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Click here to subscribeA box of various camera equipment including a Sem twin lens camera, Bell & Howell Sportster IV cine camera, a Kodak Brownie No. 2C folding autographic camera, Shinon 75-150 MM F3.9 MCL zoom lens, Shinon CE-4 camera, Optomax tele-auto 1:6.3 lens, a Sanyo mini electronic calculator ICC-82D (boxed with instruction manual) etc plus a wooden framed mirror and two pairs of black leather hunting boots
A collection of various mid 20th Century photographic equipment to include Miranda camera, Olympus Pen EE3 camera, various accessories, etc CONDITION REPORTS The Miranda appears in basically sound condition though with wear and tear conducive with age and use. The two lenses same. Boxes for lenses in poor condition. The Leitz lens again appears in good condition. The Omnica case with wear and tear conducive with age, the Canon bag much the same. The Olympus Pen EE3 camera again appears basically sound though with wear and tear conducive with age throughout and some oxidization and surface grime. Sakar fish eye lens appears in good condition, box though with wear and tear to the edges particularly. Bell & Howell cine camera - whilst basically sound has much wear and tear and surface scratching conducive with age and use and appears to have surface dirt - see images for further detail
W. Hough, Portsmouth. A 19thC flame mahogany long case clock, with an arched moon phase dial, decorated with floral spandrels, chapter ring bearing Roman and Arabic numerals, subsidiary seconds dial and date aperture, with an eight day four pillar, two train movement, with bell strike, the hood with dentil moulding and brass capped, fluted columns, the case of pain form, raised on bracket feet, with pendulum, weights and keys, 199cm high.
Four George II air twist wine glasses, circa 1735-50,each with drawn trumpet bowl and air twist stems, one with domed foot, tallest - 18.9cm high; and two air twist wine glasses with bell bowls, 16.4cm and 15cm highCondition report: all good except the smallest drawn trumpet example which has a very small chip on the foot rim.
the trumpet shaped bowl engraved with a flower and a butterfly, on an opaque air twist stem, 16cm high; another with a bell shaped bowl on a clear air twist stem, 15cm high; another, the bowl engraved with a bird and flowers on an air twist stem, 13cm high Condition report: The flower trumphet glass has a very tiny surface chip to the footrim. The glass engraved with the bird is not on an air-twist stem but is in good condition. The last glass has a large inclusion in teh foot.
A group of four air twist wine glasses, circa 1750,each with single or double applied collar to the stems, comprising a drawn trumpet example, 16.3cm high, two bell bowl types, 17.8cm and 16.5cm high, and a round funnel, 18cm highCondition report: all good condition except the foot of the example with single plain collar appears to have had the foot reshaped/polished, and in addition has a tiny foot rim chip
An Empire style gilt metal mounted black marble mantle clock, late 19th century,the portico case with 12cm dial, sunburst pendulum and bell striking drum movement, on four disc feet44.5cm highProvenance:Property from a Suffolk country houseCondition report: chip to rear corner of top, left hand winding hole chipped; gilt finish worn/tarnished in places. Movement untested for any length of time, but appears to be working.
A George III green lacquer and Chinoiserie decorated longcase clock,the pagoda top hood with 12inch brass dial signed 'Willm Mason, London', strike/silent to the arch, silvered seconds dial and chapter ring, date aperture, Rococo spandrels, 5 pillar bell striking movement, the trunk with break-arch door, all on a rectangular plinth 235cm highProvenance: Property of a Suffolk collector Footnote: Works for only a short time before stopping. Movement probably needs a clean/service. Decoration refreshed. Small packing pieces under seatboard, so possibly a mariage but a good fit to hood aperture if so. Two brass cased weights and pendulum. Condition report: photos attached. many thanks
Box of metalware to include; Viners Sheffield silver plated four piece coffee and teaset, goblet, bell with swan finial, Walker & Hall plated tankard, magnifying glass, ladle, presentation cake slice, plated napkin rings, set of various souvenir teaspoons and two oval Elkington plate serving dishes etc.(B.P. 21% + VAT)
Two boxes of assorted items mostly china to include; Royal Standard 'Giselle' design part coffee set, a cottage ornament, Royal Standard 'Silhouette' design teaware, earthenware canisters or cups with leather outer lining, small glass bottles, velveteen trinket box with embossed metal lid, hardstone and metal pharaoh ornament, Ewenny pottery items, oriental design teapot, brass bell, jam pot, kettle stand, art pottery plaque with building design, small stoneware jar marked 'Horrell's Devon Cider', tin, Chinese lidded mug, toad design money box, stoneware canisters, hanging pottery candle holder etc. (2)(B.P. 21% + VAT)
Ɵ A priest during Mass and a bell-ringer, large miniature on a leaf from a copy of Gregory IX, Decretals, opening of Book III, De Vita et Honestate Clericorum, in Latin, illuminated manuscript on parchment[most probably Italy (probably Ligurian coast or vicinity), early fourteenth century] Single large leaf, with a large rectangular miniature the width of both columns of text (140 by 175mm.), on the left an arched architectural compartment enclosing a priest in a crystalline-gold flecked robe raising the Host during the Mass before an altar with a golden cross, a chalice and two candles, to the right an acolyte holding a long candle as he kneels and pulls a bell-rope to ring the sanctus bell in the rafters of the church, all within a wide frame formed from floral tiles in red, green, blue, pale pink-grey and burnished gold, text opening with one large initial in grey and pink shades heightened with white brushwork, enclosing coloured foliage on blue and gold grounds and enclosed within gold grounds, one smaller initial in same opening corresponding gloss in margin, one- and 2-line initials and running titles ('L/III') in red or blue with contrasting penwork, red or blue paragraph marks, red rubrics, main text in double column of up to 41 lines of Italian rotunda script (Italian rotunda or littera bononiensis), encased within a main gloss (up to 94 lines, and in smaller version of same script) with further glosses added in space between the other blocks of text and in the margins (these attached to relevant parts of main text or main gloss by hairline pen symbols and circles), a few elongated manicula marks in gloss, one small 'I' +abbreviation for 'us' or 'h' in middle of bas-de-page of recto (perhaps an original quire signature) and a modern pencil '22' in lower outer corner of recto, slight discolouration at edges and some scuffing to gold, else in excellent and fresh condition, 500 by 325mm.; in cloth covered card binding Provenance: 1. Written in an Italian university setting in the early fourteenth century, but the volume then evidently carried away and its miniatures and painted initials probably added in north-western Italy (see below).2. Dr. Arthur Simony (1854-1882) of Vienna: his small dark-blue inkstamp in upper corner of recto. Simony was a mysterious nineteenth-century collector about whom so little is known, that B.S. Cron wrote to the Book Collector in 1958 explaining he had acquired leaves from a Gratian owned by Simony and asking for any information on him (p. 188; the bifolium now in the Metropolitan Museum, New York). He was a Viennese mountaineer who climbed the Spitzmauer when only 17 years old and left a written account of the expedition, and later qualified as a medical doctor. He died at only twenty-eight years old, and his library was sold by Brockhausen & Bräuer of Vienna in 1885 (their cat. no. 8). Another leaf from the same parent manuscript as this one was sold in Köller, 24 March 2021, lot 502, for CHF 16,160.3. Dr. Rosy Schilling (1888-1971) of Frankfurt, the German art-historian who fled to London after 1937 due to her Jewish ancestry and her husband's public opposition to the Nazi party. Sold by her heirs in Sotheby's, 5 December 1994, lot 37, realising £5980.4. Schøyen Collection of London and Oslo, their MS 1978. Decoration:While the script here is certainly Italian, the miniatures on this leaf and its sister leaf sold at Koller are disarming with their mix of Italian and French motifs. Of course, it was common for such volumes to be written in university centres of Italy, but have their miniatures and decoration added at the final destination of the volume, and the flux of students from across the whole Mediterranean in and out of the universities of Italy allowed for such volumes to be carried some distances. When it was in her collection, the art-historian Rosy Schilling identified the miniature here as Neopolitan in origin. When the leaf was sold at Sotheby's nearly thirty years ago that catalogue also allowed for a Spanish origin. However, the Koller description earlier this year pointed towards other possibilities: Avignon and most interestingly, the northern Ligurian coastline. Many of the individual aspects here do fit well into the art of northern Italy, and a location on the north-western Italian coastline and border with France. Wide painted frames also occur around fourteenth-century miniatures from the region (see BnF., Français 755, produced in Lombardy c. 1320-1330: F. Avril and M.T. Gousset, Manuscrits enluminés d'origine italienne, 2005, no. 1), and close matches can be found for the quadrilobed coloured flowerheads of the frame here (albeit not arranged within lines of square tiles as here) in the frames of manuscripts from Pavia (see the Valerius Maximus, Facta et dicta memorabilia, made there c. 1400, now BnF., Latin 5840: ibid., no. 45; and the Seneca, Tragoediae, made there in 1403: now BnF., Latin 8028: ibid., no. 46). The figures here are somewhat rustic in execution, but elements of them such as the hair defined internally by thick black brushstrokes also appears in a copy of Maurice de Sully, Sermons, attributed to either Milan or Genova and c. 1320-1330 (now BnF., Français 187: ibid., no. 66). The problem of solid attribution is perhaps one of lack of comparative material. So little survives from the Ligurian coastline and surrounding region, and our impression of the book production of northern Italy is focussed on the large centres of Milan and Pavia. If this leaf is from this region, then it adds significantly to our knowledge of book production and the book arts there in the fourteenth century.
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