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THORBURN (ARCHIBALD)A Naturalist's Sketch Book, 60 plates (24 in colour) by the author, contemporary red half morocco, some dampstaining to sides, Longmans, 1919--MCLEOD (NORMAN) Mountain, Loch and Glen Illustrating 'Our Life in the Highlands' from Paintings Executed Expressly for this Work by Joseph Adam, 15 mounted photographic plates after Adam, half-title loose, stain in lower margin of plates, some spotting, contemporary red morocco gilt, g.e., worn, folio, Bell and Daldy, 1869--KINLOCH (ALEXANDER A.A.) Large Game Shooting in Thibet, the Himalayas, and Northern India, frontispiece and photographic plates, publisher's pictorial cloth gilt, rubbed, Calcutta, Thacker, Spink & Co., 1885--EDWARDS (LIONEL) My Scottish Sketch Book, tipped-in colour plates, publisher's cloth, dust-jacket, Country Life, [1929]--SCROPE (WILLIAM) The Art of Deer-Stalking, new edition, lithographed plates on india proof paper (one loose), later green half calf gilt, t.e.g., Edward Arnold, 1897--MILLAIS (JOHN GUILLE) A Breath from the Veldt, plates and illustrations after the author, dampstain to margin of frontispiece (tissue guard torn), red half calf gilt, upper joint repaired, rubbed, folio, Henry Sotheran, 1895--LEIGHTON (JOHN M.) The Lakes of Scotland, additional engraved title-page and 52 plates by Joseph Swan after John Fleming, all on india proof paper, tissue guards, original maroon morocco gilt, rebacked preserving original spine, worn, 4to, Glasgow, Joseph Swan, 1834; and a group of 12 hand-coloured aquatint views of the Thames by Boydell after Farington, loose in portfolio (8)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BAYNE COLLECTION – LITERATURE, SCIENCE & THE ARTSCollection of over 100 autograph letters, postcards and cut signatures, assembled by author, journalist and editor Peter Bayne and his daughter Clotilda, including: writers such as Tennyson (correcting an assumption made by Bayne '...Lady Clare's first thoughts when she learns that she is not Lady Clare is for her lover... She is not calling her mother a beggar but herself...' with annotation by Bayne dated May 1890, and another note thanking him for '...your Days of Jezebel...'), Thomas Hardy (to Mrs Leslie Thomson thanking her for her letter, with autograph envelope), Matthew Arnold (two-page manuscript beginning 'From the poetry of Wordsworth we experience two prime effects...' titled in another hand 'Inscription', with printed proof, three letters and a note), William Bell Scott (manuscript poems 'The Falling Leaf', 'Left Alone' and 'Morning', signed, on a bifolium, with another letter on the sale of his house in Chelsea), Anthony Trollope (two, regarding the publication of Baynes' article on Cobden), George Bernard Shaw (typed letter, signed, praising Clotilda Marson's husband), John Masefield (postcard and proof sheets of several poems with letter from Constance Masefield), Edmund Gosse, Samuel Smiles, Austin Dobson, Elihu Burritt; various editors including Richard H. Hutton, editor of the Spectator (3), W.J. Stead of the Pall Mall Gazette, Sidney Lee (DNB), William Blackwood (Blackwood's Magazine); Michael Faraday (note 'with M Faradays Compliments'), Francis Darwin (son of Charles, refusing an invitation), psychiatrist George Henry Savage ('...I do not like the notion of secret remedies...'), physicians Hermann von Helmholtz and Sir Henry Thompson; artists Alma Tadema and Philip Burne-Jones (2), one regarding William Morris ('...when he was very vigorously working for the Society for the Preservation of Ancient Buildings... he made a rule that he would never put a window into an ancient church...'); other figures including Sir Frederick Roberts (in the third person, on the pacification of India and justifying British rule ('...to transform rebels & dacoits into peaceable subjects of Her Majesty the Queen... It has been necessary to protect the villagers from their own people...'), Millicent Fawcett (2), Philippa Garrett Fawcett, Ray Strachey; various scholars, headmasters, bishops and clergy; with a small group of seven cut signatures, certificate granting Peter Bayne the Royal Victorian Order, Fourth Class, signed 'George R.I.' and 'Elizabeth R', May 1937, four French valentines (two cut paper, two printed on fabric), etc., usual dust staining and marks, many with remains of guard where previously attached to album leaf, 8vo and 4to, nineteenth and early twentieth centuriesFootnotes:The present collection was assembled by Peter Bayne (1830-1896), prolific Scottish journalist and author. Initially wishing to enter the church, respiratory problems made preaching impossible, so he turned to writing. He contributed to magazines such as the Edinburgh Magazine and succeeded Hugh Miller as editor of Witness and later the ill-fated Dial, which proved to be a massive financial failure. For a short time he edited the Weekly Review, the organ of the English Presbyterian Church, and for over twenty years was a regular writer for the Christian World. Through his collected essays he enjoyed some success in Scotland and America and, addition to this, he was the author of several works of English history under the pseudonym Ellis Brandt. His many essays in literary criticism put him in correspondence with the great literary figures of the day such as Browning, Carlyle and Ruskin, who were keen to correct his errors and praise his writing in equal measure, as the following lots demonstrate. After Bayne's death in 1896, the collection was inherited by his son Ronald (d.1922) whose widow, according to a note (a photocopy of which is included in this lot) passed it to his sister Clotilda Marson. When the letters were removed from the original album is not known but it has remained in the family until now.For further information on this lot please visit Bonhams.com

GREENE (Graham): 'Yes and No and For Whom The Bell Chimes..' Bodley Head, 1983, No.335/750 copies signed by author, publisher's green cloth gilt, 8vo, fine. Plus 'Yes and No..a Play in One Act', Eurographica Helsinki 1983: out of series and unsigned. (2)

HURLBUTT (Frank): 'Bow Porcelain...', London, G Bell, 1926: folio, publishers red cloth, lightly sunned and rubbed else VG: together with a quantity of other books in 2 cartons, to include misc. art reference, Folio Society, small folder of engravings from Don Quixote by Westall, some historical and biographical reference, etc, generally in good condition. (2 boxes)

Bagatelle board game “Ring-Bell”

9 carat gold charm bracelet, with a collection of charms to include a bell, Masonic cross, turtle, key, shoe, etc, gross weight 92 grams

A cast brass ships bell. No clapper. 22cm(h)

Cranberry glass claret jug, bell and oil lamp (3)

Bell and Howell 256 EX cine projector and Optima screen

A mixed lot of collectables, including a Bell & Howell 134 Movie Camera, fob compasses, silver jewellery, fob chains, costume jewellery, etc.

A box of glassware, including decanters, bowl, Victorian smoke bell, etc.

A 19th Century French ornate cast brass cased cartel wall clock with mask and scroll decoration, the convex dial with blue Roman numerals and marked for Tardieu, Rue des Gravilliers 20, Paris, also plaque to same on case door, with eight day bell striking movement

A modern Brufords (Exeter) reproduction inlaid mahogany cased balloon clock with floating balance escapement and eight day bell striking movement

A 19th Century rosewood cased carriage style table clock with gilt metal handle and bezel to silvered dial, the silk suspension bell striking movement by Raingo Freres, Paris

A late Victorian black slate marble cased mantel clock with visible escapement to dial and eight day bell striking movement - top case section detached, but included

A 19th Century mahogany longcase clock with carved decoration to swan neck pediment, the 33cm painted arched dial marked for W. Hamilton, Whitburne with subsidiary seconds dial and date aperture, with eight day bell striking movement

A box containing assorted collectable items including silver plated entree dish, fire bell, vintage Kodak camera, etc.

An old desk fan with brass cage and fan - sold with an old servant's bell

A small selection of collectable items including a boxed Wills bezique games, a brass bell, etc.

A cast metal model of the Liberty Bell on wooden plinth

A boxed Gillett & Johnston Queen Elizabeth II Coronation presentation bell

A late 19th Century tapestry embroidered bell pull with decorative boss and brass handle

A Japanese netsuke, early 20th century, carved as a young monk bound to a temple bell whilst two rats assist him, signed, 3cm; two marine ivory netsukes of deities, signed, three Japanese okimono, Meiji period and a resin figure of Shou Lao, tallest 27cmQty: 7

David Sutherland of Leith, a late 18th century 8-day longcase clock chiming on a single bell, fitted with a broken arch painted dial marked out in Roman numerals with a secondary dial at 12 o'clock and calendar dial at 6 o'clock. Housed in an oak case with an arch-topped trunk door. 204 cm high x 52 cm wide x 26 cm deepFootnote: David Sutherland is recorded in Brian Loomes's Watchmakers & Clockmakers of the World book on page 751. He is listed as working between 1775-1805Condition report: Splits to the plinth door

Octavia Hill 1838-1912. ASL. A handwritten and signed letter dated Nottingham Place (London)1866 "My Dear Mirriam. I am sorry I did not answer your letter while it was wet weather and you seemed to be dull (?), long before now I hope things are all changed and your days are full of happy occupation........" Including a booklet entitled, Letter To My Fellow-Workers by Octavia Hill dated 1910 and Bell,E. Moberly Octavia Hill a Biography 1st edition.Footnote: The recipient of these letters was more than likely Miriam Bertha Joyce (Jackson) wife of The Right Hon Sir Matthew Ingle JoyceOctavia Hill 1838-1912,Was born in Wisbech, Cambridgeshire, the third daughter of merchant James Hill and his third wife, Caroline Southwood Smith.She was one of the three founding members of the National Trust, She was and radical thinker and campaigner. Her tireless work sought to improve the living conditions and environment of the urban poor focusing on their housing and championing free access to open green spaces because she understood the importance of man's connection to nature and the impact of her lifelong work is seen to this day and her belief in the importance of access to nature for human wellbeing and the need to stop the destruction of the natural landscape are now fully recognised.

A 19th-century Russian gilt brass and beadwork table candlestick with tooled neoclassical decoration 20 cm high Together with a 19th-century mother of pearl inlaid blonde tortoiseshell calling card case with hinged top, 18th H. Bell of Prescot, Lancashire mahogany cased folding guinea scaleFootnote: The candlestick was formerly the property of the Manager of the Russian state bankCondition report: The scale is OKThe candlestick is OKThe card case has a slight crack near the hinge.

A selection of silver and silver plate: a bell-shaped hallmarked silver inkwell (minus glass liner); three Islamic silver dishes (stamp to reverse) engraved with various scrolls (7.75cm in diameter) and six similar smaller examples (7cm in diameter); a hallmarked silver 'Armada'-style dish; a late 19th century silver plated dish by Reed & Barton; a pair of 19th century knife-rests modelled as rearing horses; a small circular silver box-and-cover decorated with fruiting vine to the underside and a small glass circular insert flanked by filigree work to the top; and five matching silver and yellow-enamel coffee spoons (20)

A very fine 19th century gilt-metal-cased and glass-sided carriage clock; the swing carrying handle above a white enamel dial with Roman numerals and signed 'W. Thornhill & Co., 144.154 New Bond St. London', the main dial over the alarm hand, the gilded mechanism with alarm function and striking on a bell (15.5cm high with handle down x 10cm wide x 9cm deep)

An early 19th century rosewood and brass inlaid eight-day mantle clock; the white-enamel dial with Roman numerals and signed 'RAINGO FRESA, PARIS' within an octagonal case with two applied ring handles, the gilded movement signed and individually numbered 1332 and striking on a bell, the base section with further brass inlay and four finials as pineapples and further flanked by two further applied rings, standing on four gilt-metal lion's paw feet (41cm high including handle x 33cm including gilded feet)

A 19th century mahogany and boxwood-strung eight-day bracket clock; the oval hinged gilt-metal handle above a 20cm dial with Roman numerals and signed 'Gammon, Birmingham', the twin fusee gilded movement striking on a bell, together with pendulum and key, with pierced gilt-metal fish-scale-style side sound apertures and raised on four gilt-metal ogee-style bracket feet (39cm high with handle x 30cm widest point to feet at bottom) The case appears to be in good order, the dial is a little dark and has some flecks and cracks around the winding holes although not too bad.  The gilt metal ogee feet have several pieces of gilding away commensurate with age.  There are a couple of small bits of veneer away from the rear of the door around the framed glass and there is a small piece approx. 1.5cm square moulding at the back away.  It is difficult to tell exactly if the movement is original to the case but in the Auctioneers opinion it looks good although no guarantees can be given.  The piece has come from a good private source and as we understand it they have had it in the family for many years.

A 19th century eight-day three-piece mantel clock garniture: the gilt-bronze-cased clock in reformed Gothic style with a central finial (bent) and pierced vertical tracery gallery above a painted porcelain dial with a castle by water scene and Roman numerals to the chapter ring; the lower porcelain section gilt-framed and decorated with soldiers in 17th century dress atop battlements looking over a town, the two decorated porcelain side panels with similar scenes of guards at castle doors; the movement striking on a bell and signed 'Japy Fréres'; the clock raised on four spreading square feet; the similar period, but unassociated, gilt-metal and porcelain garnitures of urn-form and having pineapple finials, mythical beast masks and ring handles, raised on elaborate cast bases (one garniture minus front left-hand foot) (the clock 33cm high) (3)

A good modern gilt metal and glass sided carriage clock; the white enamel dial with Roman numerals and signed 'Angelus, England', the eleven jewelled gilded movement striking on a bell (14cm high including handle folded down)

A good early 19th century brass inlaid mahogany-cased eight-day bracket clock; the figured domed top above an eight-inch cream dial with Roman numerals and signed 'P. Lacey - Bristol', flanked by two ring carrying handles above arched gilt-metal fish-scale-style sound apertures, the fine gilded twin fusee movement striking on a bell and with dogtooth and foliate engraving, with original pendulum, raised on four gilt metal ball-style feet, the front two feet with moulded decoration (42cm high x 30cm wide including handles x 17cm deep including convex glass)This comes with an insurance valuation from Montpellier Clocks in Cheltenham who original supplied the clock in 2008.   They said it was circa 1825 and the valuation then is the same as that paid for it of £5,500.  Signed Mr T. Birch.  Looking at it from the front there is a very small fingernail sized piece of moulding away, front right where the arch meets the horizontal moulding at the top.  Some of the brass stringing is very slightly proud of the mahogany.  The dial looks to be in reasonable condition with some very minor pieces of paintwork away.  Being super critical there are slight scuffs around the winding holes and again scratches and paintwork away.  The mahogany case on top is of a nice figuring and there is a very small historic L shaped crack of about 1cm in between the 12 an 1 o’clock position at the top of the wood but in the Auctioneer’s opinion this does not detract.  The sides look quite good and it is noted that looking at the from the left hand side there is a small 6.5cm piece away at the back of the “fish scale” side fret.  The arched back door is glazed and there is an approx. 1cm square piece of mahogany away from the escutcheon hole on the left.  The lock looks OK an it has a service ticket on it, which appears to be October 2014 by Time In Hand (Shipston) Ltd.  This comes with pendulum, keys etc., and the bell is quite large and striking and the gilded twin fusee movement has been nicely engraved.

A George III ebonised cased bracket clock by 'Robert Ward, Abchurch Lane, London'; the pagoda-style top with brass handle and flanked by four gilt-metal pineapple finials, the white-enamel dial signed 'Robert Ward, London' and with Roman numerals, the pull string gilded twin fusee repeating mechanism with profusely engraved back plate and striking on a single bell, with pear-shaped bob pendulum and with glazed sides and back, raised upon gilt metal ogee bracket feet, with single key (42cm high to tip of vertical carrying handle x 28cm widest point at bottom of Ogee feet x 18.5cm deep) Robert Ward is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working in London circa 1751The clock appears to be in general overall original condition and has come privately and been in private family ownership for many years, coming to the market from a deceased estate etc.  The clock appears to have gilded movement which is engraved with a twin fusee also.  The dial is reasonable with some minor blemishes to the very edge mostly notable around the 5 to 7 o’clock positions on the edge of the dial inside the glass.  The gilt brass ogee feet appear to have had some wear but overall the clock appears to be in good overall condition (see several images posted on the website).  There don't appear to be any "spare" holes in the black plate and although the casing appears to be contemporary together and the clock has been in private hands for many years the Auctioneers cannot provide any cast iron guarantee whether the movement and case did start life together.I can guarantee that this has come from the main country house which sold for £10 million recently.  The ebonised case (not including feet and pagoda handle) is approx. 35cm highest x 26cm wide.

A 19th century white marble mantle clock; white-enamel chapter ring with Roman numerals and visible movement, the gilded French movement individually numbered and striking on a bell, the pendulum modelled as a swinging cherubic figure, housed under a glass dome upon an oval hardwood base (damage to marble) (the clock 35cm high x 28cm wide, the glass dome 41cm high)

Pariser Louis XV-PenduleHöhe: 59 cm.Breite: 35 cm.Tiefe: 22,9 cm. Rückplatine signiert „L. David Carré A Paris“. Zifferblatt signiert „L. DAVID. CARRÉ/ A PARIS“ (gest. 1786). Paris, Mitte 18. Jahrhundert.Funktionen: Schlossscheibenschlagwerk mit Schlag auf Glocke zur Halben und zur Vollen Stunde, spätere Brocot-Hemmung. Rest. À jour gearbeitete Zeiger für Stunden und Minuten. Rückwärtig verglast. Ein Pendel vorhanden. Gehäuse: Das Gehäuse, welches Jean-Joseph de Saint-Germain zugeschrieben werden kann, in Bronze gegossen mit Patinierung. Zifferblatt: Weiß emailliert mit schwarzen römischen Stunden und arabischen Minuten, Aufzugslöchlein über der IIII und der VIII, verglast. Nicht auf Funktionsfähigkeit geprüft. (1270512) (1) (13)Paris Louis XV pendulum clockHeight: 59 cm. Width: 35 cm. Depth: 22.9 cm.Backplate signed “L. David Carré A Paris”. Dial signed “L. David. Carré/ A PARIS” (died 1786).Paris, mid-18th century.Case: The case, which can be attributed to Jean-Joseph de Saint-Germain, is cast in bronze and patinated. Movement: hour and half hour countwheel strike mechanism on bell.

Bedeutende Louis XVI-Pendule „Au Lion“34 x 20 x 13 cm. Zifferblatt signiert „Mignolet A PARIS“. Paris, um bald nach 1786. Joseph Mignolet, Meister ab 1786, Jean-Gabrielle Imbert, Meister ab 1776.Gehäuse: Das Gehäuse kann Francois Vion zugeschrieben werden. Auf ebonisiertem Holzstand mit ausgestellten geschrägten Ecken mit reich ziselierter Ormolu-Zier der Korpus in Form eines vollplastisch hochfein ziselierten Löwen mit Schabracke auf dem Rücken, der auf einem Louis XVI-Podest mit Lorbeerblattfestons steht. Trommelförmiges Gehäuse mit Blattkränzen und Knitterschleifen sowie bekrönender Deckelvase mit Zapfenknauf. Beidseitig verglast. Werk: Schlossscheibenschlagwerk auf Glocke zur vollen und zur halben Stunde, á jour gearbeitete vergoldete Zeiger für Stunden und Minuten, ein gebläuter Datumszeiger. Achttagegehwerk. Mechanismus signiert „Imbert a Paris“. Zifferblatt:Weiß emailliert mit schwarzen arabischen Stunden und Minuten sowie roten Tagen. Aufzugslöchlein neben der 3 und zwischen der 7 und 8. Kein Schlüssel vorhanden. Nicht auf Funktionsfähigkeit geprüft. Provenienz: Richard Redding Antiques, Schweiz, ausgestellt auf der TEFAF 2010. Sotheby‘s, Paris, 10. November 2009, Lot 176. Sotheby‘s, Paris, 10. Juni 1954, Lot 101 (verkauft für 120.000 Francs). (1270621) (13)Important Louis XVI pendule "Au Lion"34 x 20 x 13 cm.Dial signed “Mignolet A PARIS“. Paris, soon after 1786. Joseph Mignolet, master since 1786, Jean-Gabrielle Imbert, master since 1776.Case: the case can be attributed to François Vion. Clockwork: countwheel striking mechanism on bell at the full and half hour, gilt openwork hour and minute hands. Eight-day movement. Mechanism signed “Imbert a Paris”. Without key.Provenance:Richard Redding Antiques, Switzerland, exhibited at TEFAF 2010.Sotheby’s, Auction Paris, 10 November 2009, lot 176.Sotheby’s, Auction Paris, 10 June 1954, lot 101 (sold for 120,000 Francs).

Grosse französische Kaminuhr von Claude Galle (1758 – 1815)Höhe: 50 cm. Länge: 66 cm. Tiefe: 18,5 cm. Auf dem Emailziffernblatt signiert „Galle / Rue Vivienne Nr.9“.Werk: Ankerwerk, Schlossscheibenschlagwerk mit Halbstunden- und Stundenschlag auf Glocke. Pendel an Fadenaufhängung. Gehäuse: In feuervergoldeter Bronze, mit Figurenallegorie „vita passiva“ und „vita activa“. Imposanter, aber ebenso eleganter Aufbau, unter Verwendung von rouge Griotte-Marmor im längsziehenden Sockel. Besetzt mit zwei weiblichen sitzenden Figuren, die das Werkgehäuse flankieren. Der kräftige Basissockel auf großen Kugelfüßen, darüber der rote Marmorsockel, besetzt mit einem Olivenblatt-Fries mit zentralem Medaillon. Das darauf stehende, rundbogig schließende Werkgehäuse mit einer Lyra besetzt, darüber das Zifferblatt. Die vollplastisch gegossenen Figuren sind brüniert und ergänzen den Farbkontrast zwischen Marmor und Gold. Mit diesen beiden Frauengestalten wird eine bereits aus der Renaissance überlieferte Symbolik angesprochen, hier als „Meditation“ und „Studium“ zu verstehen. Die Figur links sitzt nachdenklich auf einem Kissen, die rechte auf einem Folianten, und hält ein weiteres Buch auf dem Schoß. Darüber hinaus wird hier auch die in der Zeit weithin einsetzende Bildung der Frau thematisiert. Zifferblatt: Weißes Emailziffernblatt mit römischen Stunden, die Breguet-Zeiger gebläut. Nicht auf Funktionsfähigkeit geprüft. A. R. Anmerkung: Eine Uhr von Galle des gleichen Modells, ähnlich signiert, ist abgebildet in: Hans Ottomeyer, Peter Pröschel, Vergoldete Bronzen, Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, S. 709, Abb. 28. Claude Galle führte noch während der Regierungszeit Ludwigs XVI 1784 in Paris ein Unternehmen für Bronzeobjekte. Er arbeitete auch mit Pierre Philippe Tomire zusammen, sowie mit dem Gießer Pierre Foy; 1786 wurde er selbst Gießermeister und unterhielt etwa 400 Mitarbeiter. Er war Ausstatter für viele französische und italienische Schlösser und Palais, später auch für Napoleon oder den Zaren. Er starb 1815 verarmt, da allzu viele seiner Auftraggeber die Rechnungen kaum bezahlten. Seine Werke finden sich in den bedeutendsten Sammlungen und Schlössern, wie Residenz München, Musée National du Chàteau de Malmaison, Musée Marmottan Paris oder Victoria and Albert Museum London. Literatur: Claude Galle, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL). München 1992. Charles Joseph Plante, Richard Garnier, Designs for Gilt Bronze Objects from the French Restoration 1814-1830, London 2002, S. 25-26. Hans Ottomeyer, Peter Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, S. 371. Richard Mühe, Horand M. Vogel, Faszination Uhren. Hamburg 1976, S. 107. Alexander Ballantyne, French Clocks the World Over, Bd. 2, Paris 1981, S. 285. (1270624) (11)Large French mantle clock by Claude Galle (1758 – 1815)Height: 50 cm. Length: 66 cm. Depth: 18.5 cm.Signed “Galle / Rue Vivienne Nr.9” on enamel dial.Fire-gilt bronze with figural allegories of “vita passive” and “vita active”.White enamel dial with Roman numerals and blued Breguet hands. Anchor movement, countwheel striking mechanism with strike on bell on half and full hour. Pendulum with silk suspension. Notes:A clock by Galle of the same design, with similar signature is illustrated in: H. Ottomeyer and P. Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, Munich 1986, p. 709, ill. 28.Literature:C.Galle, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL). Munich 1992.Ch. Joseph Plante, Richard Garnier, Designs for Gilt Bronze Objects from the French Restoration 1814-1830, London 2002, pp. 25-26.H. Ottomeyer, P. Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, Munich 1986, p. 371.Richard Mühe, Horand M. Vogel, Faszination Uhren. Hamburg 1976, p. 107.A. Ballantyne, French Clocks the World Over, vol. 2, Paris 1981, p. 285.

Große französische Kamin-PenduleHöhe: 69 cm. Breite: 45 cm. Tiefe: 24 cm. Signiert „ETIENNE LENOIR / A PARIS“. Auf der Rückplatine gravierte Signatur: „Etienne Le Noir a Paris“ mit Werknummerierung „No 439“. Ausgehendes 18. Jahrhundert.Bronze, vergoldet. Mächtiger, im Entwurf außergewöhnlicher Aufbau mit betont großem Zifferblatt, offenbar für die Sicht aus größerer Entfernung in einem weiträumigen, höfischen Repräsentationsraum ausgelegt. Zweifache Sockelung: ein unterer Rechtecksockel mit nach außen geschweiften Blattfüßen und einem mittleren Reliefmedaillon mit einer Cäsarenbüste, trägt die darauf stehende runde bankförmige Basis mit vier kurzen, kannelierten Füßen, darüber flankierende seitliche Voluten. Der Uhrenkasten darin eingesenkt. Das weiße Email-Zifferblatt mit römischen Stunden und arabischen Minuten von enger Rahmung eingefasst, mit bekrönendem, seitlich herabziehendem Giebelgesims mit Verdachung, darin ein Apollo-Maskaron mit einer Lyra, die dem Apollo-Thema entspricht, darüber ein geflügelter Amorputto. Die seitlichen Schallöffnungen in Form einer Ovalkartusche, durchbrochen, mit Seide hinterlegt, darunter je eine bärtige Maske mit geflügelter Krone. Die Zeiger durchbrochen gearbeitet, ziseliert und vergoldet. Datumsanzeige durch gravierte Drehscheibe hinter kleiner quadratischer Sichtöffnung im Zifferblatt unten. Das Frontglas mit kleinem Schlüssel seitlich sperrbar. Ankerwerk, die ehemalige Pendel-Fadenaufhängung später durch Metallfeder Aufhängung ersetzt. Schlossscheibenschlagwerk für Halbstunden- und Stundenschlag auf Glocke. Regulierung der Datumsangabe durch Schlüsseleinführung im Zifferblatt. Rückseite mit Inspektionstüre mit Festonkranz und Strahlenmedaillon-Motiv graviert. Der Uhrmacher Pierre Etienne Le Noir oder Lenoir (1724-1789) zählt zu den bekanntesten Meistern seiner Zunft. Er entstammte einer Uhrmacherfamilie, die seit dem 16. Jahrhundert in Paris ansässig war. Die Werkstatt wurde weitergeführt unter den Söhnen Ètienne und Pierre-Ètienne LeNoir, die weiterhin die Signatur verwendeten. Die Gehäuse wurden unter anderem von den bekannten Entwerfern Charles Cressent oder Jacques Dubois entwickelt. Etliche Uhren von LeNoir befinden sich in bedeutenden Sammlungen und Museen, wie etwa dem Schloss Wilhelmsthal Calden, der Eremitage St. Petersburg, dem Getty Museum Malibu oder dem Residenzmuseum München. A.R.Literatur: Pierre Kjellberg: Encyclopédie de la pendule française: du Moyen-âge au XXe siècle. Editions de l’Amateur, Paris 1997. (12718139) (11)Large French mantle clockHeight: 69 cm. Width: 45 cm. Depth: 24 cm.Signed “ETIENNE LENOIR / A PARIS”. Engraved signature on back plate: “Etienne Le Noir a Paris” with clockwork number “No 439”.Late 18th century.Bronze, gilt. Half hour and hour count wheel strike on bell. Date regulated by key in dial. The clockmaker Pierre Étienne Lenoir (1724-1789) is one of the most famous masters of his guild. He came from a family of clockmakers active in Paris since the 16th century. The workshop was continued by his sons Étienne and Pierre-Étienne Lenoir, who continued to use the same signature. The cases were created by famous designers such as Charles Cressent or Jacques Dubois. Quite a few clocks by Lenoir are held in important collections and museums such as Schloss Wilhelmsthal in Calden, The State Hermitage in St Petersburg, the Getty Museum, Malibu or Residence Museum, Munich. Literature: P. Kjellberg: Encyclopédie de la pendule française: du Moyen-âge au XXe siècle, Editions de l’Amateur, Paris 1997.

Bedeutende Pendule aux sphinges ailées52 x 62 x 18 cm. Das Zifferblatt signiert „G. Merlet“ sowie „à Paris“. Paris, um 1780 - 1785.Zifferblatt und Funktionen: Weißes, gewölbt-verglastes Emailziffernblatt mit römischen Stunden, arabischen Minuten- und Datumsanzeigen. Pendel an Fadenaufhängung, Schlossscheibenschlagwerk mit Halbstunden- und Stundenschlag auf Glocke. Von diesem bedeutenden Beispiel der Ausstattungen des französischen Hofes haben sich nur wenige erhalten. Eine mit nur wenigen Details gleich gestaltete Kaminuhr (1780) ist in Versailles zu sehen (musée national des Chateaux de Versailles et de Trianon, Inv. GML 10018), ein weiteres Exemplar, um 1781, in der Wallace Collection in London (Inv. F269). Alle genannten Ausführungen, wie auch die des vorliegenden Exemplars, gehen auf Kupferstich von Colinet, nach Entwurd von Jean-Francois Forty zurück, dort allerdings noch nicht ägyptisierend (Abb.). Eine ähnliche Gestaltungsidee war Grundlage für eine Uhr im Salon de Bagatelle, ausgeführt nach Zeichnungen von Bélanger. Die Grundidee des figuralen Aufbaus ist ein Ergebnis der Ägyptenbegeisterung bereits im ausgehenden 18. Jahrhundert, bezeichnenderweise noch vor der Expedition Napoleons in den Jahren von 1798 bis 1801. Der längsziehende, an den Schmalseiten gerundete Marmorsockel ist auf zehn gequetschten Füßen, die Wandung gegliedert, in den Vertiefungen gereiht-verbundene Reliefmedaillons mit Sternzeichenmotiven. Der Uhrwerkzylinder liegt einem Kissen auf, getragen von zwei geflügelten Sphingen mit Löwenleibern und weiblichen Häuptern mit altägyptischer Perücke, wobei die hochgestellten Flügel die Uhr flankieren, die mit gebauschten Wolken bekrönt ist, in denen zwei Tauben turteln. Die gestalterischen Unterschiede zu den oben genannten Exemplaren zeigen sich in einigen Details, wie etwa abgeänderte Füße, Festonzier am Sockel anstelle eingelegter Reliefs, oder Halsketten an der Brust der Sphingen. Auffallend ist der Unterschied in der Wiedergabe der Löwenschweife. Während sie in den genannten Beispielen hochgeschlungen gezeigt sind, liegen sie in unserem Exemplar am Boden. Gerade mit diesem Motiv steht unsere Uhr dem ursprünglichen Entwurf von Forty näher.Anmerkung: Der Emailleur Georges Adrien Merlet (1754 - nach 1812) zählte zu den besten Emailleuren der Epoche Louis XVI zusammen mit seinen Konkurrenten Coteau und de Dubuisson. Anmerkung 2: Das oben genannte Exemplar, das sich im Metropolitan-Museum befindet (Inv.Nr. 1972.284.16), wird Pierre Gouthiére (1732-1813) zugeschrieben, die Figuren von Louis Simon Boizot (1743-1809). Das Werk ist von Jean-Baptiste Lepaute, Paris um 1783. Auch das Versailles-Beispiel enthält ein Werk von Lepaute, der Marmor dort in „vert de mer“, die Füße höher gestelzt. Literatur: Pierre Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siécle, Paris 1977, S. 173, Abb. C. Zum Exemplar Versailles: Ausstellungskatalog, Le cháteau de Versailles raconte le Mobilier nationla, Quatre siècles de création, Paris, 2011, S. 149 ff. Abgebildet in: C. Jagger, Royal Clocks, The British Monarchy and ist Timekeepers 1300-1900, London 1983, S. 155, Abb. 212. (12718142) (13)Important pendulum clock aux sphinges ailées52 x 62 x 18 cm.Dial signed “G. Merlet” and “à Paris”.Paris, ca. 1780 - 1785.Dial and functions: white, curved, glazed enamel dial with Roman numerals for hours, Arabic minutes and date display. Pendulum on silk suspension, half hour and hour count wheel strike on bell. Notes:Together with his rivals Joseph Coteau and de Dubuisson, the enameler Georges-Adrien Merlet (1754-after 1812) was one of the best enamelers of era of Louis XVI.Notes 2:An example is held at the Metropolitan Museum (inv. no. 1972.284.16) and is attributed to Pierre Gouthière (1732-1813) the figures by Louis-Simon Boizot (1743-1809). The clockwork by Jean-Baptiste Lepaute, Paris ca. 1783. The example from Versailles also contains a clockwork by Lepaute, with “vert de mer” marble and taller, stilted feet.Literature:P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siécle, Paris 1977, p. 173, ill. C.About the Versailles example: exhibition catalogue, Le cháteau de Versailles raconte le Mobilier nationla, Quatre siècles de création, Paris, 2011, p. 149 ff. Illustrated in: C. Jagger, Royal Clocks, The British Monarchy and its Timekeepers 1300 - 1900, London 1983, p. 155, ill. 212.

Toshiba laptop ##pat tested##, Packard Bell notepad laptop & charger etc

Set of fire irons, ships bell, steins etc

Half shelf of early collectable cine equipment to include 9.5mm projector with film, Yashica 8mm movie camera & rare 35mm newsreel films including some early footage of The Prince of Wales in America. Bell & Howell 8mm cine camera and old radio/projector valves/lamps etc

French style "reproduction" eight day garniture clock, decorative metal case with part white enamel dial, striking the hour and half hour on a bell. With matching pair of candelabra ## key ##

Various ceramic to include Meakin, Bell & others, 2 large ceramic planters, large silver plated hot water jug + other items

Part shelf of brass ornaments including candlesticks, brass bell, pair of Cadburys drinking chocolate tins etc

Damon Bell (B.1961), a pair of framed and glazed watercolours, shop fronts, Spitalfields and Amsterdam coffee shop, signed with gallery label to the reverse. H.43 W.53cm

A framed and glazed limited edition signed print by Korean Artist (Kim Ki Chang 1914 - 2001), edition 79/500, titled 'Dawn Bell'. With artist's seal. 61x52cm

The Thunderbirds coin collection piece signed by members of the famous Thunderbirds show. Signed by Bob Bell, Gerry Anderson, Shane Rimmer and more. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

A George III carved mahogany and ormolu mounted bureau cabinet attributed to Gillowsthe carving probably by James TownsonCirca 1760, the dentil moulded cornice above a blind fretwork frieze, over a pair of shaped and scrolled panelled doors each with cartouche-embedded acanthus spray angles, enclosing six short adjustable shelves, two short fixed shelves, ten pigeon holes and five short drawers, flanked by two stop-fluted Corinthian pilasters, with a blind fretwork waist below, the hinged fall above three frieze drawers, the two shorter end drawers each with a sliding lid, over three long graduated drawers, flanked by fluted Corinthian columns, on shaped ogee bracket feet, 123cm wide x 64cm deep x 234cm high, (48in wide x 25in deep x 92in high)Footnotes:A detailed painting by Shirley Slocombe, dating to 1906, of a virtually identical model of - possibly even the same - bureau cabinet as the present lot appears in both P. Macquoid, A History of English Furniture, 1989, London, Pl. XXXVII and S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. II, 2008, Woodbridge, pl. 605, p. 59. Stuart describes this painting as showing an: 'unrecognised superb Gillow bureau clothes press or bookcase' so it is exciting to consider that the offered cabinet is, even if not the direct subject of Slocombe's illustration, at the very least a supreme showcase piece made by the Gillows workshop in circa 1760.The distinctive carving of the Corinthian capitals on the stop-fluted pilasters flanking the doors of a Gillow clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire, in 1761, is very similar to the Corinthian ones on the present example. We know that the carving on the Thirsk Hall press was executed by James Townson, who was employed by the Gillows firm at that time, so it seems logical to presume that Townson also completed the carved details on the above as well. The Thirsk Hall press features in S.E. Stuart, Idem, pl.'s 595 & 596, pp.'s 52-54. The shaped cartouches with foliate spray angles on the doors of the offered lot correspond to the panelling on the upper section of a secretaire clothes press and two wardrobes produced by Gillows in 1766 and 1772 respectively, Ibid, pl.'s 598, 606 & 607, pp.'s 54-61. It is also interesting to note that the secretaire press, which was supplied to John France in 1766, has a conforming pattern of blind fretwork frieze to that appearing on the bureau cabinet in the Slocombe painting. A related bureau cabinet, likewise attributed to Gillows and dated circa 1760, which was also possibly carved by James Townson sold Christie's, New York, 14 October 2016, Living with Art, lot 230. The stop-fluted Corinthian pilasters flanking the doors of this comparable appear essentially identical to the ones carved on the offered example. And in turn both of these pairs of pilasters conform to those known to have been executed by James Townson on a Gillows clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire in 1761, S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol II, 2008, Woodbridge, pp.'s 52-53, pl.'s 595 & 596.LiteratureP. Macquoid, A History of English Furniture, 1989, London.S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Woodbridge, 2008.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Kaminuhr "à l'Eléfant"Paris, Louis XV, wohl Mitte 18. Jh., Gille L'Ainé Vergoldetes Bronzegehäuse, tlw. brüniert. Auf Terrainsockel steht ein trompetender Elefant, der die Uhrtrommel mit einem Putto als Bekrönung trägt. Emailzifferblatt mit römischen und arabischen Ziffern. 8-Tage-Gehwerk. Pendel mit Fadenaufhängung. 1/2-Stunden-Schlossscheibenschlagwerk auf Glocke. Zifferblatt und Messingplatine bez. "Gille L'Ainé a Paris". Schlüssel. Zifferblatt mit Haarrissen. 42 x 30 x 16 cm. Provenienz: Nagel, Auktion 17.-18.09.1993, Lot 1212. - norddeutsche Privatsammlung. Vgl. Tardy, La Pendule Française. Paris 1975. Bd. I. S. 170 ff. - Ottomeyer, Hans, Pröschel, Peter, Vergoldete Bronzen. München 1986, Bd. I, Abb. 2.8.5. A mantle clock "à l'éléfant"Paris, Louis XV, probably mid-18th century, Gille L'Ainé Gilt bronze case, partly burnished. Enamel dial with Roman and Arabic numerals. 8-day movement. Pendulum with thread suspension. Countwheel striking the half hours on a bell. Dial and brass plate inscribed "Gille L'Ainé a Paris". Key. Hairline cracks to dial. 42 x 30 x 16 cm. Provenance: Nagel, Auction 17-18 September 1993, lot 1212. - Private collection, North Germany. Cf. Tardy, La Pendule Française. Paris. Volume I. Page 170 ff. - Ottomeyer, Hans, Pröschel, Peter, Vergoldete Bronzen. Munich 1986, Volume I, illustration 2.8.5.

A COLLECTION OF NAILSEA GLASS including a pink and white bell with pulled decoration, 35cm high, a white example with cranberry handle, a boot flask and three other flasks (6) Condition Report: Cranberry handled bell has been broken at he neck and re glued. Neither bell has a clapper. All flasks in good condition. One is etched with a railbridge and G Charlton.

A COLLECTION OF NAILSEA GLASS including a green glass bell, two blue glass bells, three flasks with trailing decoration, two glass horns, a pipe and a small moon flask (10) Condition Report: Available upon request

A COLLECTION OF NAILSEA GLASS including two cranberry glass bells, two clear and red mottled flasks, a cranberry flask and a clear glass horn (6) Condition Report: Both bells in nice condition, no chips or cracks. Neither bell has a clapper.two mottled glass flasks have some surface scratches and the cranberry flask has a sharp top rim. None have cork stoppers. Glass horn in nice condition. No chips or cracks to any pieces

A COLLECTION OF NAILSEA GLASS including a white and pale blue glass smoke bell, two bells, two blue and white flasks with pulled decoration and a two glass horns (7) Condition Report: Available upon request

An Isleworth beaker and trembleuse saucer, circa 1780-90The bell-shaped beaker with a wide flared rim, the saucer crisply modelled with a deep well on a high waisted foot, painted in vibrant blue with 'Chantilly' style sprigs, with blue-line rims, beaker 7.2cm high, saucer 14.6cm diam (2)Footnotes:A similar beaker and saucer from the Godden Reference Collection was sold by Bonhams on 18 May 2011, lot 363. Another example is illustrated by Gabszewicz and Jellicoe, Isleworth Porcelain (1998), p.14, fig.6. The precise painting on these pieces matches the distinctive version of 'Chantilly' sprigs used on Isleworth porcelain, corresponding with wasters found on the Isleworth factory site. A biscuit waster of this flared form of trembleuse saucer was also found at Hounslow, see Massey, Pearce and Howard, Isleworth Pottery and Porcelain (2003), p.82, fig.134.For further information on this lot please visit Bonhams.com

A Worcester mug, circa 1757-60Of attractive small size and bell shape, with a grooved loop handle, printed in black with a half-length portrait titled 'KING of PRUSSIA' (version no.2) pointing towards military trophies, the reverse with a winged figure of Fame, 8.6cm highFootnotes:ProvenanceRalph Kenber CollectionFor further information on this lot please visit Bonhams.com

A Worcester mug, circa 1765Of attractive small size and of bell shape with a grooved strap handle, painted in Mandarin style on both sides with three colourful Chinese figures, one visible through a window set into a wall of puce diaper, the red, black and blue scrolled borders containing diaper panels, with black line rims, 8.8cm highFootnotes:A mug and a mask jug with the same decoration from the Zorensky Collection were sold by Bonhams on 16 March 2004, lots 60 and 61.For further information on this lot please visit Bonhams.com

Two similar opaque twist wine glasses and an ale flute, circa 1765The generous bell bowls both with two rows of beads enclosed within their solid bases, the stems both containing a multi-ply corkscrew encircled by a pair of spiral threads, on heavy conical feet, 16.8cm and 17.7cm high, the flute with a tall round funnel bowl, the stem with a pair of multi-ply spiral bands outside of a pair of spiral tapes, on a conical foot, 20cm high (3)Footnotes:Wine glasses of this type are illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1987), p.222, no.670. A pair of related glasses enamelled in the Beilby workshop was sold by Bonhams on 15 November 2017, lot 91.For further information on this lot please visit Bonhams.com

A brass part tap fitting with robin finial, together with a large cast iron cow bell, an unusual steel box with handle and spike and applied crest of Queen Mary and a wooden and metal bound pot