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Lot 144
A PAIR OF ROYAL WORCESTER GLOBULAR POT POURRI VASES, COVERS AND INNER COVERS, 1919 the vases painted by Jas Stinton, one signed, with Highland cattle, 18cm h, printed mark, date code and G293 ++First vase - chip on one of the three feet Second vase - descending hairline crack, one of the covers broken and restuck with old glue residue and small losses, the other cover with damage to flange not visible when in position, both inner covers in fine condition. No part with any recent or professional restoration
Lot 503
AN OLD SHEFFIELD PLATE SUGAR BOX AND COVER AND A TEA CADDY, BOTH BY TUDOR & CO, C1765 AND C1780 AND A CONTEMPORARY SERPENTINE TEA CADDY the last flat chased with swags, the divided interior with lock, 10-14cm h Illustrated: Crosskey (G), Old Sheffield Plate, second edition, 2013, figs 46, 270B and 274. The sugar box, at first sight a bombé tea caddy, its use for sugar is confirmed by having been double plated, ie on the inside as well as the exterior. ++Good original condition with slight wear
Lot 519
TWO OLD SHEFFIELD PLATE ARGYLLS, C1768-70, 9.5 and 16.5cm h, larger example marked on base, the mark struck four times Illustrated: Crosskey (G), Old Sheffield Plate, second edition, 2013, fig 138A and B. Silver Argylls first appeared in the mid 1750s. The lidded Argyll is a rare example of the earliest type to be found in Sheffield Plate. ++Both in good condition with attractive light wear rather more on the lid and handle of the earlier item. The second argyle engraved with contemporary initials with attractive light wear
Lot 656
MYLES BIRKET FOSTER, RWS (1825-1899) THE LOVE LETTER signed with monogram, watercolour, 22 x 17.5cm Foster first visited Venice in the company of Frederick Walker, ARA, OWS (1840-1875) in 1868. The city was to be a constant source of inspiration and some of Foster's most notable achievements in the medium are views of Venice. The industrialist and politician Charles Seely who hosted Garibaldi at his home in Prince's Gate, Hyde Park, in the 1870s commissioned 50 views of Venice from Birket Foster for the not inconsiderable fee of£5,000. ++A superbly preserved and very fine example of a work by Birket Foster in early 20th century gilt mount and frame with on the backboard the label of McConnell-Mason & Son, c1930. In the present private ownership for very many years
Lot 723
STUDIO OF JAN WYCK EQUESTRIAN PORTRAIT OF WILLIAM III AT THE BATTLE OF THE BOYNE oil on canvas, 59 x 55cm Provenance: Acquired by the Knox family in the mid 19th c; thence by descent to the present vendor. On the reverse are two old handwritten labels one inscribed "This picture of King William at the Battle of the Boyne was bought by me (at a good round price) at the sale of S W Knox pictures 28 April 1865 for the express purpose of giving it to his young nephew Mr Robert Kyle Knox and which I now hereby do [to hang] in his house in Coleraine where it formerly was before his marriage as a wedding present or on my death as a remembrance which ever may happen first... signed Wm Knox... 9 May 1865." The second label reads "This picture comes from the collection of Lord Ashbrook and was presented by him to his daughter the Honbl Susanna Sophia Campbell of Portstewart Castle... That lady presented it to Samuel Wright... of Coleraine in 1848. She stated that it had been in possession of her father and family from the date at which it was painted - that King William sat for the portrait & that the painting is by Kneller [signed] R Kyle Knox." ++Lined in the 19th c, cleaned in the relatively recent past with some old localised overpainting but in reasonably good condition, some pigments dark in certain passages, in 19th c giltwood and composition frame.
Lot 811
ELMES (JAMES) METROPOLITAN IMPROVEMENTS OR LONDON IN THE NINETEENTH CENTURY DISPLAYED IN A SERIES OF ENGRAVINGS....BY MR THOS H SHEPHERD two copies, plates, two views to a page and vignette to title, recent half calf gilt, 1827 § Black & Armstrong, Publishers, Eighty Picturesque Views on the Thames and Medway Engraved on Steel by the First Artists, wanting spine, c1820 § John Woods, The History of London Illustrated by Views in London and Westminster Engraved by John Woods from Original Drawings by Shepherd [et al] 1838 § Thomas H Shepherd London and Its Environs in the Nineteenth Century Illustrated by a Series of Views from Original Drawings by Thomas H Shepherd, 1831 § London Interiors A Grand National Exhibition of The Religious Regal and Civic Solemnities..... of The British Capital Beautifully engraved on Steel, two vols in one, 1841 (6)
Lot 853
LOVER (SAMUEL) LEGENDS AND STORIES OF IRELAND first series, fourth edition and second series, wood engraved vignettes, one with autograph letter signed pasted to the ffe, the first signed by W A Cadbury, green cloth, spineS gilt, one detached, 1837 § Charles Lever St Patrick's Eve, signed by W A Cadbury, 1845 (3) ++++
Lot 860
BOATE (GERARD) AND SAMUEL HARTLIB IRELANDS NATURALL HISTORY first edition, 16mo, bookplate of W H Mullens, calf, boards detached, errata leaf wanting upper right hand corner, apparently collated for Bernard Quaritch and with his catalogue number 12869 on the endpaper, one or two pages shaved at top, 1652 The first published regional natural history in the English language. ++++
Lot 890
WORLD WAR TWO MM GROUP OF FIVE Military Medal, 1939-1945 Star, Italy Star, Defence Medal and War Medal with 'mention' emblem 6200187 SJT A E MORTON [MORETON] MIDD'X R mounted court style with Mention, Record Office form (addressed Camden Town) two photographs and cap badges MM: London Gazette, 13 December 1945. Sergeant Albert Edward Moreton of the 1st Bn Princess Louise's Kensington Regiment was awarded the Military Medal for "Consistent courage and steadfastness throughout the Italian campaign." As an instance, the recommendation for the MM recites "On night 16/17 April 45 on the way up to position to support the attack on ARGENTA, two of the platoon's vehicles were held up by very heavy shell and mortar fire 500 yds short of the position. Sgt. Moreton received an alternative route on foot for the drivers and crews and despatched them to the mortar position and then himself drove the first veh[icle] through the fire on to the position and then returned on foot and drove in the second veh. All mortars were thus in action on time. Throughout the night, the position was engaged by enemy guns and mortars, but Sgt. Moreton retained complete control of the situation and excellent supporting fire was given. This N.C.O. has always been in the thick of the fighting, encouraging his men, supervising the fire and showing a consistency of courage, leadership and devotion to duty which is beyond praise."
Lot 893
FAMILY GROUPS Queen's South Africa Medal, 1914 Star with 5th Aug -22nd Nov 1914 clasp and silver rosette, British War Medal, Victory Medal, War Medal and Africa Service Medal, ORDLY L WHITWORTH ST JOHN AMB BDE on first 19761 PTE L WHITWORTH RAMC on 1914 Star, [134870 CPL L WHITWORTH RAF on pair, 295680 L WHITWORTH on two last] and 1939-1945 Star, Africa Star, Italy Star, Defence Medal and Africa Service Medal, 228074 L WHITWORTH
Lot 11
A collection of first period Worcester blue and white wares, two pairs of cress dishes each printed with the pine cone pattern enclosed by five sprays of flowers on the lobed and barbed edged rims, crescent marks, 23cm (9 in) and 19.5cm (7.75 in) diameter, a butter tub and cover printed with the zigzag fence pattern, crescent mark, 10cm (4 in) diameter, together with three pine cone pattern plates, the pair, open crescent marks, 18cm (7 in) diameter, the larger plate, crescent mark, 21.5cm (8.5 in) diameter (9) (D) Provenance: The collection of Sir John Nicholson Barran Bt, formerly of Sawley Hall, North Yorkshire, a renowned collector of First Period Worcester and thence by descent The lug handles have been chipped off the butter tub and are lacking. Its floral cover finial has been chipped. Both the pair of plates are cracked but the larger one and the cress dishes are Ok
Lot 158
A contemporary diamond ring and a blue spinel ring by a similar hand, the first of bow tie form set with a line of four round brilliant diamonds down the centre to tapered shoulders and a plain shank of yellow precious metal, stamped '0750' for 18ct gold, also with distinctive, but not recognised, maker's mark monogram, size O; the other ring set with an emerald cut mid-blue spinel (possibly synthetic), to a modern curvi-linear gallery and shoulders, tapered shank stamped '0750' and with maker's mark (not recognised), size O (2)
Lot 235
A French first standard silver Laitière, by Sixte-Simon Rion, Paris 1819-38, (also with Association of Goldsmiths and Silversmiths mark) of slightly tapering plain form with short embossed spout and replacement turned wooden handle, 8.5cm high, 3.4oz Some body bruises, clear marks including gross guarantee mark, maker's mark, and fineness mark. Wooden handle is a replacement, no cover.
Lot 242
Five late 17th century Norwegian silver spoons, two with rounded fig shaped bowls, variously scroll engraved, the foliate and wriggle decorated stems each with a knop shaped as two cherub heads topped with a finial, the back of one clearly inscribed 'STIS', 17.25 & 16.5cm respectively, another similar smaller example inscribed LHS below the heel, 15cm; another possibly earlier spoon with heavy cast figural stem, the back engraved with the figure of a partially draped man, his foot resting on a lobster, a crescent in his right hand, legend (illegible) engraved around, 13.75cm and another early apostle spoon with hollow stem, probably St James The More, the fig shaped bowl engraved on the back with stylised tulips, 16.5cm (5) The first three in reasonably good condition, intact with no discernablr breaks or repairs, the fourth very worn, inscription virtually illegible, the bowl of the fifth split and worn, split to drop
Lot 326
An Edwardian silver cheroot case, by S Blanckensee & Sons, Chester 1909, of plain rectangular outline, the top section of the box with ancillary compartment, the main case with hinged cover revealing a divided compartment, monogrammed, 10cm, 4.39oz together with an Edwardian lady's silver evening purse by Colen Hewer Cheshire, Chester 1907, modelled as an envelope, the fold released by a sprung thumb latch set with a cabochon sapphire, with leather and silk interior lining, suspension chain with thumb ring, initialled, 9.25cm, 3.14oz (7.54oz gross) Slight strains to the hinges of the first, suspension chain with broken ring to the purse, otherwise in good condition
Lot 38
Three Victorian brooches set with banded and other agates, the first in the form of a fouled anchor with six shaped panels of different agates, the second in the form of an arrow whose octagonal shaft is of sardonyx, the third with twin octagonal bars of banded cornelian agate with fleur-de-lys and daisy flower mount, all with bright cut decoration to the white metal mounts; lengths 7.5, 7.1 and 5.7cm (3)
Lot 391
Jessie Macgregor (British, 1847-1919) Lych gate and garden of the Wesley School in summer, August 1906 both signed lower left "Jessie Macgregor" watercolour, 17 x 23cm and 22 x 28cm (2) Jessie Macgregor (1847–1919) was a British painter. She first studied art at the drawing academy in Liverpool run by her grandfather Andrew Hunt. Her parents went to live in London and she began to study painting there, becoming a pupil at the Royal Academy Schools where her teachers were Lord Leighton, Philip Hermogenes Calderon, RA (1833-1898), and John Pettie, RA (1839-1893) Jessie Macgregor won a Gold Medal at the Royal Academy for history painting in 1887 - the second woman to do so after Louisa Starr's Gold Medal in 1867 and the last woman to do so until 1909. Jessie Macgregor exhibited paintings at the Chicago World Exposition in 1893, and her painting "In the Reign of Terror" was included in the 1905 book "Women Painters of the World". Colours are good.
Lot 42
Three patriotic Scottish hardstone brooches, the first a Mary brooch, with entwined double M monogram, a thistle and fleur-de-lys within scrolls all set with various coloured agates, beneath a thistle-topped crown set with cabochon transparent red pastes, 5.1 x 7.6cm; the second of annular form overlaid with a saltire and crown inlaid with red jasper and bloodstone bands, and three small gemstones, bright cut decoration including celtic knots, 4cm diameter; the third also of saltire and crown design over an oval hoop with features at the cardinal points, set with bloodstone, jasper and other red, green and grey agates, bright cut decoration, verso with maker's lozenge mark, 4.9 x 6.2cm (3)
Lot 437
D. Pierre de Clousade (French, 1910-1975) Bords de la Loire signed lower right “P de Clousade” oil on canvas 52 x 63cm (20 x 25in). Provenance: Williams and Son, 2 Grafton Street, London, W1. Pierre de Clousade was born in Paris, 1910, and initially trained as an architect, before attending the Beaux-Arts Academy in Paris. He had his first exhibition at the Paris Salon in 1945, where he received a Silver Award, and this launched his career. He regularly exhibited at the Societe des Beaux Arts and was accepted into the Salon d’Hiver in 1945. His work can be recognized through his use of distinctive cloud formations.
Lot 449
HRH Princess Victoria of Saxe-Coburg-Gotha (British, 1876-1936) A still life of a flowering currant and a Chinese jade dragon-handled vase signed with initials lower right “VM” oil on canvas 40 x 37cm (16 x 14in). HRH Princess Victoria Melita of Saxe-Coburg-Gotha was the daughter of Alfred, Duke of Saxe-Coburg and Gotha and Edinburgh and the Grand Duchess Maria Alexandrovna of Russia - and thus granddaughter of Queen Victoria, as well as of Tsar Alexander II of Russia. She married, due to family pressure, Ernest Louis, Grand Duke of Hesse in 1894, but caused a scandal by divorcing him in 1901 to marry her first love, her maternal first cousin Kirill Vladimirovich, Grand Duke of Russia, in 1905 without the permission of the Tsar. Nicholas II stripped Kirill of his offices and honours and the newlyweds were banished from Russia. They fled to Paris, where they had two daughters before being allowed to return to Russia in 1910, where in 1917 her only son was born but with the fall of the Russian monarchy they all fled to Finland. In 1926, Kirill proclaimed himself Emperor in exile and Victoria supported her husband’s claims. The Princess died in 1936 after suffering a stroke while visiting her daughter Maria in Amorbach, Bavaria, Germany.
Lot 48
A pair of Continental carved coral and 18ct gold earpendants together with a pair of late Victorian earpendants, the first pair each with an oval coral plaque carved with a girl's head in a looped mount suspending a tied ribbon bow then a long coral drop shaped bead, with unidentified maker's and assay marks and further stamped '18k', length 4cm; the Victorian pair of unmarked yellow precious metal, each hook fronted by a bead-edged sphere suspending a bead-edged closed crescent with bright cut decoration enclosing a larger bead-edged harlequin faceted sphere, length 3.5cm (2)
Lot 487
Follower of Sir William Beechey (British, 1753-1839) Portrait of Edward Nightingale, half length, in officer’s uniform and wearing an East India Company belt buckle oil on canvas 74 x 61cm (29 x 24in). The Nightingale Baronetcy, of Newport Pond in the County of Essex, is a title in the Baronetage of England. It was created on 1 September 1628 for Thomas Nightingale, High Sheriff of Essex in 1627. The fourth Baronet was a Director of the Honourable East India Company. On his death in 1722 the family estates devolved on his cousin Robert Gascoyne. The title should have passed to Edward Nightingale, son of Geoffrey Nightingale, younger son of the first Baronet. However, it was not until 1797 that a later descendant, Edward Nightingale, managed to establish the succession and became the tenth Baronet.
Lot 495
William Alford (British, 19th Century) Portrait of the artist’s father, William Powell Frith, RA, aged 73 oil on canvas 24 x 20cm (9 x 8in). William Powell Frith (1819-1909) was a British painter best known for his scenes of Victorian life, one of his most popular being “Derby Day”, painted between 1856-8, which drew huge crowds when it was first exhibited at the Royal Academy in 1858. Frith was a friend of Charles Dickens, whose portrait he painted in 1886. William Alford was one of Frith’s illegitimate children; he had 19 children in total, 12 of which he had with his wife, and seven with his mistress.
Lot 517
The Property of an American Family. D. Lionel Edwards, RI (British, 1878-1966) “Team Spirit” signed lower right “Lionel Edwards ‘61” oil on canvas 46 x 59cm (18 x 23in). Provenance: John Goodman, Team Spirit's owner;The Tryon Gallery, 41-42 Dover Street, London, W1. On Team Spirit’s fifth successive attempt at the Aintree Grand National, he won it in 1964. He may have won by just half a length but he definitely was a worthy winner and his win was made even more special by the fact that it made his half owner and rider, Fulke Walwyn, become one of the elite group to have both ridden and trained a Grand National winner, after previously having saddled two seconds. Sired by Vulgan out of Lady Walewska, Team Spirit was half brother to Foinavon, who himself went on to win the 1967 National at odds of 100-1. Dan Moore, the Irish trainer whose horse Royal Danieli had been beaten by a head in the 1938 National, bought Team Spirit for 250 guineas and he was given to his wife to be used for hunting. Moore then went on to sell Team Spirit for a sizeable profit – just as he did with Freebooter (who had also gone on to win the National in 1950). Team Spirit went on to race over hurdles in 1957 under his new owner, Mrs D.R. Brand and had his first races in England in the 1959-60 season where he won the Mildmay Memorial Chase at Sandown, as well as the four mile Hurst Park National Trial. With these successes behind him, he went straight in as the 9-1 third favourite for his National debut. He proved disappointing as he crashed on landing at the second Becher’s but, on his second attempt the following year he finished the course, coming ninth. Painted for the owner, John Goodman, after his horse won the 1964 Grand National. Team Spirit's jockey was Willie Robinson.
Lot 520
D. Michael Lyne (British, 1912-1989) Hounds moving off to a meet signed lower right “Michael Lyne” oil on canvas 70 x 106cm (27 x 41in). Literature: Illustrated in ‘A Parson’s Son’ by Michael Lyne, pub. by J A Allen & Co, London, 1979, p. 56. Michael Lyne was born in Upton Bishop, Herefordshire and studied at the Cheltenham School of Art. He quickly gathered commissions to paint local hunting scenes and by 1937 held his first exhibition in London. Apart from the war years, he was to hold regular sell-out exhibitions in London - at first with Ackermanns and later with Frost and Reed. A passionate huntsman, Lyne had his own pack of beagles, the United Cotswolds, which he started with a first beagle given to him by Captain ‘Ronnie’ Wallace, then Master of the Eton Beagles and life-long friend. Lyne also rode with the Devon and Somerset Staghounds and after he settled near Fairford, hunted regularly with the Vale of the White Horse. He painted many of the great hunts in the country including the Beaufort, Heythrop and Warwickshire. His sporting interests also encompassed regular stalking trips to Scotland as well as coursing; he bred his own working Salukis and was a Steward of the National Coursing Club. A prolific book illustrator, Lyne was also a regular contributor of illustrations and articles to Country Life and The Field. Between 1964 and 1979 Frost and Reed published many limited edition prints of his paintings. Michael Lyne was one of the leading British sporting artists of the 20th Century and his work stands alongside that of Alfred Munnings and Lionel Edwards, whose influence can be seen in his paintings.
Lot 548
An early 20th century Steiff growler Teddy Bear, with hunch back and button to ear 40cm (16in). Probably the most famous of all teddies, the first Steiff bear was created in 1902 by Richard Steiff working for his aunt’s toy company in Germany. The basic design with jointed arms and legs has been the template for all Steiff bears since then. In 1903, Richard Steiff took his bear to the Leipzig Toy Fair and there was discovered by an American business man who placed an order for 3,000 bears. They have been called “Teddy Bears” since 1906, after President Theodore “Teddy” Roosevelt. The trademark Steiff Button in the ear was introduced in 1908 to identify them from cheap imitations.
Lot 69
Two late Victorian Scottish agate bracelets, the first with three double bar links alternating with three pyramid shaped links all of different coloured, patterned or banded agates, with a shield shaped locket pendant set with four more agates with a glazed panel with woven hair verso; chain links and mounts, some with bright cut decoration, of white precious metal tests for sterling silver, length 21cm; the second with six triple bar carved agates of different colours and patterns and another in a shield locket pendant, verso of locket and mounts with bright cut decoration, of white precious metal tests for sterling silver, length 19cm, lacks clasp (2)
Lot 777
A Coalbrookdale ‘Serpent and Grapes’ pattern cast iron garden seat, grey and white painted, with timber slatts, the ends cast with dog head armrests above entwining serpent supports 77 x 158 x 66cm (30 x 62 x 26in). Literature: A Coalbrookdale ‘Serpent and Grapes’ pattern cast (design no 17597) is number 9 in the Coalbrookdale 1875 Castings catalogue, section 111, page 249. The Coalbrookdale Company was founded in 1709 in the village of Coalbrook. By the 1750s it was the largest iron casting company in the country. From building the world’s first cast iron bridge to pots, pans, drainpipes and of course garden furniture, by the Great Exhibition of 1851 it was employing over 3,000 men and producing 2,000 tons of cast iron a week. In 1849, the company was awarded a gold medal at the Society of Arts for its casting designs. Most of the garden furniture was made between 1850 and 1900. The company produced an extensive range of garden seats and tables which remain very popular today. The 1875 catalogue noted, “The increasing use of iron garden seats has led to the introduction of a number of new designs. For this country wooden seats are generally preferred to iron, and are more suitable, and in most of the newer patterns the staves are fitted in an iron frame, thus forming the entire seat….” The Serpent and Grape design was the second oldest design registered in the Public Record Office in 1844. The 1875 catalogue offered the seat from 3ft to 10ft long and in permutations of painted or bronze finish, oak or iron seat and back.
Lot 115
A Staffordshire pearlware blue and white printed shaped oval tureen A Staffordshire pearlware blue and white printed shaped oval tureen, cover and associated ladle, first quarter 19th century, decorated with baskets issuing flowers, lion mask handles and finial , 36cm in length; and a blue and white saucer-dish , printed with figures before a cottage, 20cm diameter
Lot 151
A German papier mache circular snuff box, circa 1835 A German papier mache circular snuff box, circa 1835, the cover with a hand-coloured of the first railway journey with locomotive and carriages, titled in German, 9cm (3 1/2in) diameter The first railway in Germany opened between Nurenberg and Furth in 1835 with a trip by Der Adler (The Eagle) and a rake of basic passenger carriages over the 17 km.
Lot 256
A satinwood and ebony strung vitrine , first half 20th century A satinwood and ebony strung vitrine , first half 20th century, from the Queen Mary cruise ship, the glazed top section with hinged lid and velvet bottom above square section supports and spade feet joined by x-stretcher and with central brass flambeau with inset ivorine button HAMPTONS PALL MALL LONDON 77cm high, 92cm wide, 46cm deep (provenance Lord Gorelangton, who's shop was opp. Mrs. DeRin)
Lot 767
TWO GEORGE III SAMPLERS the first of rectangular form, with the alphabet and pictorial motifs, signed 'M. Callaster' (?) and dated 1804, 41.5cm high, 19cm wide, framed and under glass; together with another sampler signed by Agnes Barton, dated August 1801, 32cm x 27cm, framed and under glass
Lot 800A
WESTLEY RICHARDS RARE .177 'HIGHEST POSSIBLE' (FIRST MODEL) AIR PISTOLserial no. 769, circa 1910-15, 9in. barrel, air cylinder stamped 'WESTLEY RICHARDS HIGHEST POSSIBLE AIR PISTOL', open heart- shaped frame stamped with the patent number 24837 and date 1907, with leather holster, 25cm long
Lot 814
WORLD WAR II EPHEMERA RELATED TO THE H.M.S. PELORUS including a letter from Commander G. Nelson to the Secretary of Messrs. Lebnitz & Co, Ltd, Renfew, Scotland, dated 11th July 1944, stating 'Please convey to your Directors, Staff and Workpeople the thanks of the Officers and men of "Pelorus" for their congratulations and best wishes as expressed in your letter of the 23rd June 1944... When Admiral Sir Bertram Ramsay's Flagship steamed out to the Spithead, he hoisted in plain language a general signal to all the forces in the assembly 'Good Luck, Drive On.' As Senior Officer of this Flotilla, I thought a reply would be a good idea, and so the reply was made... It is quite true that "Pelorus" lead the invasion and arrived first, and stretching our immodesty a little further we are proud to say that she arrived in exactly the right place dead on time'; together with a letter from Messrs. Lobnitz & Co of Renfew dated 13th November 1941, related to 'the great record of your firm in the steady and successful building of Minesweepers for the Royal Navy, of which you have completed a total of 8 in thirteen months...', with a small collection of seven photographs of maritime interest
Lot 815
MILITARY MEDALS AND EPHEMERA RELATED TO CAPTAIN ALEXANDER BANNATYNE WATSON comprising a First World War service medal and an 'For Efficient Service' (Territorial) medal, 14654557, CPL A.B. WATSON, H.L.I, each with ribbons; together with a 'Certificate of Compentency as Master of a Foreign-Going Ship' by order of the Board of Trade, dated 15th December 1905, a letter from the British India Steam Navigation Company Ltd dated 26th February 1920, Watson's copy of the Holy Bible and his pocket compass, and three photographic prints of ships, one of which is named 'Loch Tay', framed and under glass, 18cm x 27cm Note: The letter from the British India Steam Navigation Company reading 'Certified that Captain Alex B. Watson joined the service of the B.I.S.N. Co. Ltd as a junior officer on 27th April 1900. He served through the various ratings of an Officer until 8th June 1915 when he was appointed a Commander, serving in that grade until 16th February 1920 when he resigned. Captain Watson during his service bore an excellent reputation for sobriety - and for strict attention to the interests of the service he served.'
Lot 100
A fine and rare German Renaissance gilt metal circular horizontal table clock with separate overhead alarm mechanism Hans Gotbub, Strasbourg, circa 1590 The circular gilt brass single fusee movement with four double-baluster turned pillars pinned through the backplate, verge escapement regulated by un-sprung two-arm balance and pinned end cap for the mainspring barrel, the concentric ring engraved backplate stamped *HANS*, *GVOT*, *BVOB* over city stamp for Strasbourg (arranged as a shield surmounted by five stars) and applied with fine symmetrical scroll pierced and engraved balance cock with conforming large foot and decorative mainspring set-up ratchet, the upper surface now fitted with a later circular brass Roman numeral dial with symmetrical foliate scroll engraved centre, cruciform half hour markers and single iron hand, the circumference of the case chased and engraved in relief with continuous scene of a rabbit hunt with two figures and four hounds pursuing a hare through an Arcadian landscape towards a net tied between two trees within cast moulded borders, the underside with ring turned blanking plate, on three later winged cherub feet, the top fitted with separate overhead alarm mechanism made with circular plates united by three rectangular section pillars enclosing a spring and contrate wheel driving the verge for the hammer, housed within a moulded shallow drum-shaped case surmounted by a bell with decorative top washer, the underside with hour hand mechanism release detent set between the three down curved supports engaging with the upper rim of the clock beneath, (restoration to the movement), diameter of clock 9.5cm (3.75ins); 15cm (6ins) high overall. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Christie's, London, 5th July 2002 (lot 2). Literature: Maurice, Dr. Klaus Die deutsche Raderuhr, figure 509. A related hour-striking clock with automaton figure by 'Hans Gutbub' complete with a similar relief decorated frieze depicting a hunting scene and winged cherub mask feet is illustrated in Tait, Hugh Clocks and Watches, BRITISH MUSEUM 0n page 34 (figure 39). The general form and layout of the current lot has its roots in the earliest portable spring driven 'tambour' timepieces such as those made by Peter Henlein of Nuremburg (1485-1542). The fitment of the alarm mechanism as a separate assembly above the dial (so that it can activated by the hour hand) appears to be a system preferred by German makers for their alarm timepieces although early French examples of the Blois school also often used this system (see Cardinal, Catherine and Vingtain, Dominique TRESORS d'HORLOGERIE page 60 figure 54 for a similar example by Nicholas Plantart of Abbeville from the collection of Musee International d'horologerie at La Chaux-de-Fonds, Switzerland). Latterly, for hour-striking clocks, French makers tended to incorporate the bell within a pierced dome above the movement surmounted by the dial whilst German makers preferred to house it in the base. The change from iron to brass as the principal material employed in the construction of clock movements appeared to first occur in France, with movements dating as early as 1550 being entirely made of this material. In Germany makers seem to continue to use iron for wheelwork and movement frames (particularly for the larger clocks) for longer - up until the last quarter of the 16th century. Brass was then slowly introduced, firstly for spring barrel walls, fusee's and movement plates; with the wheelwork and movement frame posts completing the transition by around 1600. The reason why the French adopted brass earlier than German makers was probably simply due to the fact that it was more accessible to them - with the principal European foundries at this time being located mainly in the Burgundian territories of the Low Countries (particularly around Dinas in modern-day Belgium). Germany on the other hand were leaders in the production of high quality iron (although they were also significant producers of copper and brass) which, combined with the strong traditions of the guild systems in centres such as Augsburg and Nuremburg, resulted in the transition to brass taking longer. The current lot being made in Strasbourg naturally demonstrates both German and French influence in its construction and detailing. The predominant use of brass for the movement (rather than a combination of steel wheelwork and movement posts with brass fusee and spring barrel walls) is typically French (as is the ring-turned decoration to the movement backplate); whilst the relief chased and engraved hunting scene to the exterior is distinctly Germanic in its design and execution. Indeed the highly decorative nature of exterior is reminiscent of that seen on the exceptional clocks from the 'Orpheus' series; these incorporate relief panels decorated with Orpheus in the Underworld after engravings by Virgil Solis (see Coole, P.G. and Neumann, E. THE ORPHEUS CLOCKS Hutchinson, London 1972).
Lot 101
A very rare French Renaissance gilt brass circular horizontal tambour timepiece B. Bouchas, Valence, dated 1558 The circular gilt brass movement with three slender square section Classical column pillars pinned through the backplate, slender fusee and verge escapement regulated by un-sprung two-arm steel balance, the backplate applied with a simple two-piece balance cock and a pair of latches with yoke-shaped interconnecting spring for securing into the case, the dial with recessed wavy sunburst engraved centre and sculpted gilt brass hand within Roman numeral chapter ring with half-hour markers and touch pieces to inner edge, the moulded bezel engraved with fine scrolling foliage forming the upper surface of the fine architectural flange mouldings of the drum-shaped case, the lower edge with conforming foliate scroll chased mouldings integral to the friction-fitting base cap drilled for a winding hole and engraved with a scroll cartouche containing inscription A. BOUCHAS, A. VALANCE, 1558, diameter 7.2cm (3.75ins) approx. The general form and layout of the movement of current lot has its roots in the earliest German portable spring driven 'tambour' timepieces with the earliest documented example signed by Peter Henlein of Nuremburg and dated 1510 (residing in the collection of the Germanisches Nationalmuseum, Nuremburg). Such movements are naturally inherently simple in their construction and lack decorative detailing. The current lot shares this simplicity as well as other features such as the particularly 'skinny' fusee cone and simple un-sprung balance retained by a small undecorated cock. The movement is also fitted into the case in the same manner as the early German models by sliding it in from beneath (ensuring runners applied to the inside of the case align with slots cut to the edges of the movement plates) before securing via the sprung latches fitted to the backplate (engaging with slots cut into the runners). The current movement however has one very significant difference when compared with its early/contemporary German counterparts: it is predominantly worked from brass rather than being of more typical iron construction. The change from iron to brass (as the principal material employed in the construction of clock movements) appeared to first occur in France, with movements dating as early as the current lot being entirely made of this material. In Germany makers seem to continue to use iron for wheelwork and movement frames (particularly for the larger clocks) for longer - up until the last quarter of the 16th century. Brass was then slowly introduced, firstly for spring barrel walls, fusee's and movement plates; with the wheelwork and movement frame posts completing the transition by around 1600. The reason why the French adopted brass earlier than German makers was probably simply due to the fact that it was more accessible to them - with the principal European foundries at this time being located mainly in the Burgundian territories of the Low Countries (particularly around Dinas in modern-day Belgium). Germany on the other hand were leaders in the production of high quality iron (although they were also significant producers of copper and brass) which, combined with the strong traditions of the guild systems in centres such as Augsburg and Nuremburg, resulted in the transition to brass taking longer. The current lot can be perhaps be described as one the earliest documented dated examples of a Renaissance tambour timepiece to have a movement made almost entirely from brass - hence is probably of documentary importance for this reason. To place the timepiece in a wider historical context - 1558 witnessed the execution of Mary, Queen of Scots and the subsequent accession of Queen Elizabeth I to the throne (whose Coronation took place on 17th November).
Lot 103
A fine Germanic gilt brass hexagonal horizontal striking table clock Signed for 'Marquick', London, early 18th century The hexagonal twin fusee movement with five double baluster finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and rack hour striking sounding on a bell mounted beneath the movement, the backplate with fine large symmetric foliate scroll pierced balance bridge over silvered regulation disc within extensive conforming applied gilt infill opposing signature Markwick, London, the dial with two floral scroll bordered cartouches engraved Marquick, London to the matted centre within silver champleve Roman numeral chapter ring with lozenge half hour markers and Arabic cartouche five minute numerals to outer track incorporating S/N strike/silent switch at twelve o'clock, the angles of the hexagon engraved with delicate leaf infill, the case with cushion top mouldings above shaped side glasses and leafy mounts to angles over cavetto moulded base fitted with hinged bottom panel incorporating the bell secured by a strap and three later rococo scroll cast and pierced feet, 13.5cm (5.25ins) wide approx.; 12cm (4.75ins) high. The engraved name Marquick on the current lot appears to be a misspelling of Markwick. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. The general form of the current is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance bridge is of a quality that may indicate that the clock was finished in London. This possibility is further supported by the design of the chapter ring which is distinctly 'English' in its detailing. From this it is perhaps appropriate to speculate that the current lot may have been acquired in a partially unfinished state from a central European workshop by Markwick, who then subsequently finished it for retail to a domestic English purchaser. Bearing this possibility in mind it is likely that the misspelling of Markwick's name was deliberate as it would allow him to 'distance' himself a from the clock if need be (as signing of an import as one's own work would have been frowned upon by the Clockmakers' Company).
Lot 104
A fine small George II Anglo-German gilt brass hexagonal horizontal striking table clock with alarm Signed for Cabrier, London, circa 1725 The hexagonal single fusee movement with four knopped and finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and engraved standing barrels for the alarm and rack hour striking mechanisms sounding on the same bell mounted beneath the movement, the backplate with fine asymmetric Ho-Ho bird inhabited foliate scroll pierced balance cock incorporating conforming broad foot beside silvered regulation disc within applied gilt infill opposing signature Cabrier, London, the silver champleve dial with Arabic alarm setting dial to centre and steel beetle and poker hands within a Roman numeral chapter ring with lozenge half hour markers, arcaded minute ring and Arabic lozenge five minute numerals to outer track, the angles of the hexagon engraved with delicate floral scroll and scallop shell infill, the case with serpentine outline ogee top mouldings above scroll-border decorated cartouche side glasses and grotesque male mask mounts to angles over conforming ogee moulded shaped base fitted with hinged bottom panel incorporating the bell secured by a four-legged strap, pendant finials and three fine baroque 'C' scroll feet, (unrestored with one bent foot and two damaged side glasses) 9.5cm (3.75ins) wide; 8.2cm (3.25ins) high. Charles Cabrier senior was probably a Huguenot immigrant who is recorded in Loomes Brian CLOCKMAKERS OF BRITAIN 1286-1700 as admitted by redemption into the Clockmakers' Company in 1697/8. He is thought to have worked in Lombard Street and had a son of the same name who was apprenticed to him in 1717. Charles junior gained his freedom of the Clockmakers Company in 1726 and possibly worked with his father until the latter's death in around 1736. He served as Warden of the Clockmakers' Company in 1750 and was appointed Master in 1759. Records suggest that Charles junior worked ¾hind the Royal Exchange' and had a son who he also named Charles who was made free of the Clockmakers' Company by patrimony in 1756 and is believed to have worked until his death in 1777. The Cabrier dynasty were fine makers who supplied clocks for various export markets including Russia and France. Perhaps their most famous surviving work is a magnificent pair of ormolu mounted japanned musical automaton table clocks reputedly made for the King of Nepal in around 1770 (illustrated in Barder, Richard, The Georgian Bracket Clock 1714-1830 page 161, colour plate 27). The general form of the current lot together with the use of standing barrels to drive both the alarm and hour-strike mechanisms is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance cock coupled with the script of the signature would indicate that the clock was either made or finished in London. This possibility is further supported by other details such as dial winding (rather than from beneath) and the use of distinctly English ¾etle and poker' hands. From this it is perhaps appropriate to speculate that the current lot may have been acquired in an unfinished state from a central European workshop by Cabrier, who then subsequently finished it for retail to a domestic English purchaser. Other similar horizontal table clocks signed by English makers are known including another inscribed by Cabrier that was sold at Christies THE ALBERT ODMARK COLLECTION OF IMPORTANT CLOCKS AND WATCHES 11th March 2005 (lot 424). A small series of related clocks signed either Kriedel or Ledeirk, London also survive; these were almost certainly supplied directly from Germany for retail in the English market by the German clockmaker Johann Gottfried Kriedel who worked in Bautzen during the first half of the 18th century. Given the apparent ready demand for such small portable table clocks it is surprising that English makers did not look to directly fill this gap with their own models. Perhaps demand was not deemed sufficient to warrant the need to compete with such imports or maybe English makers felt that coach clocks or small lantern alarm timepieces more than adequately satisfied this corner of the domestic market.
Lot 106
A fine William III gilt brass verge pocket watch movement with 'pendulum' balance John Shaw, Holborn, circa 1700 The gilt full plate single fusee verge movement with four fine tulip pillars pinned through the backplate and scroll-pierced stop-iron block, the balance cock with herringbone bordered rim and semi-circular segment cut away to reveal oscillating balance incorporating disc 'pendulum bob', the covered section engraved with text To increase ye figure makes, it go faster to decreas, it slower within scroll borders and with adjacent female mask decoration at the junction with the conforming pierced broad foot flanked by steel regulation square opposing signature IOHN SHAW, HOLBORN, (lacking dial), the pillar plate 39mm (1.5ins) diameter. John Shaw is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1661, apprenticed in June 1675 first to William Herbert before passing to Thomas Taylor of Holborn (in September 1675) and gaining his freedom of the Clockmakers' Company in 1682. By 1692 John Shaw was working in the parish of St. Andrews, Holborn; he was made an Assistant of the Clockmakers' Company in 1705, served as Warden from 1709 and was Master in 1712. He is believed to have died in around 1718. The current lot is an interesting variant which appears to have first been devised in Holland shortly after the introduction of the pendulum - with the visible 'pendulum' balance probably serving to give the impression of improved accuracy. A similar movement by Shaw is illustrated in Camerer Cuss, T.P. The Country Life Book of WATCHES page 43 (fig. 42.).
Lot 115
A George II gilt brass verge pocket watch movement with cylinder escapement Delander, London, second quarter of the 18th century The gilt full plate single fusee verge movement with four square baluster pillars pinned through the backplate, cylinder escapement, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the backplate with fine symmetrical foliate scroll pierced balance cock with diamond endstone and decorated with a female mask at the junction with the with the conforming engraved foot flanked by silvered regulation disc within adjacent applied gilt engraved infill opposing signature Delander, London and serial number 1365 , with original dust cover engraved with repeat signature and serial number and now fitted with a convex white enamel Arabic numeral dial fitted with gold spade hands, the pillar plate 35mm (1.375ins) diameter. The current lot can be stylistically dated to around 1730 hence could have been made by either Daniel Delander or his son Nathaniel. Daniel Delander is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1678 and apprenticed to Charles Halstead before being transferred to Thomas Tompion and gaining his Freedom of the Clockmakers' Company in 1699. He initially worked as 'servant' to Thomas Tompion from Devereux Court and later (after Tompion's death in 1713) from 'within Temple Bar', Fleet Street. He was a fine maker whose work was clearly influenced by his master but is perhaps best known for his series of particularly fine duplex escapement longcase clocks as well as long duration clocks often with refinements such as equation of time. Daniel Delander died in 1733 and was succeeded by his son Nathaniel who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1725, he was appointed Master in 1747 and died in 1762. The cylinder escapement was developed in around 1695 by Thomas Tompion and further refined by George Graham in 1726. This new escapement was perhaps the first developed exclusively for watch work and, as well as being a better rate keeper, the cylinder escapement also allowed movements to be made more compact (due to the escapement operating in one plane only). However, being a form of frictional rest escapement, the cylinder escapement was prone to relatively heavy rates of wear hence was less reliable than the verge (until hardened steel escape wheels and ruby cylinders were developed later in the 18th century).
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