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Lot 91
JAMES ABBOTT MCNEILL WHISTLER R.B.A. (AMERICAN 1834-1903) SEYMOUR (KENNEDY 31; GLASGOW 30) - 1858/59 Etching, from the second state (of three) before the redrawing of the legs, signed and titled in plate plate size 13cm x 9.5cm (5in x 3.75in) This etching is believed to have been executed in autumn 1858 or spring 1859 when Whistler was staying in London at the Sloane Street home of Francis Seymour Haden Jr. (1850-1918). Haden Jr., the subject represented in this composition, was the eldest son of Whistler’s half-sister Deborah Delano Haden (1825-1908) and Sir Francis Seymour Haden (1818-1910). Literature:Edward G. Kennedy, The Etched Work of Whistler. New York, Grolier Club, 1910 (31)Howard Mansfield, A Descriptive Catalogue of the Etchings and Dry-Points of James Abbott McNeill Whistler. Chicago, Caxton Club, 1909 (32)Ralph Thomas, A Catalogue of the Etchings and Drypoints of J.A M. Whistler. London, John Russell Smith, 1874 (17)Sir Frederick Wedmore, Whistler’s Etchings: a Study and a Catalogue. London, Thibaudeau, 1886 (23)Whistler Etchings Project (30)
Lot 96
GERALD LESLIE BROCKHURST 4 ETCHINGS: CHARLES CLAUDE CARPENTER - 1931; MR WIGGIN - 1932; MRS ALBERT H. WIGGIN - 1932; DR CHARLES LEE REESE Etching, signed and dated in plate, signed in pencil to margin;MR WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;MRS ALBERT H. WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;DR CHARLES LEE REESE, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 30cm x 22cm (11.75in x 8.75in); 25cm x 18.5cm (9.75in x 7.25in); 25cm x 19cm (9.75in x 7.5in); 20cm x 16.5cm (8in x 6.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 94
GERALD LESLIE BROCKHURST 5 ETCHINGS: MARQUETT; HENRY BELL - 1930; PEPITA; A BALLYNAKILL WOMAN; A CONNEMARA PEASANT Etching, signed in plate, signed in pencil to margin;HENRY BELL, Etching, signed and dated in plate, signed in pencil to margin;PEPITA, Etching, signed in plate, monogrammed 'C. P.' in plate, signed in pencil to margin;A BALLYNAKILL WOMAN, Etching, signed in plate, signed in pencil to margin;A CONNEMARA PEASANT, Etching, signed in plate, signed in pencil to margin (5) plate sizes: 21.5cm x 17.5cm (8.5in x 6.75in); 21cm x 15.5cm (8.25in x 6.25in); 11.5cm x 11cm (4.5in x 4.25in); 14cm x 10.5cm (5.5in x 4.25in); 16.5cm x 11.5cm (6.5in x 4.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 95
GERALD LESLIE BROCKHURST 4 ETCHINGS: RANUNCULUS - 1921, ELIZABETH; PAQUITA; CHIQUITA Etching, signed in pencil to margin;ELIZABETH, Etching, signed in plate, signed in pencil to margin;PAQUITA, Etching, signed in plate, signed in pencil to margin;CHIQUITA, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 20cm x 15cm (8in x 6in); 15cm x 10cm (6in x 4in); 14cm x 10.75cm (5.5in x 4.25in); 16cm x 13cm (6.25in x 5.25in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 51
WILLIAM WILSON CHURCH BY MOONLIGHT / LATTON PRIORY, ESSEX - 1936 Etching, 4/5, signed to plate, signed by the artist in pencil to margin, signed and numbered by Edgar Holloway (the printer) in pencil to margin, further inscribed with title in pencil to sheet lower edge, and a companion, ‘Latton Priory, Essex’ - 1936, etching, signed, inscribed with title and dated to margin by Edgar Holloway (the printer), further inscribed in pencil with title to sheet lower edge (2) 13cm x 10.5cm (5in x 4.25in); 18.25cm x 13.25cm (7.25in x 5.25in)Provenance: William Wilson (1905-72) and thence by descent to the present ownerNote: William Wilson and Edgar Holloway (1914-2008) met in 1935. In 1936 the pair rented a cottage in Essex in 1936 where they set up a printing press. Both artists made etchings of Latton Priory in 1936.
Lot 499
SALEROOM ANNOUNCEMENT - Elements 'AF' not 'F'. A Pair of Barr & Stroud WWII 7x British Military Binoculars, serial no 75009, markings on right hand prism plate read A.R No 1900A, Serial No 75009, marked with broad arrow, on left hand prism plate Barr & Stroud, 7X CF41, Glasgow & London, body G, some paint chips around prism end, elements AF, some bubbling/balsam deterioration to eye optics, with eye caps, in case
Lot 251
A Rollei 35 LED Compact Camera, made in Singapore, black, shutter working, meter responsive, top plate lifting from camera body occasionally causing shutter not to fire, body G-VG, with 40mm f/3.5 Triotar lens, elements G-VG, wrist strap, lens cap, soft Rollei case and boxed Rollei E15B flash
Lot 377
A Nikon F2A SLR Camera, serial no 7591715,shutter working, self timer working, release catch on finder broken, meter responsive, body G, some brassing to top plate, with Nikkor 50mm f/1.4 Ai-S, lens, barrel G-VG, lubricant residue on aperture leaves, leaves not springing back, elements G-VG, with front cap
Lot 80
A Leica R7 SLR Camera, black, made in Germany, serial no 1922387, 1992, shutter working, meter working, body G, some paint wear to bottom back edge of base plate, with Leitz Wetzlar Summicron-R 35mm f/2 3 CAM lens, serial no 3087737, 1981, barrel G, some paint wear to grip, elements G-VG, with front cap, in Leica ERC
Lot 288
Two 16mm Cine Cameras, a Cine Kodak Model B, motor runs, no attachment lenses, elements G, in Kodak case, Ensign Auto Kinicam Type B, no motor wind key, untested, body G, some paint wear to edges, with Cinar 1 inch f/2.6 lens, elements F, lot includes a Kilmax folding plate camera, AF and a Pullin 35mm film strip viewer, with Pulnar 100mm f/2.8 & 152mm f/2.8 lenses, F-G, in wooden case
Lot 460
A Contax G1 Camera, green label, serial no 034909, shutter working, meter working, viewfinder display working, body G, some surface marks to base plate, tint ding to right hand bottom corner of base plate, with Car Zeiss T* 35mm f/2 Planar lens, auto focus working, barrel VG, elements VG, TLA 200 flash, working on test, Contax remote trigger, lens hood, caps manuals and maker's boxes for camera body & lens
Lot 569
Two Single Cylinder Engineered Models, English, late 19th century,comprising a single cylinder horizontal engine with six-spoked flywheel, on rectangular base; and a single cylinder vertical beam engine on metal plate, (2)This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 281
A Dutch late 17th/early 18th century walnut or fruitwood and ebonised mirrorThe later plate within an ovolo moulded frame encompassed by a reverse ogee moulded surround with projecting angles, within a similar outer border, approximately: 93cm high x 82cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 77
A pair of late 18th / early 19th century Chinese export porcelain gilt ground Famille Rose platesdecorated with the armorial crests of the Seton familythe centres with polychrome enamelled interior scenes depicting a pair of seated figures about a low table and an attendant figure, a terrace visible through an open doorway, the rim with three shaped oval panels with sepia watery landscapes, interspersed with smaller grisaille and sepia shaped panels of birds and a similar panel bearing the armorial crests, the reverse of one plate with an applied paper label for 'Suchow & Seigel, Fine Antiques, Est. 1968, New York city', 20cm diameter (2)Footnotes:Provenance UK family private collection, thence by descent to the present owner. The crests applied to the porcelain in the above lot are of the Seton family, who were one of Scotland's ancient families and who resided at various times at Seton Place and at Fyvie Castle, until their departure in the mid 18th century.The lineage of the family dates back to the early 14th century when Sir Cristopher Seton married Lady Christian Bruce, sister of King Robert the Bruce. A later descendent was Mary Seton who was was lady-in-waiting to Mary Queen of Scots and one of her famed 'four Marys'. Alexander Seton, 1st Earl Dunfermline added Seton tower as the entrance in 1599. The Lords Seton were also the premier barons of Scotland and became Earls of Huntly, Winton, Dunfermline, Eglinton and Chancellors of Scotland.For further information on this lot please visit Bonhams.com
Lot 10
A second quarter 19th century giltwood triple-plate overmantel landscape mirrorin the George II styleThe bevelled plates within reeded trellis surrounds and interspersed by two engaged columns, the borders with vine leaf and tendril entwined trails and carved with C-scrolls, surmounted by a pierced acanthus spray cresting, 68cm high x 148cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 585
A Good Large Model Of A Single Cylinder Inverted Vertical Steam Engine, English, dated 1888,the slide valve chest fixed with a brass plate reading Wells & Sons Sheffield, Makers 1888, the cylinder block with displacement lubricator and raised on shaped cast iron H-frame supports, the crankshaft running in twin main bearings and with 23 inch (58 cm diam.) spoked flywheel, small p.t.o. pulley and belt drive to brass compensated twin-ball governor, the model finished in olive green and scarlet on a stained oak base. 52in x 27in x 18 1/2in (132cm x 69cm x 47cm) overall This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 628
HISTORIC INTEREST: an exhibition silver and gilt electrotype clockthe case designed by John Bell (1811-1895) for Elkington Mason & Co, Birmingham 1853, stamped 'ELECTRO DEPOSITED & PUBLISHED BY ELKINGTON MASON & CO APRIL 1853' Shaped triangular sculptural form, highly decorative the 'Hours Clock-Case', the whole embellished in silver-plate and gilding, the apex crowned with a figure of Psyche, winged and looking upward, emblematic of eternity, stylised sunrays and clouds beneath her feet, the case front embellished with a dramatic bas-relief, sinuous classical figures representing the twelve hours are cast encircling the enamelled clock dial, to the base are two further figures symbolising 'Night', a woman in repose, and 'Morning', a man waking, rocky outcrops beneath them, the reverse encasing a brass twin train clock movement with outside count wheel striking on a bell, includes pendulum and two winders, all raised on three ball feet, width 29cm, height 40cm.Footnotes:ProvenanceExhibited at the 'Paris Universal Exhibition' of 1855 - see the 'Illustrated London News' from 17th November, 1855, p.592.Lot EssayThe prototype of this sculptural clock, designed by John Bell (1811-1895) for Elkington Mason & Co in Birmingham, was first exhibited at the 'Great Exhibition' of 1851. This landmark exhibition was probably the most successful, memorable and influential cultural event of the 19th century. From May to October 1851, the magnificent Crystal Palace in Hyde Park, London, was filled with visitors to the 'Great Exhibition of the Works of Industry of All Nations'. The exhibition's phenomenal success confounded the predictions of its many doubters in both parliament and the press. Visited by over six million people (equivalent to a third of the British population at that date), it generated a vast profit of £186,000.The 1851 exhibition was the first ever international exhibition of manufactured products. It inspired a long succession of international fairs in other cities, including Paris, Dublin, New York, Vienna and Chicago – almost one a year for the rest of the 19th century.As discussed and illustrated in the 'Exhibition Supplement to The Illustrated London News', published on August 9th 1851, p.188, this fine Elkington clock-case comes 'within the scope of legitimate sculpturesque decoration of a work of utility. It is styled the 'Hours Clock-Case' ... it is prettily conceived, and pleasingly designed; though it might, perhaps, be improved in subsequent copies ...' The commentator then goes on to list the improvements they feel would enhance John Bell's original design. It is therefore interesting to note that the clock-case on offer here is the new and improved version, which takes on board the criticisms cited in 1851, and was subsequently displayed at the 'Exposition Universelle' in Paris (otherwise known as the 'Paris Universal Exhibition'), in 1855.As per the description and text quoted in 'The Illustrated London News' dated November 17th 1855, p.595, under the heading 'The Paris Universal Exhibition', it states; 'We have engraved three of the beautiful works of British Art which have been attractive even in the Art-Capital of Paris ... Next is a Clock Case, designed by John Bell and manufactured and exhibited by Messrs Elkington Mason and Co. The dial is encircled with figures of the twelve hours; and at the base are figures of Night and Morning. The design is more in the French taste than Mr Bell's compositions usually are ...' It is therefore apparent that this lot currently on offer, was exhibited at the 1855 'Exposition Universelle' in Paris, which took place on the Champs-Elysees from 15 May to 15th November, in 1855. Its official title was the 'Exposition Universelle des Produits de l'Agriculture, de l'Industrie et des Beaux-Arts de Paris 1855'. Held at the height of the Crimean War, the spectacle was the Second French Empire's attempt to surpass London's Great Exhibition of 1851.In considering the interconnection of industry and industrial display with sculpture in mid-nineteenth century Britain, the name of one sculptor in particular stands out. During the 1850s, John Bell was Britain's foremost sculptor, modelling for manufacturers of earthenware and metal statuary. A prominent exhibitor and curator of sculpture displays in the international exhibitions, Bell was the chief sculptor associated with Henry Cole's design reform movement and a prolific lecturer on sculpture. At the same time, Bell successfully maintained a conventional sculpture workshop, producing marble and bronze statues for private collections and national monuments. At the international exhibitions, Bell's designs could be found embodied in statues in marble, plaster, Parian, cast iron and electrotyped bronze, as well as silver-plated clocks and tableware. Bell therefore was prominently positioned at the centre of the nexus between fine art and industry during the 1850s. Whilst Bell's work as a modeller featured prolifically throughout the industrial displays at the early international exhibitions, he also curated displays of 'fine art' sculpture. Therefore the teaming up of John Bell and Elkington Mason & Co was a match made in creative and industrial heaven - fine art and industry combined. From 1836, Elkington were the pioneering British electroplating company who had invented, patented and developed the key elements of the art of electro-metallurgy. They were the world's pre-eminent art-metalwork manufacturer's of the 19th century, harnessing the power of electricity for the creation of artworks and mass consumer goods. Critically acclaimed at the Great Exhibition of 1851, Elkington became one of the world's first multinational brand identities and luxury trademarks. It was the only British company to consistently win the highest awards at all seven of the international exhibitions held from 1851-1878. The history of Elkington's achievements is the great, untold British success story of the Victorian era.LiteratureAlistair Grant - Sculpture, Metalwork, Ceramics and Glass V&A Museum, 'Elkington & Co. Visitors' Book, 1855-1878', accessed via https://www.vam.ac.uk/blog/projects/elkington-co-visitors-book-1855-1878 17/1/24Christopher Marsden - senior archivist Victoria and Albert Museum, 'The Gazette Official Public Record', accessed via https://www.thegazette.co.uk/all-notices/content/100717, 17/1/24Gabriel Williams, 'Industry and the ideal - ideal sculpture and reproduction at the early international exhibitions - two volumes', Volume 1, PhD thesis University of York, History of Art, September 2014For further information on this lot please visit Bonhams.com
Lot 8
A George II walnut, parcel gilt and gilt gesso triple-plate overmantel landscape mirrorCirca 1730, the later plates within a foliate and lozenge moulded slip, within an ogee moulded surround, flanked to each end by an acanthus, bellflower and flowerhead carved scrolled shaped and stippled decorated spandrel, 38cm high x 135cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 282
A George II giltwood and gilt gesso girandoleCirca 1735The bevelled plate within a berried acanthus and rosette moulded ogee surround, with a shaped, scrolled foliate clasped and rosette carved swan neck pediment flanking a husk and acanthus wrapped shaped cartouche cresting, the shaped apron centred by a scallop shell, mirror plate is cracked, approximately: 106cm high x 58cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 188
A George III mahogany and brass bound and mounted plate bucketwith open pierced staved sides with brass swing handle, fitted later tin liner, 33.5cm high (48cm high including handle), 30.5cm diameterThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 851
A yellow metal vestaonly incuse stamped 585 Rectangular with vertical engine-turned bands, with removable taper, metal striking plate and ring attachment, length 4.3cm; a 9 carat gold piercer, Cohen & Charles, Birmingham, cylindrical with twist action, length open 8cm; with a gilt metal pencil, gilt metal vinaigrette and gilt metal push action cigar piercer. (5)For further information on this lot please visit Bonhams.com
Lot 612
A Hagelin CX-52 Cipher Machine, Swiss/Swedish, 1950's,serial number 10506, makers plate manufactured by Crypto AG Zug Switzerland by AB Cryptoteknik Stockholm Sweded, a mechanical pin-and-lug cipher machine with 6 interchangeable cipher wheels, grey-green metal casing, 'Hagelin-Cryptos' metal label to top cover, metal tag to right side of base bearing serial number and with original Zeiss Ikon keys with matching numbers, in fitted pine case with fourteen various cipher wheels, cipher machine 4in x 8 1/4in x 5in (10cm x 21cm x 13cm) Footnotes:The CX-52 was one of the more complex portable cipher machines of the time. The National Security Agency (NSA) produced a 1954 report that stated:'Any CX-52 traffic that appears will tax our present facilities severely. It will require more complicated, faster programs; and most of the present special-purpose equipment will not be applicable.'Documents released in 2015 reveal that Crypto AG's founder Boris Hagelin and US government cryptographer William Friedman, then with the NSA, had entered into an agreement whereby Hagelin would keep both the NSA and the UK's Government Communications Headquarters (GCHQ) informed about technical specifications of the various machines and to which countries they were being sold. The NSA was responsible for writing the manuals that accompanied some of the CX-52 machines sold so that the full complexity would not be utilised.For further information on this lot please visit Bonhams.com
Lot 280
A Louis XIV giltwood and gilt gesso mirror1705-1720The late plate within a frame carved with flowers and foliage with scrolled cartouche angles, surmounted by a shaped scrolled strapwork and acanthus carved cresting centred by a bouquet of flowers, re-gilt, approximately: 98cm high x 53cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 279
A Regency or early 19th century giltwood and gilt gesso convex mirrorThe later plate within an ebonised reeded slip, encompassed by an acanthus moulded border and a musket ball surround, with a ribbon wrapped imbricated frame surmounted by a carved eagle upon a pile of rocks, approximately: 124cm high x 69cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 293
A 20th century Russian brass-bound mahogany two-day marine chronometersigned and number Kirova (ИМЕНИ КИРОВА), 14202the three-part case with brass corners on the top lid, the centre section with knurled brass button above a brass plaque engraved МОРСКОЙ ХРОНОМЕТР ГОСТ 8916-70, the lower section with matching knurled brass button below and folding handles, the 3.5' silvered dial with Arabic chapter ring and subsidiary power reserve indicator from 0-56 at 12 and observatory style seconds dial between 5-7, signed ИМЕНИ M143 КИРОВА below the gold spade hands, the polished full plate movement with maintaining power to the chain fusee, free sprung steel helical balance spring with diamond endstone and Earnshaw type escapement, cut and compensated bimetallic balance with circular timing weights, sitting in a gimballed bowl, with a tipsy key, 20cms highFor further information on this lot please visit Bonhams.com
Lot 993
Photography interest - An antique 1920s Auto-Focus Enlarger by Eastman Kodak Company, Rochester, Kent. Of stainless steel construction with cast iron stand. Original manufacturers plate - reads 'Eastman Auto-Focus Enlarger, Serial No. 3509, Patented in the USA March 1924. Scale 32394. Measures approx 98cm x 21cm.
Lot 59
A collection of silver and silver plate items, to include a leather cased set of six repousse silver coffee spoons, a weighted silver inkwell with glass liner and a leather cased set of shell salts with matching spoons. Various makers. (Silver weight 205 grams, inkwell not included as weighted)
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