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Lot 329
SPECIAL EVENT COVERS - First Air Mail covers: 1934 Kirkwall - Inverness, First Air Mail covers: 1934 Kirkwall - Inverness, 1935 London - Isle of Man, 1936 London - Hong Kong & England - Scandinavia, also 1932 London Air Mail letter to Limassol. Typed or handwritten addresses, fine (5 covers)
Lot 330
SPECIAL EVENT COVERS - First Flight covers 1933 Plymouth - Southampton, First Flight covers 1933 Plymouth - Southampton, Plymouth - London & 1934 Belfast - Liverpool, 1932 George Washington Bicentennial special cover & 1934 APEX Air Post Exhibition London card with special H/S + cachet. Typed or handwritten addresses, fine (5 items)
Lot 331
SPECIAL EVENT COVERS - Imperial Airways First Flight covers: 1931 London Imperial Airways First Flight covers: 1931 London - Bulawayo, England - Africa, 1932 England - South Africa, 1933 London - Rangoon & London - Singapore, also 1931 "First Experimental Airmail to Australia". Typed addresses (except Rangoon), fine (6 covers)
Lot 5
Anthony Robert Klitz (1917-2000), River view, signed, copyright stamp dated 1972 on verso, oil on canvas, 65.5 x 90.5cm.; 25.75 x 35.75in. * Born in Southport Anthony Robert Klitz studied painting at the Cheltenham Art School from 1936-1939 whilst simultaneously training to be an architect. After serving during WWII he continued his studies in both art and architecture firstly in London and later in France and Italy. His first Dublin exhibition was held at the Charles Webb Gallery in 1979. The following year he showed with the Cork Arts Society. He eventually settled in Ireland and held many successful shows with the Davis Gallery Dublin.
Lot 332
A Regency mahogany bowfront serving table, circa 1815, in the manner of Gillows, 95cm high, 137cm wide, 53cm deep. The overall quality and characteristic design of this serving table strongly suggests a significant maker.The reeding of the legs would suggest Gillows as a possible maker, however the bold outline, lion paw feet and distinctive carving may suggest the designs of George Smith, Thomas Hope or a contemporary. For an illustration of a related design by George Smith dated 1808 see page 427, Pictorial Dictionary of British 19th Century Furniture Design, Antique Collectors Club, first published 1977. The overall quality and characteristic design of this serving table strongly suggests a significant maker. The reeding of the legs would suggest Gillows as a possible maker, however the bold outline, lion paw feet and distinctive carving may suggest the designs of George Smith, Thomas Hope or a contemporary.For an illustration of a related design by George Smith dated 1808 see page 427, Pictorial Dictionary of British 19th Century Furniture Design, Antique Collectors Club, first published 1977.
Lot 319
CHARLES DICKENS, Our Mutual Friend, two volumes, Chapman and Hall, 1865, first edition, half leather over ribbed cloth with some foxing, "The Pickwick Papers", Chapman and Hall, 1837, pp.1-609 in one volume, first edition, later issue, heavy foxing and paper damage to final pages, "Master Humprhey`s Clock", Chapman and Hall, 1840-1841, two volumes, black morocco with marbled edges, some wear to binding (5)
Lot 21
A William and Mary style olivewood cistern tube stick barometer in the manner of John Patrick. Unsigned, circa 1695 and later. The superstructure with arched pediment, brass ball finials and swollen frieze above fretwork upright flanked by ebonised twist turned columns, the later silvered herringbone border and foliate engraved two-part break-arch scale with brass setting pointer above replaced exposed bulb-cistern tube flanked by cross-grain veneers and ebonised caddy moulded edge above fretwork flared side panels and later half-round ring-turned cistern cover with ogee moulded underside, (restorations and replacements) 120cm high. The decorative ‘hood’ superstructure which incorporates spiral twist columns emulates the design of longcase clock from the end of the 17th century and bears similarities to examples depicted in John Patrick’s advertisement of circa 1710 reproduced in Goodison, Nicholas English BAROMETERS 1680-1860 page 48. Although this configuration appeared to be popular well into the first two decades of the 18th century, Edwin Banfield suggests (BAROMETERS Stick or Cistern Tube page 18) that the use of fretwork in the case indicates a date prior to 1700.
Lot 24
Horological reference works- two first editions: Britten, F.J. Former Clock & Watchmakers and their Work E. & F.N. Spon, London, 1st edition 1894; Britten, F.J. THE WATCH AND CLOCKMAKERS’ HANDBOOK, DICTIONARY AND GUIDE W. Kent & Co., London, 1st edition 1884; with four hardbound volumes of ANTIQUARIAN HOROLOGY comprising; Vol I December 1953 to September 1956 (reprinted March 1977), Vol II December 1956 to September 1959 (reprinted October 1978), Vol III December 1959 to September 1962 (reprinted May 1979) and Vol IV December 1962 to September 1965 (reprinted May 1980), (6).
Lot 41
Two early verge pocket watch movements. Mansell Bennett, London and J. Jolly, Paris, both late 17th century. The first with elaborate gallery pierced Egyptian pillars, fine mask and scroll engraved pendulum cock and signed Mansell Bennett to backplate, the second with Egyptian pillars, fine strapwork scroll-pierced balance bridge, regulation dial and signed I. IOLLY, A PARIS to backplate, with a rectangular verge timepiece movement with scroll-pierced balance cock and signed J. Bowen, LONDON to backplate (all lacking uder dial work and dials), (3).
Lot 42
A rare Dutch gold oval ‘Puritan’ watch with calendar. Jan Jansse Boekels the younger, The Hague, circa 1635. The gilt single fusee verge movement with four pierced Egyptian pillars, four-wheel train and later solid escapewheel, the backplate with elaborate foliate pieced balance and ratchet spring set up cocks and signed Jan Jans’ Boekels, Hage, the gold Roman numeral dial with stylised T-shaped half hour markers, inner quarter hour track, calendar aperture at XII o’clock and original shaped steel hand, the solid gold two-piece case with oval dial aperture (glass lacking) and turned post for the suspension loop, the rear with winding hole (lacking shutter), the case 3cm high (excluding suspension loop and post), 2.5cm wide. John Leopold gives an interesting but brief account of the life and work of Jan Jansse Boekels in his article Clockmaking in Britain and the Netherlands (published in NOTES & RECORDS of THE ROYAL SOCIETY, London 1989 page156);- ÒThe earliest certain instance of a Dutch-trained maker going to London dates from around 1626. It concerns one Jacob Cornelisse van Casbeeck, born ca. 1601, who had since about 1621 been an apprentice of the Haarlem maker Jan Jansse II Boekels. This van Casbeeck appears to have had an affair with his master’s wife Saertgen Adriaens, and in 1625 a disreputable fight brought loose, in which the wife accused Boekels of all sorts of behaviour (including incest) and managed to get him imprisoned. Boekels was able to clear himself, but no doubt a lot of damage had been done to his reputation and so he went to live in The Hague, thus becoming the first watchmaker to work there. The wife finelly ran off with van Casbeeck to London, where they lived as man and wife and as such had a daughter baptised in 1628. This fact enabled Boekels to get a divorce in 1632; he died circa 1650. This sordid story would be unimportant but for the fact that Boekels was the foremost watchmaker of Haarlem, if not the country, he seems to have been the first to produce small, oval watches of a simple rounded shape commonly known as puritan-watches. One such watch made by Boekels while still in Haarlem, and therefore dating before 1626, survives..Ó This watch can be compared to a related example described by Thompson, David JAN JANSSEN BOCKELTS THE YOUNGER ‘PURITAN’ STYLE VERGE WATCH WITH CENTRE SECONDS, HAARLEM, c. 1630, ‘‘ANTIQUARIAN HOROLOGY’ Vol XXIX, December 2006 pages 827-30.
Lot 57
A fine lacquered brass ‘Concorde’ skeleton timepiece with Harrison’s grasshopper escapement. Fred Whitlock for Dent, London, 1970’s. The substantial five-pillar A-shaped pierced plates with compound ‘dumb bell’ pendulum, grasshopper escapement and large escapewheel with Harrison type 20 second spring rementoire driven from a weight with Huygens style endless chain self-wound via an electric winder every seven minutes, the front applied with pierced brass and black-button applied abstract chapter ring, 66cm high, on rectangular mahogany base with glass cover, 75cm high overall. Provenance: Acquired directly from the maker by a family member of the vendor.. This skeleton timepiece was conceived and constructed by Fred Whitlock for retail by Dent and is based on a design by Martin Burgess. Approximately 25 examples were constructed during the 1970’s with a further batch of around 10 produced from unused parts discovered in around 2000. The grasshopper escapement was developed by John Harrison in the early 1720’s, first used in his precision longcases and turret clocks it was later employed in his marine timekeepers H1-3. The spring rementoire (a device enabling power to be isolated and delivered to the escapewheel alone thus alleviating error caused by varying friction in the wheel train) was developed by Harrison in the 1730’s whilst refining the design of H2. In essence this clock serves to demonstrate the escapement action and rementoire design employed in Harrison’s marine timekeeper H2.
Lot 85
A William III eight-day longcase clock movement and dial. John Webster, London, circa 1700. The four (formerly five) finned pillar movement with internal countwheel bell strike and 12 inch square gilt brass dial with herringbone engraved calendar aperture, ringed winding holes and subsidiary seconds ring to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to the narrow outer track, stylised sword-hilt half hour markers and signed John Webster, London to lower edge, the angles applied with gilt mask and scroll cast spandrels with foliate engraved infill between. Two clockmakers with the name John Webster are recorded working at the end of the 17th century, the first was apprenticed to Thomas Tompion in 1676 but apparently not made Free of the Clockmakers Company, the second was apprenticed to Henry Merryman in 1686, Freed 1695 and was known to be working into the early 18th century. The current lot has survived in good original condition retaining its original gilt finish to the dial plate and escapewheel, the only significant fault being the removal of the fifth pillar.
Lot 96
A George III mahogany table clock. Samuel Norton, London, circa 1770. The five-pillar twin fusee bell-striking movement with verge escapement and delicate pagoda and foliate-scroll engraved backplate, the 7 inch square single-sheet silvered Roman numeral dial (viewed through a brass-bezel lined 6.5 inch circular aperture to the front door) with calendar aperture, blued steel hands and signed Sam. Norton, LONDON to a shaped recessed plate to centre, with Arabic five minutes and Strike/Silent switch at 12 o’clock, the mahogany bell top case with brass carrying handle above circular brass-bezel applied quarter veneered front door and rectangular fish-scale fret side apertures, on mounded base with moulded squab feet, (case distressed) 38cm high excluding handle.Samuel Norton is recorded in Baillie G.H. WATCHMAKERS & CLOCKMAKERS OF THE WORLD as working in London 1773-92. The design of the current lot with the circular aperture in the front door only revealing the central section of the square dial was first introduced by John Ellicott in around 1760.
Lot 102
An Important burr walnut longcase clock of three month duration with pull quarter-repeat on six bells. Simon DeCharmes, London, with movement and dial supplied for the clock by Claude DuChesne, dated 1717. The substantial eight finned-pillar rack and bell striking movement with five-wheel trains, rise/fall pendulum regulation and pull-quarter repeat on six bells, the 24 hour wheel inscribed Claudius Du Chesne Londini, 24th May 1717, the 12 inch gilt brass break-arch dial with calendar aperture, turned collets for the winding holes, pierced steel hands and silvered subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the outer track, the angles with gilt cast mask-and-scroll spandrels, beneath arch with central domed silvered boss boldly signed Simon DeCharmes, London, flanked by subsidiary strike/silent and regulation dials with matted centres and within conforming foliate scroll relief infill, the case of impressive proportions and fine colour, with tall ogee domed caddy applied with three cast brass ball-and-spire finials above blind fret break-fronted box upstand incorporating ogee moulded break-arch frieze with conforming fret infill, the hood door with applied half-round gilt brass dial surround flanked by integral columns with gilt caps and bases, the sides with brass-edged large rectangular windows and dressed with quarter columns backed onto bargeboards to the rear edges, the trunk with book-matched veneers to the concave throat and unusual applied break-arch mouldings above herringbone banded finely figured trunk door, on conforming banded panel plinth base with double skirt, 253cm excluding finials, 271cm high overall. Provenance: The property of a Lady. Claude DuChesne and Simon DeCharmes were both of French Huguenot immigrant extraction. DuChesne originated from Paris and was made Free of the Clockmakers Company in 1693, De Charmes was made a Free brother in 1691. Both specialised in producing very distinctive high quality clocks usually of complex specification, often playing music or with astronomical features, many for export to Northern Europe. When the work of both makers is compared it becomes apparent that they must have had a close working relationship. A good example illustrating the similarities of both makers work, can be seen when comparing two japanned musical table clocks sold at Sotheby’s in 2006/7. The first example, by DuChesne, sold in London on 14/12/06 (lot 66) the second, by DeCharmes, also sold in London, on 25/04/07 (lot 81). Both these clocks are of similar specification and are in near identical cases, only differing slightly in detail. The dial layout of the current lot with two subsidiary dials beneath a central feature (either signature plaque or third dial) appears to have been the favoured format of DuChesne at this period. This coupled with the use of fitted disc collets around the winding holes (also favoured by DuChesne) and the fact that the 24 hour wheel is signed by him confirms that the movement was supplied by DuChesne to DeCharmes for use in this clock, complete with the finished dial to which he had only to add a signed boss. The case on the other hand exhibits details which appear to be unique to DeCharmes, most noticeably the unusual break-arch moulding above the trunk door. This feature (coupled with directly comparable caddy configurations and break-arch detail immediately above the arch of the case) can be seen on two other examples by DeCharmes. The first (now with later marquetry) was sold by Sotheby’s, London on 19/12/00 (lot 335) the second also sold by Sotheby’s in London on 23/03/99 lot 252. The case can also be compared with a marquetry example housing a grande sonnerie movement by Quare (number 145) illustrated in Robinson, Tom The LONGCASE CLOCK pages144-5 which Robinson dates to 1716-18. The brass half-round moulding applied to the front door and side windows of the hood is also a feature often found on examples by Quare. Clocks of three month duration are extremely rare, especially example which also strike the hours due to the enormous power reserve required to operate for a full three months. To tackle this problem Joseph Knibb developed Roman striking, (a coded form of hour notation on two bells one representing the ‘I’ on a dial the other ‘V’) in order to reduce the amount of power required. The current lot however, in addition to striking the full hours for the entire three-month period also has reserve built into the hour train to allow reasonable operation of the pull-quarter repeat over that period. Both . The movement and case are of suitably substantial construction to accommodate the strains and stresses created by the heavy driving weights. The extraordinary specification of the movement coupled with the complex dial layout and impressive proportions of the case suggests that this magnificent clock was made for an extremely wealthy client who wished to express his high status in the most appropriate manner.
Lot 370
A matched pair of Epns Neo Classical style twin handled pedestal tureens, of oval form, the first with reeded leaf finial handle, the body with trailing leaf swags with central cartouche and loop reeded handles upon an oval beaded base, height 25 cm, the second example with urn finial lid above leaf loop handled upon an oval beaded base, height 27 cm, (2).
Lot 697
* James Abbott McNeil Whistler 1834-1903- "Bibi Lalouette" (K.51) 1859. Etching and drypoint, on thin laid paper, fine impression, printed with tone, signed and dated 1859 within the plate, minor defects, scattered foxing, staining etc, 23x15.2cm. Note: In the first state there were two heads in the lower part of the plate. They were removed and Whistler turned the plate upside down.
Lot 748
* Circle of Giambattista Pitton, Venetian, 1687-1767- Saint Peter With the keys to the Kingdom of Heaven, surrounded by cherubs; and beckoning disciples; oil on canvas, 34x32cm., (unframed) Note: St Peter, features prominently in the New Testaments and the Acts of the Apostles, according to Biblical accounts, he was one of Twelve Apostles chosen by Jesus from his first disciples. He was a Galilean fisherman assigned a leadership role by Jesus (Matthew 16:18), and was with Jesus during events witnessed by only a few apostles, such as the Transfiguration. Early Christian writers provided more details about his life. Roman Catholic tradition states that he was the first Pope (from 30 AD to 64 AD), the author of two canonical epistles and a martyr under Nero, crucified head down, and buried in Rome His memoirs are traditionally cited as the source of the Gospel of Mark.
Lot 753
* Ashley Barker, mid 20th century- J Tilb, Chemist; oil on canvas board, signed, 24.2x34.7cm: British Post-War School- Paintbrush and bucket; oil on canvas, 28x38cm: Florence Hopper, mid 20th century- "The First Snow"; oil on board, signed, 40.5x51cm: Holdman, mid 20th century- Harbour scene; oil on canvas board, signed, inscribed and dated 1967, 13.7x59.2cm., (4) (may be subject to Droit de Suite)
Lot 809
Robert Pinget, Swiss/French 1919-1996- Untitled abstract composition in blue, green and black; oil on canvas, signed on the reverse, 55x38.5cm. Notes on the artist: The avant-garde French novelist and playwright best known as a member of the Nouveau Roman (New Novel) literary movement died in Tours last August 25th at the age of 77. He trained initially as a barrister but gave up the law to paint in Paris, after which he devoted himself entirely to writing. Pinget was a prolific author who, in the course of 46 years, published 14 novels, 11 plays and several books of essays. His first book of short stories was published in 1951, but it was his first novel "Mabu or the Raw Material" that gained him his first notice. In 1961, his novel "The Inquisitory" won the French Critics Prize while another novel, "Someone," won the prestigious Femina Prize in 1965. In 1987, he was awarded the Grand Prix National des Lettres, the same year that five of his plays were presented at the Avignon theatre festival. While invariably associated with the New Novel movement (along with better-known members like Robbe-Grillet, Simon and Sarraute), Pinget was reluctant to associate his work with any specific genre or school, preferring to acknowledge his literary debts to such writers as Marcel Proust, William Faulkner, Max Jacob and his friend Samuel Beckett. "The Inquisitory," perhaps his best known novel, is characteristic of his approach to fiction. A technical masterpiece, it is large novel consisting entirely of question and answer where the reader must work out the truth and its meaning for himself. A copy of an article in The Sunday Time, 5th Decemeber 1965 is available with this lot
Lot 926
Ron Bowen, American b.1939- "Animal Acts", c.1986; collage on paper laid down on panel, 150x94cm., (unframed). Note: Ron Bowen. American artist, born 1939, studied at Pratt institute, NY (BFA,MFA) under Richard Lindner, Philip Perlstein, among others. Exhibited at Parsons Graham Galleries, New York; William Jackson Gallery, London; Corr Fine Art , London; Art First Galleries, London; Concourse Gallery, The Barbican, London, 1986; John Moores Liverpool Exhibitions 9 & 12. Exhibitions in Italy, Portugal. Taught Chelsea College of Art 1971-78, Slade School 1978-97, Studio Head, then Head, Undergraduate Painting. Author, Drawing Masterclass (Random House, 1992). Currently lives, works in Paris. (may be subject to Droit de Suite)
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