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Lot 42
Sheila Fell R.A. (British, 1931-1979)Fields near the Solway signed 'Fell' (lower right)oil on canvas71.1 x 91.4 cm. (28 x 36 in.)Footnotes:ProvenanceSale; Sotheby's, London, 25 June 1980, lot 147Private Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 2 May-26 July 1970, cat.no.575When Sheila Fell exhibited this and five other paintings at the RA Summer Exhibition in 1970 it was a time of continuing artistic success for the 38-year-old painter. The previous year she had been elected an Associate Member of the RA, and her solo exhibition at the Stone Gallery in Newcastle-upon-Tyne had been highly rated by the critics, the correspondent for The Times noting that '...her ability to enlarge and intensify our vision of the northern landscape, as exemplified by her native Cumberland, must surely establish a place for her in the great tradition of English landscape painting' (The Times, 4 June 1969). Fields near the Solway, completed in Fell's London studio, captures very effectively her powerful emotional response to the lowland area of the Solway Plain in West Cumberland where she was born and raised and with which she was so familiar. The low horizon, typical of Fell's work from this period, unites the turbulent sky with the richly painted land, the rounded mass of the haystacks mirroring the grey billowing clouds laden with moisture from the Irish sea. The scene is imbued with a luminous glow and in the centre foreground a solitary figure, dwarfed by the scale of the land in which they work and barely distinguishable from it, obliquely faces the viewer with an air of acceptance, or even defiance, for the unforgiving climate. It was a climate Sheila Fell embraced: 'It's wonderful for a painter – especially when it's cloudy, raining and dark. It's the only place in the world where you can get such wonderful conditions of light and shade – and the only place where I can paint' (Daily Express, 2 June 1969).We are grateful to Professor Andrew Bradley for compiling this catalogue entry. Professor Bradley is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Professor Andrew Bradley, C/O Modern British and Irish Art, Bonhams, 101 New Bond Street, London, W1S 1SR or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 124
Granada school of the mid-18th century."Immaculate Conception".Oil on canvas. In its original canvas.Frame of Carlos III period.It presents jumps and losses in the painting. The frame is damaged.Measurements: 124 x 93 cm; 136 x 107 cm (frame).The theme of the Immaculate Conception, very frequent in the Spanish art of the 17th century, became one of the national identity signs of Spain as a catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, given that Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to spread the Immaculate Conception, bringing together symbolism and popular fervour. Due to its stylistic characteristics, the work in question can be classified as part of the Andalusian school of the late second half of the 18th century. It is a direct heir to the Baroque models of Bartolomé Esteban Murillo, both in terms of composition and iconography. Thus, we see Mary dressed in a white tunic, wearing a blue mantle that floats around her. The figures of the child angels also derive directly from Murillo's models, both in their conception and in their placement, distributed between the lower part of the painting, under the pedestal of clouds, and the upper part, as cherub heads surrounding the breaking of Glory. As we have already noted, the composition faithfully follows Murillo's models: Mary full-length in the centre, dressed in white and blue, with her hair flowing in soft undulations, surrounded by angels and clouds, with the open sky behind her figure, flooded by the golden light of the Gloria.
Lot 125
Novo-Hispanic or Spanish school, 17th century."Christ on Calvary".Oil on canvas (original).Period frame.Lack of paint and losses.It presents in the back a label with the name of who was its owner: Alfonso de la Peña, doctor (Lagasca, 26 Madrid).Measurements: 153 x 98,5 cm; 170 x 116,5 cm (frame).On his way to Mount Calvary or via crucis, Jesus stopped several times for not being able to carry the weight of the cross: the meeting with Veronica and with Simon the Cyrenean are the two most known scenes of the cycle of the Passion and the most represented in the Renaissance and Baroque periods. In the scene shown here, however, although one of the figures attending him could be mistaken for Cyrene, Christ has already reached the end of the road. Behind him, the other two executed men are waiting to be crucified, and they remain under the watchful eye of a Roman soldier. Christ's naked and wounded body occupies a large part of the frame, and behind him is a landscape resolved with twilight turns. Divine light streams in from the upper right corner, and Jesus turns his head to question the Lord. His expression is one of fear but also of hope, with both mixed feelings mingling in his countenance. The present painting has elements that could identify New Spain workshops, although it could also have been executed in the metropolis. Intense chiaroscuro models Christ's body and imprints psychological depth on his countenance. A naturalistic brushstroke also gives a sense of intention to the faces of the other figures. During the Spanish Viceroyalty, mainly religious painting developed in the colonies, aimed at Christianising the indigenous peoples. Local painters were modelled on works from the metropolis, and although they followed them literally in terms of type and iconography, they soon developed their own language, both in the Cuzco and Mexican schools. In addition, the best painters often travelled to Spain to train in local workshops. This painting belongs to this period of rich creative synergies.
Lot 126
Spanish or Novo-Hispanic school, 17th century."Saint Jerome".Oil on canvas (original).Frame of the 19th century.It presents some faults.Measurements: 124,5 x 100 cm; 132,5 x 111 cm (frame).During the Baroque period, the period in which this painting is dated, the representation of Saint Jerome was a recurrent theme. The iconographic pattern, however, had already been established since the Renaissance period. All the characteristic elements are present here: the saint, wrapped in his red cloak, kneels before a crucifix while the heavenly trumpet approaches him from behind. The lion prostrate at his feet alludes to the anecdote in the "Golden Legend": it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from its paw, and from then on he kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal. The scene is notable for the use of contrasting light, the naturalism of the saint's face and the baroque theatricality of the breaking of glory. One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert.
Lot 16
Spanish school, 18th century."Virgin and Child".Oil on canvas.Frame of the 19th century, in carved and polychrome wood.Measurements: 42 x 32 cm; 66 x 56 cm (frame).Oval and intimate representation of a Maternity with Infant Jesus. Both appear nimbus but the halo does not detract tenderness and naturalness to the maternal-filial relation. Jesus' bright, open eyes rest on his mother's sorrowful countenance. Under his left hand, a skull foreshadows his early death, his sacrifice to save humanity. The transparency of the cloth enveloping the small body has been resolved with skilful glazes. The Virgin, wearing a red tunic and blue cloak (following the traditional chromatic symbolism of purity, blue, and sacrifice, red) joins her stylised hands in prayer. The bodies emerge against the dark background, modelled by the light.
Lot 33
Frame; Spanish work, late 17th century.Carved, gilded and polychromed wood.It presents slight restorations.Measurements: 62 x 49,5 cm (light); 79 x 67 cm.Frame from the 17th century made of carved and polychromed wood, with a typical structure of this period: rectangular, smooth on the inside and with raised angles on the outside, to which are added the projections, also straight, in the centre of each of the sides. The exterior and interior profiles are defined by carved mouldings, and the projections are decorated with symmetrical compositions of acanthus, also worked in relief. The long sides also have rosettes in relief that do not protrude from the profiles of the frame.
Lot 38
Spanish school following Dutch models; late 18th - early 19th century."Landscapes".Oil on canvas.Measurements: 50 x 62 cm (x,2); 57 x 70 cm (frames,x2).Pair of landscapes that present the same aesthetics of realistic character and a similar composition in spite of the fact that the main motives of each scene are different. In both cases the images are enveloped in a golden light that bathes a lake and contrasts with the shadows in the foreground. Both pieces show the presence of figures engaged in everyday activities, although their size in relation to the landscape shows the artist's interest in capturing the landscape realistically, so that the two scenes seem to be a chronicle drawn from the social reality of the time.Of all the contributions made by northern European countries to the history of art, none has achieved the enduring importance and popularity of 17th-century Dutch landscape painting. The works of Avercamp, Van Goyen and Ruysdael, among many others, evoke the outlines, terrains and atmospheres of the Netherlands more vividly than any other place, large or small, has ever been depicted. Within this tradition, the most revolutionary and enduring Dutch landscape contribution has surely been its naturalism. Seventeenth-century Dutch painters were the first to create a perceptually real and seemingly comprehensive image of their land and people. Although landscape as an independent genre appeared in Flanders in the 16th century, there is no doubt that this type of painting only reached its full development among Dutch artists. It can be said that it was practically the Dutch who invented the naturalistic landscape, which they affirmed as an exclusively central feature of their artistic heritage. There is no doubt that the Dutch painter, filled with pride in his homeland, was able to show in his paintings the beauty of its vast plains and skies.
Lot 71
Dutch or Flemish school; 17th century."Portrait of a merchant or sailor", c. 1640.Oil on panel. Engatillada.It has a label of provenance: Count Tomar.Measurements: 116, 5 x 85 cm; 142 x 112 cm (frame).The author of this work shows us a royal and magnificent image, following the models established in the portrait of previous epoch, the artist places the protagonist of the scene between two big curtains that contribute a great theatricality to the scene, in the last plane we can appreciate an interior where a frame stands out in which there is the heraldic shield of the family to which the protagonist belongs, This is a symbol of his social relevance and also shows a portrait inherited from earlier aesthetic formulas, as in the Baroque period the background is completely eliminated and replaced by dark tones that help to monumentalise the figure. As for the main figure, he is portrayed almost in his entirety, turned three-quarter length, dressed in his uniform, sword and baton of command, thus consolidating his social importance, already intuited through the coat of arms. As for the technique, it is worth noting the great realism of the face, which shows us a mature person, with a forehead furrowed with wrinkles, and this realism and quality is also reflected in the clothing, with the white collar topped with lace.It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Lot 95
Spanish school, 17th century."Christ Triumphant".Oil on panel.Size: 34 x 27 cm; 67 x 58 cm (frame).Baroque painting, also resolved in a characteristic language of the period: the breaking of the sky occupies practically the whole painting, welcoming in its bosom the resurrected soul of Christ, who appears doubly represented (in the holy sepulchre and as God the Father). The triumphant figure of God the Father presides over the composition, following the traditional hierarchical scheme, accompanied by the Virgin (holding a sword, symbol of pain but also of triumph over evil), saints and apostles. All of them are intertwined with phylacteries that depict biblical legends about the cycle of the Passion and Salvation. Strong and expressive contrasts of light help to situate the figures at different levels, emerging from a focus of golden light surrounding Christ. This is a dynamic and suggestive composition, typically Baroque.
Lot 12
A NEMA TD 626 CIPHER MACHINE, SWISS MID-20TH CENTURY,maker's plate numbered TD 626, the 10-wheel cipher machine used by the Swiss Army and Diplomatic Corp, complete with standard keyboard, corresponding light-up displays, remote display, wiring, in painted metal case, stencilled TD 626, the machine 11 1/2 in (29cm) wide12 3/4in x 5 3/4in x 14 1/2in (32.5cm x 14.5cm x 37cm) overall Footnotes:First deployed in 1947, the NEMA cipher machine shared numerous features with the commercial Enigma, including the lack of a plugboard. In contrast, the NEMA utilised 5 rotors for enciphering the alphabet, and an additional 5 paired rotors which give irregular stepping of the rotors. This configuration resolved a major vulnerability of the odometer-style stepping of the Enigma machine. The present machine is understood to have once been kept in war-reserve storage in the event of conflict.For further information on this lot please visit Bonhams.com
Lot 18
A NEMA TD 772 CIPHER MACHINE, SWISS, MID-20TH CENTURY,makers plaque stamped TD 722, the 10-wheel cipher machine used by the Swiss Army and Diplomatic Corp, complete with standard keyboard, corresponding light-up displays, remote display, wiring, in painted metal case, stencilled TD 722, the machine 11 1/2 in (29cm) wide12 3/4in x 5 3/4in x 14 1/2in (32.5cm x 14.5cm x 37cm) overall Footnotes:The NEMA utilised a total of 10 rotors: 5 for enciphering the alphabet, and 5 paired rotors which give irregular stepping of the rotors. This was a marked improvement over the original German counterpart, Enigma. The present machine is understood to have once been kept in war-reserve storage, only to be issued if war broke out.For further information on this lot please visit Bonhams.com
Lot 4
A LEICA IIIc AND A LEICA IIIf, 1950's,the IIIc, no. 486642, with Summaron 35mm f/3.5 lens; the IIIf, no. 794327, with Summiter 50mm f/2 lens no, 627648, together with a Hektor 135cm f/4.5 telephoto lens, in leather case with a Weston light meter, a rangefinder and an eveready case, the leather case 10in x 8 1/2in x 5in (25.5cm x 21.5cm x 13cm) (qty)For further information on this lot please visit Bonhams.com
Lot 65
URANIA'S MIRROR, OR A VIEW OF THE HEAVENS, ENGLISH, 1825,32 hand-coloured engraved cards depicting star formations (200 by 140 mm.), with pin holes to locate the star positions when held up to the light, printed by Samuel Leigh, now mounted in four glazed frames together with a copy of Jehoshaphat Aspin A Familiar Treatise on Astronomy... Written Expressly to Accompany Urania's Mirror of A View of the Heavens consisting of thirty-two cards... two folding plates, half leather binding, octavo, each frame 25 1/4in x 29 1/4in (64cm x 74.5cm) (5)Footnotes:Provenance:From the Stephen Edell Collection.Urania's Mirror was produced in 1825 to illustrate the astronomical star charts, with each set accompanied by Aspin's publication. In a December 1824 advertisement they were promoted 'on a plan perfectly original', although the designs bore a striking resemblance to those in A Celestial Atlas by Alexander Jamieson, published in 1822.For further information on this lot please visit Bonhams.com
Lot 83
A MODEL VERTICAL OVERHEAD CRANK STATIONARY STEAM ENGINE, 20TH CENTURY,the heavily cast and machined 6-spoke flywheel fitted to one end of the overhead crankshaft, supported by a pierced cast plate and four turned steel columns, the centrally mounted short stroke cylinder with slide valve chest eccentric-driven from the crankshaft above, finished in green and polished brightwork, all fixed to grey metal baseplate and wood tray stand, the model 7in x 11in x 6 3/4in (18cm x 28cm x 17cm)cased 11 1/2in x 18in x 9in (29cm x 45.5cm x 23cm) Footnotes:The present model is understood to have been designed by George F.G. Desvignes (d.1935), the celebrated model engineer best known for his steam launches and torpedo boats. The model was first built in 1927 after a forced draught torpedo fan engine, and exhibited that same year at the Model Engineer Exhibition. Desvignes is photographed beside the model in his workshop in 1926.Literature:cf. The Model Engineer and Light Machinery Review, Vol. 61, August 1929, p. 207.cf. The Model Enigneer and Practical Electrician, Vol. 73, July 1935, p. 11.For further information on this lot please visit Bonhams.com
Lot 147
Venetian School, c. 1620 Ottoman Honey Merchant Oil on unlined canvas Dimensions: 77 (H) x 103 cm. (L)  (30 3/8 x 40 ½ inches) This incredibly rare early depiction of an Eastern Mediterranean or North African honey merchant is thought have been painted circa 1620. It predates the Flemish-French painter Jean Baptiste Vanmour (1671-1737) by around 100 years. Vanmour has been considered, until the emergence of this painting, to be the earliest and most refined recorder of Ottoman secular life. In the present painting, the honey merchant sits in his carpeted tent in obvious control of the trade around him. His accountant sits in deference whilst the apiarists and their workers present their straw skeps, or hives. This fascinating scene of everyday life in the Ottoman world, an Empire which included the Eastern Mediterranean and North Africa, illustrates much more than at first glance. Such an early depiction executed in oil on canvas is exceptional. Aside from the two iconic painters Gentile Bellini (active about 1460; died 1507), with his portrait of the Sultan Mehmet II of 1480 in the National Gallery, London and the aforementioned Van Mour, there are scarce western depictions of Ottoman or North African existence.  The artist of Ottoman Honey Merchant was probably Venetian both on stylistic and cultural grounds. The artist seems to be aware of the Bassano family of artists, reflecting their same blocky figures. The book-keeper turned away from the viewer is also familiar stylistically tothe Bassano dynasty. Certainly the strong and particular narrative content suggests therecording of a first-hand experience, although the potential name of this itinerant artist is not currently known.  Venetians were still the largest foreign community in Istanbul during the sixteenth century and remained the Ottomans’ most important international trading partners well into the seventeenth century. This mutually beneficial relationship provided each partner with access to key ports and valuable goods. Though territorial wars intermittently interrupted their relationship, both empires relied on trade for their economic well-being. As a Venetian ambassador expressed, ‘being merchants, we cannot live without them.’  The Ottomans sold wheat, spices, raw silk, cotton and ash (for glass making) to the Venetians, while Venice provided the Ottomans with finished goods such as soap, paper and textiles. The same ships that transported these everyday goods and raw materials also carried luxury objects such as carpets, inlaid metalwork, illustrated manuscripts and glass.  Honey was a highly significant commodity in Ottoman Empire during the period 1200 to 1700.  It was produced in huge quantities in almost every non-arid coastal region, from the Black Sea all the way to modern day Morocco, although it was most abundantly harvested in Attica and Turkey. The honey was used as a sweetener but also as a preservative for fruitsand fresh produce like meat, the wax from the bees was a pleasant-smelling core source of lighting and the honey could also be used medicinally as a natural antiseptic. Unsurprisingly, the Ottoman rulers had their own tax code for honey, with the duty collected being one akcËeor two akcËes from each beehive, depending on the locality and custom. The painting is redolent with period detail:  the merchant sits on a flat weave rug; in front of him is a painted tray (possibly either metal or papier maché) with a brass coffee pot and a white, glazed cup and saucer.  He wears prayer beads on his wrist.  The blue and white tent has been erected close to a town gateway which can bee seen beyond.  The book-keeper wears what appears to be a black burnous with a white hood;  this garment derives from the Berber Nomadic tribes and therefore strongly suggests that the scene could be identified as being North African.  To the right are three black men, almost certainly enslaved (the middle of the three being heavily disguised in a dark hood).  There was an ancient slave trade across the Sahara to the Mediterranean coast and also up the East coast of Africa and the Red Sea As there were restrictions on the enslavement of Muslims, “pagan†areas further to the South became an important source of enslaved people.  Ottoman areas of Anatolia and Attica tended to enslave Christians from the Black Sea and the Balkans, often prisoners of war.  Therefore the existence of the three figures to the right emphasises the likely location of this picture as being North Africa.  A secular painting of such antiquity of any trade is profoundly rare.  But the fact that the trade illustrated is the buying and selling of honey and beeswax is even more enthralling, it being one of the most universal and ancient of foods, sources of light and medicine.  There is evidence of human harvesting of honey from over 8,000 years ago.  And the honeybee itself has become a symbol of the natural health of the planet: bees are vital for the preservation of ecological balance and biodiversity in nature. They provide one of the most recognisable ecosystem services, that being pollination, which makes production of food possible. By doing so, bees protect and maintain ecosystems as well as animal and plant species, and contribute to genetic and biotic diversity.  Bees also act as indicators of the state of the environment. Their presence, absence or quantity tells us when something is happening with the environment and when appropriate action is needed. Therefore, this painting is a uniquely complex and layered object, addressing the history of art, trade, culture, race, dress, custom, food and natural sciences.
![Two old books [a] Dr. John Clarke's Arrangement of Handel's 'Solomon' (1825) [b] A Sporting and Shooting Record Book k](https://cdn.globalauctionplatform.com/d722c9cf-c199-4211-9ff6-af0a0107dfb7/7480e307-8772-4ae3-8d79-af0b00c6e718/468x382.jpg)
Lot 226
Two old books [a] Dr. John Clarke's Arrangement of Handel's 'Solomon' (1825) [b] A Sporting and Shooting Record Book kept from 1888 until 1896. With shoots recorded at Boldre Grange, Brantridge Park, Slaugham Park, and 'near Lucknow'. [a] With a Magdalene College, Cambridge label affixed to the frontispiece and dated '1948'. [b] Inscribed as being kept by Captain R. A. Newbury  of the Duke of Cornwall's Light Infantry. Property of a Lady
Lot 424
Red tortoiseshell mantel clock19th Century, with gilt metal mounts, and white enamel Roman numerals, with striking movement, marked Japy Freres and Co, 37cm high, with later inscribed stand.The case and back appear to be in good condition, with just some light marks consistent with the age. the painted back has a few scuffs to the edges. The movement and mechanism have not been tested.
Lot 436
Pair of silk embroidered curtains decorated with flowers, worked in coloured threads on a green/blue ground, lined, each curtain measures 255cm in the drop, 115cm wide (Approx 0.5cm difference in each curtain width)Overall light signs of wear. Some pulls and loose threads in places. No odour, overall clean. Slight UV/time fade shown by colour fading to edge of each curtain as expected.
Lot 667
Small Worcester bowlporcelain, circa, 1752-53, thickly potted, painted with the 'Pine Tree House' pattern, 10.5cm x 5.5cm approx overall Literature: See page 188, Branyan, French and Sandon - Worcester Blue and White Porcelain 1751-1790 2nd EditionRestoration, shows an affected area under UV light.
Lot 15
A diamond solitaire ring, the emerald cut stone four claw set in an all platinum mount, 2.6mm wide shank, Birmingham 2003, a baguette cut diamond set horizontally into each shoulder, ring size L/M, dimensions of major diamond 10.6x6.7x4mm, approximate weight of diamond 2.62 carats.Condition report:Please see further images uploaded to our website.We do not have a certificate to go with the ring, in our opinion the Colour would fall in the bracket J/K, Clarity VS1/VS2, there is a very very small nick on the edge of the table facet when viewed with a lens, it can just be seen in image nine as a pin prick of light two thirds of the way down the facet edge which is the darker facet edge by the table, (not the brighter spot of light seen on the right hand side of the ring). Fluorescence is medium to strong.The condition of the mount is all good, stone secure in the four claw setting.
Lot 80
A ruby, diamond and pearl ring, the eight-cut ruby pip set with one eight-cut diamond above and below, surrounded by ten pearls, all set in a marquise shape mount, in an 18 carat yellow gold shank with split shoulders, ring size P, gross weight 3g; and a garnet and pearl cluster ring, the central pearl surrounded by six light grey pearls in a flower formation, surrounded by twenty garnets, in a yellow metal mount with stylised fleur de lys shoulders, marked 9ct, ring size O, gross weight 6.2g.Qty: 2
Lot 121
A late 17th century embossed brass octagonal mural light reflector, Scandinavian/Dutch, circa 1680 The central octagonal boss decorated with a seated woman, flanked by a standing man and woman to the rim, and with birds and tulips, 56cm high Provenance: With Robin Bellamy Antiques, (Peter Hornsby), Witney, Oxfordshire, December 1985. Yelford Manor, Oxfordshire. Literature: This Lot is Illustrated: P. Hornsby, 'Collecting Antique Copper & Brass' (1989), pl. 14
Lot 224
A 19th century brass engraved sundial, EnglishWith decorative gnomon, the square back plate engraved with an eight-point compass rose, the hours marked with Roman numerals, and inscribed ‘A Light Guides Me / The Shadow You’, height 16cm, width 25.5cm, depth 25.5cmProvenance:Albert Bartram Collection
Lot 235
A particularly small and documented early 18th century cast iron grisset, English, possibly Sussex or Kent, circa 1700Of typical elliptical dished form, on three tapering legs, with reeded handle pierced for hanging, height 7cm, width 21cm, depth 24cmThis vessel would have been used for impregnating peeled rushes with the greasy materials used in the preparation of rushlights.Provenance: John Caspall Collection. Literature: This grisset is illustrated in ‘Fire & Light in the Home pre-1820’ (2000), p. 199, fig. 460 and described on p. 197
Lot 165A
serial No. 4499, with twin 'Sublime-Harmonie' combs on silvered part reeded cast bedplate, pitched pine soundboards, speed regulator and start/stop on motor cover, in the cabinet with corner detail, the front door with full mirror plate, flanked by a pair of matching mirror plate panels, sound fret to centre of pediment, light walnut finish with molded ebonised detail, with five discsAll teeth present, combs have surface rust, plays smoothly jamming occasionally; Cabinet 19 1/2" (50cm) high, 13" (33cm) deep, 17" (43cm) wide
Lot 319
with 4F Nikkor f2.8D 35-70mm lens, Tamron f4-5.6 70-300mm lens, Nikon FE no.4297860 with Micro-Nikkor f2.8 55mm lens and other items in Nikon ruck sackTamron lens fits D200 camera; camera works, some light wear from use; FE lens has internal clouding (fungus?), 37-70mm appears reasonably clear; Tamron has a patch of fungus visible (~3x3mm)
Lot 122
A Quantity of Vintage Action Man Items, including: blond painted head doll, flocked hair gripping hands doll, part French resistance uniform, part British Infantryman uniform, early Ski patrol helmet, jacket, trousers, belt with ammo pouches, skis, German Stormtrooper 1st issue Jacket, helmet with one decal, no strap and field pack, Navy attack blue helmet, Air police field phone & case, plus other accessories, 105mm light gun and Army Lorry, both missing parts . (A.Lot)
Lot 139
Corgi Toys 238 Jaguar Mark X, metallic light blue body, red interior, shaped spun wheel hubs, in near mint original condition, missing luggage, original blue/yellow box is excellent, 6/11 in pencil to one end flap, 307 ‘E’ Type Jaguar, plum red body, missing hard top, tan interior, spun shaped wheels, in good original condition, with a very good bright original box, 5/3 in pencil to one end flap and 9012 Corgi Classics Ford Model T, in mint boxed original condition. (3 items)
Lot 148
Corgi Toys 464 Black Maria Commer Police Van, metallic blue body ‘County Police’ decals, blue working battery operated roof light, red interior, spun wheel hubs, in good original condition, some loss to one side decal, correct special Corgi club leaflet/instructions, packing card ring, with a good original yellow and blue illustrated card box and 418 Austin Taxi, black body, lemon interior, flat spun wheel hubs, in good original condition, blue/yellow box is in good original condition . (2 items)
Lot 184
Two Dinky Supertoys Foden Trucks Type 1, boxed 504 Foden 14-Ton Tanker dark blue cab/chassis, light blue back/ wheel hubs/side flash, in good original condition, with a good buff lift of lid box, with red/white label and unboxed 502 Foden Flat Truck, green cab/back/wheel hubs, silver cab flash, black chassis, in very good original bright condition, some paint chipping to wings .(2 items)
Lot 205
Dinky Toys Boxed 430 Commer Breakdown Lorry ‘Dinky Service’ tan cab/green back/red wheel hubs. In blue/white lidded box, 300 Massey Harris Tractor, red body, tan driver, yellow cast wheel hubs, 513 Guy Truck with tailboard, dark green cab, light green back/wheel hubs in 512 box, models are in good to excellent original condition, unboxed 340 & 341 Landrover with trailer and 105e grass cutter,in fair condition .(6 items)
Lot 226
Dinky Toys 277 Superior Criterion Ambulance, metallic blue, white roof, blue interior spun hubs and white tyres, light untested, driver and passenger, in good original condition, with yellow and red picture box with detailed picture, inner packing and instructions leaflet, excellent to mint condition and 276 Airport Fire Tender with flashing light, untested, spun wheel hubs, in fair to good original condition, with yellow and red picture box with detailed picture, inner packing and instructions leaflet, excellent condition. (2 items)
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534297 item(s)/page