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Lot 15
A VICTORIAN OAK MERCURY 'ADMIRAL FITZROY'S STORM BAROMETER'Negretti and Zambra, London, circa 1870The arched bevel-glazed double ceramic Vernier scales flanking the large bore mercury tube, each calibrated in barometric inches and with the usual observations, the lower margins annotated ADD ONE TENTH FOR, EACH HUNDRED, FEET ABOVE, THE SEA and 10 A.M YESTERDAY and 10 A.M TO DAY over PATENT No. 1481 and with signature NEGRETTI & ZAMBRA, INSTRUMENT MAKERS, TO HER MAJESTY, HOLBORN VIADUCT E.C., 122 REGENT ST. W, & 59 CORNHILL E.C., LONDON to upper margin, the apex of the arch further inscribed ADMIRAL FITZROY'S, STORM BAROMETER., the trunk with Vernier setting squares to throat above applied glazed mercury tube Fahrenheit scale thermometer further signed NEGRETTI & ZAMBRA, LONDON to upper margin and with ogee moulded crests to the upper and lower rails, the base with rectangular ogee moulded cistern cover over conforming base moulding with level adjustment screw to underside.102cm (40ins) high. Provenance: The Selwyn Demmy Collection. The firm of Negretti & Zambra are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as being established in 1850 when a partnership between Enrico Negretti and Joseph Warren Zambra was formed. The firm became one of the most prolific makers of scientific instruments and continued trading well into the 20th century.The current lot is a textbook example of a Fishery or Sea Coast storm barometer devised by Admiral Robert Fitzroy in the 1860`s to aid mariners in the forecasting of storms. Fitzroy lobbied the Board of Trade resulting in this type of barometer being supplied (at public expense) to many coastal communities for display in a prominent public space. In addition to this The Royal Lifeboat Institution installed these barometers into each of its stations and the Duke of Northumberland (in association with the British Meteorological Society) erected several on the coast of Northumberland. By 1864 over 80 barometers had been installed by the Board of Trade and a further 14 by the Duke of Northumberland with their usefulness fully appreciated in Fitzroy's Meteorological Office Report published that year.Condition Report: The tube is filled with no apparent airlocks and both Vernier slides are fully operational however there is only one key present. The arched signature plate has some slight hairline cracking to the lower right hand corner which can only really be seen on very close examination being behind the bevel cut of the glass. The thermometer is in good condition although the tube is probably a replacement. The case is in good original condition with only minor bumps, scuffs and other age related blemishes. Condition Report Disclaimer
Lot 16
A VICTORIAN OAK MERCURY 'ADMIRAL FITZROY'S STORM BAROMETER'Negretti and Zambra, London, circa 1870The arched bevel-glazed single ceramic Vernier scale to the right of the large bore mercury tube calibrated in barometric inches and with the usual observations, the lower margins annotated ADD ONE TENTH FOR, EACH HUNDRED, FEET ABOVE, THE SEA over PATENT No. 2809 and with signature NEGRETTI & ZAMBRA, INSTRUMENT MAKERS, TO HER MAJESTY, HOLBORN VIADUCT E.C., 122 REGENT ST. W, & 45 CORNHILL E.C., LONDON to upper margin, the apex of the arch further inscribed ADMIRAL FITZROY'S, STORM BAROMETER., the trunk with Vernier setting squares to throat above applied glazed mercury tube Fahrenheit scale thermometer further signed NEGRETTI & ZAMBRA, LONDON to upper margin and with ogee moulded crests to the upper and lower rails, the base with rectangular ogee moulded cistern cover over conforming base moulding with level adjustment screw to underside.102cm (40ins) high. Provenance: The Selwyn Demmy Collection. The firm of Negretti & Zambra are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as being established in 1850 when a partnership between Enrico Negretti and Joseph Warren Zambra was formed. The firm became one of the most prolific makers of scientific instruments and continued trading well into the 20th century.The current lot is an example of a Fishery or Sea Coast storm barometer devised by Admiral Robert Fitzroy in the 1860`s to aid mariners in the forecasting of storms. Interestingly the scale only incorporates one Vernier scale (rather than usual the double scale) hence recording daily change in barometric pressure would have had to be done by taking notes rather than using the second scale. Fitzroy lobbied the Board of Trade resulting in this type of barometer being supplied (at public expense) to many coastal communities for display in a prominent public space. In addition to this The Royal Lifeboat Institution installed these barometers into each of its stations and the Duke of Northumberland (in association with the British Meteorological Society) erected several on the coast of Northumberland. By 1864 over 80 barometers had been installed by the Board of Trade and a further 14 by the Duke of Northumberland with their usefulness fully appreciated in Fitzroy's Meteorological Office Report published that year.Condition Report: The tube is filled with no apparent airlocks and both Vernier slide is fully operational. The scales have some slight overall crazing and the left panel of the scale has a small hairline crack across the top right hand corner. The thermometer is in good working condition however the scale has overall stained crazing. The case is in good original condition with only minor bumps, scuffs and other age related blemishes. Condition Report Disclaimer
Lot 17
A VICTORIAN CARVED OAK MERCURY STICK BAROMETERW. Aronsberg and Company, Manchester, third quarter of the 19th centuryWith foliate scroll carved concave-hipped break-arch upstand and moulded cornice over leaf-carved surround for the rectangular bevel-glazed double ceramic Vernier scales, each calibrated in barometric inches and with the usual observations, the lower margins annotated 10 A.M YESTERDAY and 10 A.M TO DAY, and signed W. Aronsberg & Co., Manchester across the upper margin, the trunk with applied floral motif and Vernier setting squares flanked by scroll-carved corbels to throat above applied glazed mercury tube FAHRENHEIT and CENTIGRADE scale thermometer decorated with further leafy crests to both the upper and lower rails, the base of shaped cartouche outline applied with generous leafy scroll carved domed cistern cover with level adjustment square to underside.108cm (42.5ins) high. Provenance: The Selwyn Demmy Collection. William Aronsberg (and Company) is recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1660-1900 as working first from 3 Lever Street, Manchester 1864-68 then 12 Victoria Street 1868-96.The current lot is provided with two scales to allow change in barometric pressure to be recorded as designed by Admiral Fitzroy for his 'storm barometers' which he devised in around 1857. Condition Report: Instrument is filled with no apparent bubbles or airlocks to the mercury column. The register plates are in fine original condition as is the thermometer; both Vernier slides are operational. The case is in fine original condition with only very minor bumps, scuffs and age related wear. The level adjustment screw to the underside is a little bent. Condition Report Disclaimer
Lot 66
Modelled as a duck and a drake, glazed in green, blue, mauve and umber, one with moulded signature to base 'GILBERT BAYES', both raised on later ebonised limewood plinthstallest figure 48cm high (68cm high inc stand), 13cm wide, smaller figure 45cm high (65cm high inc stand), 13cm wideFootnote: Provenance: Ian B. M. Hamilton and by family descent Literature: Irvine, Louise and Atterbury, Paul, Gilbert Bayes: Sculptor 1872-1953, Richard Dennis 1988, pp. 36-37; p.172 illus. Note: During the 1930's, Gilbert Bayes worked on a community art project for the St. Pancras Housing Association Improvement Society as part of a slum clearance scheme at Sidney Street in Somerstown, north of Euston station, and at other sites across London. The aim was the provision of high-quality homes for the poorest tenants. The society’s architect was Ian B. M. Hamilton, the grandfather of the current owners, and he designed all the new flats to stand on the cleared land. Since Bayes believed that art should be available to all people, this commission was very close to his heart. He produced relief model lunettes of fairy tale characters, as well as ceramic sculptures and post finials for the washing line posts. The finials were inspired by animals and plants, nursery rhymes, Christmas cards, or the lives of the saints.All the post finials and relief panels were made by Royal Doulton between 1931 and 1938 and as well as at Somerstown the Society commissioned these embellishments by Bayes at their other London projects. These duck finials for example were used at the Athlone Estate (1933-7) in Kentish Town and the dragons, rose and thistle finials were made for the York Rise Estate (1937-8) near Highgate Hill.All the original post finials for the project have now been removed, although some original relief plaques and ornaments remain at Sidney Street.
Lot 64
Depicting the treacherous Delilah, with scissors and holding to one side the locks of hair she has cut from the kneeling Samson, inscribed on the bench and the wall behind ‘DALIDA’ and ‘SANSON’, the single large shoe in the foreground referring to Samson’s now lost physical strength and size, or it could be the jaw of an ass, a symbol of his previous victories.27.2cm diameter, 5.3cm highFootnote: Note: Nicola di Gabriele Sbraghe, potter and workshop owner (active 1520-1537-8), is acknowledged as the master of the ‘istoriato’ style of maiolica decoration in early 16th century Italy. Consensus describes him as the “Raphael of maiolica painting”.[1] His graceful fluid draftsmanship, lyrical figure drawing, understanding of recessional space, and use of contemporary classically inspired Renaissance architectural views are all characteristic of his style and are well illustrated here. Overall, his knowledge of the work of his contemporary Raphael, who died in 1520, and his circle in Rome, is evidenced by a print by Giovanni Antonio da Brescia, who also worked in Rome at this time [see figure 1]. The print, from 1510-20, is a circular engraved composition in reverse of this subject.[2] Both potter and printmaker appear to have knowledge of an unknown original narrative image of this subject matter, now lost. As is sometimes the case with Nicola, some of the figures in this piece hint of an even more direct knowledge of Raphael’s early work.[3]This dish and other early work by Nicola are related very closely to a monogrammed and dated dish of 1521 with the figure of a seated sovereign, now in the Hermitage Museum, St Petersburg,[4] to a dish illustrating the Calumny of Apelles in the Ashmolean Museum Oxford (dated by Wilson to 1522-3),[5] and to a plate of Venus, Mars, Apollo, and Vulcan now in the Kunstgewerbemuseum Berlin.[6] Above all, however, it relates to an acclaimed service or credenza encapsulating Nicola’s early poetical style made for an unknown client consisting of seventeen surviving pieces donated to the city of Venice by the patrician Teodoro Correr after his death in 1830.[7] This is the largest surviving set of 16th Century ‘istoriato’ maiolica in the world in a single collection. The service, even quite recently, has been described as “one the loveliest achievements of all maiolica-painting”.[8] There may be reasons on grounds of subject matter and style to speculate that this plate may originally have been part of this service.In the 19th century the Correr maiolica service was thought by scholars to have been painted by the Urbino painter Timoteo Viti (1469-1523) and was seen as the jewel in the crown of the Correr collection. The painting style of Nicola’s early work that we have here seems to stylistically reference his work in the broadest sense. Viti, trained in the dynamic humanist artistic background of Bologna under Francesco Francia, is known to have worked with Raphael in the Chigi Chapel in Santa Maria della Pace in Rome circa 1511. As a friend of Raphael, Viti is reputed to have obtained or inherited the most important group of Raphael’s studio drawings and to have brought them back to Urbino after Raphael’s death. He himself died in 1523. Nicola’s knowledge of Raphael’s style of work may in part be due to links with Viti whose workshop in Urbino he may have frequented or where he may have even trained.[9] Giovanni Antonio da Brescia copied and produced his own versions of the work of the Bolognese printmaker Marcantonio Raimondi (1480-before 1538). Raimondi had also trained under Francesco Francia and did more than anything to disseminate Raphael’s ideas in Italy and abroad from about 1510.It is unprecedented for maiolica from this early period of Nicola’s maiolica production to come on the market. [1] A description first coined by Wilson, 1987, p44. For a full catalogue raisonné of Nicola’s output see Mallet 2007, p199-250[2] Bartsch, vol XIII, p70,n.2 (BM reg. 1925,1215.104). We are grateful to the late Michael Bury for suggestions that led to the identification of this source.[3] For example the central figure of the armed philistine echoes in gesture and expression similar to figures round the tomb in Raphael’s early painting of The Resurrection of 1501-2, now in the Museo de Arte de Sao Paulo, Chapman, Henry and Plazzotta, 2004,Cat 21, p110[4] Wilson in Écouen, 2011, p158-9[5] Wilson, 2017, Cat 54, p158-9[6] See Hausmann, 1972, Cat 170, p230[7] All pieces from the Correr service are illustrated in Écouen, 2011 p 164-167[8] Wilson, 2017, p133.[9] Wilson in Écouen 2011, p160 Literature:Bartsch, Adam. Le peintre graveur, Degen, Vienna, 1808-21Chapman, Hugo, Henry, Tom and Plazzotta, Carol. Raphael from Urbino to Rome, exh. cat., National Gallery, London, 2004Écouen 2011. Majolique. La faïence italienne au temps des humanistes, 1480-1530. Exb cat., Musée national de la Renaissance, Écouen, 2011Hausmann, Tjark. Majolika spanische und italienische Keramik vom 14. is zum 18.Jahrhundert (Katalogue des Kunstgewerbemuseum Berlin V1) Berlin, 1972Humfrey, Peter, Clifford, Timothy, Weston-Lewis, Aiden, and Bury, Michael. The Age of Titian – Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, 2004Mallet, J.V.G. ‘Nicola da Urbino and Francesco Xanto Avelli’, Faenza, 93, no 4-6 2007, p199-250Rev Macintosh Mackay, LL.D. Memoir of James Ewing Esq. of Strathleven, formerly Lord Provost of Glasgow and M.P for that city, LL.D of the University of Glasgow with a series of letters written while on a tour in Italy, Switzerland, &C., &C. Glasgow, 1866.Wilson, Timothy (with the collaboration of Patricia Collins and an essay by Hugo Blake). Ceramic Art of the Italian Renaissance, exh. cat., British Museum, 1987, p44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017 With thanks to Celia Curnow for the extensive research and footnote on this lot.
Lot 301
A pair of 19th century Staffordshire dogs, various decorative plates, a 19th century decorative vase in the Imari palette with animal handle (af), a Woods & Shorter early 20th century teapot in the form of a black cat, a pair of Daum style Art Nouveau green glass vases (af), a small group of late 19th/early 20th century ceramic figures to include a figure of a young boy playing a flute, with blue crossed swords to the base, etc.
Lot 123
An Edwardian brass oil lamp with etched glass shade, brown humbug glass reserve to column brass and black stepped base, height approx 60cm and another Edwardian oil lamp with blue ceramic floral painted oil reserve, to metal octagonal base (2). CONDITION REPORT Etched globular vase has very minor chips and losses to the lower rim, and two very minor chips to the top rim although these have not left a sharp edge, the chimney has a imperfection to the left hand side but appears to be period, the brass chimney retention prongs are missing one and several others are slightly misshapen, there is only one part of the two part section containing a wick, the side lever appear loose and does not appear to actually do anything, the adjustment dials appear to be ok, there is quite a lot of remnants of brass polish to the burner frame and further over spill down onto the reservoir as is the decoration to the base of the stem, the cork washer to the lower section of the reservoir appears to be corroded, the column appears to be in fairly good order and the socle base has signs of crazing to the finish, overall in good condition
Lot 203
A collectors' lot to include a Carltonware lustre vase in the Chinoiserie style with plumed bird in full flight, butterfly and prunus tree, a Chinese ginger jar, a pair of miniature ornamental sheep, marked to the base 'Dresden', a WWI ceramic trio to commemorate peace 1919, a Queen Victoria commemorative cup 'The Longest Reign in English History September 23rd 1896', two gentlemen's wristwatches, a Tissot, the gilded dial set with Arabic numerals and subsidiary dial and an Excalibur, the gilded dial set with baton numerals and a group of three decorative oils of girls in Edwardian dress and indistinctly signed; an oil 'All the Flowers in August', all framed and glazed. CONDITION REPORT Carltonware vase - there is slight rubbing to the gilding, rather dull finish to the orange ground, further light surface scratches throughout only visible when caught in correct light, slight grubbing to the foot rim, possible slight areas of staining and discolouration to the lower portion of the body of the vase, however no obvious signs of faults, damage or restoration.
Lot 344
CLF FAJANCAS; a Portuguese large ceramic model of a seated cheetah, height 60cm. CONDITION REPORT Overall good condition, grubby in places with light crazing throughout, to the underside there is a small hole to the cheetahs tail, appears to be a manufacturing imperfection rather than damage
Lot 259
A quantity of blue and white ceramics to include a Delft square planter with panel decoration of windmills and Dutch scenes, with floral and abstract panels, shell rim and decorative shell handles to the side, on four scrolling shell feet, marked to the base in blue Delft, height 20cm, a Delft baluster vase with cover with vignette of Dutch windmill scene and floral decoration throughout (af), a Royal Doulton miniature blue and white sucrier and creamer with naturalistic decoration of a squirrel eating nuts and lambs frolicking in a field, a Chinese tea bowl and two Chinese ceramic pots, an onion pattern bowl with crossed swords mark to the base and various other blue and white decorative ceramics.
Lot 316
Various ceramic and glass collectibles to include two large multi-coloured art glass model fish, longest 60cm, various items of studio pottery to include various size and style vases, bowl, a Redwood flower decorated cabinet ewer with two-tone glaze, and a large studio pottery funnel vase with fish and flower decoration, maker's stamp for Sue Candy, height 25cm.
Lot 121
An early 20th century ceramic oil lamp decorated with hunting scenes, white glass opaque shade with etched floral design, to a brass stepped circular base, height 56cm and an Alcobaca urn-shaped twin-handled vase with cover in the Capodimonte style, with raised scroll and figural decoration, height 36cm (2).
Lot 205
A collection of various ceramics and other items to include a late 19th Sunderland lustre ware jug with raised horse decoration, other items of decorative lustre ware, some small bisque figures, one young couple with new baby, 'Three O'Clock in the Morning', 'The Last in Bed Put Out The Light' and others, beaded needle case, pin dishes, decorative ceramic pots, etc.
Lot 263
A quantity of mixed ceramic teaware to include a small quantity of Portmeirion 'Botanic Garden' cups and saucers, Wedgwood 'Hathaway Rose' pattern no.R4317 cups and saucers, and a Victorian part tea service, white ground within a green and gilt-heightened border, two sandwich plates, various cups, saucers, plates, etc.
Lot 222
A collectors' lot to include late 19th century ivory opera glasses, various vintage pipes to include a walnut horse head example, a French Jacob ceramic pipe in the form of an Indian gentleman, a large marble blotter, various binoculars, corkscrews, paper cutter, a commemorative black tile from the Mersey Tunnel 1934, and other items, also a burr walnut inlaid box (af) containing a vintage pack of cards with various bone and mother of pearl gaming counters and whist markers, also a pair of Victorian bellows (af).
Lot 329
A group of late 19th and early 20th century Staffordshire and other figures, to include a Beswick white gilt-heightened Staffordshire dog, height 27cm, three Staffordshire dogs with copper lustre highlights, height 19cm, all with freestanding front paw, a flatback of a pair of spaniels sitting on a barrel, seven naive Staffordshire dogs to include a pair of Dalmatians, all reclining on cobalt blue gilt-heightened oval base, hole to the centre of each base for spills, length of largest 16cm and a pair of ceramic black and white cats, each seated on a cushion with gold tassels, gold anchor marks to the base, height of each 7cm (14).
Lot 204
An Edwardian ivory coloured eight-piece dressing table set, two ladies' hair brushes and mirror, two gentlemen's brushes, a shoe horn, a large trinket pot and a button hook, all with monogram in black, a commemorative oval ceramic trinket pot with gilded line decoration to the top and a small quantity of lacework and embroidery (2). CONDITION REPORT Bristle loss to one clothes brush, brushes and glove hook with cracks
Lot 223
A quantity of late 19th/early 20th century collectibles to include various ivory and bone items, a fold-out ivory dance/message card, a hand painted feather fan with bone sticks, one other bone filigree fan, small decorative carved ivory anemone, a vintage ethnic dancing doll, a Japanese glove puppet with ceramic head and red kimono, an oval ceramic box with blue plaque inlay of a ship, an early 20th century straw-filled teddy bear of small proportions, length 19cm, a child's Japanese-style parasol, one other Oriental parasol, a small quantity of vintage children's books, Valentines Book Toys; Nursery ABC, Scott and Sleeman; Dolly's Peep Show Picture Books, with verses by L. Laurance, Jumbo's Jolly Tales, pictures and verses for little folk, illustrated by Harry B Neilson, The Babes in the Wood, illustrated by Frank Adams, published by Blackie, etc.
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