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Click here to subscribeA 19th Century Scottish Mahogany Cased Grandfather Clock, the eight day clock signed Aitken Whithorn, hand painted face with Roman dial, date and minute dial, hand painted floral spandrels, central vignette painted with honeysuckle. Swan neck pediment with brass finial, ivory key plate, approx 90 cms (working order with weights and pendulum).
A Victorian silver mounted ivory conductor's, The Handy Pocket Baton, the panelled knop pommel and ferules chased and engraved with flowers and stiff leaves, inscribed Presented to Mr J T Nichol By the Members of the Croxdale P.M Choir For His Long and Good Services As Choir Master, 42.5cm long overall, Rd. No.105524, London 1899, cased
Ephemera - two Victorian two-page manuscript letters defining 'The Husbands's[...]and Wife's Commandments'; Haberdashery - a pair of Anglo-Indian Vizagapatam ivory and Sadeli ware rectangular needle sleeves, 9cm wide, c. 1870; a 19th century ivory needle case, screw-on cover, 8.5cm long; another similar, bone; a 19th century lozenge shaped ivory sewing shuttle; others, mother-of-pearl, various shapes; a Victorian Tunbridge Ware circular cover, applied with a view of Chatsworth House, 2.6cm diam; thimble; etc
Boxes and Objects - a Llanfairpwllgwyngyllgogerychwyrndrobwilliantysiliogogogoch train ticket, a Chinese cinnabar circular pot and cover, Chinese hardwood stand, Ada,amtome S&O Plated Pins in packet, High Peak Hunt Point-to-Point 1951 pass/stub, Victorian Devonshire Hotel [Matlock Bath, Derbyshire] copper printing plate for a business card, agate, thimbles, bone, ivory, etc., contained in an early 20th century mahogany rectangular box
A Tabriz carpet , the ivory field centred by an ultramarine medallion and... A Tabriz carpet , the ivory field centred by an ultramarine medallion and decorated with madder reserves, decorated ocerall with meandering floral foliage, within navy borders and guard stripes, approximately 403 x 287cm
An Edwardian pique worked tortoiseshell, ivory veneered and gold mounted... An Edwardian pique worked tortoiseshell, ivory veneered and gold mounted cylindrical box, early 20th century, the cover with inset toroiseshell circlet and edging, the sides formed of eighteen slightly concave rectangular panels arranged vertically and interspersed with tortoiseshell stringing, inset with gold foliate motifs of varying type in the manner of pique work, including husks, serpentine trailing vines and crossed sprigs, the base underside also ivory veneered; the shaped gold hinge stamped 'HA 18', the interior fully tortoiseshell lined, 16cm high, 14cm diameter
A Indo Portuguese macassar ebony, hardwood and ivory table cabinet, circa 1700 A Indo Portuguese macassar ebony, hardwood and ivory table cabinet, circa 1700, decorated profusely throughout with lac heightened engraved ivory depictions of flowers and foliage, the fall front opening to an arrangement of ten drawers, flanked by brass side carrying handles, on a walnut stand, English, circa 1735 , the moulded frieze above turned tapering legs surmounted by lappet terminals and on pad feet, the cabinet 30cm high, 47cm wide, 35cm deep, overall 88cm high, 52cm wide, 37cm deep Provenance: Private Collection of the Bagshawe family, formerly of Ford Hall and Snitterton Hall, Derbyshire, see page 97.
John Henning , a George IV deal cased set of fifty plaster figural relief... John Henning (1771-1851), a George IV deal cased set of fifty plaster figural relief panels after the Parthenon frieze, dated June 1820, the larger panels approximately 24 x 7cm, many inscribed for 'HENNING' and dated, arranged on seven stacking boards, the box with lift off cover and hinged fall front, 23cm high, 45cm wide, 30cm deep John Henning, a Scottish born artist was one of the first to access the Elgin Marbles following their acquisition by the British Museum in 1816 and like most who saw them, was struck by their beauty. He embarked on a project of making models of the Parthenon and Phigaleian friezes, restoring the missing elements, an undertaking which he felt was not only useful for his own artistic gain, but also for pecuniary reasons. His initial studies in ivory were unsuccessful and so he used intaglio carved slate as moulds for plaster casting, producing small tablet sections which were sold in boxes. Working for Josiah Wedgwood at the time, Henning took twelve years to complete the reliefs
A Victorian brass mounted mahogany cased two-day marine chronometer Richard... A Victorian brass mounted mahogany cased two-day marine chronometer Richard Hornby, Liverpool, circa 1870 The circular four pillar single chain fusee movement with Harrison's maintaining power, Earnshaw type spring detent escapement and split bimetallic balance with wedge-shaped principal compensating weights and helical balance spring, the backplate with blued steel spring set-up ratchet and securing screws for the pillars and backcock, the 3.875 inch circular silvered Roman numeral dial with subsidiary seconds dial beneath signature Rich'd Hornby, Liverpool. No. 298 and WIND DOWN/UP dial to centre, secured by a slender screw-down bezel into a lacquered brass bowl with circular winding hole shutter to underside stamped with H.S. and M.O.D. arrow device, mounted via gimbals into the brass bound mahogany wood three tier box with shaped inset brass corner caps to top tier over front with long octagonal ivory plate engraved with repeat serial number 298 , the lower angles with further brass reinforcement straps, 15.5cm (6ins) wide. Richard Hormby is recorded in Mercer, T. Mercer Chronometers, History, Maintenance and Repair as working as a watchmaker and chronometer maker at New Scotland Road from 1811-1869, with a shop at Pool Lane. Other sources note that he was the son of a watchamker born in Liverpool in June 1789 and died in November 1849. His son Gerard continued the business as Richard Hornby & Son from 1851. Admiralty records (Hydrographic Department ledger) indicate that the current lot was taken on charge as a loan on the 8th April 1944 but appears not to have been issued for use on a vessel, and was returned to the owner on the 22nd of May 1945.
A fine and rare North Italian ebonised architectural table timepiece with... A fine and rare North Italian ebonised architectural table timepiece with silent-pull quarter-repeat on two bells Gio Pietro Callin, Genoa, circa 1680 The rectangular movement with four baluster turned pillars pinned through the backplate signed Gio Petro Callin AGenoua to the lower margin, the going train with spring barrel and verge escapement regulated by short pendulum with silk suspension and cycloidal cheeks, the early Knibb type silent-pull quarter-repeat train striking the hours and quarters on demand only via twin vertical hammer arbors sounding on a graduated pair of bells mounted within the pediment of the case, the 8 by 7 inch faded salmon silk covered iron dial applied with silvered Roman numeral chapter ring with tied asterisk half hour markers and Arabic five minutes within the outer minute track, the angles applied with foliate scroll pierced chased gilt brass spandrels with the lower two continuing down further to flank a cartouche cast as en entwined pair of serpents enclosing silvered signature plate engraved Gio Petro Callin AGenoua , the finely detailed Baroque case with open arch pediment centred with a small panel upstand capped with triangular tympanum flanked by scroll-carved infill over breakfronted lintel with plain frieze and tight cornice mouldings, the front with rectangular door applied with raised mouldings to the glazed dial aperture flanked by generous hipped carved sides scrolls, the conforming breakfronted base incorporating key drawer and deep cavetto moulded skirt, on six bun feet, 52cm (20.5ins) high. A Pietro Calim is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as 'German Keeper of clock on Palazzo delle Compere' 1677-85; although little else appears to be known of Callin a few clocks signed by him are known including; An ivory inlaid ebonised night clock with fine painted dial depicting chronos and death passing the hours, offered in this sale as the previous lot. An impressive ebonised tall alter clock with allegorical dial painted by Giovanni Battista Gaulli, The Poldi Collection, Milan. An ebonised night clock with dial painted with a Saint at prayer, Cambi, Genova, 18th November 2014, lot 136. In addition to these another night clock probably from the same workshop but signed 'Giovanni Carlo Calin' (also with fine painted dial depicting chronos and death passing the hours) was offered at Christies, New York THE ABBOTT GUGGENHEIM COLLECTION , 27th January 2015, lot 118. Finally a further ebonised table timepiece of noticeably similar design to the current lot (and with almost identical dial) but signed 'Giovanni Battista Batta Callin' is illustrated in Tardy LA PENDULE FRANCAIS. 3'eme Partie, Provinces et Etranger on page 417. The movement of the current lot closely resembles that of an early French 'Pendule Religieuse' but with the additional provision of a 'silent-pull' quarter repeat mechanism. The positioning of the going train between the plates and the design of movement pillars can be directly compared to an hour-striking movement by Nicholas Hanet dating to around 1675 illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700 pages 66-7 Figs. 115-7. Both the movement by Hanet and that of the current lot are arranged with the strike/repeat trains offset to the right to allow room for vertical planting of the going train to the centre. In addition to having offset strike trains both movements also share essentially the same configuration of double-footed backcock (fitted with cycloidal cheeks) and similar crown wheel top cock casting (each incorporating pallet arbor front pivot). From these details it would be logical to suggest that the current lot was made around the same time (or marginally later) as the clock by Hanet, and that the maker was clearly strongly influenced by contemporary French practice. The 'French influence' within the current lot is not confined to the movement as the use of fabric-covered iron for the dial plate incorporating signature cartouche doubling-up as a pendulum bob access flap are also classic features seen on early French pendulum clocks. The design of 'silent-pull' repeat mechanism used in the current lot is of the earliest type which is believed to have been invented in around 1676 by Edward Barlow and/or Daniel Quare which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 343-4). This mechanism will sound the last hour and quarter on two bells on demand only and is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. The presence of this mechanism on the current lot would suggest that the maker was well versed with English practice as well as French. Indeed the dial also exhibits possible subtle English influence in the chapter ring (with Arabic five-minute annotations within the outer minute track) and use of cast spandrels to angles. In England, prior to the invention of quarter-repeat work, the only clocks available to assist with telling the time after dark were night clocks. English night clocks are rare as they were quickly superseded by repeating clocks/watches, hence it seems that none were made after around 1680. Conversely in Italy night clocks seemed to be the preferred solution with the form almost becoming standardised by the Campani family of Rome during the 1670's. The case of the current lot is particularly finely proportioned and detailed with crisp architecturally correct mouldings indicating that it was made by a specialist craftsman familiar with the principals of Classical architecture and Palladianism. The inherent smaller proportions of the case are also quite pleasing when compared with larger night clocks which can be somewhat imposing.
A Victorian field surgeons boxed part set of post-mortem instruments S A Victorian field surgeons boxed part set of post-mortem instruments S. Maw, Son and Thompson, London, circa 1860 Including knives, hooks, bone chisel, hammer, surgical scissors and a saw blade, the hammer stamped S. MAW, SON & THOMPSON to head, in purple velvet lined box incorporating flap concealing some of the instruments to inside of lid, the exterior with inset brass straps flanking a vacant oval cartouche and corner reinforcements, 25.5cm (10ins) wide; with a boxed trepanning set, Laundy, London, mid to late 19th century, the ivory-handled cutter with a choice of two attachments in red velvet lined mahogany box including saw stamped LAUNDY to handle to inside of lid, 19cm (7.5ins) wide.
A silver mounted shagreen cased part set of mathematical drawing instruments... A silver mounted shagreen cased part set of mathematical drawing instruments Heath and Wing, London, circa 1760 The green velvet lined interior comprising a lower tier now containing folding silver coloured metal mounted ironmonger's rule engraved in inches and with tables annotated for various sections of iron, one end fitted with sliding calliper and the edge stamped T. WYBAUN ; an upper tier fitted with an assortment of draughtsman's implements including a silver proportional dividing compass with sharp steel tipped arms each pierced with long slots for the sliding pivot assembly with knurled screw for securing against scales divided for Circles and Lin. to one side and Plans and Solids next to signature Heath & Wing, London to the other; the lid with flap revealing a silver mounted ivory expanding parallel ruler and a matching mathematical sector rule annotated with the usual logarithmic, trigonometric and other scales and signed Heath & Wing to the silver hinge mount, the exterior veneered in green-stained sharkskin with shaped silver lock escutcheon, fretwork plates for the surface mounted hinges and a pair of hook clasps, (incomplete and with substitutions), 19.5cm (7.75ins) wide. The partnership between Thomas Heath and Tycho Wing is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from several addresses in London 1751-73 including 'Hercules and Globe' next door to Fountain Tavern, Strand in 1759 and Near the Savoy Gate in the Strand in 1771. They were succeeded by Thomas Newman.
A fine Renaissance style gilt brass and pierced ivory pendant watch Unsigned A fine Renaissance style gilt brass and pierced ivory pendant watch Unsigned, probably English, mid 19th century The oval full plate single fusee verge movement with four faceted baluster pillars pinned through the backplate applied with fine gilt eagle-head inhabited asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the fine engraved gilt brass dial with steel hand and centre decorated with asymmetric leafy sprays within applied Roman numeral chapter ring and conforming fine foliate scroll chased oval surround incorporating an urn to lower margin, the two-piece oval ivory case with gilt brass dust cover insert for the movement and profusely pierced throughout with intense foliate scrollwork incorporating armorial crest within moulded oval surround to verso, with gold hinge and suspension loop to top and hook clasp to base (movement incomplete including balance and staff, fusee cone now substituted for a cylinder), the movement pillar plate 40mm (1.5ins) by 33mm (1.25ins), the watch 58mm (2.25ins) high to top of suspension post; with original leather covered outer case decorated with pique work monogram surmounted by a coronet within studded border to front cover 61mm (2.625ins) high. The current lot was made in the 'Renaissance revival' style which became fashionable during the mid 19th century. The fine pierced ivory case was clearly purpose made to incorporate a family crest, this would suggest that the watch was probably a special commission possibly for presentation to the original owner whose monogram appears on the outer cover.
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