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Lot 343
Nine x £2 coins, 110 gm of pre 47 silver some pre 20, 1951 Crown in original box, two Plastic sets, Victorian groats 1843 (holed) and 1888, two USA Bicenteniary sets, 1922 Morgan Dollar, three x 1976 Ike dollars, 1964 Kennedy Half, two x 1976 quarters, 1960 Hong Kong dollar, 1994 Battle of Britain 50p, quantity of bronze coins Victoria - Eliz II, various grades
Lot 250
A WELL-PRESENTED AND FINELY-OBSERVED NAVY BOARD-STYLE MODEL OF THE 28-GUN FRIGATE SOLEBAY (1694), modelled in fruitwoods after the original held at the Central Naval Museum, St. Petersburg with deck details including launching masts with hand-painted flags, cast brass figurehead and ‘carved work’, bronze guns with Royal Arms in stepped wooden carriages, finished in natural wood and wax and mounted on a pair of cast dolphin set wooden stands on sliding display base within glazed case. Model measurements (excluding masts) -- 9½ x 34½in. (24 x 87.5cm.); Overall measurements -- 22¼ x 41¼ x 14¼in. (56.5 x 105 x 36cm.), The model offered here has been copied, with meticulous attention to detail, from the original now housed in the Central Naval Museum in St. Petersburg. One of two (the other being Royal Sovereign) presented to Peter the Great (1682-1725) when he visited London during his novel European progress of 1697-98, these source models are justly famous, not least because of the unusual circumstances which took them to Russia. Soon after the innovative Tsar Peter ascended the Russian throne, he realised that if he was to modernise his backward country he must learn something of Western Europe’s technological skills, especially shipbuilding. It was this latter interest which eventually brought him to the Thames-side shipyards in the spring of 1698 to study the shipwrights’ craft and where he saw, with amazement, the huge bulk of Royal Sovereign taking shape on the stocks. In commemoration of this visit, King William III is said to have presented Peter with a beautiful model of the new flagship which the Tsar then took home with him along with the model of Solebay, presumably given to him when he called into Snelgrove’s yard nearby.
Lot 453
A Doulton Lambeth faience tile panel for the Columbian Exposition 1893 the six tiles enamelled by Esther Lewis with a view of St Paul’s Cathedral from Queen Street Bridge (now rebuilt as Southwark Bridge), 30 x 56 cm not including frame, printed circular marks and one tile signed E. Lewis verso. The lot is offered with the certificate, two diplomas awarded by the Board of Lady Managers of the Columbian Exposition for her skill as an Inventor and as Designer and Artist together with a bronze medallion and covering letter. *More simply known as the Chicago World’s Fair it was intended to celebrate the 400th anniversary of Columbus’s arrival in the US. The panel and related ephemera are by direct family decent
Lot 610
after Houdon an allegorical bronze study of ‘summer’ depicting a semi clad female holding a watering can in one hand, a scythe in the other and a small wheatsheaf tucked under her arm, on a circular base, signed to the bronze Houdin, stamped with Collas reduction seal and F. Barbedienne, Fondeur, Paris, and numbered 349, 61cm. high.
Lot 613
A Regency period inkstand by Thomas Weeks the gilt bronze dog chained to a tree stump surmounted by an urn, with gilt bronze inkwell on a polished white hardstone base, the tree stump inscribed Weeks’s Museum, Tichborne St, 14cm. wide. . * Thomas Weeks had a museum/shop, at 3/4 Tichborne Street which opened in 1803 and closed on his death in 1833
Lot 622
after Jean Baptiste Germain (1841-1910) Excelsior a bronze study depicting a young woman holding a book entitled ‘The Thouht’ being held aloft by an angel, signed to the bronze J B Germain, inscribed to the cartouche on the socle base ‘Excelsior’ par J.B. Germain, Medaille au Salon. 79cm. high.
Lot 640
drocourt, Paris, an engraved Anglaise carriage clock the eight-day duration movement having a platform lever escapement and striking the hours and half hours on a gong with push button repeat, the backplate stamped with the Drocourt trademark and serial number 14591, the white enamel dial with black Roman numerals, blued steel moon hands and engraved mask, the Anglaise case fully engraved with c-scroll decoration including to the shaped handle, complete with numbered leather travelling box, height 15cm (handle down) 18.5cm (handle up) * Pierre & Alfred Drocourt were one of the top makers of carriage clocks in the mid to late Victorian period, having a factory at Saint-Nicolas-d’Ailermont, the most important town for carriage clock manufacture at the time, as well as premises in Paris at Rue Debelleyme 28 and Rue de Limoges. They made superb carriage clocks which were often decorative and were awarded numerous medals at exhibitions, such as the Bronze Medal at Paris 1867, the Silver at Paris 1878 and the gold at Paris in 1889. The son, Alfred, succeeded his father Pierre sometime in the 1870’s.
Lot 647
lepaute a Paris, a French Siena marble clock garniture the eight-day duration movement striking the hours and half-hours on a bell with an outside countwheel, the backplate signed in script with the roulant blanc makers’ name, ‘Pons’, the gilded dial with engine-turned decoration to the centre, black Roman numerals, blued steel moon hands and signed ‘Lepaute a Paris’, the rectangular case of Siena marble, with bronze acanthus leaf mouldings to the base, a bronze bezel and surmounted with a bronze urn, with a pair of matching side pieces, height 45 cm (clock), 28cm (side pieces). * The Lepaute family of well-known clockmakers are recorded as working from the mid-1700’s with Jean-Andre and Jean-Babtiste Lepaute working together before taking on the latter’s nephews, Pierre-Henry and Pierre-Basile before his retirement in 1789. Pierre-Basile’s son joined the business at a later date. * Honore Pons (Pons-de-Paul) was born in circa 1780 and is believed to have been apprenticed to the Lepaute workshop. He moved to St Nicolas-d’Aliermont in circa 1806 where he helped revise the French clock movement industry with the introduction of more mass-production and advanced tooling.
Lot 650
tupman, London, an ormolu mantel clock the eight-day duration timepiece fusee movement, signed to the backplate ‘Baetens, London’, the white enamel dial with black Roman numerals, blued steel moon hands, and signed with the retailer’s name ‘Tupman, 44 Gt Russell, St’, the ormolu case with a classical winged female figure holding a cornucopia of flowers and leaning against the central block with raised decorative mounts, with a pillar to the other side having a nautical theme, the base with applied mounts and standing on turned feet, height: 34cm. * Various members of the Tupman family are recorded working in the early 19th century including William Tupman, apprenticed in 1806, the son of the clockmaker George, who was working from circa 1794, with the partnership of George & Henry recorded from circa 1844. They were both clockmakers and retailers. * Joseph Baetens is recorded as working in London circa 1832 specialising in bronze and ormolu clocks.
Lot 587
Victoria, Diamond Jubilee 1897, the official large silver medal, by G. W. de Saulles, old veiled bust left, rev youthful diademed head left, after W. Wyon, 55mm (BHM 3506; E 1817), in original case, virtually mint state, toned; small official medals (3), 1897, 1902, 1935, this boxed; Captain Cook, silver and bronze medals of the Royal Numismatic Society of New Zealand, 1969, Bi-centenary of the rediscovery of New Zealand, bust left, on globe, rev H. M. Bark "Endeavour", 63mm (K. 39), in cases of issue, these as struck, others unless stated, good very fine. (6)
Lot 595
Jersey, Proof Crowns Set, and Proof 4 coin Sets (2), 1966, Proof Pounds (2), 1981, Proof Piedfort 20-Pence, 1982, unofficial currency year set, 1980; Guernsey, Proof Crown, 1972; Proof Pounds (2), Alderney, 1995 and Guernsey, 1997; sundry copper and bronze Channel Islands coinage. Proofs mint state. (qty)
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