A collection of British vintage glass bottles. Clear, green and blue examples, including Leigh & Co, Salford 'Globe', Woodward Chemist, D H Higginbottom 'Glossop', three T. Brewster Mineral water, J. Moorhouse & Co Hulme, one having an internal label for 'Liq- Fer. Perch', Groves tasteless chill tonic prepared by Paris Medicine Co, A.J. Wintle & Sons, B.W.M. Spathis & Co, 'PH Murat & Co', 'The Gloy', 'Buckley & Holland', 'C.Swindley', a 'Haley' ink bottle, 'T & H Smith's' and more. Max. H24cm Condition Report: Some of the bottles are cloudy and would benefit from a clean. Some rubbing and wear consistent with age and usage. The red bottle has rubbing to the interior, 'Fer Perch' bottle has a crack, Groves bottle and others have chips to the rim. Some imperfections with the manufacturing. No apparent restoration.
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A quantity of dolls' house furniture and accessories, to include: three miniature teddy bears; a lion-mask door knocker; two miniature crates; five miniature black puddings; three miniature loaves of bread; two miniature joints of meat; twenty miniature candles; a selection of nine miniature rolls and baguettes; six painted wine glasses; five miniature pewter pricket stands; a pair of four light candelabra with candles; an ecclesiastical screen; two simulated bamboo and rattan side chairs; a brass hanging birdcage with parakeet; a white metal and glass stem vase with posy holder; a brass and glass lantern globe and a wicker umbrella stand (66)Provenance:The estate of the late Eve Clarke
A CAST IRON SOVIET TRAIN CARRIAGE INSIGNIA marked CCCP over a hammer and sickle super-imposed on a stylized globe, beneath a red star and wreathed with ears of wheat, above a sunburst, the whole over a crossed hammer and wrench, approximately length 38cm x width 26cm (1) (Condition Report: wear to paint consistent with age and usage, requires cleaning)
Gorgeous brass metal engraved center globe with marble column and brass footed base (21"H). Satin glass hand painted rose designed globe by Marjorie Edmister (9"H). Clear glass hurricane cylinder included (11"H x 3" dia.). Issued: 20th centuryDimensions: 32"H x 9" dia. Condition: Age related wear.
Collection of 22 Edwardian and later ceramic egg cups comprising Royal Crown Derby "Derby Posies" cup, Copeland Spode for Harrods cup with bird and floral decoration, 3 other Copeland Spode cups; 17 other cups, various including 1 with fixed saucer, and a Victorian green coloured glass oil lamp with globe and chimney, H.78cm overall, (a/f). (23)
![Barrister bookcase by Makers the Globe - Wernike Co Limited, London. [124x86x31cm]](https://cdn.globalauctionplatform.com/83621537-c3bc-47d5-95e3-b1e5016d0e6a/f692a0b9-dfef-487b-b679-b1e600eb0852/468x382.jpg)
An 18th century oak longcase clock by Taylor of Manchester - the 13in signed, square brass dial with Roman chapter ring, Arabic 5 minute outer minute track, foliate engraved and matted centre with chamfered date aperture and subsidiary seconds dial at 12, with gilt brass mask spandrels, fronting a twin train 8 day movement striking the half hours on a bell, the case with swan neck hood centred by a gilt brass reeded globe finial, on fluted columns to a trunk with fluted quarter columns to the angles and a mahogany cross banded door, on a conforming cross banded base with ogee feet, with weights and pendulum, 221cm high.
A small collection of 19th century drinking glasses - including a Georgian square based small wine, with petal moulded ovoid bowl on a bladed collar to a beehive stem, on a square base with filled pontil, 8.3cm high; a late-Georgian petal moulded small rummer, 9.5cm high; a late-Georgian small wine with comb cut ogee bowl, 8.6cm high; a star and panel cut mid-19th century wine glass with blade knopped stem, 11.3cm high; and a set of four mid-19th century wine glasses with panel cut bowls10.1cm high; together with a late-Georgian cut glass shaft and globe decanter (lacks stopper). (9)
The Morgan Plus 4 was the Morgan Motor Company's first car with four wheels, introduced in 1936 following the end of production of the famed three wheeled motorcycle engine models. Its model designation ‘4-4’ (later ‘4/4’) stood for four wheels and four cylinders. Apart from a break during World War II (and the period March 1951 to September 1955) the 4/4 has been in continuous production from its debut right up to the present day. The Plus 4 is a larger and more powerful version of the Morgan Motor Company's 4/4 model and was made between 1950 and 1969, 1985 to 2000 and was again revived in 2005. Always a popular choice for sports car enthusiasts across the globe, the combination of the typically British 1930's styling with its flowing wings, modern performance and reliability have ensured the Morgan is as popular today as it ever has been.Presented in desirable Dove Grey with PPF and with perforated black leather seats and Morgan wings logo embroidered head rests in contrasting stitching and sitting on black wire wheels including a spare. This Ford engine GDI 1,999 cc (2014 to 2020) example presents as new, a lovely example of a Plus 4 that not only has a number of optional extras but benefits from the SSL front suspension upgrade. The equipment added to the car includes 2 eared spinners, round door mirrors, clear front and rear indicator lenses, front and rear over riders, tread rubbers, front driving lamps, chassis rail covers, polished stone guard, silver front mesh grill and coloured Union Jack bonnet badges. Inside the car boasts a Moto Lita black leather steering wheel, radio/CD/MP3/Aux. input audio system, elasticated door pockets, Sun visors, Chrome rear view mirror door check sets and leather trim details. The Hood is in black mohair and an easy up roof with black mohair side screen bag and hood cover. Offered also with the original battery conditioner this has been well maintained and is presented in showroom condition. Consigned by Mathew Priddy This example in desirable modern Dove Grey with just 7,500 miles from newDesirably and extensively specified example inc. SSL front suspension upgrade
Deutscher Erdglobus von Oestergaard, um 1905Erdglobus gezeichnet & hergestellt im Karthogr. Insitut, Peter J. Oestergaard, Berlin-Schöneberg, Kugel aus Pappe mit 12 lithographierten Segmenten, Ø 33 cm, auf gedrechseltem Holzsockel. Start Price: EUR 120 Zustand: (3-4/-)13-Inch German Terrestrial Globe by Oestergaard, c. 1905Erdglobus gezeichnet & hergestellt im Karthogr. Insitut, Peter J. Oestergaard, Berlin-Schöneberg, card globe with 12 lithographed gores, on a turned wood base. Start Price: EUR 120 Condition: (3-4/-)
Kopernikanische Armillarsphäre mit Orrery, um 1820Frankreich, Messing und Holz, auf ebonisiertem Sockel, horizontale und vertikale Holzringe, französisch beschriftet mit "Colure des Equinoxes", "Etoiles Fixes", "Colure des Solstices", "Cercle de l'Ecliptique" , zentrale Messing-Sonnenkugel, Mechanismus mit 2 Riemenscheiben und Faden für die Drehung des Meridians mit Mond um die Erde, Erdkugel aus Bein, 11 Metallarme mit doppelseitig beschrifteten Pappscheiben für die Planeten und Asteroiden Neptun, Uranus, Saturn, Pallas, Jupiter, Ceres, Juno, Vesta, Mars, Venus und Merkur. Die Scheibenarme und der Erdmechanismus sind von Hand beweglich, Ø 25 cm, Gesamthöhe 44 cm. Start Price: EUR 1800 Zustand: (3/2-3)Copernican Armillary Sphere with Central Orrery, c. 1820France, brass and wood, with central brass solar sphere, bone Earth globe, mechanism with two pulleys and thread for the rotation of the meridian with moon around the earth, eleven moveable metal arms with card discs labeled on both sides for the planets and asteroids Neptune, Uranus, Saturn, Pallas, Jupiter, Ceres, Juno, Vesta, Mars, Venus and Mercury and paper-covered wood meridians inscribed in French: "Colure des Equinoxes", "Etoiles Fixes", "Colure des Solstices", "Cercle de l'Ecliptique", Ø 10 in., total height 17 ½ in. Start Price: EUR 1800 Condition: (3/2-3)
Lunarium, um 1900Frankreich, Erdglobus im Zentrum, umgeben von 4 Monden in verschieden Phasen, Globus mit 12 kolorierten Kupferstichen auf Gips, bezeichnet: "Globe Terrestre, Dressé par J. Forest, Geographe, en vente à Paris", Ø 15 cm, am Nordpol leicht beschädigt, montiert auf Messingsäule und klappbarem Dreibeinstativ, Gesamthöhe 67 cm. Start Price: EUR 1600 Zustand: (3/3)Lunarium, c. 1900France, with 6-inch diameter terrestrial globe marked "Globe Terrestre, Dressé par J. Forest, Geographe, en vente à Paris", surrounded by four moons in different phases, on brass column with folding tripod base, ht. 261/3 in., minor damage at North Pole. Start Price: EUR 1600 Condition: (3/3)
2 französische Grammophone1) Trichtergrammophon, um 1910, vernickeltes Gehäuse, lackierter Metalltrichter, Federwerk funktioniert, Pathé-Schalldose falsch montiert. - Und: 2) Pathéphone No. 30, Paris, um 1914, für Tiefenschrift-Platten, Nußbaumgehäuse, Original-Pathé-Schalldose mit Saphir-Nadel, innenliegender Trichter, mit Pathé-Aufkleber (Diskuswerfer vor Erdglobus), funktioniert. - Beide Grammophone müßten restauriert werden. Start Price: EUR 220 Zustand: (4/4)2 French Gramophones1) Horn gramophone, c. 1910, nickel-plated case, painted metal horn, spring mechanism works, Pathé soundbox mounted incorrectly. - And: 2) Pathéphone No. 30, Paris, c. 1914, for vertically-cut discs, walnut case, original Pathé reproducer with sapphire needle, internal horn, with Pathé transfer (discus thrower in front of globe), working condition. - Both gramophones in need of restoration. Start Price: EUR 220 Condition: (4/4)
Assorted signs,comprising four single-sided enamel signs for National Provincial Bank, 54 x 72cm; The Waverly Pen, 38 x 28cm; and two for Globe Metal Polish, 18 x 13cm, each with some chips, loss and rusting, together with four modern enamel signs; other printed signs for Vi-Cocoa, 45 x 31cm and Armitage's Dry Chick Food (faded) 36 x 45cm, three other modern sign and a modern poster for OK sauce, 57 x 42 in a aluminium frame, various conditions. (14)Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
An 'Aladdin Pink Paraffin' glass petrol pump globe,by Hailware, pill-shaped lettered in black and pink, 40cm high, with rubber ring to base. Lot to be sold without reserve.This lot is subject to the following lot symbols: â—Šâ—Š £30 + VAT uplift and storage at £6 + VAT per lot per day.For further information on this lot please visit Bonhams.com
An Esso Tiger plastic globe, early-mid 1960s,together with other 'Put a Tiger in your tank' Esso promotional items including 3 dusters, 1 book about the success of the advertising campaign, 1 pump cover, 1 key ring, 1 tie-on tail, 10 stickers and 1 water transfer, and two period photographs of Esso branded Southbury Service Station. (Qty)Lot to be sold without reserve.This lot is subject to the following lot symbols: â—Šâ—Š £30 + VAT uplift and storage at £6 + VAT per lot per day.For further information on this lot please visit Bonhams.com
A late 19th century French figural mantel clock, the dial set in a rose mottled marble body, raised on scroll legs, the whole surmounted by a spelter lady, entitled Le Monde, after Ch. Levy, signed CH. LEVY, lacking the globe in her hand, the Vincent et Cie movement striking the hours, lacking the bell and pendulum, overall height 71cm, Charles Octave Levy (1820- 1899) was born in Paris. As a student he trained under Armand Toussaint. He exhibited at the French Salon from 1873 to 1898 and won third-class prize in 1889.
HELP!Six Sheet (81" x 81")Very Fine+ Folded United Artists, 1965The Beatles were back after their tremendously popular first black-and-white feature. This poster is printed on four panels and will be popular with Fab Four fans! This example was never used and exhibits only crossfold separation and a 9" diagonal crease on one of the panels. This is the Beatles' (John Lennon, Paul McCartney, George Harrison, and Ringo Starr) spoof of the famous James Bond franchise in this comic misadventure, their follow-up to the incredibly popular A Hard Day's Night. Richard Lester returns to the director's chair as the boys engage in a globe-spanning chase after Ringo becomes the target of a religious cult looking to retrieve a jewel in the drummer's possession.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
HELP!Lobby Card Set (11" x 14")Near Mint United Artists, 1965This complete set of 8 lobby cards appears to be unused and features great scenes from this musical comedy starring the Fab Four.This is the Beatles' (John Lennon, Paul McCartney, George Harrison, and Ringo Starr) spoof of the famous James Bond franchise in this comic misadventure, their follow-up to the incredibly popular A Hard Day's Night. Richard Lester returns to the director's chair as the boys engage in a globe-spanning chase after Ringo becomes the target of a religious cult looking to retrieve a jewel in the drummer's possession.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
PINK FLOYD: THE WALLLobby Card Set (11" x 14")Fine- MGM/UA, 1982This complete set of eight lobby cards exhibits corner pinholes with some rounding and chipping to the corners.Pink Floyd: The Wall is a 1982 British live action and animated musical directed by Sir BAFTA Award, Academy Award, and Golden Globe Award winner Alan Parker. It is based on Pink Floyd's 1979 album, The Wall, and follows the downward spiral of a depressed rock star with a checkered past that forever influences his life. It stars Knight Commander and Live Aid organizer Bob Geldof.This lot will be auctioned on Friday, September 13th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 12th.
Full title text: A new Projection of the Western Hemisphere of the Earth on a Plane (showing the proportions of its several parts nearly as on a Globe) by J. Hardy (Teacher of Mathematics & Writing Master) at Eaton College. A captivating museum-quality map published on May 1st, 1776, a few months shy of the day the United States gained its independence from England. The map identifies political divisions, bodies of water, and rivers. Text on bottom border reads, Publish'd According to Act of Parliament, by F. Newbery, Ludgate Street May 1st, 1776. Artist: J. Hardy/Thomas BowenIssued: 1776Dimensions: 11"L x 9.5"WManufacturer: Gentleman's MagazineCountry of Origin: EnglandCondition: Age related wear.
James Bond For Your Eyes Only (1981) - Poster signed in blue ink by Roger Moore. This is the controversial promotional poster that caused quite a stir, largely in the US, with the Boston Globe and LA Times editing out everything above the knee, professionally matter and rarely offered signed, with PSA/ DNA COA to rear, 20 x 16 inches; (1)Condition Report: CR:- In new condition
A FINE AND RARE ENGLISH WILLIAM III/QUEEN ANNE SILVER BUTTERFIELD PATTERN SUNDIALJOHN ROWLEY, LONDON, CIRCA 1700The plate with three hour scales for 45, 51 and 55 degrees annotated 4-12-8, IIII-XII-VIII, 4-12-8 with the centre Roman scale divided into half and quarter hours as well as ten-minute increments, the centre with foliate engraved infill incorporating stylised interloping scrolls possibly forming an elaborate monogram, overlaid with a hinged bird engraved adjustable gnomon calibrated in degrees for elevation to the outer edge, opposing a glazed compass divided for N, E, S and W only and with gold inlaid N, S annotations to the blued steel pointer, the underside engraved with latitudes for twelve cities in two panels, the left-hand Rome 41.04, Hague 52.1, Amsterdam 52.03, Venice 45.18 and Vienna 48.22 opposing London 51.30, York 53.50, Cambridg 52.17, Bristol 51.30, Exeter 50.40 and Chester 53.17 to the right, the lower edge signed in a curve John Rowley Fecit; in original silk velvet lined ray skin protective case.The instrument 8.5cm (3.625ins) long, 6.7cm (2.625ins) wide, 4cm (1.625ins) approx. high with gnomon raised; the case 9cm (3.5ins) wide, 7.5cm (3ins) deep, 2cm (0.75ins) high closed. Provenance:The Leonard Fuller Collection. John Rowley is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as a mathematical instrument maker and book engraver working from 'Behind the Exchange' Threadneedle Street, London in 1691, then from 'The Globe under St. Dunstan's Church' Fleet Street 1702-15 and at Johnson's Court, Fleet Street 1710-27; Clifton noted that the latter address may well have been his living residence. Amongst Rowley's apprentices was Thomas Wright (in 1707) who then went on to become his successor and one of the most important makers of scientific instrument makers of the eighteenth century. Another apprentice was John Coggs who went on to become particularly well known for his sundials, most notably his universal ring dials. This design of portable pocket sundial was devised by Michael Butterfield, an English Instrument maker who settled in Paris around 1685. Although this type of dial became popular with other French makers (most notably those who worked nearby to Butterfield's workshop on 'Le Quay de L'Horloge') very few appear to have been made by English makers in London; hence the present lot is a particularly rare example. Condition Report: The instrument appears to be in fine original condition with the only notable fault being a small shallow chip to the inside edge of the compass glass. The case is intact and in sound original condition. The right-hand eye for the securing latch is missing and there is a small loss to the wooden structure to the interior of the lid at this point. There is also a small section of the delicate raised lip (for locating/closing against the inner edge of the lid) to the lower section missing. The lid has a slight warp/distortion, and the velvet lining has overall fading/wear. The underside has some later pins towards one edge no doubt to secure lifting skin covering at some point. Otherwise, faults are limited to minor age-related wear. Condition Report Disclaimer
AN ENGLISH 5.5 INCH CELESTIAL NAVIGATIONAL 'STAR' GLOBECARY AND COMPANY, LONDON, CIRCA 1925The sphere applied with twelve gores printed with stars and principal constellations labelled, the solstitial colure divided for the annual calendar, the equinoctial graduated in degrees, the northern hemisphere with key for star MAGNITUDES above panel inscribed CARY & Co., Makers to the Admiralty, 7 PALL MALL, LONDON, pivoted between the poles within a lacquered brass meridian circle divided for degrees and resting via similarly divided horizon ring, annotated with sixteen compass cardinal points and inscribed CARY LONDON PAT'N No. 21540, with four-arm domed restraint with each sector again divided for degrees, the mahogany box with TO ADJUST THE INSTRUMENT... instruction label pasted to inside of lid, the exterior now painted blue and with replaced vacant inset shaped plate to lid and conforming original brass key escutcheon to front.The box 21.5cm (8.5ins) high, 20,5cm (8.125ins) square. The celebrated Cary family business of scientific instrument and globe makers was established by John Cary at Johnson's Court, Fleet Street, London in 1782 moving to a new address at 'Corner of Arundel Square', Strand the following year. He was primarily an engraver of maps, charts and globes who moved again in 1783 to 188 Strand. By 1791 he had entered into what appeared to be a relatively casual partnership with his brother, William (who was born circa 1759 and apprenticed to Jesse Ramsden); this partnership lasted until circa 1816 by which time William and John Cary had moved again to 181 Strand before finally settling in 86 St. James in 1820. The following year John Cary was succeeded by his sons, John (II) and George Cary, who continued from the firm's 181 Strand address until 1851/2 when the business was acquired by Henry Gould. Latterly the firm passed to Henry Porter who continued to until his death in 1902; his sons succeeded him however by the mid 1920's business had subsided to the point that they were barely trading. The firm is reported to have been finally wound-up by 1931. Such globes were supplied/issued to mariners to assist with night-time navigation by providing a reference for the relative position of the celestial bodies. Condition Report: The globe is in fine original condition with faults very much limited to a small group of small surface scuffs to the lower hemisphere (image available). The brass work is complete and all-original retaining lacquer finish with minimal wear/oxidation. The box has been overpainted with blue paint over the original mahogany finish hence would benefit from being stripped and re-polished. The inset nameplate to the lid has also been replaced with one made from a formica-type material, otherwise box appears to be in fine condition.Box has a key for the lock. Condition Report Disclaimer
A 'ROYAL GEOGRAPHICAL SOCIETY' WORLD TIME GLOBE TIMEPIECEIMHOFF, LA CHAUX-DE-FONDS, FOR THE ROYAL GEOGRAPHICAL SOCIETY, LONDON, CIRCA 1980The circular fifteen-jewel eight-day movement with lever escapement regulated by sprung balance driving a rotating silvered annular twenty-four hour Roman numeral 'sidereal' chapter ring, set within a cavetto moulded brass drum incorporating knurled winding knob and glazed collar for the chapter ring and fixed pierced hour hand, surmounted by a 5.5 inch satin black finish terrestrial globe annotated in gilt with land masses outlined and countries labelled together with time-zones clockwise from the Greenwich meridian, set within square brass horizon plate divided for minutes and raised on four faceted uprights, over an cavetto moulded ebonised platform applied with a brass plate inscribed 19 80, THE ROYAL GEOGRAPHICAL SOCIETY WORLD CLOCK, to leading edge.27.5cm (11.75ins) high, 22.2cm (8.75ins) square.
A FINE AND VERY RARE FRENCH EMPIRE BRASS INLAID MAHOGANY MANTEL CLOCK WITH MECHANICAL ORRERYUNSIGNED, ATTRIBUTED TO THE WORKSHOP, OF ANTIDE JANVIER, PARIS, CIRCA 1810The clock with four pillar twin going barrel movement of at least eight-day duration incorporating anchor escapement regulated by lenticular bob pendulum with knife-edge suspension and outside countwheel striking sounding the hours and a single blow at the half hours on a bell mounted behind the movement, the 4.75 inch slightly convex white enamel Roman numeral dial with Arabic fifteen minutes within the outer minute track and pierced and chased gilt brass hands, set behind a hinged engine-milled convex glazed bezel, the mahogany case of four-glass type with brass edged platform upstand supporting the orrery/tellurian mechanism over scroll dentil cornice and brass ogee fillet mounded glazed front aperture interrupted by the clock dial and bezel and with brass diamond lozenge motif to the upper rail, the sides with conforming glazed panels and lozenge inlay and the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base, the orrery/tellurian set on a rectangular brass plate with vertical take-off from behind the clock dial driving a gear train to advance the hands on two small silvered subsidiary dials set towards the front margin, with the first labelled SOIR/MATIN and annotated with Arabic twenty-four hour chapters and the second with days-of-the-week in French, with further cocked wheelwork to drive the principal elements of the rotating orrery assembly above, comprising a gilt sphere representing the sun with two small satellites labelled Mercure and Venus over geared train to drive their motion as well as for the tellurian, the latter constructed with a 0.875 inch terrestrial globe applied with 12 hand coloured paper gores annotated with principal land masses and oceans annotated in French and Paris marked with a raised brass pin, rotating on an inclined axis within a gilt brass meridian ring and with geared orbiting lunar satellite revolving to provide moonphase indication over a silvered ring inscribed route de la lune par courier, 29 jours 12 heures 44 minutes and labelled Noeud (for node) twice at opposing ends of one of the crossings, the whole orrery/tellurian assembly rotating annually around the central solar axis and fitted with a pin pointer to the end opposing the tellurian for reading against a silvered calendar scale, annotated with the months of the year in French and divided for each day, with Janvier also including an aperture to show the year labelled 18, the front of the brass base mounting plate with small square to manually advance the mechanism. 52.5cm (20.75ins) high, 22.5cm (8.75ins) wide, 16cm (6.25ins) deep. The form, specification and layout of the orrery and tellurian assembly of the current lot can be closely compared to that of a 'heliocentric planetarium' signed 'Janvier au Louvre' which was sold at Christies, King Street, London sale of Important Clocks, Marine Chronometers and Watches 12th June 1996 (lot 269) for £28,750. Another very closely related mechanical orrery, this time surmounting a mantel-type timepiece, was also sold at Christies, King Street sale of IMPORTANT CLOCKS, INCLUDING A FINE COLLECTION OF INDUSTRIAL, AUTOMATON AND ASTRONOMICAL CLOCKS Wednesday 4th July 2007 (lot 122) for £28,000 hammer. Although this second example was signed 'Baltazar Pere' the form of the timepiece (simple rectangular form incorporating recumbent sphinxes) was that of an Antide Janvier 'audience clock'. In addition to these timepieces, distinctive elements, such as the inclusion of Mercury and Venus alongside the tellurian, can also be observed in Janvier's 'pendule a sphere' now residing in the collection of the Conservatoire National des Arts et Metiers, Paris. Antide Janvier was born in Brive, near St. Claude in the Jura mountains in 1751. His father was a clockmaker who, after observing Antide's natural talent, sent him to study under the Abbe Tournier at Saint-Claude at the age of thirteen. Two years later he started working on his first 'sphere movement' which he then presented to the Academie des Science in Besancon where he received a lot of praise and a certificate for his work. By 1770 Antide Janvier was in the service of Monsieur Devanne as an apprentice clockmaker where he made another orrery, this time out of boxwood. A third, smaller scale example was then produced which Janvier took with him on a journey to Paris no doubt to seek employment and make his name. Although Janvier was fortunate enough to receive an audience with Louis XV, his temperament was not well received and he returned to Verdun without the fame and patronage which he so desired.Having subsequently married and settled in Verdun as a clockmaker, Antide Janvier came to the attention of Monsieur de Lalande, professor of Astronomy at the College de France. Indeed, it is when Monsieur Lalande had seen a pair of Janvier's 'sphere mouvantes' (one heliocentric and the other geocentric) at a gilder's workshop in Paris, that he decided to call-on Janvier for re-introduction to the Royal Court. King Louis XVI was suitably impressed by Janvier's work and immediately purchased a pair of miniature orreries and placed them in his study at Versailles (the whereabouts of these orreries is now unknown).Due to his association with the Royal Court, after the French Revolution, Antide Janvier was imprisoned for a short while and subsequently fell on hard times. His wife died in 1792 and he latterly sold stock and designs to Abraham-Louis Breguet to raise funds. Despite this Janvier continued to produce clocks during the Consulat and Empire periods, most notably his 'audience timepieces' and regulators. He also went onto collaborate with Raingo to create a mechanical orrery timepiece of differing design to the present lot.On the restoration of the monarchy and accession of Louis Philippe in 1726 Antide Janvier was awarded a modest pension but died in relative poverty and obscurity in 1835. When considering the difficulties faced by Janvier post revolution, it is highly probable that he supplied other more 'acceptable' makers with timepieces etc. for them to sell-on. This would appear to be the case with the example signed 'Baltazar Pere' (mentioned above) and is most likely the underlying reason why the present lot is apparently unsigned. Condition Report: FOR CONDITION REPORT PLEASE CONTACT DEPARTMENT.A further note on attribution - the attribution stated in the description is based on the evidence outlined in the footnotes. Although provided with a good degree of confidence the attribution is stated in an 'opinion only' basis hence no guarantees can be applied. Condition Report Disclaimer
A FINE PAIR OF EARLY VICTORIAN 20 INCH FLOOR-STANDING LIBRARY GLOBESNEWTON AND SONS, LONDON, THE TERRESTRIAL PUBLISHED 1832, THE CELESTIAL 1841The terrestrial applied with twelve hand-coloured engraved split half-gores incorporating printed label NEWTON'S, New and Improved TERRESTRIAL GLOBE Accurately delineated, from the observations of the most esteemed, NAVIGATORS and TRAVELLERS, To the present time, over banner printed Sold by Grundy. MANCHESTER, then London, Published 1st February 1832 to the north Pacific, with fully graduated equatorial, and ecliptic divided for minutes, the Pacific ocean with AN IMPROVED, ANELEMMA, SHEWING, THE SUN'S Declination and, place in the Zodiac, for every Day in the Year, many explorers' tracks and numerous notes and dates including all three of Captain Cook's voyages, Antarctica with no land shown but with most southerly point annotated for Cook Jan 17. 1773, Many Isles & Firm Fields of Ice, the continents with nation states faintly colour-outlined, showing cities depicted by a small building, towns, rivers, mountains in pictorial relief, marshland, caravan routes, with numerous notes, Canada with northern coastline completed with the uppermost latitude annotated Explored by Capt'n W. Parry in 1819 & 1820; the celestial with printed panel inscribed NEWTON'S, New and, Improved, CELESTIAL GLOBE, on which all the Stars, Nebulae and Clusters contained in, the extensive Catalogue of the late, F. WOLLASTON. FRS., are accurately laid down their Right Ascensions & Declinations, having been recalculated for the Year 1830 by W. Newton, Manufactured by NEWTON & SON, 66 Chancery Lane, LONDON, over further indistinct text annotations London,... 2nd Feb 1841, ENGRAVED BY T. STARLN..., also made up of two sets of twelve hand-coloured engraved split half-gores laid to the ecliptic poles, the axis through the celestial poles, with fully graduated equatorial and ecliptic, the constellations depicted by mythical beasts, figures and scientific instruments, with delineated boundaries, the stars shown to eight orders of magnitude with doubles, clusters and nebulæ and labelled with Greek and Roman characters and Arabic numerals denoting their source; each sphere pivoted via the polar axis within brass meridian circle divided for degrees and with brass hour circle to North pole, set within hand-coloured engraved paper horizon ring (one a photographic facsimile) with compass points and degrees in both directions, Zodiac and calendar scales, equinoxes, and wind directions, the centre band annotated with the SUN'S APPARENT PATH including pictorial representation of the celestial track, the stands each with four down-curved quadrant supports cradling the globe over squat spiral-turned upright and three S-scroll outswept supports with compass stretcher between, incorporating printed paper rose inscribed NEWTON & SON, Chancery Lane, London to centre, the legs also applied with disc rosettes to returns and terminating with brass castors.112cm (44ins) high, 69cm (27ins) diameter overall. CATALOGUE UPDATE 10/09/2024 - PLEASE NOTE THAT THERE ARE SOME VERY SLIGHT DETAIL DIFFERENCES BETWEEN THE STANDS - Further images available on request. The highly regarded Newton family of globe makers was established by John Newton who initially trained under Thomas Bateman before setting-up business at 128 Chancery Lane, London in 1783. He moved to 97 Chancery Lane in 1803 and then again to number 66 in 1817, where he entered into partnership with his son, William, the following year. The engineer Miles Berry joined the business in 1831 forming the partnership 'Newton, Son and Berry' which lasted until 1841, when the firm passed to the ownership of William Newton's eldest son, William Edward Newton (1818-1879).John Clowes Grundy is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as a Mathematical instrument, barometer and looking glass maker working from 4 Exchange Street, Manchester 1834-48. Condition Report: Terrestrial - sphere is in very good original condition with no discernible problematic cracks, dents/bruises or significant losses to the gores. The pivots are sound. The surface appears original and unrestored; there is some slight opening to the joints between the gores. There is some concentric scuffing around the equator (from rubbing against the horizon ring) and light but noticeable 'scribble' type scratches to the Pacific. Faults to the sphere is otherwise essentially limited to historic rubbing, some degradation to the varnish, a few scuffs and other age-related blemishes.Celestial - sphere is in sound original condition again with no discernible cracks, dents/bruises or significant losses to the gores. The pivots are sound. The surface appears original and unrestored however there is overall thinness to the varnish, crazing and wear most noticeable to the joints between the gores (especially at the equator). The gores generally show some opening between the joints again most noticeably ate the equator. The sphere also has noticeable and relatively extensive concentric rubbing to the circumference mainly to the third beneath the equator and towards the Northern pole area. Faults to the sphere are otherwise limited to general age-related wear and discolouration. The brass meridian ring for each globe is in good albeit tarnished condition.Stands - One has original horizon papers with some small losses to the papers and overall browning however there are no discernible problematic cracks or losses to the ring. The other has a photographic copy of the first set of papers which are a little lighter in colour and a little rippled. There are a couple of small veneer chips/losses to the to the edge veneers of the Horizon ring and one of the compass glasses is missing. Both paper compass scales have some dust staining/spotting otherwise are in good original condition; one of the compass stretchers is a little loose but appears free from visible damage. Stands are otherwise in very good original condition with faults otherwise very much limited to minor age-related bumps, scuffs and other age-related blemishes.This condition report should be read in conjunction with the additional condition images available on request from the department as these images form a constituent part of the condition report. Condition Report Disclaimer
A 12 INCH TERRESTRIAL LIBRARY TABLE GLOBETHE GLOBE BY GEORGE PHILIP AND SONS LIMITED, EARLY 20th CENTURY, THE STAND EARLY 19th CENTURYThe sphere applied with twelve printed gores incorporating oval trade label inscribed PHILIPS', 12 INCH, LIBRARY GLOBE..., GEORGE PHILIP & SONS LTD, 32 FLEET STREET, EC. to the north Pacific, now pivoted via the polar axis within brass meridian circle divided for degrees and with brass hour circle to North pole, set within hand-coloured engraved paper horizon ring with compass points and degrees in both directions, Zodiac and calendar scales, and wind direction, the stand with four down-curved quadrant supports cradling the globe, over squat reeded baluster-turned upright issuing three cabriole supports with compass stretcher between incorporating printed paper rose set within circular glazed casing.43cm (17ins) diameter, 62cm (24.5ins) high.
* PETER KNOX (BRITISH b. 1942), DURHAM oil on canvas, signed and titledframedimage size 29cm x 39cm, overall size 43cm x 53cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), THE RACES oil on board, signed and titledframedimage size 20cm x 15cm, overall size 35cm x 29cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), FOUR SKETCHES four pencil sketches on paper, each signedeach mounted, framed and under glassthe largest image size 20cm x 28cm, overall size 50cm 57cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), COAL DELIVERY oil on board, signedframedimage size 20cm x 28cm, overall size 37cm x 46cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), CHARIOT oil on board, signed, titled versoframedimage size 10cm x 28cm, overall size 24cm x 41cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), SHIPYARDS oil on board, signedframedimage size 37cm x 44cm, overall size 44cm x 50cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), FOUNDRY oil on board, signedframedimage size 80cm x 41cm, overall size 97cm x 58cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
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