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Lot 127
John Sell Cotman (1782-1842), a group of four etchings: 'East Barsham' (plate XXIX) pub.1813, 'West Door-Way Walsingham Church Norfolk' (plate XLIV) pub.1817, 'South-Door West Barsham' (plate V), 'A Font in Walsoken Church Norfolk' (plate XLVII) pub.1817, plate dimensions 17x27cm approx. and 26x28cm, framed and glazed (4)
Lot 492
A collection of assorted WWII Second World War Third Reich Nazi German military items comprising; a wooden desk top box / cigarette box with an applied Eagle Swastika badge, circular enamel door plaque ' Deutschland Ist Erwacht ' ( Germany Awake ) and x2 car alloy plaques for the NSFK and NSKK.Note; from a large private collection of militaria. Due to the nature of the items, buyers are reminded for the need to satisfy themselves as to condition / originality / authenticity prior to bidding. All lots remains sold strictly 'as is' irrespective of any description.
Lot 387
Henry Waters of Lemington 8 day Longcase Clock with unusual date calendar in the arch of the dial. 12" arch brass dial with subsidiary seconds date calendar and days of the week in the arch of the dial. Mask spandrels and boarder engraving to the dial. Two train movement with fined pillars, striking on a bell, and brass cased weights. In a mahogany case with barber shop inlays to the trunk corners. Raised on a plinth which may be associated.Dimensions 81" (86 with plinth) x 18 (24" with plinth) x 10"Condition report - Parts of the case look to be refinished. The plinth maybe a later addition Movement seat-board is a replacement pendulum and trunk door key present. Movement not tested.
Lot 391
Birmingham drop dial wall clock with single fusee movement cast bezel 12" dial with Roman numerals and a unreadable name ...69 Stafford Street Birmingham on the dial Contained in a rosewood veneered case octagon dial surround with roll back to the wall bottom brass bordered glazed aperture to trunk carved grape vine ears with mother of pearl inlays. Pendulum and door key present.Dimensions 29" x 18" x 7"Condition report Movement not tested Case needs a polish and some vaneers are missing Minor repairs to the mother of pearl.
Lot 75
Glossy finish, with two handles. Depicts scene in relief of woman purchasing a love potion and two men listening outside the door. Marked with quote by Shakespeare's Romeo "O true apothecary, thy drugs are quick." Royal Doulton backstamp.Artist: Charles Noke/Harry FentonIssued: 1934Dimensions: 8.25"L x 5"W x 6"HEdition Number: 219/600Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 227
Property of a ladyJohn Hassall RI (1868 - 1948)Five drawings'Who Said Treasury'. Signed and dedicated 'Hassell to Thomas Miller May 1906'. Ink and watercolour on paper.An elderly man and woman at a door way. Subject written in ink below drawing. Signed. Pen, ink, and grey wash.Hunting Land. Signed, dated: 'Feb 22 1901 L. S. C.'. Inscribed on mount below drawing. Watercolour on paper.Two figures conversing. Signed. Inscribed on mount below drawing. Pen, ink, and blue.'District visitor and invalid caretaker'. Signed. Inscribed in ink below drawing. Pen and ink on paper.
Lot 590
A BUTLER’S KNIFE BY RODGERS, 6 NORFOLK STREET, SHEFFIELD, EARLY 20TH CENTURY AND TWO FURTHER KNIVES the first with four signed folding elements including the maker’s details and cross and star mark, and German silver body; the second W. Morton, Sheffield, with five folding elements including coach door key; and the third Richardson, Edinburgh with two folding elements comprising pen blade and pincers and horn scales, the first: 9.0 cm (3) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 151. In the nineteenth century, Rodgers had an unsurpassed reputation and history that was synonymous with the cutlery trade. The family's first cutler, John Rodgers (1701-85), is recorded around 1724, with a workshop near the present cathedral. In the same year the Company of Cutlers 'let' him a mark, a Star and Maltese Cross, which became world famous in later years. John Rodgers had three sons, John (1731-1811), Joseph (1743-1821), and Maurice (c.1747-1824) who joined the business and succeeded him. They are recorded with more workshops by 1780 and the business soon extended to occupy a nearby block of buildings at 6 Norfolk Street, an address that became as famous as Rodgers’ trade mark. By the early 19th century their trade had expanded from pen and pocket knives to include table cutlery and scissors. By 1817 the General Sheffield Directory lists the firm as ‘merchants, factors, table and pocket knife, and razor manufacturers’. In 1821 John’s son Joseph died and his sons continued the business under the leadership of the younger John (grandson of the founder). John was described as ‘unobtrusive in his manner’ but was ambitious and one of the founding partners of the Sheffield Banking Co. He had a flair for marketing and travelled the country taking orders. Not only was his firm’s output and range greater than any other Sheffield firm, but its quality was superior. The company’s manifesto states: ‘The principle on which the manufacture of cutlery is carried on by this firm is – quality first … [and] … price comes second’. He began making exhibitions knives and presented George IV with a minute specimen of cutlery with 57 blades, which occupied only an inch [25mm] when closed. In 1822, Rodgers’ was awarded its first Royal Warrant. Another fourteen royal appointments, from British and overseas royal dignitaries, followed over the next eighty years, and its company history was duly titled: Under Five Sovereigns. John Rodgers next commissioned the Year Knife, with a blade for every year (1821) and opened his sensational cutlery showroom in Norfolk Street where visitors came to marvel at Rodgers’ creations. Perhaps the greatest highlight shown there was the Norfolk Knife, an over 30 inch long sportsman’s knife with 75 blades and tools, that Rodgers’ produced for the Great Exhibition in 1851. The showroom proved particularly popular with Americans whose trade played a significant role in the firm’s expansion. Additionally, they looked East, with agents in Calcutta, Bombay, and Hong Kong by the mid-19th century. These markets enabled Rodgers to become the largest cutlery factory in Sheffield. The number of workmen appears to have grown from about 300 in the late 1820s, to over 500 in the 1840s. In 1871 the business became a limited company with Joseph Rodgers (1828-1883), grandson of the Joseph Rodgers who had died in 1821 and Robert Newbold as managing directors. Joseph died on 12 May 1883 and Newbold became the chairman and managing director. The firm continued to expand with offices in London, New York, New Orleans, Montreal, Toronto, Calcutta, Bombay and Havana. Their work force in 1871 was around 1,200 and accounted for one-seventh of all Sheffield’s American cutlery trade. In 1876 the American market was stagnating and Rodgers’ began looking elsewhere with a focus on trade in the Middle East, India and Australia. Notably the name ‘Rujjus’ or ‘Rojers’ was said to have entered the language as an adjective expressing superb quality in Persia, India and Ceylon. By 1888, the value of Rodgers’ shares had more than doubled and, in 1889, a silver and electro-plate showroom was opened in London. At this time, Rodgers acquired the scissors business of Joseph Hobson & Son. Rodgers’ produced catalogues that were packed with every type of knife imaginable. Pocket knives were made in scores of different styles. Ornate daggers and Bowie knives and complicated horseman’s knives were made routinely. Some patterns, such as the Congress knife and Wharncliffe knife, were Rodgers’ own design. The Wharncliffe – with its serpentine handle and beaked master blade – was apparently designed after a dinner attended by Rodgers’ patron Lord Wharncliffe. The firm’s workmanship was usually backed by the best materials. Rodgers’ ivory cellar in Norfolk Street was crammed with giant tusks and was regarded as one of the hidden sights of the town. Four or five men were constantly employed in sawing the tusks, and around twenty four tons of ivory were used a year around 1882. Rodgers’ appetite for stag was no less insatiable: deer horns and antlers filled another cellar and pearl from the Philippines and was also cut there. Around 1890, Rodgers’ began forging its own shear steel and in 1894 they began melting crucible steel. Newbold retired in 1890 and the grandsons of Maurice Rodgers, Maurice George Rodgers (1855-1898) and John Rodgers (1856-1919), became joint-managing directors. The McKinley Tariff Act of 1890 halved their American business and consequently they toured South Africa. Despite increasing foreign competition and the decline of the American market, Rodgers’ prospered before the First World War. However, workers’ wages were cut while the partners continued to take significant dividend which culminated in a prolonged and bitter strike. The First World War saw a decline in the business which continued steadily until the 1975 when it was absorbed by Richards and ceased trading in 1983. Joseph Rodgers & Sons left an enduring legacy in its knives. Its dazzling exhibition pieces and other fine cutlery show that the company’s reputation as Sheffield’s foremost knife maker was well founded. Abbreviated from Geoffrey Tweedale 2019. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 1140
HY Moser - a Braille stainless steel cased wristwatch, 28mm diameter case, Arabic numeral and braille cabochon markers, compression button door, manual stem wind movement, black strap; Rotary chronograph wristwatch, copper dial, two subsidiary registers, 24hr and calendar, centre seconds, 39mm diameter steel case, ref GS02503/25 (12811)005876 Batt 364, quartz movement, crocodile skin effect strap (2)
Lot 614
A RARE AND LARGE CARVED HARDWOOD 'MALE AND FEMALE' DOOR, ODA MATANTimor, Belu Regency, late 19th century. Expressively carved in relief with a male and female figure standing side by side, the man holding a dagger and the woman a bottle, their faces with deep eye sockets centered by a triangular nose and small mouth, the woman further with two small breasts. The panel is additionally incised with abstract geometric patterns.Provenance: From the collection of Alexander Goetz, a noted German art expert and collector who specializes in Indonesian works of art. As a young man, he built and sailed wooden boats around the world, and eventually arrived in Bali in 1971. Within a year, he became involved in the local art scene and in 1975, he was sponsored by the Indonesian Institute of Science to do research on contemporary art in Bali. In 1990, Goetz and his family moved to London where he opened a gallery specializing in Southeast Asian art, with Indonesia as the main focus. Since 2015, Alexander Goetz has run Gallery 101, a dedicated art space in Kabupaten Badung, Bali.Condition: Good condition with extensive old wear, weathering as expected, age cracks, some with associated old repairs. Small nicks, scratches, and losses. Beautiful, naturally grown patina overall.Weight: 16.4 kg Dimensions: Size 128.5 x 78 cm This door was originally installed in a great thatched communal house belonging to an aristocratic, matrilineal Tetun clan. Such residences were usually embellished with painted walls as well as elaborately carved panels and doors. The floorplan reflected Tetun notions of the cosmos which held that humans lived on earth between the upper world and the underworld. The rear of the house was viewed as the women's domain and symbolized the sacred underworld. Following birth, a father carried his infant through the "female door" to the upper world, which was predominantly male.Most of such doors were decorated solely with tightly patterned geometric designs, while others singularly depict or combine raised carvings of breasts, animals, or ceremonial jewelry. In the case of figurative doors, they usually consist of a single effigy with a long angular frame or a half-bodied torso. Only very few doors actually depict male and female figures, like the two seen on the present door.Literature comparison: Compare a closely related door, dated c. 1915, in the collection of the Dallas Museum of Art, object number 2013.3. Compare a closely related door, dated c. 1900, combining male and female aspects in a single figure, in the collection of the Powerhouse Museum of the Museum of Applied Arts & Sciences in Sydney, object number 2002/6/1.
Lot 2
A 19th century longcase clock, the painted dial decorated with a horse and cart above chapter ring set with Roman numerals, within an oak case, the architectural shaped door flanked by turned columns, on bun feet, height 230cm.Condition Report: We are unable to test the clock as it is lacking key, pendulum and weights.
Lot 253
ROBERT JONES, AMLWCH; an 18th century eight day longcase clock, the painted face set with Roman numerals and two subsidiary dials inside floral detail to the corners, within an oak case, the hood with broken swan neck pediment with applied brass mount above a pair of columns and rectangular door with inlaid decoration, height 220cm.
Lot 268
WILLMAN, BANGOR; an early 19th century eight day longcase clock, the painted dial with moon phase above a chapter ring with Roman numerals and painted with exotic birds and floral detail, within mahogany case with Prince of Wales feathers to the hood, above six carved columns and shaped door, terminating on paw feet, height 236cm.
Lot 339
LENZKIRCH: a late 19th century German carved walnut musical bracket clock, the arched top with five turned finials above the silvered dial set with Arabic numerals, on a matching carved walnut plinth base, the hinged door enclosing Symphonion disc, height 190cm, width 57cm, depth 37cm.Condition Report: Age related ware, no signs of woodworm, some teeth are missed/bent (please see additional images), comes with one disc, diameter of disc 35cm, we have wound it up and it did play a tune, the clock appears to have been over wound so will need some attention.
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