A fine inlaid oak architectural floor-standing lantern clock case Unsigned A fine inlaid oak architectural floor-standing lantern clock case Unsigned, possibly Bristol, circa 1700 The hood with inverted breakfronted dentil moulded open-centred shallow arch tympanum incorporating geometric parquetry decorated blocks to frieze flanking infill panel inlaid with triple spire motifs over triangular arched aperture bordered by pilaster uprights flanked by shouldered pilasters incorporating panel inlaid plinths, the sides with conforming articulated dentil cornice over double line banded panel, the trunk incorporating Roman Doric column mouldings with capital inset with rosettes to frieze over rectangular double line banded door set within the frame of the case and conforming complex pilaster base, the sides with further double line banded panels, on plinth base with geometric band to upper surface of the complex top mouldings over diagonal star inlaid front and generous skirt base, 217cm (85.5ins) high ; with an incomplete lantern clock, attributed to Benjamin Willoughby, Bristol, circa 1700 , the two-handed posted countwheel striking movement with anchor escapement, finely detailed one piece 'Bristol' pattern uprights with integral finials and feet, and domed bell bearer (lacking dial, frets, doors, backplate, one finial, pinion of report for countwheel, weight and pendulum), 33cm (13ins) high, (2). According to the vendor the incomplete lantern clock included in the current lot was formerly fitted with an unusual dial signed for Benjamin Willoughby, Bristol. The dial was apparently matted with an engraved rose at the centre and applied with a Roman numeral chapter ring; regrettably it appears that this dial has now been lost. Benjamin Willoughby is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed in London to Robert Dingley in 1676 before moving to Bristol where he worked from Small Street presumably until his death in 1709. The highly unusual architectural form of the hood of the lantern clock case in the current lot can be compared to that of a three-month longcase clock by Thomas Tompion residing in the collection of the British Museum (Museum number 1958,1006.2159). The movement of this Tompion longcase is numbered 132 which would date it to around 1688, however the dial incorporates an arch engraved with a bust of Queen-Anne. This suggests that the dial plate was altered along with the hood during the first decade of the 18th century. From this it would be appropriate to speculate that the current lot also dates to the first decade of the 18th century due to the strong stylistic similarities between the two. In addition to the complex architectural pediment to the hood the trunk of the current lot also incorporates accurately observed Roman Doric column mouldings which again demonstrate a high degree of architectural enlightenment by the maker. The inlaid decoration is unusual being very laborious in its execution requiring the surface to be cut back and sections inserted.
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A Charles II ebonised thirty-hour longcase clock James Delance, Frome A Charles II ebonised thirty-hour longcase clock James Delance, Frome, circa 1685 The substantial two-handed posted countwheel bell striking movement measuring 7.75 inches between the plates with generous rectangular section corner uprights and resting on integral spikes fitted to the underside of the baseplate, the going train with anchor escapement incorporating solid ºttery brass' escape wheel and regulated by seconds pendulum, the strike train sounding on a large bell mounted above, the 10.25 inch square brass dial with fine pierced iron hands and symmetrical scrolling tulip engraved centre incorporating a central rose over lambrequin signed Jam's Delance, in Froome to lower margin, within applied Roman numeral chapter ring with stylised sword-hilt half hour markers and Arabic five minutes within the outer minute track, the angles applied with winged cherub mask and scroll cast and pierced spandrels, in an ebonised pine case with substantial ogee moulded cornice and deep open panel fronted frieze (to accommodate the large bell behind) over full-width hood door applied with raised mouldings to the glazed aperture and the sides with conforming rectangular windows, the trunk with convex throat moulding and 42 inch rectangular door centred with an oval lenticle, the sides applied with further mouldings to form tall rectangular panels, the plinth base with ogee mouldings to upper edges and bun feet, (case with restoration), 221cm (87ins) high. James Delance is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam in Frome (see previous lot) prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Lawrence Debnam who died in 1683 at the age of 40. Delance is recorded as undertaking work on clocks for Lord Weymouth at Longleat from at least 1694 until 1703. By 1721 Delance had moved to Downton, Wiltshire (see following lot) and was still working in 1736. The current lot employs and escape wheel made from work-hardened ºttery brass' formed by hammering a cast solid disc prior to cutting of the teeth. This creates a wheel much more resilient to wear however this process makes it difficult to cross it out hence why it is left as a solid disc when fitted. This very rare feature was probably learnt from Lawrence Debnam as it also seen on the previous lot; it is testament to both makers that these wheels are still serviceable after over three hundred years of use. The well engineered and precisely finished nature of the movement extends to the use of substantial rectangular section corner uprights which appear to have been favoured by Delance as these can be seen on other clocks by him including a fine thirty-hour musical clock by him sold at Christies, King Street THE VITALE COLLECTION OF HIGHLY IMPORTANT EUROPEAN CLOCKS on Tuesday 26th November 1996 (lot 247). The engraved decoration to the dial of the current lot is also of the best 'London' quality and can be directly compared to the dial of a clock by Tompion illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 on page 83 (Plate 2/53). From both the dial engraving and the general quality of approach with regards to the movement it would perhaps be appropriate to speculate that Delance had close connections with the best London makers and may well have spent time in a leading workshop during his time in the capital.
A William III brass lantern clock William Holloway, Stroud A William III brass lantern clock William Holloway, Stroud, circa 1685-90 The posted countwheel bell-striking movement with separately wound trains and verge escapement regulated by short bob pendulum positioned outside the frame at the rear, the dial with a central rose decorated vestigial alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature William Holloway, Stroud to upper margin, with iron hand within applied Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the generous London-style third period frame with one-piece column turned corner posts beneath armorial pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors and the rear with iron hanging hoop over a brass backplate (in unrestored condition, lacking alarm, top finial and with replaced frets ), 35.5cm (14ins approx) high. William Holloway is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as the son of the clockmaker John Holloway born in 1732 at Market Lavington, Wiltshire. In 1658 he moved, along with his father and younger brother Richard, to Stroud in order to take-on the workshop of the recently deceased John Snow. Holloway was married to Hester Hieron in 1664 and continued working until his death in 1694. William Holloway had three sons one of which, John, continued the business in Stroud after his death; the other two, William and Arthur, moved to London to pursue the trade in the capital. William Holloway was a confident, accomplished and relatively prolific maker who used distinctive castings for his frames which appear almost unique to the Holloway family. His early clocks (1661 to circa 1680) used castings loosely based on the London second period style but were one-piece (i.e. finials and feet were cast integral with the posts) with tall slender finials capped by distinctive acorn turnings. Three examples by Holloway with this type of frame are illustrated in White, George English Lantern Clocks on page 246 (Figures V/78-80). The second type of frame used was much more akin to the standard London third period pattern but again employed one-piece castings and appeared to be short-lived as they are only seen on clocks dating to the first five or six years of the 1680's (see White, page 247, Figure V/81). The third pattern was again based on London third period practice but was much more generous with distinctly bulbous swellings to the finials and feet, two clocks with this type of frame are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 207 and 209 Figures 13.8 and 13.13. Other traits of Holloways work include the continued use of separate winding for each train long after most other makers had adopted Huygens' single-weight endless rope system. Clocks with separately wound trains are characterised by having hour bell hammers positioned to the right hand side of the movement. Loomes suggests that Holloway may have continued this practice as it allowed straightforward disablement of the strike train by simply removing or not winding the strike weight. Another unusual feature peculiar to Holloway was that he often used four wheel trains in order to give a longer duration. The current lot is a typical of Holloway's final phase of work with generous bold castings and London-style tulip engraving to the dial centre. Unusually the clock is not dated but on stylistic grounds alone it can be placed within a couple of years of 1690.
A BRASS MOUNTED ONYX OIL LAMP BASE, the slightly tapering octagonal onyx column with brass Corinthian capital and stiff leaf base on a stepped foot raised upon four brass knurl feet, supporting a printe cut green glass reservoir with Hugo Schneider (Leipzig) fittings, chimney and shaded green etched shade, 23" high excluding shade and chimney
W.H.Steele 21st Lancers. A Sudan and Great War group of 7 medals - name listed at Battle of Omdurman comprising Queen's Sudan, 1914-15 Star, BWM, Victory with oakleaf, LSGC, MSM and Khedive's Sudan with Khartoum clasp to 3722 Trumpeter W.H.Steele with an LSGCM to (his father?) 1278 L.Corp R.Steele, 21st Hussars.An Anglo-Egyptian force was sent to reconquer the Sudan in order to end Dervish rule. On 2nd September 1898 the army reached Omdurman, the Madhi's capital. After two hours of Dervish attacks the 21st Lancers, the only regular cavalry serving with this army were ordered to advance upon the retreating Dervishes. After the order to charge was given it was discovered that the few hundred scattered skirmishers were supported by several thousand of the enemy hidden in a dry riverbed. The regiment fought its way through the enemy, dismounted and opened fire forcing the Dervishes to withdraw. The 21st Lancers lost 21 men killed and 50 wounded. Three Victoria crosses were awarded and the Regiment was granted by Queen Victoria the sole right to wear her Royal Cypher on their uniform.
Edward Patry (British, 1856-1940) Portrait of Francis Barring Bt 1740-1810, inscribed en verso 'Sir Francis Baring, Study for picture in the Payal Exchange painted by Edward Patry', signed lower left and dated 1927 oil on canvas, unframed, 127 x 81 cm Baring, Sir Francis, first baronet (1740-1810), merchant and merchant banker, was born at Larkbear, Exeter, on 18 April 1740, third of the four surviving sons and one daughter of John Baring (1697-1748) and his wife, Elizabeth Baring daughter of John Vowler, a prosperous Exeter 'grocer' who dealt largely in sugar, spices, teas, and coffee. Despite being partially deaf from an early age, in 1762 Francis Baring established the London merchant house of Barings. He emerged as a powerful merchant banker and by the mid-1790s reckoned that his concerns had been 'more extensive and upon a larger scale than any merchant in this or any other country'. Baring's father, the son of a Lutheran pastor, emigrated from Bremen in 1717 and settled at Exeter, where he became a leading textile merchant and manufacturer, and a landowner; other than the bishop and the recorder, apparently he alone in Exeter kept a carriage. His premature death in 1748 resulted in Francis, aged eight, being brought up and strongly influenced by his mother. Her sound business head doubled her firm's worth and in 1762 she extended the business to London. Notwithstanding these private reverses, the City of London quickly recognized Baring's special qualities and in 1771 the Royal Exchange Assurance, a giant public business, appointed him to its court. He underpinned his directorship, which continued until 1780, with a holding of £820 in the company's stock, no mean sum when his assets totalled £13,000. This appointment was important to hold; for the first time he was marked out from the throng of merchants populating the courts and alleys of the City. The partnership capital grew steadily from £20,000 in 1777 to £70,000 in 1790, and to £400,000 in 1804. Baring came to contribute the major share, providing 12 per cent in 1777, 40 per cent in 1790, and 54 per cent in 1804. Annual profits rose to £40,000 in the 1790s and peaked, untypically, at over £200,000 in 1802; they were calculated after payment to partners at 4 per cent interest, sometimes 5 per cent, on their capital. Baring's share of the profits increased steadily from a quarter in the mid-1760s to a half from 1777 and to three-quarters from 1801. His total wealth, business as well as private, rose accordingly, from almost £5000 in 1763, to £64,000 in 1790, and to £500,000 in 1804. Hope & Co. of Amsterdam, the most powerful merchant bank in Europe's leading financial centre, was Baring's most valuable connection. Their association is said to have begun in the 1760s, when Hopes passed Baring some bills to negotiate and ended up 'exceedingly struck with the transaction which bespoke not only great zeal and activity, but what was still more important … either good credit or great resources … From that day Baring became one of their principal friends'. The link was consolidated in other ways, in particular through the marriage in 1796 of Pierre César Labouchère Hope family a leading figure at Hopes, to Baring's third daughter, Dorothy. Baring's work from 1782 as an adviser on commercial matters to cabinet ministers propelled him from relative obscurity to the inner circles of British political life, underlining how in these early years his influence was entirely disproportionate to the resources he commanded. The catalyst for this advancement was his Devon connections. His brother John was elected to parliament as a member for Exeter in 1776; more importantly, in 1780 his sister, Elizabeth, married another MP and fellow Devonian, John Dunning. A rich and influential lawyer, Dunning was allied to Lord Shelburne, a powerful whig politician who held progressive views on political economy and whose borough of Calne Dunning represented in parliament. In July 1782, following Shelburne's promotion to prime minister and Dunning's appointment as chancellor of the duchy of Lancaster, Baring fulfilled the new prime minister's need 'to have recourse from time to time to mercantile advice'. Baring, by instinct a whig, became Shelburne's confidential adviser on commerce, or his 'handy City man', according to a discontented William Cobbett. Baring's ideas on political economy and commerce were well ahead of his time; in 1799 he rightly defended the Bank of England's decision (in 1797) to suspend specie payments as both correct and inevitable, in the face of hostile opposition from many of his peers. Baring was not nearly as close to the tory leader William Pitt, who followed Lansdowne as prime minister and who held office almost continuously until Baring's retirement from active business. Their views were far apart, and on Pitt's death Baring was quick to stress their lack of concurrence 'on any great political question for above 20 years, our political opinions and principles being different' (The Times, 6 Feb 1806). In particular he disagreed with Pitt's policy for the seemingly endless continuation of a wasteful war; they also suffered differences over government policy towards the East India Company. Baring's personal influence in government waned but his expert advice, always fairly delivered, continued to be provided on such matters as trade with Turkey, the importance of Gibraltar, and the funding of the national debt. As part of Pitt's cleansing of abuse from public office, in 1784 he appointed Baring a commissioner charged with investigating fees, gratuities, and prerequisites for holding certain offices. Britain's European allies needed funds and came to Baring who, with Hopes, now organized some of the first marketings of foreign bonds in London. Believing fervently that 'it may be desirable not to have the subject to discuss with our own Ministers, as you know very well how ignorant they are of foreign finance', in 1801 he dispatched P. C. Labouchere of Hopes and his son George to negotiate a loan to the court of Lisbon. The resulting 'Portuguese diamond loan' of 13 million guilders was shared between Barings and Hopes on the usual 25:75 basis. Baring died on 11 September 1810 at Lee and was buried in the family vault at Stratton, Micheldever, on 20 September. He was survived by five sons and five daughters. His eldest son, Thomas, succeeded to the baronetcy and country estates; Thomas's son Francis was to enter political life and in 1866 was created Baron Northbrook. His second son, Alexander, succeeded him as senior partner and was later created Baron Ashburton for his political services. The third son, Henry, was also a partner, albeit an unremarkable one, while the other surviving sons, George and William, never rose to prominence. After Baring's death tributes included one from Lord Lansdowne, son of his political friend, who reckoned Baring was a 'prince of merchants'. Another political ally, Lord Erskine, wrote: 'he was unquestionably the first merchant in Europe; first in knowledge and talents and first in character and opulence'.
THE CLASH - Great selection of 2 x LPs, 1 x 12" and 2 x 7" including a rare promo! Titles are London Calling (S CBS 1/2 w/inners The Story Of The Clash (CBS 460244 1) , Straight To Hell/Should I Stay Or Should I Go, White Riot (nice original picture sleeve issue of the 1st single CBS 5058) and Capital Radio E.P (CL 1 no p/s - Ex condition).
ROYAL NAVY - The Grand Fleet, some of the original scale drawings prepared for the construction of the following capital ships - HMS. Neptune (7 drawings), Dreadnought (2), Hercules & Colossus (1), Bellerophon (17), Glorious (1), Indefatigable (1), i.e. 29 in all, & 7 others of a more general application. * several of the ships were present at Jutland; all drawings (various sizes, some very large) have the appropriate Admiralty / Dockyard / Shipbuilders dated stamps, initials & notes; see internet catalogue details.
A contemporary silver gilt pedestal beaker by Goudji of Paris, having an all-over hammered exterior with inset oval rock crystal, the base finished with a ring of sodalite, stamped with a capital G and Goudji Sterling Paris 925 verso, h.9.3cm Condition Report / Extra Information Minor handling wear. Rock crystal with some internal imperfections.
A Martin Brothers glazed stoneware single handled jug, of ribbed bulbous form, incise decorated with flowers and a capital M, with text to top reading 'Welcome my Friende, drink with a noble hearte, but yet before you drinke too much, departe for though good drinke will make a coward stout, yet when too much is in wit is out.', incised R.W. Martin London Southall verso, h.22.5cm Condition Report / Extra Information With large star crack to body of jug emanating from capital M. Further small glazing blemish to outside edge of top rim. No further apparent faults.
1965 Gibson ES-345TD Stereo Varitone hollow body electric guitar, made in USA, ser. no. 272455, sunburst finish with various imperfections including mild lacquer checking in places, the back of the guitar has previously had a Gretsch cushion screwed in and attached to the back (see lot 117) and also what appears to be adhesive residue, wear to frets, wear to fretboard, previous owner's initials applied to the bass horn on the front, wear to gold plated hardware, original Bigsby removed and stop bar fitted by the original retailer in 1965, attention required to bridge pickup, although electrics working in the neck position, original purchase receipts, guarantee card, hard case, condition: fair *Provenance: This guitar has had one single owner from new and comes with the original purchase receipt from Ken Watkinson Ltd., Cheltenham dated May 12 1965. The receipt indicates that the original Bigsby was removed for a solid low bridge to be fitted. There are also other receipts from Selmer for repairs carried out in 1968 and 1970. Also included is a tax inspection document dated 14 July 1966 for the part time income that the owner earned with his band 'The Ramrods'. This document has a section claiming Capital Allowances against the purchase of the guitar
Regency giltwood and painted fruitwood harp by and inscribed J.C. Schwieso's, London, Patent, 19 Great Marlborough Street, Regent Street, London, no. 806, the fluted column support surmounted by a gilt gesso capital with Classical figures, the tapered sound box and hand decorated table upon a gilt base bearing eight foot pedals upon paw feet, 67.5" high (a.f)
CHURCHILL WINSTON S.: (1874-1965) British Prime Minister 1940-45, 1951-55. Nobel Prize winner for Literature, 1953. An excellent, large signed sepia 9.5 x 13.5 photograph of Churchill in a head and shoulders pose wearing a polkadot bowtie. Photograph by Harris and Ewing of Washington. Signed ('Winston S. Churchill') to the lower border immediately beneath the image. An unusual image to find signed by Churchill. Some very light, extremely minor age wear to the edges, otherwise VG From Churchill's appearance, and the photographers being based in Washington, it is likely that this photograph was captured while Churchill was in the American capital in March 1946. Having failed to be re-elected as Britain's Prime Minister after the end of World War II, Churchill met with American President Harry S. Truman in Washington before travelling to Fulton, Missouri, on 5th March 1946. In the President's home town, Churchill delivered his famous "Iron Curtain" speech to 40,000 people gathered at Westminster College. The speech, entitled The Sinews of Peace changed the way that the Democratic West viewed the Communist East and, as result of his use of the term iron curtain, the phrase became popularly recognized as the division of Europe between East and West. Many historians believe Churchill's iron curtain speech marked the beginning of the Cold War.
Vintage Beatles memorabilia to include a photograph of Ringo Starr signed in orange pen 'To Jeanne with love always Ringo', Beatles 45 rpm single record on Capital records label, Day Triopper/We Can Work it out; The Beatles Anthology, other books, magazines and other items Provenance: by repute the photograph and signature of Ringo Starr was obtained by the vendors friend during a press conference with the Beatles in New york during the first week of the Beatles first tour of America. This tour began on the Beatles arrival in New York on Feb 7th 1964. She later gave the signed photograph of Ringo to the present vendor as a gift
![[Pseudo-Aristotle]. Aristoteles Master-Piece, or, The Secrets of Generation Displayed in all the parts thereof. Containing, 1](https://cdn.globalauctionplatform.com/bf7f6b51-c0bb-47e6-bf07-a5b100f98eec/b56380c5-27b7-4ab3-e35d-1f7d50596fd1/468x382.jpg)
[Pseudo-Aristotle]. Aristoteles Master-Piece, or, The Secrets of Generation Displayed in all the parts thereof. Containing, 1. The signs of barrenness. 2. The way of getting a boy or girl. 3. Of the likeness of children to parents. 4. Of the infusion of the soul into the infant. 5. Of monstrous births, and the reasons thereof. 6. Of the benefit of marriage to both sexes. 7. The prejudice of unequal matches. 8. The discovery of insufficiency. 9. The cause and cure of the green-sickness. 10. A discourse of maiden-heads. 11. How a midwife ought to be qualified. 12. Directions and cautions to midwifes. 13. Of the privities. 14. The fabrick of the womb. 15. The use and action of the genitals. 16. Signs of conception, and whether of a male or female. 17. To discover false conceptions. 18. Instructions for women with child. 19. For preventing miscarriage. 20. For women in child-bed. 21. Of ordering new-born infants, and many other very useful particulars. To which is added a word of advice to both sexes in the act of copulation: and the pictures of several monsterous births drawn to the life, 1st edition, Printed for J. How, and are to be sold next door to the Anchor Tavern in Sweethings-Rents in Cornhil, 1684, woodcut frontispiece of a hairy woman and a black child born to white parents, cancel title-page, 6 woodcuts of monstrous births (including repeat of frontispiece) at end, with the blank H12, foremargin of frontispiece torn with loss not affecting image or text, title-page close-trimmed at foremargin (touching printed rule) and lower margin barely shaving first word of final line of imprint '"things", old ink spots and smudges to frontispiece, title and lower text area of leaves A3v and A4r, not affecting legibility, some minor spotting and dust-soiling, corner curling throughout, scattered small marginal splits, tightly stitched with evidence of very minor worm-tracing close to some catch-words, small tear with blank paper loss to foremargin of final text leaf (H11) and lower outer corner of final leaf (I6), I2 with long horizontal split, contemporary limp vellum folded and stitched from a 16th-century land deed with text in English partially visible on pastedowns, some soiling and wear, 12mo (140 x 85 mm) A surprisingly good copy of a very rare complete first edition of the most notorious sex manual of the age. 'Aristotle's Masterpiece was the most popular book about women's bodies, sex, pregnancy, and childbirth in Britain and America from its first appearance in 1684 up to at least the 1870s. More than 250 editions are known, but all are very rare... It was sold furtively by country peddlers and in general stores and taverns; regular booksellers seldom advertised it, though they usually had it under the counter' (The Library Company of Philadelphia, 'Treasures', online catalogue). The attribution to Aristotle is completely spurious and no doubt a ploy to give the risqu‚ work respectability. In fact it was assembled from Levinus Lemnius's The Secret Miracles of Nature (1564) and Jakob Rff's midwifery manual De conceptu et generatione hominis (1554). Although it was effectively banned until the mid-twentieth century, the prohibition didn't keep it from circulating: it was reprinted endlessly until the early twentieth century and became one of the most notorious and widely distributed sex books in the English language, with a London edition being published as late as 1930. Such enduring popularity was partly due to the practical advice on pregnancy and the care of infants, and partly to its rather sensationalised descriptions of the sexual act and forms of monstrosity. This is the earliest publication date for the Master-piece, ESTC listing 3 variant settings of 1684, all printed by J. How, with no priority having been established. ESTC records only the incomplete British Library copy of our setting, which has line 11 of title ending "both", line 18 of title ends "Ge-", first line of imprint ends "sold", signature B5 is under the "nt Bl" of "effluent Blood" and on p. 190 the fifth line from bottom begins with a capital "Q". Identically, this copy has "Swee/things" rather than "Sweetings" in the imprint. Curiously, the only two complete copies of this setting noted have both been recently sold at auction by Bonhams, London: 12 November 2014, lot 47 & 24 June 2015, lot 157. In total ESTC records seven copies of the 1684 settings (British Library, Guildhall Library, Royal College of Surgeons, University of Pennsylvania, U.S. National Library of Medicine, Yale University, 2 copies), but all are incomplete to varying degrees. ESTC R504793; Wing A3697fA. (1)
A GOOD QUALITY GEORGE III FLAME MAHOGANY LONGCASE CLOCK, TRUNK AND HOOD FLANKED BY CORINTHIAN CAPITAL COLUMNS, 8 DAY MOVEMENT WITH MOON PHASE ROLLER, PAINTED DIAL WITH SPANDREL DEPICTING SCENES FROM THE EMPIRE, SUBSIDIARY SECONDS AND DATE (please check important sale information regarding sale room clearance)
A Good Early Late 16th/17th Century Carved Walnut Atlante of fine colour & patination. The bearded figure bearing an Ionic scrolled capital upon his head and rising from a tapered pilaster enriched with jewel-work, swagged drapery and pendant garlands, 22 ins x 4½ ins (56 cm x 11.5 cms). Mounted on a felt clad display board.
90 AD. Rome mint. Obv: IMP CAES DOMIT AVG GERM P M TR P X legend with laureate head right. Rev: IMP XXI COS XV CENS P P P legend with Minerva standing right on capital of rostral column, holding spear and shield, owl at foot right. Sear 2735; RIC 720; BMC 179; RSC 266. 3.03 grams. [No Reserve] Very fine.
1st-2nd century AD. A silver pin head in the form of a Corinthian capital with the standing figure of Cupid (Eros) with both arms raised and holding a long garland which is draped around the shoulders and falls to the feet; cornucopia in right hand; mounted on a custom made stand. Property of a gentleman; acquired in the late 1960s-early 1970s. 17 grams, 10.7cm including stand (4 1/4"). Very fine condition.
6th-8th century AD. A matched pair of gold earrings, each a hook and loop with teardrop amethyst to the underside, chevron rod with hooked ends engaging looped ends of a crescentic dangle with row of pearls to the outer edge, independently suspended pearl and amethyst to the centre. From an important collection of Christian artefacts, formed in London in the 1980s. Byzantine jewellery was a full continuation of the Roman traditions which were kept alive at the new capital, Constantinople, as well as other centres of artistic tradition, such as Antioch. In the Byzantine Empire jewellery played an important role. It acted as a way to express ones status and as a diplomatic tool. In 529 AD Emperor Justinian took up laws regulating the wearing and usage of jewellery in a new set of laws, later to be called the Justinian Code. He explicitly writes that sapphires, emeralds and pearls are reserved for the emperor's use but every free man is entitled to wear a gold ring. Pearls were prized in the previous Hellenistic and Roman periods, but seem even more so in the Byzantine empire The mosaics of San Vitale at Ravenna, Italy, depict Justinian and his wife, the empress Theodora, sumptuously bedecked in pearl encrusted diadems, necklaces and brooches. 14 grams total, 58mm (2 1/4"). [2] Very fine condition.
14th-15th century AD. A round-section hoop supporting a discoid plaque with punched border, incised capital 'M' with hatched fill, Eastern European workmanship. Property of the vendor's father, a Hertfordshire collector; acquired at auction in the 1970s; by descent 1980s. 4.25 grams, 25mm overall, 21.06mm internal diameter (approximate size British W 1/2, USA 11 1/4, Europe 26.0, Japan 25) (1"). [No Reserve] Fine condition.
Toltec-Maya, Post Classic Period, 900-1200 AD. A circular limestone relief marker from the human sacrificial ball game, carved with the skull of a defeated ballplayer with open mouth and scrolls of plants emerging; glyphs around the eye, top of the skull decorated with a plumed headdress curving to form further glyphs; old accession number '8697' to the underside. Property of an American collector; acquired 2014 at auction; previously with Los Angeles County Museum, Los Angeles, California, USA, with museum accession number 8697 to the reverse. C.f. Schele, L. and Miller, M. The Blood of Kings: Dynasty and Ritual in Maya Art, London, 1992, pp. 241-265, for a discussion on the ballgame in Mayan society and religion. Accompanied by an Art Loss Register certificate. There has been a long history of ball games in Mesoamerica, for both recreational, and religious purposes. The ritual aspect of the games took precedence with special structures for the games being built in the centre of Mayan cities, next to the principle temples and palace complex. The ballcourts were usually an alley framed by two parallel structures, sometimes with clearly defined end zones that gave the entire structure the shape of a capital letter ?. The games were composed of two teams with two or three team members each who controlled the ball by hitting it with their upper arm or thigh - touching it with the hands was forbidden, as was allowing the ball to touch the ground. From relief images at the courts, and ceramic figurines found at Mayan sites, we know that the players wore a loin cloth with a leather hip guard, which protected the hip and projected the ball when hitting it. The players also wore elaborate headdresses which marked them out as being involved in a ritual act. Points were scored by striking the solid rubber ball, which was thirty centimeters in diameter and weighed four kilograms, towards a ring high up on the walls of the court, or at markers, such as this one, set along the alley or in end zones. Although the games had an entertainment factor, with professional players and gambling, the primary role of the games was religious. In the ritual games war captives were used who were weakened by deprivation and made to enter the ballcourt at a disadvantage and pitted one against another until only one champion remained. The losers were sacrificed by having their hearts ripped out and being decapitated; the hearts were offered to the gods and the heads were displayed on skull racks, called Tzompantli, close to the courts, or were encased in rubber and used as balls in the games. This ballcourt marker possibly depicts the skull of a defeated player encased in a rubber ball. At Chichen Itza on the Yucatan peninsula, Mexico, is a relief from the great ballcourt which depicts a skull exactly the same as this one. Here, the skull-ball is in the centre of a scene which shows a victorious ballplayer on the left holding the head of the figure opposite him, whom he has decapitated. Six snakes and an elaborate tree sprout from the severed neck of the victim, showing the fertility that such sacrifice will bring. The skull-ball on the scene, as well as on this example, have scrolls of vegetation coming out of the mouth, and this has been interpreted as the fronds and seed pods of the cacao plant - a source of wealth for the Maya. The religious aspect of the games derives from the Popol Vuh, a series of myths relating to creation and the exploits of the Hero Twins. The story begins with the Hero Twins' father, Hun Hunahpu, and uncle, Vucub Hunahpu, playing ball near the underworld, Xibalba. The lords of the underworld became annoyed with the noise from the ball playing and so the gods send owls to lure the brothers to the ballcourt situated on the western edge of the underworld. Despite the danger, the brothers fall asleep and are captured and sacrificed by the gods and then buried in the ballcourt. Hun Hunahpu was decapitated and his head hung in a fruit tree. Hun Hunahpu's head spits into the hands of a passing goddess who then conceives and gives birth to the Hero Twins, Hunahpu and Xbalanque. The Hero Twins eventually find the ballgame equipment in their father’s house and start playing, again to the annoyance of the gods, who summon the twins to play the ballgame amidst trials and dangers. In one notable episode, Hunahpu is decapitated by bats. His brother uses a squash as Hunahpu's substitute head until his real one, now used as a ball by the gods, can be retrieved and placed back on Hunahpu's shoulders. The twins eventually go on to play the ballgame with the gods, defeating them. However, they were still destined to die so they could be reborn and defeat lords of Xibalba for good. After killing them by a trickery, they returned to the underworld to resurrect their father and in the end, they became the Sun and the Moon. 10 kg, 30cm (12"). Fine condition. Extremely rare.
2800-550 BC. A bronze figurine of a standing male deity on a square base wearing a long robe belted from the waist; the face carefully modelled with prominent beard; the right arm bent and extended, pierced to accept a rod, the left arm absent. From an old German collection, Cologne; acquired in the early 1980s. Cf. Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, item 332. In texts from Susa, the capital of the Elamites, over two hundred deities have been identified. The majority of the deities of Susa are of Mesopotamian origin due the political and cultural influences that this held over the Elamites, and Inanna, the goddess of war and fertility, Ea, the creator and protector of mankind, and Sin, the moon god, all had temples at the capital. The head of the Elamite pantheon was a goddess known as Kiririsha, with Shamash, the sun god, being highly revered. 474 grams, 22 cm (8 1/2"). Fine condition. Rare.
A large late 19th/early 20th Century silver plated Corinthian Column (as a lamp), one lower side of the stepped plinth base stamped Goldsmiths Company, 112 Regent Street, (some ding's and two corners very slightly pushed into base), the fluted column with acanthus capital and leaning slightly, 35.5cm high (not including plastic light fitting or circular mount)
A gilt metal columnar table lamp, circa 1900 A gilt metal columnar table lamp, circa 1900, converted from an oil lamp for electricity, with Composite capital, reeded shaft and stepped base, the iron weight to the underside stamped 'HINKS & SON', 53cm high overall; and a gilt metal table lamp in Louis Philippe taste, 20th century, 55cm high overall Provenance: From Cherkley Court, former home of Lord Beaverbrook
A Sunderland pink-lustre jug , mid 19th century typically printed with a... A Sunderland pink-lustre jug , mid 19th century typically printed with a view of the capital Iron Bridge of the River Wear, The mariner's compass and a verse, 18.5 cm high; and another Sunderland pink lustre jug , printed with The Sailors Farewell, a view of the mouth of the River Tyne and a verse, 19 cm high Provenance: From the collection of June Whitfield CBE
BATTLE BETWEEN THAILAND AND BURMAH C.1760'S AT AYUTHYA (FORMAL CAPITAL OF KINGDOM OF SIAM) ORIGINAL IN BAN-PA HIN PALACE, OIL ON CANVAS COPY. 80 X 108.5 CM PROVENANCE: PAINTED BY A MEMBER OF THE THAI ROYAL FAMILY (BY REPUTE). THE VENDOR, PETER EDWARDS, IS A HOLDER OF THE ORDER OF THE WHITE ELEPHANT, 5TH CLASS.
An impressive antique, 18th century or earlier, carved stone column, the capital carved with four masks to the frieze, on fluted tapering column with acanthus leaf base and quatrefoil plinth, 185cm high, the plinth 80cm square CONDITION REPORT Column is comprising of five separate carved stone elements. Overall weather worn with slight losses and overall loss to definition. Purchased from a house in Wandswiorth, believed to have been on the same premises since at least 1960s. Provenance: private owner
BRITISH COINS, George II, half guinea, 1745, LIMA, intermediate laur. head l., rev. crowned shield of arms (S.3684; Schneider 602), a beautiful specimen, lustrous and evenly struck with a bold portrait and royal shield, only tiny abrasions in the soft nearly pure gold, in plastic holder, graded by PCGS as Mint State 61, exceedingly rare in this grade A Lima guinea in extremely fine has just been sold for £31,200. British coins marked with the bold capital letters LIMA are storied survivors of a grand moment in history. Reminiscent of the Vigo coins from Queen Anne’s reign, these celebrated a much grander victory and a far larger treasure trove, taken on the high seas from the Spanish. The Vigo and Lima silver coins are of about equal scarcity, and many collectors own examples. The gold pieces are another story. Lustrous and choice-looking examples remain elusive and are collecting prizes. The middle of the eighteenth century was the great era of sailing ships, and the end of privateering by buccaneers, whose piracy at sea reached its zenith a century earlier in the West Indies. By tradition, crews shared in captured prizes, adding incentive for crews to be included on any buccaneering mission. The spirit of those adventurers still resonated in the British Navy when Commodore George Anson set sail with a squadron of warships on 18 September 1740, hoping to locate and to attack Spanish galleons laden with silver and gold mined in South America. It was a voyage requiring much skill and great courage; and the commander of the squadron was ready for the challenge. Born in 1697, Anson was by 1740 an experienced navigator and captain, commissioned as a lieutenant in 1716 and having taken part in Admiral Byng’s victory in August 1718 at Cape Passaro. He was promoted to commander in 1722, charged with capturing smugglers in the North Sea. By 1724, he had been promoted to post-captain in command of a frigate sailing off the coast of South Carolina to protect British ships from Spanish pirates, and from the end of 1737 until late 1739 his ships did similar duty off the west coast of Africa and in the West Indies. As commodore, Anson set off from England in the autumn of 1740 with a squadron of eight ships manned by marines, charged with attacking the Spanish navy in the Pacific. Little did Anson realize that this was destined to be a voyage around the world that would become famed for its success. Anson’s ships reached treacherous Cape Horn at the height of a terrible storm and most of the squadron was unsuccessful at clearing the cape into calmer seas. Two ships gave up and turned back for England. Others were wrecked. Only Anson’s flag ship and two warships got through to the Pacific, with a loss of hundreds of crew. On the three ships remained just 335 sailors and marines, of the 961 original crews. But the long voyage was just beginning! Months later, Anson’s force attacked and sacked the town of Paita in Peru, although the reward was small. Anson pressed onward, with the original goal firmly in mind despite all his setbacks. He aimed to attack the Spanish Manila-Acapulco fleet and capture its treasure. His crew was shrinking as disease took its toll on his men, and deprivation made two of the ships unseaworthy. All the crew was moved to his flagship, the Centurion, and they sailed west for the coast of China, arriving at Tinian by the end of summer 1742. They stayed ashore for months. Rested and restored, Anson’s crew and warship finally steered for the Philippines. On 20 June 1743, they spotted the treasure galleon Nuestra Señora de Covadonga off Cape Espiritu Santo, engaged the largely unprotected Spanish ship, won the brief sea battle, and took possession of its treasure. To their disappointment, most of the Spanish treasure fleet had already sailed, but the Covadonga was no small prize. They discovered in its hold hundreds of thousands of pieces of eight and gold cobs mined and crudely minted at Lima, Peru. They sailed for home around the Cape of Good Hope, but they and their prize were nearly captured by a French fleet in the English Channel before at last anchoring safely at Spithead on 15 June 1744. The tons of silver and gold were offloaded and carried by wagons along a parade route to the Mint in London. The total treasure was found to be nearly a million pounds in value, including proceeds from their sale of the Spanish galleon. Anson was cheered as a national hero and promoted to rear admiral. His share of the booty made him a wealthy man, but he continued to serve the Royal Navy, eventually being promoted to Admiral of the Fleet in 1761. He remained at sea in command of warships in 1746 and 1747, after which he oversaw naval reforms and advances in ship designs in the Admiralty Office. Numerous ships of the Royal Navy have been named after him but none has endured as a remembrance of his greatest victory for as long as the silver and gold coins marked LIMA in his honour by royal warrant. Many collectors worldwide own a silver coin made from this Spanish treasure but few are lucky enough to secure even one example of the Lima gold with old tickets
Texas and German Immigration Company 1854. 4 shares of $100 each. Light blue-gray paper. Small repaired edge split, and small red crayon notation, upper right, Furst Solmssches Archiv Braunfels stamp near the bottom, otherwise Extremely Fine.The Texas and German Emigration Company, also known as the German Emigration Company or the Adelsverein, acquired more than 4,400 acres of land in Fayette County and began advertised the chance to settle in Texas to Germans. It worked. Over 5,000 Germans came to Texas between October 1845 and April 1846; many to New Braunfels in Comal and Guadalupe County, and Fredericksburg in Gillespie County. The company became financially embarrassed in 1853, and tried to raise additional capital with a stock offering. Another important piece of Texas financial history.From the John E. Herzog Collection.
Fort William Henry Hotel Association (New York) 1856. 10 shares, Capital. No.38. Multi-story hotel by the Lake George. Printed by W. H. Arthur. Fully issued, uncancelled. Power of Attorney stamp affixed to the verso. Professionally repaired splits and minor restoration. Named after a British fort, located at the southern end of Lake George. During the French and Indian War the fort was captured by the French and Indians. The terms of surrender included safe passage for the British to Fort Edward. Despite the terms of surrender, the British column was attacked by the Indians and perhaps 200 were killed or wounded. The exact role of Montcalm and the other French leaders is unclear, but these actions led to repercussions by the British throughout the war.EX Smythe Memphis Auction 1991. Rare.From the John E. Herzog Collection.
Early Turnpike Assortment. 1) Bedford ad Stoystown Turnpike Road Company (PA) 1831. "reissue instead of Certificate mislaid or Lost." A rare form on a turnpike organized in 1815. On blue paper. IU. EF. 2-5) Stoystown and Greenburgh Turnpike Road. Receipts for work done 1837-1840. All EF. 6) Rome Turnpike (NY) 1819 incorporation date. UU. EF. 7) Philadelphia and West Chester Turnpike. Liberty, globe, eagle. Covered wagon. Unissued. Unc. 8) Goshen & Sharon Turnpike Ledger Page 1813. Acount of capital stock. VF. [8]
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