century provenance: Italy, Smoothbore, round barrel with frames at the base and circular, strongly bell-mouthed nozzle; tang with sight; flintlock with brass pan. Wooden full stock with minor restorations. Brass mounts, iron ramrod and leather strap. The mechanism needs revision. length 94
Lot 88
dating: provenance: Nuremberg, Smoothbore, two-stage, 12 mm cal. barrel, the first part octagonal with monogram 'P D' on the lateral sides, with a snake at the center, after a round ring and with slightly bell-mouthed nozzle; lock with external wheel, the lock plate with deep Nuremberg mark and 'KS' mark divided by a hare (Stöckel 8335, page 1254 found on a wheel gun around 1560/70). Carved spring, sliding pan cover. Stock entirely made of smooth iron, the pommel with straight base, curved towards the trigger guard. Replaced, iron ramrod. length 37 cm.
Lot 97
dating: circa 1800 provenance: London, Smoothbore, bronze barrel with bell-mouthed, moulded nozzle, marks of the London test bench below, worked in one piece with the box-lock type frame, engraved with trophies. Iton hammer, batterie, secure-lock, bayonet, trigger guard and trigger. Wooden butt. Iron side ramrod. length 31 cm.
Lot 54
Sir Edward John Poynter, PRA, RWS (British, 1836-1919)The Cup of Tantalus oil on canvas113 x 75cm (44 1/2 x 29 1/2in).Footnotes:ProvenancePrivate collection, Canada.ExhibitedLondon, Royal Academy, 1905, no. 222.Literature'Second Show Sunday: Academicians and Associates', The Morning Post, 3 April 1905, p. 5.'Art', Nottingham Daily Express, 4 April 1905, p. 4.'The Royal Academy Exhibition', Edinburgh Evening News, 29 April 1905, p. 6.'The Royal Academy: Summer Exhibition: Private View', The Morning Post, 29 April 1905, pp. 7–8.'The Royal Academy Exhibition', The Scotsman, 29 April 1905, p. 9.'The Royal Academy (First Notice)', The Times, 29 April 1905, p. 14Marion Harry Spielmann, Royal Academy Pictures 1905, London, 1905, part 1, p. ii.'Fine Arts: The Royal Academy (First Notice)', Athenaeum, 6 May 1905, pp. 567–68.O. M. H., 'The Royal Academy (First Notice)', Black and White, 6 May 1905, pp. 629–32.'The Royal Academy', Country Life, 6 May 1905, pp. 619–20.'The Royal Academy, 1905', The Graphic, 6 May 1905, p. 1.W. M., 'The Royal Academy: l', Illustrated London News, 6 May 1905, p.648.F. J. M., 'The Royal Academy: I', The Speaker, 6 May 1905, pp. 141–42.'The World of Art: [Royal] Academy—Second Notice', The Queen, 13 May 1905, p. 751.'The Royal Academy', The Times of India [Mumbai], 20 May 1905, p. 12.'Royal Academy: Third Notice', The Daily Telegraph, 29 May 1905, p. 11.A. C. R. Carter, 'The Royal Academy', The Art Journal, June 1905, pp. 165–76.A. L. Baldry, 'The Royal Academy Exhibition, 1905', The Studio, June 1905, pp. 37–51.'Further Notes on Royal Academy Pictures', The Builder, 3 June 1905, pp. 591–92.B. S., 'Fine Art: The Royal Academy (Second Notice)', The Academy, 17 June 1905, p. 640.L. M. Richter, 'A Last Visit to the Galleries', Westminster Review, August 1905, pp. 191–94.IllustratedM. H. Spielmann, Royal Academy Pictures 1905, London 1905, part 1, frontispiece.'Royal Academy Pictures, 1905', The Sketch, 3 May 1905, p. 3.O. M. H., 'The Royal Academy (First Notice)', Black and White, 6 May 1905, p. 629.'Pictures from the Royal Academy: Representative Works', Illustrated London News, 6 May 1905, p. i.'The Royal Academy, 1905', The Graphic, 6 May 1905, p. 2.R. B. L. S., 'Special Supplement to 'The Sphere': The Royal Academy Exhibition Summer, 1905', The Sphere, 6 May 1905, p. i.A. C. R. Carter, 'The Royal Academy', The Art Journal, June 1905, p. 167.'As the Fruit and the Water that Retreated before Tantalus', Illustrated London News, 18 June 1910, p. 984.The Cup of Tantalus is the largest of four works by Poynter shown at the Royal Academy of Arts in 1905; the others were a female portrait and two landscape watercolours, A Surrey Chalk-pit and Autumn Leaves. He had until recently jointly held the positions of President of the Royal Academy and Director of the National Gallery, London. He had resigned from the latter in 1904. The present work makes a playful allusion to the ancient Greek myth of Tantalus, the legendary king of Lydia. He was condemned to the underworld of Hades and made to stand up to his chin in a pool water, but only to have the water recede each time he attempted to drink. Here, Poynter has set the myth in the lavish garden of the Villa d'Este on Lake Como, Italy where he frequently visited. One of the two female figures above a fountain stretches down to reach a cup held up from below by a companion on tiptoe, but it is almost out of reach. The critic from the Edinburgh Evening News thought the stretching companion on the left a 'beautifully drawn figure, lithe and graceful.' One of Poynter's many drawings for this figure was reproduced full-page in the book of his drawings by Malcolm Bell, published in 1905.1 Italy had recently inspired the subject of two watercolours from 1898 by Poynter, Isola San Giulio, Lago d'Orta (Yale Center for British Art, New Haven), and The Approaching Storm, Lake of Orta (British Museum, London).The painting was first shown to the press and critics in the weeks leading to the opening of the Royal Academy Summer Exhibition on 1 May 1905. This was in the studio at his home on The Avenue, Fulham Road, Chelsea. Critics from across the country wrote up the picture for their readers eager to learn what the head of the institution would submit. The picture was regarded as his most important submission into which Poynter, stated the Nottingham Daily Express, had 'woven some exquisite scenic surroundings.' Indeed, it was the landscape of the genre picture that was most admired. The critic of The Builder noted that the work was 'full of little incidents—the flecking of sunlight through the trees, the distant city on a hill, seen across the bay.' Poynter had long painted works that combined archaeological artefacts from the historical record (usually in museums) with anecdotal incident, to form historical genre subjects, and continued to produce these into the twentieth century. In The Cup of Tantalus he was considered 'at his best' in this usual vein (thought the Illustrated London News), and the work was shown in the same gallery as Lawrence Alma-Tadema's The Finding of Moses (1904; Private Collection). Despite the essentially playful aspect of the work, it does incorporate a portion of a bas-relief from the Villa Quintiliana in Rome, which the artist knew in the British Museum and which he had 'inserted' as a focus for the composition, and in keeping with the title's allusion to mythology. The marble bas-relief depicting a Bacchic procession, and dating to around AD 100, was part of the celebrated Townley Collection, and had been in Bloomsbury since 1805.2 Poynter was familiar with many aspects of the rich and extensive archaeological collections of the British Museum. Carter, writing in The Art Journal, admired Poynter's 'erudition, research and connoisseurship' evidenced in the work and the study he must have undertaken at resources like the British Museum. Poynter, in common with other artists of his generation such as Leighton and Alma-Tadema, often adapted archaeological artefacts by re-configuring their meaning and context. It was their incorporation and 'use' that was important and gendered added interest. Indeed, the critic from The Queen thought Poynter was 'scholarly as ever.'The early history of the painting is both fascinating and remarkable, and evidence of the continued influence and agency of art unions into the twentieth century. The picture was sold from Poynter's studio during its first public viewing in the weeks before its debut at the Royal Academy. On 18 April 1905 it was purchased by the newspaper News of the World for 600 guineas. It subsequently organised a nationwide campaign, through the National Art Union, for the competition for various art prizes, the first prize of which was the present lot. Coupons were collected by avid readers of the News of the World between 23 April and 6 August 1905.3 Advertisements for the competition were printed in the regional press, including Birmingham Daily Mail, Liverpool Echo, and Yorkshire Evening Post. The winner of the first prize was a bricklayer, Charles Henry Tuck, from Crowborough, Sussex.1M. Bell, Drawings of Sir E. J. Poynter, Bart., PRA, 1905, plate 19.2British Museum, London (GR 1805,0703.128).3The Daily Telegraph, 22 April 1905, p. 3.We are grateful to Dr. Donato Esposito for compiling this catalogue entry.... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 72
Deux papillons et deux insectes présentés sous quatre globes Four Butterflies and Insects Presented in Glass Bell JarsWorld Localities Various farm-raised butterflies including a large green and black butterfly, Ornithoptera priamus, Amboine, Indonesia, (common green birdwing); another green, turquoise, white banded butterfly from the Andes, Urania leilus, Peru; and two iridescent winged beetles, Sternocera aequisignata, Thailand, and another. Each housed in a glass bell jar with black wooden base. Height of the glass bell jars: 15 cm, 21 cm, 29 cm (4) Footnotes:Please note this item may contain endangered species. It is therefore only available for sale within the EU.Lot to be sold without reserve.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 119
A gold charm bracelet, curb link chain with a heart padlock clasp, hallmarked 9 ct, London 1983, with ten charms including a house charm that opens, a 21 key, a bell, a bull, a charm depicting two figures, a shoe charm that opens, a bucket, a car and a Toby jug, all in 9 ct gold and a base metal shoe charmCondition Report: Gross weight approximately 49.01 gramsOverall good condition, with surface scratches to be expected with wear
Lot 346
Seiko Bell-Matic wristwatch, gilt stainless steel case, the signed metallic gold coloured dial with baton hour markers, centre seconds with a day/date aperture at 3 o'clock, alarm function, automatic movement, case back numbered 4006-6040, with reference number, on a gilt stainless steel bracelet, the 39mm case mounted on a signed bracelet,with instruction manual Condition Report: The movement has been opened for inspection and will need professionally resealing.Please note that the movement has not been tested for the accuracy of time and may need a service at the buyer's expense.Ewbanks does not guarantee the future working of the movement and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts
Lot 2162
A Quantity of Second World War Home Guard and ARP Related Items, including two Local Defence Volunteers armbands and shoulder strap insignia, two Home Guards armbands and various insignia, ARP and other civil defence armbands, an ARP rattle dated 1945, an ARP bell, an ARP first aid tin and contents, an ARP tin for Black-Out paper, an ARP whistle and folding pocket knife, a British Red Cross Gift From War Association ashtray, an RAF Benevolent Fund bell, Civil Defence canteen etc
Lot 166
An ebonised case 30hour longcase clock, circa 1700, the 9.5inch (24cm) square brass dial signed 'John Welch Chesham', silvered chapter ring with single hand, two piece dial with dovetailed joint, typical bird cage movement with large bell, 195cm highCase probably re-ebonised at some point in the past. Some little packing under seatboard. Not tested. With pendulum and weight. See photos.
Lot 221
A George III mahogany bracket clock, the inverted bell top case with brass handle and four pineapple finials, the arched silvered one piece dial signed 'John Grant, Fleet Street, London', strike/silent to the arch, twin fusee movement with engraved backplate, converted to anchor escapement, arched glass side apertures, on ogee brass feet 48cm high, 28.5cm wideCurrently working; lacquer dulled to feet. A few small age related marks and knocks to the case. Good looking clock.
Lot 239
A Louis XVI style mantle clock,late 19th early 20th century, the case with painted porcelain dial and panels below an urn finial flanked by two putti musicans, raised on paw feet. The drum head movement striking on a bell39cm highCondition ReportDullness and wear to gilding.Key and pendulum present.Finial is loose, losses throughout.Not been tested.
Lot 369
A collection of cigarette tins, showcards and ephemera,early 20th century and later, to include a Smoke Picadilly sign, a Squadron Leader Tobacco tin, an Ogden's St Bruno showcard, a Tom Mix Virginia bakelite cigarette case, a Black Bell Tobacco tin and cover, a Franklyn's Cutty Shagg sign, a Cousis's Upper Ten cigarettes sign and similar (qty.)Condition ReportKnocks, wear and marks throughout. Please see the images for a full inventory.
Lot 286
An 18th century style gilded metal cartel wall clock, by Japy Freres, circa 1900, with an urn finial above a 4.25" enamelled convex dial, flanked on each side by a fruiting laurel pendant, with a cartouche below, with an 8-day, twin-drum movement, striking on a bell, the back-plate stamped with the Japy Freres mark, 65cm high, with winder and pendulum (3)Ok. In working order in the vendor's home.
Lot 288
A late 17th century ebonised bracket clock by Jacobus Hassenius, LondiniSurmounted by a twin-dolphin handle on the caddy top over a narrow moulded cornice, rectangular glazed apertures to a moulded base and block feet, the 6.5in square brass dial with winged cherubs head spandrels and silvered Roman and Arabic chapter ring, the matted centre with engraved flower spray, the twin-fusee movement with five knopped pillars and engraved back plate, striking on a bell, 31cm high.Jacobus Hessenius was a Russian watchmaker who was made a Free Brother of the Worshipful Company of Clockmakers in 1682-3. It is thought that he returned to Russia in circa 1697, the same year that Peter The Great arrived in London to study the craft of shipbuilding and the latest developments in science and technology, returning to the motherland with an army of experienced craftsmen in tow. There he built a powerful navy, as was his aim to ramp up his empire-building capabilities. Without doubt, Hassenius' experience of working in London would have been highly valuable to the Tsar, more than likely obliging him to return to his homeland.Case: General light wear, signs of age and small repairs including fine split to left end of front door sound hole; splits to lower corner of right hand side; small section of cornice in-filled at the back right side; Fine splits to rear door; fine splits to left hand side. Section of veneer missing from lower right base.Dial: Minor signs of age including very fine cracklure to numerals visible under strong light.Movement: Winds, sets, runs and strikes during inspection - not tested for timekeeping or longevity.
Lot 289
An 18th century inlaid mahogany bracket clock by Edward Foster, LondonThe cross-banded arch-top case surmounted by a brass carrying handle, above a narrow moulded cornice, the sides inset with inlaid arched patera, on a moulded plinth base, the 6-inch arched brass dial with strike/silent above a Roman and Arabic chapter ring flanked by well pierced foliate scroll spandrels, the matted centre with a shaped silvered signature plaque over a date aperture, the twin gut fusee movement with verge escapement rack striking on a bell, with repeater chord, 31cm high.Case: Some compression fractures to the top. Fine splits to the rear door frame with a few small chips to the edge. Minor cosmetic marks and veneer fractures in places consistent with age and use.Dial: Good and clean with only negligible signs of age.Movement: Winds, sets, runs for a short time, strikes and repeats. Not tested for timekeeping or longevity.
Lot 262
A Chinese blue and white stem cup, 18th centuryOf inverted bell form on a tapering cylindrical stem, finely painted in the Ming style with wrythen dragons against roiling waves above rock formations, the cobalt heaped and piled, tramline borders to the inner and outer rim, 17.7cm dia. (hairlines and an old repair to rim).A quarter section of the rim has been broken and restuck, with evidence of an older repair in the form of staple holes. On the opposite rim is a long hairline with similar old repair holes. Three small chips to the rim.
Lot 201
A Songye power half figure Democratic Republic of the Congo with an inset horn to the top of the head, and carved with narrow slit eyes and a deep cut nose, protruding lips and a beard, the arms either side of the abdomen with an inset tack, wearing an iron neck ring hung with a bell, clapper and cone, and a fabric bound waist on a flared base, 19cm high, inset into a wood base. (2) Provenance Romy Rey Collection, London.
Lot 37
Two Colima lip plugs Mexico, circa 300 BC - 300 AD obsidian, 3.6cm and 2.6cm long, mounted, a Mexican pottery ear ornament with incised geometric decoration, 4.6cm long, a Mixtec carved stone pendant, depicting a head with four attachment holes to the back, 10.1cm wide, a Mixtec greenstone figure pendant, with attachment holes to the back, 3.5cm high, a Mexican brass bell with a bird surmount, 3.2cm high and two Mexican pottery head fragments. (9) Provenance Gimpel Fils, London.
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