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Lot 147
A Japanese Meiji period bronze Koro of large proportions, the cover with figural finial as a man upon his knees, the main body of bellied form decorated with twelve roundels depicting various animals, emblematic of Signs of the Zodiac, raised on five turtle kylin supports, united by a platform base decorated with medallion of bird amongst flowers, 55 cm high
Lot 151
A pair of Chinese polished bronze Dog of Fo figures, one with left paw upon a lattice work ball, the other with puppy at its' right foot, with detachable tails, approx 27 cm high CONDITION REPORTS Light scratches and scuffs and marks throughout. Tails are loose. Some pitted type marks, some damage to the tips of the tails and some losses. Some general signs of wear and tear throughout.
Lot 152
A late 17th or early 18th Century Chinese bronze figure of an Immortal holding an urn aloft in his hands, rasied on a rocky base, together with label inscribed "Provenance: late collection Lord and Lady Harburton of Monaco", and old paper label to underside "No 221 An Idol", 17.5 cm high CONDITION REPORTS Has various scratches, scuffs, areas of verdigris and other patination throughout. In need of a good clean. Urn possibly should have had a top but now not present. Bears paper label to interior. There is a small hole in the base of the figure. Wear and tear conducive with age and use. See images for further details. Weighs approx 983g. Various surface scratches and variosu marks. Some pitting to the metal. General signs of wear and tear
Lot 155
A patinated bronze figure of the Borghese Gladiator, after the original by Agasis of Ephesus, raised on an ebonised wooden plinth base with gilt brass foiate banding, overall 65.5 cm high CONDITION REPORTS Has surface scratching and some areas of pitting, etc, all over. The arm going to the back - join has cracked. The plinth has knocks, bumps, scratches, etc, all over and some losses to the veneer. See images for further details.
Lot 159
A 19th Century Continental Grand Tour bronze figure of Antinous, raised upon a plain grey marble base CONDITION REPORTS Height approx 28.5 cm. Some slight pitting to the metal ware, light scratches and marks throughout. Some chips and losses to the base, some scratches. General signs of wear and tear throughout
Lot 47
COLIN PEARSON (1923-2007); a large oval stoneware open vessel with four textured wings covered in bronze glaze, impressed mark, maximum diameter (including wings) 42cm (D). CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 74
PAT HIGGINBOTHAM (1928-2010); two stoneware heads covered in mottled bronze glaze, impressed PH marks, tallest height 24cm (2) (D).Provenance: Purchased from the artist, 2005. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 107
A fine and rare Queen Anne verge pocket watch movement Daniel Quare, London, number 3749, circa 1710 The full plate gilt verge movement with four Egyptian pillars pinned through the frontplate and three-arm sprung brass balance, the backplate with fine part leaf-bordered symmetrical foliate scroll pierced and engraved balance cock with female mask decoration at the base and conforming pierced broad foot flanked by silvered regulation disc with adjacent applied foliate scroll infill opposing signature D: Quare, London and engraved serial number 3749, the pillar plate 41mm (1.625ins) diameter, now fitted to a French mid 18th century 2.25 inch circular convex white enamel Roman numeral dial inscribed Bulle, A MUELEN to centre, with large Arabic five minutes to outer track and pieced gilt scroll hands set behind a hinged convex glazed cast gilt brass bezel, now in a Louis XV patinated bronze and ormolu small table-top case with chased gilt rococo scrolls enveloping the dial continuing down to form the support springing from drapery applied to the flanks of a standing patinated bronze stallion, The rear behind the movement with hinged circular cover cast with concentric moulded decoration, the inverted breakfronted base with naturalistically cast top and rosette centred repeating lozenge cast frieze incorporating acanthus leaf decoration over block feet to angles, 24cm (9.5ins) high. Daniel Quare is an important maker who is recorded on Loomes, Brian The Clockmakers of Great Britain 1286-1700 as born in Somerset circa 1647/8; by 1671 he had moved to London as he was admitted as a Free Brother to the Clockmakers' Company in April of that year. Quare initially worked in St. Martin's Le Grand, London (where he married in 1776) later moving to Allhallows, Lombard Street in 1681, before finally relocating to Exchange Alley where he is believed to have taken-on the former premises of Robert Seignior in around 1686. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1709 he is believed to have taken his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European Royal and aristocratic clients. As a committed Quaker he refused to sign the Oath of Allegiance in 1697, however as a much respected maker, he was still able to discreetly supply the court of William III. In around 1680 Quare made repeating watches to his own design which eventually lead him to dispute a conflicting patent filed by Edward Barlow in 1686; the resulting exchange two years to resolve.
Lot 56
A steel, brass and bronze Weymouth Pattern Whitehead torpedo gyroscope Royal Gun Factory, Woolwich, circa 1903 With heavy brass rotor pivoted within steel gimbals set within bronze frame also containing pre-tension coil spring and pierced dome shaped starting gear and fitted with various levers and armatures for setting-up and automatic operation of the gyroscope within a Whitehead torpedo, in a substantially constructed mahogany box with hinged lid over front folding down carrying the assembly, the left hand side with heavy hinged brass handle and stamped W. WELLS, 1903 to lower edge, the front with brass plate stamped RGF, A, 1101 over stencilled initials S.D., (lacking winding crank), the box 24cm (9.5ins) wide. The development of the torpedo was in part instrumented by the British Engineer Robert Whitehead whilst he worked for the Austro-Hungarian Navy building on the idea thought of in the early 19th Century and developed by Captain Luppis of the Austrian marine artillery. Initially torpedoes were conceived as a boat packed with explosives, it was Whitehead who first designed an underwater torpedo and he had established working models by 1866 - either powered by compressed air or a steam engine. Initially poor accuracy, due to using a pendulum and hydrostat, limited the torpedo s effective range; it was only when Ludwig Obry incorporated a gyroscope that they became much more precise. Whitehead bought Obry s patent in 1896 and the Royal Navy first started ordering and installing "Weymouth pattern" gyroscopes provided by Whitehead in 1898. Satisfaction with early results was such that by 1900 all new torpedoes were fitted with gyros and there was a brisk trade in retrofitting them to existing models. By the end of that year around 1,250 gyro s had been ordered for use in over 80 vessels (however it was practice to have one gyroscope for every two torpedo s at this time). Originally gyroscopes were employed to only control the vertical rudders of the torpedo to keep it on a perfectly straight course. Previous to their use the rudders were set into a fixed position so the individual torpedoes would roughly go straight on practice runs and to try to avoid or take into account any deflections in heading that might occur as the torpedo entered the water. The gyro was intended to render this adjustment dynamic, though practical use often resulted in significant deviations of heading. The gyroscope was fitted with a clockwork coil spring, pre-tensioned to give a starting spin to the gyroscope of 2,400rpm when the torpedo was fired.
Lot 76
A unique burr walnut, brass, porcelain and glass electric Solar Timepiece Sandra Campbell, Oliver Hood and Karen Wagstaff of the Royal College of Art for Raymond M. Burton, London, 1976 The movement with substantial posted brass chassis enclosing a HORSTMANN Y-MK2 calendar time-switch set beside a rectangular brass control box incorporating six toggle switches and related fuse holders, the centre with an electric motor driving geared motionwork for the hours and minutes flanked by twin horizontal revolving cylinders of coloured glass each enclosing a light source and independently driven by electric motors connected to the control box, the top plate with circular aperture beneath two revolving concentric domes, the inner geared to revolve every hour and made from translucent textured porcelain with overall uneven polychrome colouring incorporating a deep purple line serving as a minute hand, the outer revolving once every twelve hours and finished with marbled polychrome decoration incorporating a gilt fissure design as the hour hand, the whole contained within a caddy-moulded stained burr walnut four-sided brass-framed sleeve cover with each side panel formed as an arch with cast patinated bronze fan clasp inserts applied with gold stars indicating the quarters to the angles, the control box applied with brass plate inscribed DESIGNED AND MADE, FOR, RAYMOND BURTON, BY, SANDRA CAMPBELL, OLIVER HOOD, & KAREN WAGSTAFF, ROYAL COLLEGE OF ART 1976, 28cm (11ins) high; with a detailed file of the clock s construction and instructions for use together with another file of correspondence relating to the development and funding of the project. The current lot was designed and built by three students of the Royal College of Art in 1975-76 after successfully winning the commission from Raymond M. Burton. Of the three students involved Sandra Campbell was responsible for the ceramic elements, Oliver Hood the design and engineering, and Karen Wagstaff the clasp inserts. The timepiece is designed to capture the passing of time through the expression of never ending shifts and change of light. The concentric dome dial elements incorporate subtle hands which allow the time to be read against gold star markers applied to the bronze clasps set into the angles of the case with the twelve o clock position being denoted by two gold stars (in contrast to the other three which each only have one star). The twin light sources are contained within the revolving glass cylinders, each of which is coloured to simulate night to one half of its circumference and day to the other. Each cylinder is programmed to revolve through 180 degrees at dawn and dusk causing the light to change reflecting the passing of night into day and vice-versa. The benefactor of the current lot, Raymond Montague Burton, was born in Leeds on November 3 1917. Raymond was educated at Clifton College and went on to study at Trinity College, Cambridge, and later at Harvard. During the war he was commissioned in the Royal Artillery, serving in India and Ceylon and rising to the rank of major. In the last phase of his business career he served as joint chairman and president of Burton, which continued to expand with acquisitions of fashion brands such as Evans and Dorothy Perkins and eventually, after the family withdrew from hands-on management, became part of the Arcadia group. In 1981 he retired to concentrate on philanthropic activities which took many forms both in Yorkshire, where he made his home and established a model farm, and further afield in projects such as the founding of the Shaarei Shalom Synagogue in St Petersburg. His support for York University included a long-standing sponsorship of its concert series and culminated in the opening in 2003 of the Raymond Burton Library for Humanities Research (though he was characteristically reluctant to see his name attached), which received his own scholarly collection of Yorkshire-related books, manuscripts and playbills from the 18th and 19th centuries. He also contributed to the York Civic Trust, the Company of the Staple (a York-based livery guild which he helped to re-establish), the Kew at Castle Howard Arboretum project, and the Ryedale music festival which at his request and under his sponsorship staged a spectacular performance of Beethoven s Ninth Symphony in York Minster to celebrate the Queen s Golden Jubilee in 2002. A man of great vitality and wide-ranging enthusiasms, he collected silver and fine furniture and was a lifelong car buff, having enjoyed international rallying with his brother Arnold in the 1950s; he owned Bentleys and Ferraris, and declared himself pleased with a small MG in his sprightly mid-eighties. Raymond Burton was appointed CBE for his charitable work in 1995 and died in 2011.
Lot 85
A George IV gilt and patinated bronze rococo style mantel clock Viner and Company, London, circa 1830 The circular four pillar twin chain fusee bell striking movement with anchor escapement regulated by short pendulum with sunburst mask cast bob and silk suspension, the backplate applied with the hour bell and signed Viner & Co., London to centre, the 3.75 inch circular silvered convex Roman numeral dial with repeat signature VINER & Co., Regent Street, LONDON to centre and blued steel spade hands set behind hinged moulded gilt brass convex bevel glazed bezel, the elaborate waisted patinated bronze rocaille cast case with gilt scallop shell and scroll surmount over sculpted dial surround and side scrolls incorporating ovoid panels, the rear with radial cartouche centred shield-shaped door, on tall twisted scroll supports applied with dolphins to knees flanking pendulum aperture to apron over shell cast feet, 33cm (13ins) high. Charles Edward Viner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to Thomas Savage in 1802 and gaining his freedom of the Clockmakers' Company in 1813. He was elevated to Liveryman in 1819. He was a fine maker who worked from Regent Street and is best known for producing fine complex giant carriage clocks and small mantel clocks. The firm of Viner and Company is recorded in Loomes, Brian Clockmakers & Watchmakers of the World, complete 21st century edition as working from 233 Regent Street, London 1827-50.
Lot 86
A Regency ormolu and patinated bronze mantel timepiece Unsigned, early 19th century The circular four pillar eight-day single chain fusee movement with anchor escapement incorporating offset pallets and regulated by lenticular bob pendulum, the 3.5 inch circular matted gilt Roman numeral dial with milled concentric band decorated centre, integral relief hour numerals, outer minute ring annotated with Arabic fifteen minutes and steel moon hands within fishscale cast bezel, the case with central drumhead section applied with eagle surmount over oak leaf draped cylinder housing the movement supported on double baton-cast scrolls fronted with anthemion motifs over floral festoon applied upstand, flanked by a pair of bronze prancing stallions over leafy spray infill applied to gilt tablets, the whole raised on patinated bronze skirt base centred with a gilt Satyr mask flanked by further floral festoons over stylised paw feet, 30.5cm (12ins) high. Provenance: Purchased by the vendor at Christie s Pitchford Hall house sale, September 28th 1992 (lot 58) for £2,420 including premium.
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