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Lot 779
WEST HAM UNITED Home programmes,16 Cup Matches v Arsenal, Southern Floodlit Cup SF 68-69, v Leicester C FLC SF 63-64, John Lyall's Testimonial April 1064, 3 X ECWC Gantoise, Lausanne Sports & SF Real Zaragoza, 2 X v Birmingham FAC & Chelsea Jan 1965, 2 X FAC v Oldham & Blackburn 65-66, v QPR FAYC 5th R 1966, 3 X LC v Spurs, v Leeds, & SF v WBA and Anglo Italian CWC 75-76 Final 2nd Leg v Fiorentina. Some team changes. Generally good.
Lot 1063
PIRATE PROGRAMMES AND FA CUP ISSUES Twelve programmes from the 50's 3 X Bolton v Preston NE 52-53, Arsenal v Aston Villa 53-54, & Sheff W v Hull City 57-58. 2 X Tottenham v Blackburn and Leicester 63-64, FAC 6th R 2nd Reply at Ewood Park between Man City & Everton, x2 Crystal P v Millwall & Millwall v Leicester C 68-69, Leicester v Everton FAC QF 67-68, 3 X FAC souvenir programmes that fit any match, 67-68, 73-74, & 74-75, all left blank. Also two song sheets, Preston NE v West Ham Utd 2nd May 1964 & England v Scotland 10th May 1969. Generally good
Lot 104
Schoener (Johann) Opera mathematica, 3 parts in 1, first edition, collation: α6, β4, A-Z6, Aa-Cc6, Dd-Ee8, Ff-Mm6, Nn8; a-h6, i8, including errata, colophon and final blank leaf, but lacking 2 other blanks, Roman and Greek type, title printed in red and black with two large woodcut ornaments, woodcut printer's device at end, woodcut portrait of the author on β4v, numerous woodcuts and diagrams, 4 full-page woodcuts, including terrestrial globe, celestial globe and planisphere, complete with eleven diagrams with working volvelles (some with original threads, others sometime replaced), woodcut initials, generally very fine, wide-margined copy, title gutter reinforced, quire R lightly browned, few other leaves toned, small wear to lower blank margin of b3v, tiny wormhole in blank outer margin of last several leaves, contemporary blind-tooled pigskin over wooden boards, covers within two blind-stamped rolls, outer roll dated 1541 and depicting the Crucifixion, David, the Resurrection, and St. John, inner roll dated 1556 and showing Lucretia, Caritas, and Justicia, later stamp of Schola Altenburgensis printed in gold in centre of upper cover and in black on lower cover, some minor abrasion to binding, spine slightly chipped at head, corners lightly rubbed, folio (306 x 201mm.), Nuremberg, J. Montanus & U. Neuber, 1551.⁂ Rare and important work with a most distinguished provenance, in excellent condition and in its strictly contemporary binding. The Honeyman copy of the first edition of the collected works by Johann Schöner, mathematician, astronomer, cartographer, and scientific instrument maker from Karlstadt, in Bavaria. Schöner was a contemporary of Nicolaus Copernicus and in 1526 he became the first professor of mathematics at the University of Nuremberg. His most illustrious pupil was Georg Joachim Rheticus, who in the Narratio prima (1540) announced Copernicus' discoveries. Schöner was also active as a printer and even set up a press in his house, printing numerous previously unpublished works by Johannes Regiomontanus, as well as the first printed terrestrial globe to name the recently discovered continent of America. The Opera mathematica was published posthumously by his son Andreas and is introduced by a preface by the outstanding humanist and reformer Philipp Melanchthon (1497-1560). The volume contains a representative sample of Schöner's wide and diverse interests, and a digest of some of his separately published works, most of which are extremely rare. Part 3 contains the most important section, which describes and illustrates eleven instruments, under the title Aequatorium Astronomicum, ex quo errantium stellarum motus, luminarium configurationes, & defectus colliguntur, a revised and enlarged version of the work which first appeared in 1521. The Aequatorium Astronomicum contains the earliest collection of printed equatoria-diagrams, as well as a catalogue of stars adapted by Schöner from that published by Copernicus in his De revolutionibus of 1543. The text is illustrated by an elaborate series of volvelles (movable wheel charts) used to determine planetary positions. Each part of these volvelles was printed on a separate page, such that the reader could cut them out or trace them on separate pieces of paper, and then assemble the various parts with string. These fragile 'paper instruments', which Schöner was among the first to employ, are frequently lacking or only partially present in most other copies of this work, and they are very often constructed incorrectly. This copy is exceptionally complete and includes all the volvelles, some still with their original thread. Provenance: from the library of the Latin school in Altenburg, Germany (stamp on the binding 'Biblioth. Schol. Altenburgensis'); the English politician and book collector Sir Robert Leicester Harmsworth (1870-1937; his sale at Sotheby's London, 9 February 1953, lot 9605); Robert Honeyman IV (1897- 1987; see The Honeyman Collection of Scientific Books and Manuscripts. Volume vii. Printed Books S-Z and Addenda, Sotheby's New York, 19-20 May 1981, lot 2802A); Astronomy & Science Books from The Library of Martin C. Gutzwiller, lot 175. Literature: Adams S-678, 685; VD16 S-3465; Alden 551/35; BEA, pp. 1027-1028; Houzeau - Lancaster 2388; Sabin 77806.
Lot 133
Emerson (Ralph Waldo, American essayist, lecturer, philosopher, and poet, 1803-82) Autograph Letter signed to James R. Osgood, publisher, 2pp. with conjugate blank, 112 x 88mm., Concord, [Massachusetts] 23rd July 1871, sending him copy for his book, Letters and Social Aims, published in 1875, "I mean to bring or send you one day this week the first instalment of copy for the new book, which book will hold eight or nine or ten chapters, with titles like these: Poetry & Imagination...", folds, conjugate blank edges with brown stains, laid in on paper mount.
Lot 134
Stowe (Harriet Beecher, author and slave abolitionist, 1811-96) Autograph Letter signed to James R. Osgood, publisher, 1½pp., 8vo, Framingham, [Massachusetts], 29th December 1872, regarding the publication of Palmetto Leaves, "This is all the copy except one final chapter which I will send very soon. I am soon going south and want to have the whole in type before I go so I hope you will set this up at once", and referring to some of the illustrations to the book, "The sketch at the head of No. 1 is our cottage under the live oak at Mandarin & I want it at the top of the chapter... For No. 3 A characteristic sketch of an old negro standing on a wharf by a cotton bale might be a good subject [became the Illustration accompanying the chapter entitled "Old Cudjo and the Angel"], laid in on paper mount, folds, slightly browned.
Lot 136
Clemens (Samuel Langhorne, author, 1835-1910), "Mark Twain". Autograph Letter signed "S.L. Clemens" to Benjamin Holt Ticknor of James R. Osgood &co., publisher, and with the end of a letter as part of Ticknor's reply on Osgood headed paper & a brief Autograph Note signed "Mark" in further reply, together 3pp., 8vo, Hartford, 15th August 1881, regarding reading the proofs of The Prince and the Pauper, "Yes, that is the correct idea - do the cut over again; process it down to the required reduction. I'll have to wait till you send Chap 1 again, & then begin fair & read consecutively - can't begin in the middle of the book. I'd rather have my own MS to read by. I know it to be accurate, & I ain't sure of the other. If there were a serious error in the copy - MS, I wouldn't know how to remedy it without sending to you for the original. The proof reader, I notice, has marked a hyphen to go in Lord Protector (Chap XXXI) No hyphen will be found in the copy - let the copy be followed strictly... . Sometimes I even spell words erroneously; but I do it purposely, & out of hatred of the dictionary... . Another point... state that the book is not going to be issued 6 months or a year after the date promised, but promptly on that date", and complaining to Ticknor about someone not visiting them, "He didn't come. It has been a great disappointment to the whole family. Hereafter, appoint a party we can depend on... Mark", album stubs on left margins, folds, slightly browned.⁂ Mark Twain on reading the proofs for "The Prince and the Pauper".
Lot 140
Uncle Remus, Nathaniel Hawthorne & Mark Twain.- Osgood (James R., publisher in Boston, 1836-92) Autograph Letter initialled "JRO" to Benjamin Holt Ticknor, 1½pp., 8vo, New Orleans, Friday, 5th May [1883], "Have captured 'Uncle Remus' for a book or two... Glad to hear of your success with Clemens's suit. Also that the Hawthorne matter is arranged", laid in on paper mount, folds.⁂ Three famous American writers in one letter.
Lot 142
Uncle Remus.- Harris (Joel Chandler, journalist and author, 1848-1908) Autograph Letter signed to James R. Osgood & Co., publisher, 2pp., 8vo, The Constitution [Atlanta] headed paper, 24th July 1883, on a misunderstanding over the illustrators of Uncle Remus, "... to begin with... that Beard [William Holbrook Beard] was to do all the illustrations. I said this was my preference but J.R.O. suggested that it would perhaps be better to let B. do part and C. [J. M. Conde] a part for the sake of variety, and the proof, "The Century insisted on having the copy of the sept number at first hand, and I have just read the proof", and the title-page of Uncle Remus, "Here is the title-page I have copyrighted. Nights with Uncle Remus Myths and Legends of The Old Plantation etc", laid in on paper mount, folds.
Lot 143
James (Henry, writer, 1843-1916) Autograph Letter signed to James R. Osgood, publisher, 1p. with conjugate blank, 8vo, n.p., n.d. [c. 1880s], "I am intent upon getting my book published this coming fall... . What is the harm of advertising it then? But publishing is a mystery to me. Perhaps I am incapable of understanding it. Tell me if I am all wrong about this matter", laid in on paper mount, folds.⁂ "Publishing is a mystery to me." - Henry James.
Lot 145
Hearn (Lafcadio, author and translator, 1850-1904) Autograph Letter signed to Messrs Jas. R. Osgood & Co., publisher, 2pp., 8vo, New Orleans, 11th May 1884, referring to his book, Stray Leaves from Strange Literature, "By the time you receive this, I shall have sent on the last proofs, except perhaps a few revises... . I have done what I could to redeem the little book from such weaknesses as are incident to journalistic labor generally... . I feel more confident than before that the little book will have a good sale. It was at first my intention to include Arabic, Chinese, and Malayan legends or fairy tales; but I found the first subject alone so rich and curious that I determined to save the material for a more serious volume", and suggesting sending the book to various newspapers for review, folds, traces of newspaper cutting on blank f.⁂ Hearn's "first stabs at literature, written during this period, were lurid and over-coloured, such as his translation of Gautier, entitled Cleopatra's Nights and other Fantastic Romances (1882), and his original volumes of short stories, Stray Leaves from Strange Literature (1884) and Some Chinese Ghosts (1887). But the tone of these writings reveals Hearn's growing obsession with the East, which, he said, 'perfumed my mind as with the incense of a strangely new and beautiful worship' (Hearn to W. D. O'Connor, 1883, Wetmore, 1.291)." - Oxford DNB.
Lot 182
James (M.R.) Ghost Stories of an Antiquary, first edition, signed presentation inscription from the author to Arthur C. Benson dated November 1904 to endpaper, frontispiece and 3 plates by James McBride, advertisements, occasional foxing or spotting, pencil ownership inscription of F. R. Salter to endpaper, original buckram, ruled in red and lettered in black, yapp edges, light browning to spine, light rubbing to extremities but a sharp and excellent overall, uncut, [Lovecraft, Supernatural Horror in Literature, 1973, pp.100-105; Tymn 3-125], 8vo, 1904.Saleroom notice: The presentation inscription is in the hand of A. C. Benson, not the author⁂ A superb copy of this key collection of ghost stories, rarely found signed and with an excellent association. Arthur C. Benson (1862-1925) Master of Magdalene College, Cambridge, essayist, poet and noted writer of ghost stories. Benson was a close friend of James', famously commenting about the renowned author "I don't suppose anyone alive knows so much or so little worth knowing!".F. R. Salter (1887-1967) fellow of Magdalene College, Cambridge.
Lot 443
Imperial German 98/05 Butcher Bayonet, with two piece wooden slab grips, steel pommel and cross guard. Housed in a re-painted black steel scabbard. Standard pattern blade with fuller to back edge. Gottlieb Hammesfahr makers mark and crown over W 17 for 1917 to the spine. Black leather frog to the scabbard with makers stamp and 1916 date. Accompanied by a Imperial German 1871 pattern bayonet without scabbard, regimentally marked “101.R. 10.2”. (2 items)
Lot 478
Imperial German Prussian Other Ranks Pickelhaube with Matching Field Cover, the helmet is a standard Prussian M-15 other ranks pickelhaube with original state and reichs cockade. Original but damaged leather chinstrap with metal fittings. Grey metal Prussian eagle helmet plate, front trim, circular spike base with domed rivets and removable spike top. Helmet has the original leather liner to the interior. Rear peak is stamped with unclear depot stamp and impressed to the leather is Berlin makers details and 1915 date. The other side of the rear peak is a deeply impressed regimental stamp for “RJR 217”, we are of the opinion that this stamp has been done at a later point. Two leather patches to the interior by the helmet plate indicating that the helmet is probably a period conversion from brass to field grey mounts. Accompanying the helmet is an original other ranks field cover which has green felt embroidered “R 217” to the front, this is also in our opinion possibly later applied. The interior of the cover has metal hook fittings and inked makers stamp and probably an original ink regimental stamp for “R.J.R 217”. The pickelhaube and cover show a lot of wear overall.
Lot 573
WW2 Luftwaffe Battle Damaged Steel Combat Helmet, M40 pattern steel combat helmet retaining much of its original Luftwaffe blue paint finish to the exterior and interior of the shell. 2nd pattern Luftwaffe helmet decal which remains in good overall condition, approximately 85% remaining. The shell has a large stress fracture to the front which has forced one liner rivet to be removed. Dents and stress cracks also to the back side of the shell making it misshaped. The helmet retains the original liner and part of the original leather strap. Cracks and wear to the liner. Shell is stamped “SE64” and “9850”. This helmet was originally sold by C&T Auctioneers and Valuers Ltd in January 2018 with original paperwork and photographs of Driver C R Hart RASC who brought the helmet back to the UK as a souvenir, sadly this paperwork is no longer with the item.
Lot 3363
Florence Nightingale (1820-1910), founder of modern nursing, known as "The Lady with the Lamp". The Story of the Resurrection of Christ, by R. E. H., London: National Society's Depository, 1886, publisher's pictorial cloth-covered boards, a gift for Hannah Allen, inscribed by Florence Nightingale in bold pencil on opening blank leaf, 'For our dear old friend Hannah Allen, with Florence Nightingale's Easter love, 1893'. The book is illustrated with six vibrant chromolithographic plates (including frontispiece); the Ascension plate is loose/detachedProvenance: By descent. Mrs Walker (who helped to care for Hannah Allen - see letters in this auction) was vendor's great-grandmother. Mr & Mrs Walker lived in Holloway, just outside the grounds of Lea Hurst
Lot 369
A collection of gold rings to include two 14ct gold and paste set rings, size M and R, combined total gross weight approx. 6.5gms along with three 9ct gold dress rings to include a large citrine cluster, a/f shoulder split, a garnet three stone ring, a mystic topaz set ring, sizes R1/2, T, U, combined total gross weight approx. 10.8gms
Lot 2062
A Victorian brass inlaid rosewood open armchair, circa 1860, the ovoid back with vase splat inlaid with scrolling foliage and a swan, the arms of elbow form, the oval seat upholstered and raised on cabriole legs, 81cm H, 60cm W, 55cm D.C R: Generally good. Inlaid brass inlay all present. Split to central carved section of backrest plus similar to seat next to leg, neither of which impair structural interity.
Lot 215
A 1940's Royal Albert Blossom Time tea set - bone china T pot, milk and sugar, 4 cup, 6 saucers, 6 side plates, 1 large plateOn a spring morning in 1933, G. R. Palmeter left a meeting of the Apple Blossom Committee at the Cornwallis Inn to purchase china from a representative of the Royal Albert China of England. While there, he asked the salesman about creating a pattern called Blossom Time, to tie in with the Apple Blossom festival.
Lot 433
Cased set of six silver teaspoons and pair of sugar nips, maker Arthur Price & Co., Birmingham 1927; together with a James Dixon & Son silver mounted glass flask, Sheffield 1837, Grey & Co silver buckle, R M Maples & Son souvenir silver dish with Margate Jetty scene, silver souvenir Colwyn Bay teaspoon and silver caddy spoon
Lot 434
Victorian planished silver cigarette case, with a spring hinge enclosing a gilded interior, maker Charles Fox & Co. Ltd, London 1885, 3.5" x 2.5"; together with three further Victorian and later cigarette cases by J & R Griffin, Chester 1919, Deakin & Francis, Birmingham 1889 and Edwin Thompson Bryant, import marks for London 1892, 11.9oz t total (4)
![Illustrated Volume: Burton (R.)trans. [Anaga - Ranga] The Illustrated Kama Sutra, 4to [L. (Harrington Octopus) 1996] illus.,](https://cdn.globalauctionplatform.com/86d93090-35d4-46ad-8827-abe900a7b8a5/ea1ec34c-4324-4803-8e50-abec010a15a8/468x382.jpg)
Lot 231
Loudan (Jack) In Search of Water, being a History of the Belfast Water Supply, 4to., Belfast 1940, illus. cloth; Handbook of the Ulster Question, issued by the North Eastern Boundary Bureau, 8vo, D. 1923, fold. maps, cloth backed boards. (worn); Gregory (P.) Ireland A Song of Hope and other Poems, 8vo., D. (Talbot Press) 1917, inscribed by the author, cloth and d.j. ; Cowan (S.K.) Cousins (J.H.) and others, Sung by Six, 8vo., Belfast (R. Aickin) 1896, First Edn., illus frontis, uncut, cloth. (4)
Lot 306
The Complete Works Shaw (George Bernard) The Works of George Bernard Shaw (1856-1950), 31 volumes - Set "Y", Published by Constable and Co. London and Printed by R & R Clarke of Edinburgh, 1930 - 1932,. All First Edns., in orig. green cloth, lettered in gilt. One of only 1,025 copies printed. The 1,000 copies to be numbered 1 to 1,000. The other 25 numbered A to Y of which this is set Y inscribed personally by Shaw. Volume 1 of the set is inscribed by Shaw to James Morton who was responsible for the green dye used for the cover cloth of the edition. It reads "This is number Y and its dress of eternal green is the work of James Morton to whom it is gratefully inscribed by Bernard Shaw" and dated 26th July 1930. This "Y" set was presented by Shaw to James (later Sir James) Morton FRSE, LLD 1867 - 1943. He was the 2nd son of Alexander Morton, founder of "Alexander Morton & Co." weavers. He was trained as a Chemist and specialized in permanent light-fast dyes. In 1929 he was the first recipient of the Faraday Centennial Medal in recognition of his advances in making permanent fade-proof dyes. He was knighted in June 1936. He worked directly with Shaw and his publishers to achieve the "green" colour of the cover cloth which was so important to Shaw. Provenance: From the granddaughter of James Morton by decent.
Lot 348
Oil painting on canvas by Johann Heinrich Roos (Otterberg, September 29, 1631 - Frankfurt am Main, October 3, 1685). Family of shepherds with herds and landscape in the background. 60x100 cm. Monogram lower right H R. "The Painter's family emigrated to Amsterdam because of the Thirty Years War in 1640. He was a pupil of Guilliam du Gardijn, Cornelis de Bie and Barent Graat, but the landscape painters of Nicolaes Berchem and Karel Dujardin had the greatest influence on him. in 1653 the Roos family back to Germany, where Johann and his brother Theodor Roos work together on a commission for a cloister in Mainz. Between 1654 and 1659, Johann worked for Ernst Landgrave Hesse-Rheinfels (son of Maurice, who lived between 1623 and 1693), where he painted a portrait of a prince (1654, Heidelberg, Kurpfälzisches Museum) and religious scenes. in 1664 he was invited to paint at the court of Charles I Louis, Elector Palatine. because of poor working conditions, he moved with his family to Frankfurt in 1667, where he very successfully, but lost everything in a fire in 1685. The painting in question seems to be the best that could express the painter, when voule represent the union of men and animals in idyllic harmony with nature - this was his thought that aspired to give his impression of realistic character portrayals, especially in rural scenes and depictions of animals. In the present case, there is a sense of racy lingerie, almost familiar, that globalization in a union harmonizing landscape, and therefore nature, humans and animals. Faced with a comparison with his son Philipp Peter, we could say that is much more moody and intimate in the search for a link with the whole of nature, and less theatrical, almost not wanting to be enfatizzante as the son, who often adopts in the foreground scenes depictions of animals and portraiture almost the same.
Lot 39
An early 19th century mahogany bracket clock with trip repeatJames McCabe, Royal Exchange LondonThe lyre shaped case surmounted by three brass acorn finials over carved laurels and a moulded base on rosette carved supports, the 7 inch painted Roman dial with pierced moon hands and strike/silent lever at XII, the signed twin chain fusee movement with anchor escapement, striking the hours on a bell. Sold with a winding crank and two case keys. 39cms (15ins) high (5)Footnotes:A very similar example by McCabe can be found in Barder, R. (1993) 'The Georgian Bracket Clock 1714 – 1830', The Antique Collectors' Club, p.201. For further information on this lot please visit Bonhams.com
Lot 58
A good late 18th century quarter chiming mahogany table clockEardley Norton, London. No. 1828The bell topped case surmounted by five urn finials over gilt brass side handles and rectangular glass side panels with canted, stop-fluted pilasters to all corners, on a raised brass-banded base on brass ogee feet, the 8 inch arched brass dial with strike/silent subsidiary set over the silvered Roman and Arabic chapter ring, matted centre, chamfered date aperture and blued steel hands, the triple fusee movement united by six knopped pillars, with knife edge verge escapement and short bob pendulum, striking the hours on a large bell, and chiming the quarters on a run of eight nested bells, the backplate repeat numbered. Running, striking and chiming, sold with a modern brass T-bar winding key. 62cms (24ins) (2)Footnotes:A similar musical clock in mahogany by Eardley Norton can be found in Barder, R. (1993) The Georgian Bracket Clock 1714 – 1830. The Antique Collectors' Club. p.110.For further information on this lot please visit Bonhams.com
Lot 65
Of Royal Provenance. One of only two known regulators by Thomas Reid with his spring pallet escapement and pendulum. A fine and very rare early 19th century mahogany floorstanding regulator of one month duration, DATED 1816.Reid and Auld, Edinburgh. The movement repeat signed and dated.The case:the shallow arched hood with moulded cornice over canted front angles to a concave throat moulding, the dial surround lined in brass, over a long trunk door with shaped glazed panel to reveal the arc of the pendulum against an engraved silvered beat scale, and the descent of the brass cylindrical weight, flanked by conforming canted front angles, on a panel base with applied shaped moulding on a plinth raised on block feet. The interior of the trunk door applied with various labels including a 19th century printed 'Table of the Equation of Time'; a description of the clock hand written in sepia ink; an oval label of the 20th century Antique clock retailer Percy Webster; and an illustration from Britten's Encyclopedia of 1894. Further set with the engraved brass presentation plaque 'Presented to / THE LADY ALICE MONTAGU DOUGLAS SCOTT / on the occasion of her Marriage with / H.R.H. THE DUKE OF GLOUCESTER, K.G., P.C., K.T. / From the Directors & Senior Officials of the Royal Bank of Scotland / of which Bank her Father / The Seventh Duke of Buccleuch & Queensberry K.T., GVCO was Governor / 6th November 1935.' The backboard of solid mahogany one inch (25mm) in thickness sporting a shaped heavy cast iron plate occupying nearly half the length of the backboard to support both the movement and the pendulum. The dial:the 9.5 inch shallow arched dial signed in the upper part 'Reid & Auld, Edinburgh' in a flowing script over an Arabic minute track marked in tens, the upper half of the dial containing the Arabic seconds ring, the lower with a twice 1-12 Arabic hour ring, with original blued steel hands.The movement: of one month duration and heavy brass plates cast to allow the positioning of the barrel to the left hand side, united by four substantial turned pillars and secured to the cast iron seat-plate by three very heavy brass brackets, the seat-plate located on two pairs of brass angled brackets mounted to the tops of the case cheeks, the entire lower assembly using 18 screws to lock the movement in position. The movement is further secured within the case by a bridge-arrangement spanning from the heavy cast iron plate on the case back board to an extension piece set above the movement backplate. The iron horizontal seat plate and the vertical backboard plate both carry pairs of runners that would have originally located the brass-framed and glazed dust cover (cover now lacking). The brass weight suspended on a pulley of six crossings, pulling the gut line through a moving slide set on runners on the seatplate. The wheel train:the five wheel train with high count wheels of six crossings with pinions ranging from 24 on the second wheel to 16 on the 'scape wheel, terminating in Reid's deadbeat spring pallet escapement, all arbors with hardened steel end-plates where possible. The long crutch to Reid's own pendulum consisting of a larger diameter hollow zinc tube flanked by a pair of steel rods terminating in a typical massive bob with engraved rating nut. 174cms (5ft 8.5ins) high. Footnotes:Provenance: Their Royal Highnesses, The Dukes of Gloucester.A wedding present from the Directors and Senior Officials of the Royal Bank of Scotland to Lady Alice Montagu Douglas Scott, later Princess Alice, Duchess of Gloucester (1901-2004). Lady Alice married Prince Henry, Duke of Gloucester (1900-1974), the third son of George V, on 6th November 1935.The oval plaque applied to the interior of the case is that of Percy Webster, the highest profile antique clock dealer working between the wars. Webster would have been the natural choice for anyone wishing to buy the finest clocks on the market at that time. The current clock is one of only four known regulators in the world by Thomas Reid, and one of only two that retain his original spring pallet escapement and pendulum. All four were made between 1811 and 1818 and comprise:1811 made for Lord Gray for his private observatory at Kinfauns Castle, Perthshire, Scotland. The month duration movement has a mercury pendulum and is remarkable for the use of anti-friction rollers. Remained with the family until 1934, altered to Richie's deadbeat escapement at about this time. Advertised by Derek Roberts Antiques, Tonbridge, Kent, in 'Antiquarian Horology' Vol.19, no.2, p131. 'This historically and technically very important regulator of 45 days duration was made by Reid virtually regardless of expense.'1813 made for Calton Hill Observatory, Edinburgh. Eight day duration, mercury pendulum. Altered in the 1850s to deadbeat escapement. Used, among other things, to time the daily firing of the gun at Edinburgh Castle at 1pm, and to ensure the correct drop of the time ball of the Nelson monument on Calton Hill. See 'Antiquarian Horology', Vol. 8, no.1, pp.51-61. 'The Astronomical clocks at the Observatory, Calton Hill, Edinburgh' by Christopher Wood, F.R.A.S.1816 the current lot. Month duration, original escapement and pendulum. Royal ownership since 1935. 1818 Month duration, original escapement and pendulum. Donated in the late 19th century by E. Thompson to the British Horological Institute. Restored in the late 1980s - see 'The BHI Reid and Auld Spring Pallet Regulator' by R. John Griffiths, 'Horological Journal', August 1992. Thomas Reid was born in Dysart, near Fife in 1746. Aged 16 he was apprenticed to his gifted clockmaking cousin James Cowan. When the latter died, Thomas returned from London to take over the business, proclaiming in the 28th November 1781 Edinburgh Evening Courant that '.... having received the instructions of the first masters in that profession, did carry on business and was employed in the execution of first-rate work there..' He ends the announcement with the promise that '..he makes no doubt of giving entire satisfaction to his employers'. Reid's skill and confidence were soon rewarded with public commissions all over Scotland including the first clock for the spire of St. Andrews Parish Church on George Street and improvements to the clock of St Giles' Kirk. His two movements for Annan Town Hall are particularly remarkable in that he designed them so as to allow access to each of the wheels independently from one another. He is best known today for his treatise 'On Clock and Watch making' written in retirement and which eventually ran to six editions. He died on 24th September 1831. Thomas Reid took William Auld into partnership in 1806. Comparative literature:'The BHI Reid and Auld Spring Pallet Regulator dated 1818', R. John Griffiths, 'Horological Journal', Vol.135, no.2.'William Hardy and his spring-pallet regulators', Charles Allix, 'Antiquarian Horology', vol.18, no.6 pp.607-629.Roberts, D. (2003) 'English Precision Pendulum Clocks'. Schiffer Publishing. pp.94-100.Smith, J. (1975) Old Scottish Clockmakers from 1453 to 1850. Redwood Burn Limited. A review of the innovation following the pioneering work with gravity escapements from the earlier years of the 18th century is given below:THOMAS REID'S SPRING PALLET REGULATORSby Andrew KingWith the considerable advance towards the development of the marine timekeeper in the middle years of the eighteenth century, thought was evolving with new ideas to increase the precision of pendulum regulators. The dead beat escapement refined by George Graham earlier in the century was a very simple and generally robust system, but with the more recent successful achievement of the detached spring detent escapement in what was now, by the late eighteenth centur... For further information on this lot please visit Bonhams.com
Lot 72
VISIONAIRE 50 ARTIST TOYS“For 50 ARTIST TOYS, Visionaire imagined a set of toys as animal companions to the designer figurines from 44 TOYS and 45 MORE TOYS. It consists of elaborate nesting dolls and acccessories silk-screened in designs by artists like Alex Katz, R. Crumb, and Tim Noble & Sue Webster. “The toy project was sweet on the outside and charming on the inside,” says artist Rob Pruitt. “I simply tacked Winston Churchill’s great quote (‘A riddle wrapped in a mystery inside an enigma’) to it, decorated the surface with images of my beloved panda, and crossed my fingers that it would provoke the person playing with it to ponder our collective fascination with this beautiful, threatened creature.”#2172 Edition limited to 4000. By Visionaire Publishers – 2007
Lot 165
A cultured mabé pearl pendant necklace, and a cultured mabé pearl ring and earclip suite1st: The cultured mabé pearl suspended from an articulated textured surmount, to a spiga-link chain, 2nd: The cultured mabé pearl within a textured surround, the earclips en suite, ring with maker's mark S&F, lengths: pendant 5.5cm, chain 41.3cm, earclips 2.1cm, ring size approx. R (3)Footnotes:Please note, this lot will be subject to US Fish and Wildlife regulations if imported into the USA.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 24
A diamond plaque ring, 18th/19th centuryThe applied rose-cut diamond foliate motif to a blue glass ground, within a surround of similarly-cut diamonds, closed-back settings throughout, mounted in silver and gold, Dutch assay mark, ring size approx. R (leading edge)For further information on this lot please visit Bonhams.com
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