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Lot 122
SOUL/ FUNK/ DISCO - LP PACK. A quality selection of 12 LPs. Artists/ titles include Up Tight OST (1C062-90200), James Brown - The Apollo Theatre (843 479-1), Solomon Burke - The Best Of (SD 8109), Joe Tex - Soul Country (SD 8187), Roberta Flack - First Take (SD 8230), Solomon Burke - Proud Mary (SBLL 118), Aretha Franklin - Aretha Now (SD 8186), Billy Preston - That's The Way God Planned It (SAPCOR 9), Sly And The Family Stone inc Anthology (460175-1), Life (BN 26397) & There's A Riot Going On (XED 165). Various - Street Sounds: Electro 2 (ELCST2). Condition is generally VG to Ex.
Lot 157
THE ROLLING STONES/ THE WHO - LP PACK A timeless selection of 12 LPs by two British rock groups. Artists/ titles include The Rolling Stones inc Sticky Fingers (COC 39101, US press zipper sleeve with side opening. Record VG+/ sleeve VG+), GOats Head Soup (450207 1), Let It Bleed (SKL 5025), Exile On Main St (COC 69100), S/T (LK 4605), Let It Bleed (SKL 5025), Beggars Banquet (SKL 4955), Aftermath (SKL 4786). The Who inc The Who Sell Out (612 002), Who Came First (2408 201), Hooligans (MCA2-12001) and Backtrack 8: A Quick One (2407 008). Condition is generally VG to Ex.
Lot 65
PIERRE EUGÉNE MONTÉZIN (FRENCH, 1874–1946)Pêcheur à Veneux-les sablonsOil on canvas, 33 x 41cmSigned Provenance: Tajan Auction Rooms, Paris, 5 June 2009, lot 129; With Besch Cannes Auction Rooms, Cannes; Private collection Born in Paris in 1847, Pierre Eugène Montézin was educated at the Ecole d’Application de Beaux Arts. Montézin later apprenticed at the workshop of a decorator specialising in murals. At 19, Montézin submitted works for the first time to the Salon des Artistes Francais but it was not until 1903, ten years later, that he would make his Salon debut. 1903 was the same year that he met and began to study under the Impressionist painter Ernest Quost (1844-1931). Throughout his career, Montézin showcased his works in prestigious exhibitions and influential galleries, including those at Galerie George Petit (1922), Galerie Charpentier (1933), Galerie du Journal (1936), and Galerie Durand-Ruel (1938). The success of Montézin’s work brought him several accolades: after receiving the Rosa Bonheur Prize in 1920 he was named a Chevalier of the Legion d’Honneur, and subsequently promoted to Officer of the Legion d’Honneur. In 1932 he received the Medal of Honor at the Salon des Artistes Francais, no landscape artist had won since Henri Harpignies (1819-1916) in 1897, and he was unanimously elected president of the Salon jury in the same year. In 1941 he was elected member of the Institut de France at the Academie des Beaux Arts succeeding Edouard Vuillard (1868-1940). In 1925, seeking inspiration and serenity, Montézin purchased a property in Veneux-les Sablons near Moret sur Loing. The present work depicts a fisherman at the riverbanks, relaxing in the shade of the trees with Veneux-les Sablons emerging in the distance. The same landscape inspired Auguste Renoir (17841-1919), Claude Monet (1840-1826), and Camille Pissarro (1830-1903), who all painted similar scenes.Montézin once remarked to the French critic, Louis Vauxcelles: ‘The subjects of the landscape painter are less in front of the artist’s eyes, than in his heart’. Jean Pierre Klein-Montézin has confirmed the authenticity of this work: Certificate no. 250 In the event of transfer of this painting, this certificate must accompany it and cannot be replaced by a duplicate. I, the undersigned, Jean Pierre Klein-Montézin, grandson of the painter Eugène Montézin, certify that this oil on canvas ‘Le pêcheur à Vevreux les Sablon’, 33x41, signed bottom left is an authentic artwork of my grandfather. Made in Paris on 10.05.93 Signed. Jean Pierre Klein-Montézin N.B. Featured in the catalogue raisonné currently being prepared by J. Pierre Montézin
Lot 349
AN EDWARDIAN MAHOGANY SINGLE DOOR BOOKCASE, C.1900 BY THE WOODWORKERS LTD, KILKENNY of upright rectangular form, glazed panel door enclosing adjustable shelving and supported on a shallow moulded base, with label to interior. 198cm high x 82cm wideThe promotion of Irish industries by the Gaelic League led to the founding in 1905 of the Kilkenny Industrial Development Association to support the growing woodwork and furniture making industry in Kilkenny.Ellen Odette Bischoffsheim, married William Cuffe, the 4th Earl of Desart in 1881, following the divorce from his first wife. The newly married couple split their time between the Desart estates in Ireland and their home in England. When William died in 1898, Lady Desart lived initially with her family in Ascot, before retuning to live at Aut Even near Talbot's Inch to continue the work of the Earl within the local community. She helped establish a theatre on Patrick Street and moved next to restore the old woollen mill at Talbot's Inch. She bought the mill along with 90 acres of land in 1904 and restored it within two years.In 1905 she and her brother-in-law Otway Cuffe, purchased a premises in Patrick Street for the Kilkenny Woodworkers. They later moved to the factory in Talbot’s Inch which had modern and up-to-date machinery installed. The company also had a premises in Nassau St in Dublin which later moved to 66 Grafton St.Unfortunately a fire in 1927 destroyed the factory in Kilkenny and it wasn’t rebuilt. However, examples of the Kilkenny Woodworkers craft can still be seen in the carved Art Nouveau front doors at Aut Even and the bookcases in St Kieran’s College.
Lot 2003
Peter Shilton England cap from the 1985-86 International friendly against Canada at Swangard Stadium in Vancouver, 24th May 1986. Blue velvet with silvered tassel and braiding, England three lions crest, embroidered Canada 1985-86. This was Peter Shilton's 81st Appearance for England and it being the first match against Canada. The match Resulted in a 1-0 win to England. Provenance: from the vendor's personal collection, purchased directly from Peter Shilton
Lot 85
A FRENCH BRASS CARRIAGE CLOCKATTRIBUTED TO THE COUAILLET FAMILY, SAINT-NICHOLAS-D' ALIERMONT, CIRCA 1910The eight-day two train gong striking movement with silvered platform lever escapement regulated by sprung bimetallic balance, the backplate stamped with a direction of wind arrow to centre beneath MADE IN FRANCE to upper margin, the rectangular cream enamel dial with red Roman hour numerals to chapter ring, pierced blued steel hands and polychrome floral swag decoration to upper and lower margins, the bevel-glazed case with hinged filigree baton carrying handle and rectangular glass to top, over plain frieze and repeating honey bee relief decorated corner uprights, the rear with pin-hinged glazed door, on caddy moulded skirt base; with a French gilt brass obis cased carriage timepiece, unsigned, circa 1900, the eight-day single train movement with platform lever escapement regulated by sprung monometallic balance, the dial with cream Arabic numeral chapter ring within a foliate scroll 'filigree' overlaid gilt mask, the case with hinged handle over cavetto cornice mouldings and caddy moulded corner uprights, with conforming pierced gilt panels set behind the side glasses and pin-hinged door to rear, on cavetto moulded skirt base, (2).The first clock 14cm (5.5ins) high with handle down, 8.5cm (3.375ins) wide, 7.5cm (3ins) deep; the second 11.5cm (4.5ins) high with handle down, 7.5cm (3ins) wide, 6.3cm (2.5ins) deep. The hand-setting arrow stamp to the movement backplate of the first item in the current lot conforms to that used by the Couaillet family as illustrated in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development on page 435. Couaillet Freres are discussed by Leigh Extence in his article The Carriage Clock Makers of Saint-Nicolas-d'Aliermont published in National Association of Watch & Clock Collectors Bulletin, 2020; where they are described as being one of the most prolific of the carriage clock makers of carriage clocks operating from the horological town of Saint-Nicolas-d'Aliermont (near Dieppe) during the late 19th and early 20th centuries. In 1885 Armand Couaillet was employed by the prominent maker Albert Villon, but in 1892 he and his brothers Denis and Ernest set up their own workshops in the centre of the town as Couaillet freres. They increased the size of the concern when buying the house and workshops of Delépine-Barrois across the road in 1912. Condition Report: The first (larger of the two) is in working condition and appears all-original with no noticeable replacements. The movement however would benefit from a clean and overhaul. The dial has a light hairline crack across the lower left corner and another across the right which is not visible due to being behind the frame, otherwise appears to be in good original condition. The case is a little dull/tarnished but is free from visible faults including the glasses. The second is also in good original working condition. The dial is undamaged - there are traces of a retailer's signature on the chapter ring. The case is in very good condition with no visible damage; the gilding has overall patchy oxidation.There is one key with the lot (fits both) but no travelling cases. Condition Report Disclaimer
Lot 5
A RARE GEORGE III BRASS 6 INCH GREGORIAN REFLECTING TELESCOPEW. AND S. JONES, LONDON, CIRCA 1795The 33 inch body tube with star-finder sight, external screw focus adjustment for the secondary mirror and signed W. & S. JONES, 135 Holborn, London to the eyepiece end plate, with two original eyepieces including solar filters, now mounted via twin iron bar side fixings secured by the original paired knurled screw discs onto a conforming iron yoke, attached via a central swivel fixing to the brass top plate of a tripod floor stand incorporating square section supports terminating with pointed metal caps.The telescope on stand approximately 164cm (64.5ins) high when set-up, 94cm (37ins) long with the larger eyepiece fitted. William and Samuel Jones are recorded in Clifton, Gloria Dictionary of British Scientific Instrument makers 1550-1851 as optical, mathematical and philosophical instrument makers who worked from several addresses in Holborn 1791-1859 including 135 Holborn (1792-1800) and 30 Holborn (1800-1860). Banfield notes that William Jones was apprenticed to the highly regarded maker Benjamin Martin whilst Samuel was apprenticed to George Adams (junior) instrument-maker to George III and optician to the Prince of Wales. The partnership was one of the most important firms of scientific instrument makers of the late Georgian/Regency period and were particularly well known for their microscopes. The Gregorian telescope is named after the Scottish mathematician and astronomer, James Gregory (1638-75), who first published his design for a reflecting telescope in his 1663 work Optica Promota. Technical limitations with regards to the productions of the mirrors required meant that Gregory was not able to construct his design until the mid 1670's in collaboration with Robert Hooke.The current lot is a scarce, larger model, as most examples produced during latter part of the 18th century tended to be less than four inches in diameter.
Lot 172
A GEORGE III BRASS MOUNTED FIGURED MAHOGANY TABLE/BRACKET CLOCK WITH TRIP-HOUR REPEATELLICOTT, LONDON, THE MOVEMENT AND DIAL CIRCA 1765, THE CASE CIRCA 1800The five pillar twin fusee movement with thick plates, leaf-sprung trip-hour repeat and verge escapement regulated by short bob pendulum, the backplate engraved with naturalistic scrolling foliage around a central reserve signed Ellicott, London surmounted by a break-arch strap supported basket of fruit beneath shaped backcock apron decorated with conforming stylised floral motifs, the 7.5 inch square single sheet silvered brass dial engraved with Roman numeral chapter ring and Arabic five minutes beyond the minute track, with fine scroll pierced blued steel hands and signed Ellicott, London to the extremities of the lower margin, the upper left hand-hand upper corner with Strike/Silent selection switch, in a case with bras ball finial to the concave-sided pyramidal superstructure applied to the break-arch top with complex cornice mouldings, the opening front with scroll-pierced brass crescent-shaped fret over 6.5 inch circular convex glazed dial aperture fitted with a generous cast brass bezel, the lower corners with matching quadrant frets and with canted fluted angles, the sides with hinged brass carrying handles over arched apertures with geometric pierced brass fret inserts, the rear with full-width arch-glazed door incorporating fluted canted angles matching the front, on generous cavetto moulded skirt base.52cm (20.5ins) high, 31cm (12.25ins) wide, 20.5cm (8ins) deep. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers' Company in 1696 and died 1733. John junior worked from Swithin's Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772. The movement and dial of the present lot are a 'textbook' example of a type produced by the Ellicott workshop from around 1755, wherein the single-sheet silvered brass dial was set behind a front door incorporating a glazed dial aperture. There are at least a dozen clocks by Ellicott known with near identical movements and dials housed in cases following an earlier style with bell-top superstructure surmounted with a brass carrying handle akin to standard table clocks of the period (see Bruton, Eric The Wetherfield Collection of Clocks for one such example). The signature being just for 'Ellicott, London' would indicate that the movement and dial were made after John Ellicott (F.R.S.) took his son, Edward, into partnership circa 1758. This partnership lasted until John Ellicott's death in 1772. In addition to this, the style of the engraving to the backplate conforms to the earlier type of 'vine engraving' as discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS with two closely related backplates for clocks by David Hulbert and Robert Higgs illustrated on page 352 (Figure 19.5). This type of engraving was phased-out by around 1770 to be replaced by a lighter style of neo-classical influenced scroll design (see ENGRAVING ON ENGLISH TABLE CLOCKS, page 362, Figure 20.6, for a backplate signed by Ellicott with this slightly later style of engraving). From this evidence the movement and dial can therefore be fairly accurately dated to the 1760's.Conversely the case exhibits elements in its design more indicative of those produced in around 1800. Most notably the detail of a concave sided 'pyramid' superstructure applied onto a break-arch top - a feature which was first introduced in around 1785 (alongside the introduction of 'balloon-shaped cases). This detail was first mostly used in cases with traditional dial formats (e.g. break-arch or full-arch), by makers such as James McCabe senior and Eardley Norton. The crescent-shaped fret over the dial was then subsequently introduced around the turn of the century primarily for use in cases with circular dial apertures. A good example of a case sharing all these features, albeit housing a rare oval dial for clock by Thomas Bannister, London, is illustrated in Cescinsky, Herbert and Webster, Malcolm English Domestic Clocks on page 309 (Figure 348). This example is notable in that it is dated 1801. When all the above is considered it is very unlikely that the movement and dial were made after 1772 and the case is no earlier than 1795. Notwithstanding this the clock is not a 'marriage' as such - as the case was clearly made for the movement and dial but at a slightly later date. This is most likely due to the original owner wanting to update the look of his clock to follow change in fashion.
Lot 110
Y A VICTORIAN ROSEWOOD CASED TWO-DAY MARINE CHRONOMETERGEORGE EDWARD FRODSHAM, LONDON, CIRCA 1875The circular four pillar single chain fusee movement with Harrison's maintaining power, Earnshaw type spring detent escapement and split bimetallic balance with cylindrical compensating weights, helical balance spring and diamond endstone, the spotted backplate with spring set-up ratchet and blued-steel pillar and backcock securing screws, the 4 inch circular silvered Roman numeral dial with subsidiary seconds dial to above six o'clock beneath engraved signature G. E. FRODSHAM, 31 Gracechurch St., London 6506 across the centre and DOWN/UP power reserve dial to upper section, with gold/gilt spade hands and secured by a screw-down bezel into a lacquered brass bowl with shuttered winding hole to underside, mounted via gimbals into a brass-bound rosewood three-tier box with shaped brass vacant plate to the brass corner-capped top tier over second tier with glazed panel to interior, inset ivory panel engraved G. E. Frodsham, 31 Gracechurch Street, London to front and brass reinforcements to angles, the bottom tier with conforming reinforcements, hinged brass side handles and ivory disc numbered 6506 to front.The box 18cm (7ins) square, 19.5cm (7.75ins) high. George Edward Frodsham was born in 1831 and succeeded John Frodsham - first working as Frodsham, Son and Company in 1849, then in the Partnership of Frodsham and Baker the following year. George Frodsham then worked alone from 31 Gracechurch Street, London from 1864; the business became G. E. Frodsham and Company in 1882 and then a Limited Company in 1888. The following year (1889) the business advertised as being clockmakers to the Queen, Prince of Wales, The Royal Observatory and The Lords of the Admiralty and continued under George Edward Frodsham until 1901 when he presumably retired; he died two years later. Please note Dreweatts have an ivory exemption license for this lot BLQCKTTE Condition Report: Movement is complete, appears all-original and is in working condition; the mechanism is a little dull/tarnished hence would benefit from a gentle clean. The dial has overall very light streaky oxidation and the minute hand is a replacement. The bowl and gimbals are complete and are in sound original condition and retains old lacquer finish albeit with wear and oxidation to extremities/edges. The glass has a couple of light surface scratches. The case is in very good condition with the only notable issue being a break across the corner of the rectangular ivory name plate fitted to the front. Other faults are very much limited to very minor bumps and wear and oxidation to the brass fittings.Timepiece has a replacement typsy winding key but no case key. Condition Report Disclaimer
Lot 65
AN AMERICAN SHIPS BRASS BULKHEAD ROLL OR SWAY TILT GAUGEMOELLER INSTRUMENT COMPANY, RICHMOND HILL, NEW YORK, FIRST HALF OF THE 20th CENTURYWith internal pendulum connected to a black arrow-shaped pointed reading against a downward curved arc to the 8.5 inch circular silvered register calibrated in degrees and labelled in tens 70-0-70, with twin brass opposing maximum angle recording arms and inscribed MOELLER INST. CO, RICHMOND HILL, N.Y. MADE IN U.S.A, over SERIAL NO., 442665 to lower margin, set behind generous glazed bezel attached to the heavy cast brass cylindrical case incorporating locking screw to lower edge and drilled flange for wall mounting at the rear; with a ship's brass aneroid bulkhead barometer, Lufft, Stuttgart, mid 20th century, with 6 inch circular white painted scale annotated in Millibars and Millimetres hg and inscribed compens, Observer, Rotterdam, Lufft to centre, with blued steel arrow pointer set behind fixed glass incorporating a brass recording hand, in cylindrical bulkhead case incorporating drilled flange for wall mounting at the rear, (2).The tilt gauge 26cm (10.25ins) diameter, 6.5cm (2.5ins) deep; the barometer 22cm (8.75ins) diameter, 6.5cm (2.5ins) deep. The Moeller Instrument Company was established in Richmond Hill, Queens, New York by Peter Moeller in the 1920's; he died at Jamaica Hospital (Queens) in 1967 aged 75.
Lot 60
A GEORGE II/III EIGHT-DAY LONGCASE CLOCK MOVEMENT AND DIALTHE ARCH WITH A SIGNTURE BOSS ENGRAVED FOR THOMAS PEIRCE, BRISTOL, MID 18th CENTURYThe five pillar rack and bell striking movement with anchor escapement for regulation by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and herringbone border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll-pierced blued-steel hands and twin bird and urn cast spandrels to angles, the arch centred with a silvered boss engraved Thomas, Peirce, Bristol within a concentric foliate band and moulded brass bezel flanked by dolphin and foliate scroll cast mounts, (no lines or pulleys).43cm (17ins) high, 30.5cm (12ins) wide excluding the loose seatboard, 15cm (6ins) deep including crutch. Thomas Pierce is recorded in Moore, A.J. CLOCKMAKERS OF BRISTOL 1650-1900 as the second clockmaker with this name who worked in Bristol 1732-93. He was apprenticed to Joseph Smith in 1732 and first worked from 48 Wine Street 1739-45 and then 57 Corn Street from 1761. The arch of the dial of the present lot shows evidence of originally been designed with apertures for a 'rocking-eye' automaton; these are now mostly filled and concealed behind the signature boss signed for Thomas Pierce. Whether this was executed as a 'rethink' by Pierce at the time of making, or a modification undertaken at a later date, is not known.
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