An exceptionally rare 13th-century Gothic bronze mortar, English or possibly Scottish, circa 1250 With four lug handles, two pairs of different size, and spaced by split-column pilasters, wear to one side of base, rim diameter 14.6cm, height 10.5cm A very comparable mortar, formerly in the Christopher Bang and Robert Spalding collections, illustrated Michael Finlay, 'English Decorated Bronze Mortars and Their Makers' (2010), p.16, fig. 9, sold in these rooms September 2022, Lot 11 (£17,064). A further example, with a monastic background, excavated at Barnwell Priory, Cambridgeshire, in 1872, and formerly in the collection of a pharmacist, Cromer, Norfolk, is illustrated Ibid., p. 15, fig. 7. Another, in the Mark Munson Collection, illustrated p. 16, fig. 8. The author illustrates two further examples, both excavated in Glasgow, p. 16, figures 10 & 11. The former, found in the crypt of Glasgow Cathedral, in 1993, is particularly comparable to this Lot.
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An Elizabeth I bronze mortar, attributed to William & Alice Brend Foundry, Norfolk (fl.1586-1634), circa 1600 With four lug handles, two rounded and two of flattened form, spaced by an inverted letter 'T' stamp with a background of foliate tendril design, 17cm across handles, 14.5cm diameter, 11cm high Provenance: Roderick Butler Collection Literature: This mortar is Illustrated Michael Finlay, 'English Decorated Bronze Mortars & Their Maker's', p.87, fig. 155. The author notes that the inverted 'T' was probably used purely for decoration. This very distinctive decorative alphabet was used by William & Alice Brend on a bell, the second at Earsham, Norfolk, in 1593.
A fine and rare Queen Anne bronze Exchequer-standard measure, of pint capacity, dated 1707With finely moulded rim and foot rim, the upper surface of the rim struck with crowned 'AR' and Exchequer marks as verification of the standard, the body cast with the crowned cipher 'AR', the crowned rose of England and the crowned thistle of Scotland, along with the date 'PRIMO MAII 1707' (the date of the Act of Union), the interior base struck with the mark of a reclining deer and 'STR' for Stirling, with single handle faceted and knopped, height 10.7cm, rim diameter 11cmThis measure was made by Stephen Crawford, Deacon of the Hammermans' incorporation of EdinburghThis standard measure reflects the form of the Elizabethan issue of 1601. See Lot 352.Literature; For an identical measure, possibly this Lot, see The Antique Metal Newsletter, May 2010, in an article written by Michael Finley, entitled 'Little Treasures'For a comparable quart measure see Future Museums Collection, South-West Scotland (no. 1936.31.6).
An exceptional and rare Elizabeth I bronze Exchequer-standard measure, of pint capacity, dated 1601With finely moulded rim and foot rim, the upper service of the rim stamped twice with an 'E' beneath a crown, the body cast in relief with the cipher 'ER' beneath a crown between the date '16' & '01', the single handle facetted and knopped, height 10.5cm, rim diameter 10.5cmIn 1601, at the command of Queen Elizabeth I, a series of measures from bushel to half-pint were issued to approximately sixty county towns across England to encourage and enforce fair trade in commerce. This Lot is one of those measures. It would have been kept in a secure place by town or city councils to help settle disputes by establishing true capacity.Identical example in the Science Museum Collection, London (no. 1931-1019) and The British Museum (no.1883,0409.1). See also a gallon example in the Victoria & Albert Museum Collection, London, (M.19-1923). A similar pint standard sold Bonhams, London, 2 April 2019, Lot 275 (£15,062)Provenance: Sotheby's 18 May 1997, Lot 571. Tony Chapman Collection, West Yorkshire
A set of late 17th century bronze alloy cup weights, NurembergWith dolphin cast swing-handle, and matching hasp, the conical-shaped body with narrow bead fillets, enclosing ten graduated weights, diameter 10.3cm; together with a pewter example, diameter 8.5cm, (2)Provenance: Tony Chapman Collection, West Yorkshire
A rare Elizabeth I small bronze mortar, by an unidentified foundry, possibly of Norwich, dated 1598The everted rim and base cast with cords, the body with individual letter stamps 'AN???' , further indistinct stamps and the date 1598, with two small lug handles, one pierced, rim diameter 12cm, height 7.8cmLiterature: See Michael Finlay, 'English Decorated Bronze Mortars and Their Makers' (2010), p. 3, p.88 (no.158), for a Norwich mortar cast with a portrait medallion of Elizabeth I, three times, and with a single lug, formerly in the author's and John Douglas Collections. The author speculates it may have been made to commemorate Queen Elizabeth I's visit to Norwich in 1578, where she was greeted at St. Stephen's gates by the City Waits, who, with a peal of bells 'cheerfully and melodiously welcomed Her Majesty into the city' (P Cattermole, 'Church Bells and Bell-Ringing, A Norfolk Profile' (1990) p. 17.Provenance: Doughton Manor, Doughton, Gloucestershire
A rare 15th/16th century bronze chafing dish, circa 1450-1550Of circular form, with a pedestal spreading base, two 'heart-shaped' drop handles, and three knop supports to support a platter, diameter 21.5cm, height 13cmFor a similar bronze chafing dish see National Museum of Wales collection, accession no. 67.511/1, and for a Tudor brown ware chafing dish, again of very similar form, see the British Museum Collection, accession no. 1854,0814.5
A group of 17th/18th century cast bronze alloy crotal bells, EnglishAll spherical with loose clappers, to include two small 17th century examples, both with maker's hammer mark in a shield, largest diameter 5cm; an 18th small example by William Gwynn, Aldbourne, Wiltshire; another by unrecorded maker 'WW', diameter 6.4cm; an example by maker 'IP' or 'PI', a very small crotal bell with worn decoration, diameter 2.8cm, an example by Robert Wells, Aldbourne, Wiltshire and a large example with dot relief decoration, diameter 7.5cm, (8)Literature: These pack horse bells were made in graduated sets. See Schiffer, 'The Brass Book', p. 100, fig.b, for an illustrated example, No. 6, by Robert Wells.
Three 17th century copper-alloy musket ball moulds, EnglishTogether with a 17th century copper-alloy cross-bow bolt, English; a small Medieval bronze dagger pommel in the form of a hound's head; a 17th century, or possibly earlier, copper-alloy rowel spur, with five points, English; together with a six-pointed rowel; three 16th/17th century brass-alloy mounts, English; a copper fitting, with pointed-end; and two 15th century bronze weights, of polyhedral form, decorated with concentric rings, Islamic, (13)Provenance: Many items reputedly excavated from the River Thames, London
A Charles II bronze skillet, by the Father Foundry of Montacute, Somerset, circa 1680Of typical form, the handle cast 'PRAIES GOD FOR ALL' and with the initials 'IF' crossed by an arrow, 16.3cm diameter, 40cm overall lengthThis skillet is one of a set of motto skillets produced by the Father Foundry of Montacute, Somerset. The mark 'IF' crossed by a fletched arrow is indicative of this foundry, rather than the particular founder, but is likely this skillet was made by John Fathers I (d.1688) or John Fathers II (d.1749). The set was made over a period of at least 42 years.
§ Endre Hevezi (1923-2017) Untitled Compositionsigned 'Hevezi' (lower right)mixed media assemblage on board55 x 96cmBorn in Szeged, Hungary, in 1923, painter, architect and ceramicist, Endre Hevezi remained nomadic in style, discipline and physical location throughout his career. A born artisan, Hevezi, in his own words, understood that he needed to utilise his innate artistic abilities to forge a path in a “decent occupation”. For Hevezi, this was, at least initially, architecture. Beginning his studies in 1942 at the Budapest University of Technology, Hevezi soon found himself evacuated from his homeland due to the Soviet occupation and transplanted to Halle an der Saale, Germany, where he completed his studies. As political tensions grew in Central and Western Europe, Hevezi was able to board a train to Denmark, where he spent several months in a Red Cross refugee camp. It was during his time in the camp that Hevezi began his painting practice. Initially approaching his painting career with some diffidence and largely working in portraiture, Hevezi soon expanded his practice to include post-impressionist Hungarian landscape scenes which would ultimately come to define this era of his painterly works. Although modest, Hevezi enjoyed commercial success in Scandinavia, holding several shows in Copenhagen and Stockholm and completing several important commissions, including the interior design of a new cinema in Denmark, the altarpiece of the Alderslyst Church and the murals of the Meeting Hall of Ikast.Seeking greater professional opportunities, Hevezi moved to England, settling in Stoke-on-Trent in the late 1940s. As a condition of his visa, Hevezi was required to complete a year of manual labour which he did at the ceramics factory of Booths and Colclough where he worked as a clay carrier. However, after showing his ceramics designs to a supervisor, Hevezi was soon moved to the design department of the firm. In 1951, Hevezi was appointed as the ‘designer scholar’ of the firm and was awarded a prestigious scholarship from the Federation of British Pottery Manufacturers, affording him the opportunity to spend several weeks in New York.Following his secondment in New York, Hevezi returned to England, but having grown tired of commercial ceramic work, he chose to settle in London where he completed his MA in architectural studies. Upon the completion of his Master’s degree, Hevezi secured a number of private and public commissions in bronze, stained glass, pottery and mosaic. Perhaps the most significant of these commissions is his work at the Debre Libanos Cathedral, Ethiopia, which features 100 square metres of his stained-glass designs and 80 square metres of his mosaic works. Hevezi’s painted works of this time became increasingly abstract and geometric in style, referencing his early architectural training.Although Hevezi largely withdrew from his artistic career in the late 1990s due to his wife’s ill health, his work continued to be collected and exhibited in public and private collections, including the National Gallery of Warsaw, Gdansk and Budapest, The Museum of Decorative Art of Budapest, in the Szeged, and Silkeborg museum and the Usher Gallery in Lincoln.
§ Nick Bibby (1960-), Elephant Seals, bronze with mottled patina, unnumbered from the edition of 12, mounted on a rectangular bronze base32 x 76 x 18cmIn very good condition, foundry stamp, but no visible signature or edition number - possibly signed and/or numbered to underside but concealed due to mounting onto base.
French gilt metal two train mantel clock emblematic of exploration and travel, the 3.5" white chapter ring enclosing a skeletonised centre, the movement stamped with the maker's trademark logo (an eagle with outstretched wings over a circle inscribed Medaille de Bronze), within an ornate stepped front base applied with musical instruments, surmounted by a globe and pointer with a telescope and books to either side, 13" high (pendulum)
Good French black marble and bronze mounted two train mantel clock, the Mougin movement stamped Ate Le Roy...Caen no. 1133, with outside countwheel striking on a bell, the 3.75" cream dial with raised Arabic cabochon numerals, within a stepped case surmounted by a bronze caddy top repousse with foliage, four turned urn finials and a carrying handle, 15.25" high (pendulum and key)
Good French bronze and black marble two train figural mantel clock, the Vincenti movement with outside countwheel striking on a bell, the 3.75" white dial inset into a pillar surmounted by scrolls and attended by a reclining bearded robed scribe, upon a rectangular stepped base with rounded ends, 16.25" high (pendulum and key)
Good Dutch walnut eight day longcase clock with various complications, the 14" rounded arched dial signed Jan Henkels on the wide silvered chapter ring under six o'clock, enclosing a gilded and foliate engraved centre with calendar work and moon phase apertures, also with a subsidiary seconds dial, over a recessed automata featuring windmills, sailing boats and figures fishing before rural painted scenes, the movement striking the hours on one bell, the first quarter past with one stroke on the same bell, the full hour at half past on another bell, also the quarter to the hour on the same bell, the calendar work is automatic for a thirty-one day month needing to be corrected for other months by pushing round the date ring, the large windmill only operates whilst the clock is striking, the case with foliate carved beaded waisted door, fitted with an oval bronze overlaid figural cast lenticle and also inlaid with a vase of flowers and a reserve of musical instruments, the bombé base with a central foliate inlaid reserve enclosed by boxwood lines and the hood surmounted by a wavy moulded foliate carved cornice and caddy top with blind foliate fret carved frieze, 93" high (pendulum, two weights and winding key)
Good French Art Deco coloured marble two train mantel clock garniture, the square dial with canted corners signed Millaud Fils, Le Havre, within a bevelled glazed four glass casing and curved two tiered coloured marble surround supported by hexagonal chrome columns and surmounted by a bronze cougar, 19" high, 23.5" wide; also with a pair of matching twin electric lights with pink shades (one missing), 12.75" high
An antique Chinese bronze figure / scroll weight of 'Si Xi Tongzi' two tumbling boys late Ming / early Qing Dynasty, formed as two young children lying down, their fronts facing each other, one holds a ruyi sceptre in his left hand, their faces bearing happy expressions, 3in. (7.6cm.) diameter / square.
A Chinese Bronze incense burner of a Horse & Scholar hollow cast bronze two-piece incense burner comprised of a horse with scholar atop his back. Horse, modelled standing and fitted with bridle and saddle, the rider is dressed in a robe and decorated hat, signed to saddle, 12½in. (31.8cm.) long, 12 5/8in. (32cm.) high.* Condition: Figure missing right hand, rubbing and wear to gilt and red paint throughout.
A small collection of oriental collectables to include a metal jar and cover; Chinese blue & white porcelain tray, of rectangular form, decorated with figures in a garden and bats flying, 8 3/8in. (21.2cm.) wide; Bronze Geisha figure 6 7/8in. (17.5cm.); four modern tea bowls, flowers on purple ground, robins egg interior; Japanese miniature silver junk; three miniature dishes and a green stone animal figure. (quantity)
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