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JOUVE, Pierre Jean (1887-1976). Processionnal de la Force Anglaise, Geneva, W. Egloff, 1944, 4to, wrappers. FIRST EDITION, ONE OF 10 "HORS COMMERCE" COPIES, PRESENTATION COPY inscribed to Anthony Eden. RARE. With another related book. (2)JOUVE, Pierre Jean (1887-1976).  Processionnal de la Force Anglaise. Geneva: "Sur les Presses d' Albert Kundig ... pour le Compte de W. Egloff" [from the colophon], 1944. 4to (228 x 170mm). Half title. Original wrappers lettered in red and blue. Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, ONE OF 10 COPIES "SUR VERGÉ DE RIVES HORS COMMERCE", PRESENTATION COPY, inscribed, "pour S. E. Monsieur Anthony Eden, qui [?]attacha si noblement l' Empire Britannique à la France. Pierre Jean Jouve. Décembre 1944." The author was nominated for the Nobel Prize in Literature five times and was one of the chief poets of the French resistance. The work has two printed epigraphs: the first a quote from General Alexander to Winston Churchill, made in May, 1943: "Sir, it is my duty to reveal to you that the campaign of Africa is over now"; the second, from Macbeth: "The night is long, that never finds the day." RARE. With Louis Aragon's Le Crève-Coeur. Préfaces d' André Labarthe et de Cyril Connolly ('Londres. Édition Horizon - La France Libre' [at The Curwen Press], 1942, 8vo, original wrappers, inscribed [not by the author], "A Mr Anthony Eden en souvenir d'une France en tourment, 19 Janvier, 1943, [indistinctly signed - see illustration]. (2)

WAUGH, Evelyn (1903-66). Brideshead Revisited, London, 1945, 8vo, original pink cloth, dust-jacket (torn with some loss at corners). FIRST EDITION.WAUGH, Evelyn (1903-66).  Brideshead Revisited. The Sacred and Profane Memories of Captain Charles Ryder. A Novel. London: Chapman & Hall, 1945. 8vo (185 x 120mm). Half title (some leaves with short tears at upper margin, not affecting text, some extremely faint spotting with the occasional small darker stains). Original pink cloth, the spine lettered and decorated in gilt (lower corners a little bumped, extremities very lightly rubbed), dust-jacket (jacket torn with loss at corners including a few letters of the publisher's name, some other fraying, creasing and staining). Provenance: From the Collection of Professor Jonathan Brostoff, D.M., D.Sc., FRCP, FRCPath (1934-2020); Beth Mills (signature on front free endpaper). FIRST EDITION of what the author often referred to as his magnum opus. Of all his novels, it was certainly the one which most captured the public's imagination and even entered the national psyche due in a large part to the lavish and critically-acclaimed Granada Television adaptation of 1981. "The first print run of Brideshead sold out within a few days at the end of May 1945. It was three weeks since V.E. Day. The streets had been full of crowds and bunting, the bells had rung for the first time in five years. But long-pent tension and and grief had not dissolved and, in a climate of compulsory cheerfulness, Waugh's novel of extravagant melancholy tapped some of the currents of feeling that ran beneath the celebrations" (Harris, Romantic Moderns (2010), p.272). "I have read Brideshead Revisited at least a dozen times and have never failed to be charmed and moved, even to tears. It is, appropriately, a seductive book ... This is one of those disturbing novels in which the faults do not matter ... Apart from its literary qualities, it breathes a theological certainty which, if a little chic, is a world away from the confusion of Greeneland and the squalor of the Irish. It is a novel altogether readable and damnably magical" (Burgess Ninety-Nine Novels (1984), p.35). John Howard Wilson Evelyn Waugh: A Literary Biography (1996) p.108. RARE.

MACDONALD, Isabel (dates unknown). The Fairy Tradition in the Highlands and Some Psychological Problems, Keighley, 1938, 8vo, original wrappers. FIRST EDITION, inscribed on the upper wrapper by the author. RARE.MACDONALD, Isabel (dates unknown).  The Fairy Tradition in the Highlands and Some Psychological Problems. Keighley: The Rydal Press, 1938 [from the imprint on the verso of title]. 8vo (182 x 125mm). Half title. Original wrappers lettered in black within a green woodcut typographical border (wrappers detached, but text block holding, some light staining, creased at one corner). FIRST EDITION, the upper wrapper inscribed, "With the author's compliments." A printed note at the foot of the title states: "The profits arising on[sic] the sale of this book will be added to a Fund to form an endowment for sending out cheques to sick and aged nurses at Christmas time for comfort and cheer. Copies are available from the Offices of the Royal British Nurses' Association ..." The author, as the title page makes clear, was herself a nurse. RARE.

The Jubilee, and Civic Debates on the Jubilee Dinner, Travestis ... Second Edition, London, 1809, 8vo, hand-coloured frontispiece by Cruikshank, old wrappers, stitched. VERY RARE, with no copy in the British Library or on-line.The Jubilee, and Civic Debates on the Jubilee Dinner, Travestis. Dedicated to all Lovers of the True Sublime ... Second Edition. London: "Printed for T. Tegg, 111, Cheapside, By J. D. Dewick, 46, Barbican," 1809. 8vo (175 x 110mm). Half title, hand-coloured wood-engraved frontispiece by Cruikshank [?possibly extracted from another work] (some fraying without loss to half title, some very light mainly marginal browning and staining, many leaves creased at corners). Old wrappers with title in manuscript on front and back, stitched (creased and tatty). Provenance: small printed unidentified coat-of-arms pasted onto upper wrapper; "Catalogue page 88" (old inscription, whose meaning is unclear, on upper wrapper). The author is unknown. VERY RARE, with no copy of this or any other edition in the British Library or on COPAC, and no records online.

WILDE, Oscar (1854-1900). Essays, Criticisms and Reviews, London, "Privately Printed," 1901, 4to, original blue printed paper boards (covers detached, rather worn). FIRST EDITION. NUMBER 221 OF 300 COPIES. RARE. With 4 other books of related interest. (5)WILDE, Oscar (1854-1900).  Essays, Criticisms and Reviews ... Now First Collected. London: "Privately Printed" [for Wright and Jones], 1901. 4to (260 x 200mm). Half title, small woodcut ornaments (variable mainly light spotting and staining throughout). Original blue printed paper boards, the upper cover with a decorative foliate border (covers detached, pieces torn away from corners, some fraying and staining). FIRST EDITION, NUMBER 221 OF 300 COPIES. RARE. Mason 589. With 4 books of related interest, namely the same author's The Portrait of Mr W. H. (Portland, Maine, 1901, 12mo, original wrappers printed in red and black, slipcase (slipcase defective), ONE OF 425 COPIES ON "JAPANESE VELLUM"), the same author's Salome. A Tragedy in One Act (London, 1907, 4to, plates by Aubrey Beardsley printed on "Japanese vellum", decorations, fine original green decorated cloth gilt, the first edition to contain all of Beardsley's illustrations, old armorial bookplate of Anthony Eden), Aubrey Beardsley's Under The Hill and Other Essays in Prose and Verse (London, 1904, 4to, plates by Aubrey Beardsley, fine original blue decorated cloth gilt, FIRST EDITION) and the same author's The Story of Venus and Tannhäuser ... A Romantic Novel (London, "For Private Circulation", 1907, 4to, original vellum-backed paper boards, printed label on upper cover, FIRST EDITION THUS, ONE OF 250 COPIES ON "HAND-MADE PAPER" [this copy unnumbered]). (5)

DIGBY, Kenelm (1603-65). A Late Discourse made in Solemne Assembly ... Touching the Cure of Wounds by the Powder of Sympathy; with Instructions how to make the said Powder, London, 1658, 12mo, later calf. Second [English] edition. RARE.DIGBY, Kenelm (1603-65).  A Late Discourse Made in a Solemne Assembly of Nobles and Learned Men at Montpellier in France ... Touching the Cure of Wounds by the Powder of Sympathy; with Instructions how to make the said Powder; whereby many other Secrets of Nature are unfolded ... Rendered faithfully out of French into English By R. White, Gent. The Second Edition [see note] corrected and augmented, with the addition of an Index. London: "Printed for R. Lowndes at the White Lion, and T. Davies at the Bible in S. Paul's Church-yard over against the little North Door," 1658. 12mo (138 x 75mm). Title within woodcut typographical border, typographical ornaments and initials, translator's printed dedication to "John Digbye Esq. [b.1627, Kenelm Digby's only surviving son] at Gothhurst", 4-pages of "A Table " [i.e. an index, as called for on the title page] followed by one-page of publisher's advertisements at the end (typographical border to title shaved at fore-edge, pieces torn away from fore-edge of A3 affecting part of one letter of the catchword, some spotting and staining, a few darker spots, lightly browned). Later calf ruled in blind and preserving earlier lettering-piece. Provenance: From the Collection of Professor Jonathan Brostoff, D.M., D.Sc., FRCP, FRCPath (1934-2020); [?]James [?]Frampton (old signature on title); another old, illegible, signature on title. "'The second edition' is the earliest one known, and is probably the original. A French version appeared in 1658. De Morgan believed 'R. White' to be identical with Digby's friend and disciple, Thomas White ... Although a shrewd observer of natural phenomena, Digby was a scientific amateur rather than a man of science. Astrology and alchemy formed serious parts of his study, and his credulity led him to many ludicrous conclusions ... Digby first described his well-known weapon-salve, or powder of sympathy, in the discourse alleged to have been delivered at Montpellier in 1658. Its method of employment stamps it as the merest quackery ... " (see DNB, et passim). The DNB would appear to be wrong about the second edition. WorldCat lists several copies of an English edition of the same year as the present one without the addition of the wording "The Second edition" to the title page and without the addition of an index. Second [English] edition. Rubin Sir Kenelm Digby. An Annotated Bibliography 61; Wing D1436. RARE.

STANLEY, Henry Morton (1841-1904) - The American Testimonial Banquet to Henry M. Stanley, London, 1890, 6 photographs and the text on blue paper laid down on thick card, original "relievo"-style calf. FIRST AND ONLY EDITION. RARE.STANLEY, Henry Morton (1841-1904) - The American Testimonial Banquet to Henry M. Stanley, in Recognition of his Heroic Achievements in the Cause of Humanity, Science & Civilisation and A Greeting to His Chief Officers, Portman Rooms, London, May 30th, 1890. London: [no publisher], 1890. 8vo (248 x 160mm). 6 photographs and the text on blue paper laid down on thick card, mounted on hinges throughout (some spotting and staining). Original "relievo"-style calf with the American eagle surmounting an armorial device on the upper cover, gilt edges (lacks spine, rubbed and scuffed). FIRST AND ONLY EDITION. RARE.

MUELLER, Ferdinand, Baron von (1825-96). The Plants Indigenous to the Colony of Victoria, Melbourne, 1850-65, 2 vols., 4to, 89 lithographed plates (some dampstaining), later morocco-backed boards (vol. II dampstained). FIRST EDITION. RARE. (2)MUELLER, Ferdinand, Baron von (1825-96).  The Plants Indigenous to the Colony of Victoria. Vol. I. Thalamifloræ. [Vol. II:] Lithograms [sic]. Melbourne: John Freres, Government Printer, 1860-65. 2 volumes, 4to (305 x 240mm). 23 lithographed plates in the first vol., 11 of which "Supplementary"; 66 lithographed plates in the second vol., 7 of which "Supplementary"; comprising a total of 89 lithographed plates (first few plates in vol. II dampstained, variable mainly marginal spotting and staining to plates and text throughout both vols.). Later black morocco-backed green buckram boards, spines gilt, gilt edges, new endpapers (the upper cover of vol. II dampstained). Provenance: From the Collection of the late Seymour Stein (1942-2023). FIRST EDITION of this important work by a German physician and botanist who emigrated to Australia in 1847. In 1853 he was appointed government botanist for the then colony of Victoria and was later director of the Royal Botanic Gardens in Melbourne. He named many Australian plants. RARE. Junk Rara 173: "The work has become very rare ..."; Nissen BBI 1425. (2)

GRIFFITH, Elizabeth ([?]1727-93). The Morality of Shakespeare's Drama Illustrated, London, 1775, 8vo, engraved portrait frontispiece of Shakespeare, contemporary calf (worn). FIRST EDITION. With another related work in 2 vols. (3)GRIFFITH, Elizabeth ([?]1727-93).  The Morality of Shakespeare's Drama Illustrated. London: Printed for T. Cadell, 1775. 8vo (214 x 125mm). Engraved portrait frontispiece of Shakespeare, woodcut typographical ornament on title, printed dedication to David Garrick, one-page of errata on the verso of the last page of the preface (portrait almost detached, some very light spotting and staining). Contemporary calf, spine gilt (worn, head of spine torn, some erosion to foot of spine, lacking lettering-piece, rubbed). Provenance: Robert Prescott Esq. (old armorial bookplate). FIRST EDITION of this pioneering work of Shakespearean criticism - in part a rebuttal of Voltaire's "single discordant voice" (see the author's Preface) - and, arguably, the first to establish Shakespeare's status as "National Poet." Of particular interest are the author's comments on "King Lear", comparing Shakespeare's original tragedy and Nahum Tate's (now infamous) re-working of it in 1681 which remained the preferred version among audiences and critics even into the first half of the 19th-century. Griffith's printed introduction to the play, on p.351 (preserving her original eccentric punctuation), states: "It may be necessary to many Readers to premise, that the Piece here under consideration, is the Play as originally written by Shakespeare, lest the bearing it in mind as altered by Tate, and generally acted so, might occasion confusion or mistakes, in the following notes and observations. The Critics are divided in their opinions between the original and the altered copy. Some prefer the first, as a more general representation of human life, where fraud too often succeeds, and innocence suffers: others prefer the latter, as a more general description of what life should be ... However, if pity and terror, as the Critics say, are the principal objects of Tragedy, surely no Play that ever was written can possibly answer both these ends better than this [i.e. the original] performance, as it stands in the present text." The author's stance may have been influential in eventually restoring Shakespeare's original play to the stage and to print. RARE. With [Charlotte Lennox's] Shakespear Illustrated: or the Novels and Histories On which the Plays of Shakespear Are Founded, Collected and Translated from the Original Authors. With Critical Remarks. In Two Volumes. By the Author of the Female Quixote (London, 1753, 2 vols., 12mo, contemporary calf, worn, upper cover of vol. one detached. A supplementary third volume, not present here and not called for on the title page of vol. one (where it states "In Two Volumes"), appeared in 1755). (3)

ROSSETTI, Donato (1633-86). La Figura della Neve, Turin, 1681, 8vo in 4s, 7 etched illustrations of snowflakes, 3 of which full-page (text ends at [E4] p.40), contemporary calf (rebacked). FIRST EDITION. RARE. Please see the note on completeness below.ROSSETTI, Donato (1633-86).  La Figura della Neve. Turin: "Per la Vedova Gianelli, e Domenico Paulino," 1681. 8vo in 4s (179 x 113mm). Half title, woodcut ornament on title, initial, 7 etched illustrations of snowflakes by Donato Rossetti, 3 of which full-page (the final leaf [E4], paginated 40 on the verso, followed by an old blank leaf [see note], some very light mainly marginal staining, some minor worming at gutter of a few leaves, not affecting letters). Contemporary calf (crudely rebacked and rubbed, particularly at the corners, inner hinges split or reinforced). Provenance: Marchesa di Ravarolo (old signatures at lower margin of 2 pages); remnants of old manuscript library labels on front and rear pastedowns; later pencil annotation on the front blank stating [?erroneously] "lacks last leaf ...". FIRST EDITION of this pioneering study of snowflakes which was the first to represent them as hexagonal platelet crystals. The work built on the earlier and inconclusive studies on the same subject undertaken by Kepler and Descartes and took as its model related microscopic investigations of Robert Hooke. The author, a Tuscan natural philosopher, mathematician and canon of Livorno Cathedral, is not listed in the DSB. Like the copy in the "Biblioteca Comunale Labronica", which is collated as ending on [E4] (i.e. p.40) without any suggestion that it is incomplete, the copies in the BL and "The Catalogue of the Books, Manuscripts, Maps and Drawings in the British Museum (Natural History)" also consist of just 40-pages, but are, according to their speculative catalogue entries, "apparently imperfect". Although p.40 in the present copy ends mid-line, and with an apparent semi-colon [illustrated], it has, unlike any other page of text in the book, no catchword, suggesting it is the final page. Since all of the few recorded copies end similarly at p.40, we are reasonably confident, despite its abrupt conclusion, that the book is complete, but our lack of complete certainty compels us to sell it, with regret, not subject to return. RARE.

DUNNE, John William (1866-1949). An Experiment with Time, London, 1927, 8vo, original blue buckram, dust-jacket. FIRST EDITION. RARE, particularly in the dust-jacket.DUNNE, John William (1866-1949).  An Experiment with Time. London: A. & C. Black, 1927. 8vo (218 x 140mm). Half title, woodcut printer's device on title, diagrams. Original dark blue buckram, spine lettered and ruled in gilt, tan dust-jacket lettered and ruled in black with printer's device stamped on lower wrapper (small piece torn away from foot of backstrip of jacket without loss of letters, some chipping to head of backstrip and corners, price-clipped). Provenance: some pencil annotation to front free endpaper ("Robert, have you ever encountered this before?"). FIRST EDITION. A note from the publisher, printed in cursive script on the upper wrapper of the dust-jacket, states, "The author's challenge to our present day conceptions of the universe is altogether too weighty to be ignored. It is a very serious and disturbing contribution." J. W. Dunne was "... a pioneer aircraft designer and author of the widely-read An Experiment with Time (1927) and The Serial Universe (1934), in which he outlined a theory of time to account for such phenomena as precognition, previsional dreaming, etc. He quotes in support Wells' The Time Machine, but Wells was to reply that Dunne had taken his concept of 'duration as a dimension of space' too seriously. Dunne's concept proved a useful dramatic device to J. B. Priestley in his 'Time' plays, and is mentioned with interest by G[raham] Greene (who asks if it is possible for novelists to draw their symbols from the future as well as from the past: see Ways of Escape, ch. 3)" (The Oxford Companion to English Literature, ed. M. Drabble, 1985). RARE, particularly in the scarce dust-jacket.

LACE - Augusta Godin, Baronne LIEDTS (1850-85). Anciennes Dentelles Belges, Anvers, 1889, folio, 185 phototype plates of lace, contemporary dark blue half morocco. FIRST EDITION.LACE - Augusta Godin, Baronne LIEDTS (1850-85). Anciennes Dentelles Belges, formant la Collection de Feue Madame Augusta Bnne. Liedts, et donnée au Musée de Gruuthuus à Bruges. Anvers: Phototypies Jos. Maes, 1889 [but dedication leaf dated 1890]. Folio (555 x 365mm). Title and dedication leaf printed in red and black, portrait of Augusta Godin Liedts, 185 "phototype" plates of lace including 35 supplementary plates at the end (title and dedication leaf lightly stained and spotted, some light mainly marginal staining to plates). Contemporary dark blue half morocco gilt, spine with 6 raised bands and lettered in gilt, top edges gilt, others uncut (rubbed). Provenance: from the Collection of the late Professor Bernard Nevill (1930-2019). FIRST EDITION of this monumental catalogue of Baronne Liedts' renowned collection of lace which, following her untimely death, was donated by her husband to the city of Bruges where it remains to this day on display at the Gruuthusemuseum. Cf. Siegelaub Bibliographia textilia historiæ p.209; Whiting A Lace Guide for Makers and Collectors ... Bibliography 1073. RARE.

NONESUCH PRESS - HOMER (fl. 9TH- or 8TH-CENTURY B.C.E.). The Iliad, London, 1931, small folio, ornaments, original niger morocco. ONE OF 1,450 COPIES. With Francis Meynell's rare printed note relating to this edition loosely-inserted.NONESUCH PRESS - HOMER (fl. 9TH- or 8TH-CENTURY B.C.E.).  The Iliad, translated by Alexander Pope. [London:] The Nonesuch Press, 1931. Small folio (267 x 155mm). Printed in red and black, ornaments by Rudolf Koch. Original niger morocco gilt, spine with 5 raised bands, top edges gilt, others uncut, marbled endpapers (inner hinges inconspicuously reinforced, lacks slipcase). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). NUMBER 713 OF 1,450 COPIES. Loosely-inserted is Francis Meynell's rare note relating to this edition, printed on a single sheet, headed: "On First Looking into Pope's Homer". Sometimes The Iliad is sold with the uniform Nonesuch edition of The Odyssey, but the latter is not included here. Dreyfus 72; Nonesuch Century 72.

A rare mid 18th century mahogany stick barometerF. Watkins, LondonThe shaped top with three brass ball finials over an arched cornice supported on brass-mounted Doric columns over a long trunk with visible tube flanked by moulded edges, terminating in a shaped turned hemispherical cistern cover, the two-part signed silvered dial engraved with seven weather predictions and manual vernier to the 28 to 31 inch scale 1.01m (3ft 4ins) highFor further information on this lot please visit Bonhams.com

A rare mid 19th century French carriage clock with alarm and chaff-cutter escapementJ. B. Beguin, Paris Number 178, the front plate stamped H.L.The case surmounted by a shaped handle above the robust escapement observation window, the top and pillars cast with foliate tendrils, braced by four bevelled glass panels and supported on a moulded floral base with shaped feet. The Roman enamel dial signed J. B. Beguin A Paris in the chapter ring under VI and elegant blued steel quatre-foil hands, a subsidiary Arabic alarm dial with blued steel pointer below VI. The triple spring barrel movement with chaff-cutter escapement to a light monometallic balance and outside countwheel, the backplate stamped J. B. Beguin a Paris 178, the alarm setting arbor unusually set with a click spring. Ticking and striking with a double ended winding key and service report for the clock from 1966. 18cms (7ins) highFootnotes:Please see appendix for additional information on H.L.For further information on this lot please visit Bonhams.com

A rare late 19th/early 20th century French spelter wall-mounted timepiece and matching barometerEach with a 4.5inch dial held aloft by Classical women in flowing robes, issuing from a reeded scroll support against a shaped baseplate on later custom made shaped wall mounts; the timepiece with Roman dial and blued steel moon hands, the movement with cylinder platform escapement (ticking); the aneroid barometer with seven weather predictions reading against the 28 to 31 inch scale, with blued steel active hand and brass recording hand Height of the figures 62cms (2ft .5ins), total height including the backboard 66cms (2ft 2ins). (2)For further information on this lot please visit Bonhams.com

A rare early 19th century brass mounted Partridgewood table clock with pull repeatJohn Thwaites, London No. 4589The lancet case with brass-bound arch supported on three-quarter columns, the sides with lion mask handles and lancet shaped apertures with architectural frets backed in red silk, inlaid to the front with a running border and shaped panel on a partridge wood ground front, the plinth with inlaid Greek Key design on ball feet.The 6.75inch refreshed painted Roman dial signed John Thwaites London below typical delicately pierced blued steel hands. The twin gut fusee movement with five knopped pillars and an anchor escapement, the backplate with engraved swag border, the front plate stamped Thwaites at the top and 4589 in the lower right corner. Ticking and repeating with case key. 43cms (16.5ins) highFootnotes:Based on the numbering of the front plate, the movement was manufactured in 1810.For further information on this lot please visit Bonhams.com

A very fine and rare limited edition 'Atmos du Millenaire' with 1000-year calendar indication, made to commemorate the Golden Jubilee of Queen Elizabeth II in 2002Jaeger LeCoultre, numbered 39 of 50.The tapering glazed case signed on the front panel and etched 'ALL THE QUEEN'S HORSES. A Golden Jubilee Tribute to Her Majesty The Queen', the top panel with the Royal coat of arms of Elizabeth II over side panels engraved with the names and dates of the Kings and Queens of England, from Alfred The Great in 871 to the present day, raised on three gilt brass conical feet, the 5.5 inch dial with outer calendar spiral to the year 3000 A.D., encircling the painted white time dial with monthly calendar above XII and aperture for phases of the moon at VI, over a locking lever, bubble level and narrow torsion disc, the air-driven, silent movement numbered 709998 28cms (11ins) high.Footnotes:Provenance:Purchased from Mappin and Webb, Edinburgh, 2002.An identical model, number 50 of 50, was sold in these rooms 11th December 2019, lot 8.For further information on this lot please visit Bonhams.com

An impressive 18th century brass-bound ebony quarter-repeating table clock with moonphaseClaude Duchesne, LondonThe case surmounted by an inverted caddy top with central finial over a silk-backed pierced soundfret framed by four further finials over an elaborately moulded cornice raised on brass-mounted Tuscan three-quarter columns to each corner framing the long shaped pierced brass-framed sound frets backed in silk to each side, the front and rear doors with similar brass frames, all on a multi-layered moulded base bound in brass to the top and bottom, on substantial brass bun feet. The 8-inch arched brass dial with rare 'Chronos' spandrels depicting a bearded Father Time below a sandglass and pair of wings, framing the silvered Roman and Arabic chapter ring with lozenge half-quarter marks and fleur des lys half-hour markers signed Claudius DuChesne Londini between V and VII, the finely matted centre with ringed winding holes, chamfered and engraved calendar and mock pendulum apertures under intricately pierced blued steel hands, the arch decorated with foliate scrolls and a pair of birds within strapwork enclosing a strike/not strike lever, moonphase (the outer scale marked 1-59) and aperture for setting the phase of the moon. The twin gut fusee movement with five knopped pillars and knife-edge verge escapement, the backplate with extensive floral and strapwork engraving, a partridge in the centre and a beast mask below, framed by a stylised wheatear border. Ticking, striking and repeating with a door key and a winding key. 73cms (28.5ins) highFootnotes:Claude Duchesne was seemingly born around 1670. It is commonly accepted that he lived in Paris, until just after the Revocation of the Edict of Nantes in 1685, at which point he joined many other Huguenot refugees and fled to the U.K. It is uncertain exactly when he arrived, with some putting it as early as 1689. The first concrete evidence of his life in the U.K. is from 1693; not only was he made free of the Clockmaker's Company in this year, he also married Elizabeth Bossu in Stepney. The couple would have at least three children; Claudius, born in 1699, Elizabeth born in 1706, and Anthony, born in 1708, though there are some contemporary reports of the couple having five children at one point. Claudius would eventually become a weaver, and Anthony would become a goldsmith. It is not known what became of Elizabeth. Duchesne became a British citizen in 1711. Duchesne was known to sign his clocks as either 'Claude' or 'Claudius' and 'Duchesne' or 'Du Chesne'. The exact location of his shop is questionable; most clocks give a location of either 'Dean Street, Soho' or 'Long Acre', so it seems likely that he was working in Soho. Wherever he worked, Duchesne appears to have been a highly regarded maker, especially in the construction of musical clocks. An account given by Jane Squire in 1731, notes that she 'understood he had made the musical Part of most of the musical Clocks of Note in Town'. Duchesne set himself apart from other makers of the time by featuring interchangeable music barrels, a style that had last been extensively practiced by William Jourdain in the later 17th century. Both makers also featured twelve bells with multiple, variable hammers and parallel motion music work. This suggests a detailed knowledge of music theory, in addition to the horological skill required to make such clocks. It seems that Duchesne may also have had some acquaintance with George Graham and John Harrison, the latter being introduced to Duchesne by the former. It is thought that Harrison contacted Duchesne in order to obtain the large quantities of brass he, Harrison, needed for his horological experimentations. Claude Duchesne is believed to have died in April 1733, and been buried in St. James, Paddington. His son, Anthony, married Anne Gagnon, and the couple had six children, one of whom, Claude (born in 1735) would go on to be a clockmaker. Duchesne's other known son, Claudius, married Anne, and the couple had four children. One of their children, Elizabeth 'Betty' Duchesne was born in 1724 and was known to be close friends with John, Charles and Sarah Wesley, with John Wesley conducting her funeral in 1776. It is thought that Elizabeth was responsible for gifting a walnut, moon phase eight-day longcase clock, made by her grandfather, to the Wesley's. The clock is reported to have never left Wesley's house, where it remains to this day. A late 19th century account suggests that the clock is the very timepiece that inspired Henry Wadsworth Longfellow to write The Old Clock on the Stairs, though this is not definitive: 'Half-way up the stairs it stands/And points and beckons with its hands.By day its voice is low and light/But in the silent dead of night,Distinct as a passing footstep's fall/It echoes along the vacant hall,Along the ceiling, along the floor/And seems to say, at each chamber-door, --'Forever -- never!/Never -- forever!''Blake, G. (2011) 'A Record of the Death of Claude Duchesne', Antiquarian Horology, Vol. 32 (5), pgs. 730-731.Turner, A. (2014) 'Charles Clay: fashioning timely music', Antiquarian Horology, Vol. 35 (3), pg.933.Betts, J. (2017) Marine Chronometers at Greenwich. Oxford: Oxford University Press. Pg. 143.Blake, G., Wintle, C., Gill, J. (2010) 'Claude Duchesne- Huguenot Clockmaker', Antiquarian Horology, Vol. 32 (1), pgs. 43-51.British Horological Institute (1891) 'Correspondence', The Horological Journal, Vol. 34 (1), pg. 16.Wesley's Chapel & Leysian Mission (2023) Virtual Tour: Wesley's House, Study. Available at: https://www.wesleyschapel.org.uk/your-visit/virtual-tour/ Dawber, E. G. (1898-1899) 'Some Thoughts on Clocks and Their Decoration: Part Two', The Architectural Review Vol. 5, pg. 261.Longfellow, H. (1890) The Poetical Works of Henry Wadsworth Longfellow, with Bibliographical and Critical Notes, Riverside Edition, Boston and New York: Houghton, Mifflin.Ord-Hume, A. W. J. G. (1995) The Musical Clock, Ashbourne: Mayfield Books.For further information on this lot please visit Bonhams.com

A rare late 19th century French engraved and porcelain-panelled repeating carriage clock with alarmDrocourt No. 13947, retailed by Chas Galliot, GenevaThe case surmounted by a reeded handle over a deeply bevelled oval escapement observation window, surrounded by floral engraving over grooved columns to a matching base and glazed back door; each side set with pastoral panels depicting two shepherdesses within gilt borders. The porcelain Roman dial depicting a pastoral scene of a farm house in summer, with subsidiary Arabic alarm dial below VI, the centre stamped Chas Galliot Genéve below blued steel spade hands, all within a gilt border. The triple spring barrel movement with a silvered jewelled English lever platform escapement and half cut and compensated bimetallic balance, the back plate stamped for Drocourt, with winding instructions in English. Ticking, striking, alarming and repeating. 19cms (7ins) highFor further information on this lot please visit Bonhams.com

A small and rare Observatory regulator with 24-hour dialT. Cooke & Sons, YorkThe pine case with shallow pointed top over a concave cornice and full width panelled trunk door on a matching base. The 12 inch black painted dial with concentric minute hand and outer Arabic five minute track framing the large subsidiaries for running seconds (with observatory marks) and 24-hours. The lacquered brass movement with stylised triangular shaped plates united by two square-section lower pillars and two turned upper pillars, with maintaining power to the large great wheel driving finely cut wheels and high-count pinions, to a deadbeat escapement with adjustable pallets and pendulum with enclosed mercury jar bob, together with a narrow brass-cased weight. Also sold with a pine securing bracket to fit internally with handwritten instructions as to how to move the clock. 1.87m (6ft 2ins) highFootnotes:Comparative literature: Roberts, D. (2003) English Precision Pendulum Clocks. Atglen: Schiffer Publishing, Figs 18-21, A-D.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

A good and rare late 18th century mahogany stick barometerDollond, LondonThe broken architectural cornice centred by an urn finial over a moulded border to the turned hemispherical cistern cover, a wheatbeard hygrometer inset to the top over a signed silvered dial marked with seven weather predictions and manual vernier to the 28 to 31 inch scale, the trunk set with a 21 inch mercury thermometer with silvered centigrade scale terminating in a protective brass cover over the turned cistern cover, the trunk with moulded edge throughout 1.09ms (3ft 7ins) high. For further information on this lot please visit Bonhams.com

A rare mid 18th century French ormolu quarter repeating timepiece, the case marked with the Crowned C poinçon of 1745-49Moisy a ParisThe elaborate rococo case surmounted by an eagle, a wing and talon raised as it competes with a dragon below, both animals with finely worked details to the wings, bodies and facial features, over a waisted case cast with sunflowers, pansies and foliage amid an array of C-scrolls and shellwork. The rear door stamped with the Crowned C mark.The white enamel 4.25 inch dial with black Arabic five-minute numerals encircling the minute band and large blue enamel Roman hours, with floating half hour marks, and pierced gilt hands. The tapering rectangular movement united by knopped pillars signed along the curved lower edge, with tic-tac escapement sounding the hours and quarters past the hour on the pull of a cord set to the side of the case. Sold together with an associated late 19th century (?) inlaid kingwood and brass-mounted plinth 40cms (15.75ins) high.Footnotes:Jean Moisy was active in Paris in the mid 18th century. He was known to supply watch movements to Lazare Duvaux, who at the time was jeweller to the king. The first reference to Moisy is in 1753, when he submitted his chef-d'oeuvre, though the exact nature of this piece is unknown. At the time, he was working on the Rue de l'Arbre-Sec, where he would remain until 1755. Two years after his masterpiece was accepted, he moved to the Quai Malaquais, staying there until 1766. After 1766 it is not clear where he moved, but in 1772 he is recorded working at Place des 4-Nations. He is last noted working here in 1781, after which all record of him ceases; this year is tentatively suggested as the year he died, though this is not confirmed. On at least one clock, he signed his name, followed by the title Horloger de la Duchesse du Maine, though how he came by the title, or when, is not known.Tardy (1971) Dictionnaire des Horlogers Français. Paris: Tardy, p. 457For further information on this lot please visit Bonhams.com

An extremely rare late 18th/early 19th century mahogany chronometer boxThe top lid set with a brass octagonal bezel framing a 4 inch glass, over plain sides, the front with an oval ivory escutcheon. 18cms (7 ins) wide.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A late 19th century French brass carriage clock with rare backplate strikingRetailed by Parkinson and Frodsham, London No. 572. Supplied by VBSurmounted by a three piece moulded handle above an oval escapement observation window, the moulded cornice over glazed panels framed by concave pillars, on a moulded base.The Roman and Arabic white enamel dial signed Parkinson & Frodsham London with blued steel moon hands, a subsidiary Arabic alarm dial under VI, set in a foliate strapwork-engraved silvered mask.The twin spring barrel movement with jewelled Swiss silvered platform stamped VB over a crown, with lever escapement and half-cut compensated bimetallic balance, the rack strike work with shaped levers mounted on the backplate, the plate itself stamped VB 572. Ticking, alarm operational, and striking the hour and half-hour on a gong below the movement. 18cms (7ins) highFootnotes:The trademark on this clock has been variously described as a 'VB' over a crown, a 'VB' over a W, or the initials 'VWB'. Charles Allix notes a 'superb' grande sonnerie striking carriage clock with alarm, thermometer and calendar complications, numbered 557 with this same trademark. He tentatively suggests that the initials could be those of Victorien Bousset. Allix, C. (1974) Carriage Clocks: Their History and Development. Woodbridge: Baron Publishing, p. 434.For further information on this lot please visit Bonhams.com

A rare and impressive late 19th century brass-bound rosewood eight-day marine chronometer with micro-metric balance and exhibition provenanceCharles Frodsham, 84 Strand London, Number 3590The three-part brass-bound case with large vacant cartouche on the top lid, the centre section with brass flowerhead button above an ivory signature plaque, Chas Frodsham 84 Strand London No 3590 Eight Days, the lower section with inlaid brass escutcheon and folding handles. The 4.5-inch silvered dial signed Charles Frodsham, 84 Strand, London, No3590 and engraved with twin medallions BY APPOINTMENT TO THE QUEEN and FRENCH, RUSSIAN, ITALIAN GOLD MEDALS OF HONOUR, outer minute band marked with Arabic five-minute numerals framing the Roman chapters, the subsidiary power reserve dial at XII marked from 0-8 with instruction to wind at 7, the large observatory-style subsidiary seconds set between V-VII, all with deep blued steel hands. The spotted three-quarter plate movement, engraved in the centre Charles Frodsham & Co No. 3590 London with three ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and Earnshaw type escapement, the balance on a separate smaller plate with very rare conic-form timing weights and bimetallic crossed strip compensation, sitting in a weighted, gimballed bowl. Ticking with a Tipsy key and a case key. 24cms (9ins) wide 24cms (9ins) wideFootnotes:Exhibited 'Your Time', an exhibition by the Northern Section of the Antiquarian Horological Society at Prescot Museum, February-April 2008; Williamson Museum & Art Gallery, Birkenhead February-April 2008. Exhibit P59.Based on the number, it is thought that this chronometer was made around 1882.The micrometric balance, or as it was marketed, the 'Double Compound Micrometric Equation balance', uses cone shaped weights and three central strips of metal to account for temperature error, including middle temperature error. There is also a collar of brass that partially surrounds the balance, the idea being that, should the fusee chain break, the escapement would still be protected. The escapement was commended when it was introduced around 1862, as allowing the owner to adjust the chronometer's rate without needing to remove the balance.Blake, W. (1870) Reports of the United States Commissioners to the Paris Universal Exposition, Washington: Government Printing Office.Weltausstellung (1862) International Exhibition of 1862, Official Illustrated Catalogue, London: Her Majesty's Commissioners, Seventh Part.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A fine and rare early 19th century mahogany eight day duration marine chronometerMorris Tobias, 31, Minories, London, No. 326The three tier case with solid top, 326 numeral plaque to the centre and brass side handles on a felt lined base. The signed and numbered 4.25 inch silvered Roman dial with minute band enclosing the blued steel hands, large subsidiary seconds dial at VI set below the power reserve dial running from 1-8 days. The large chain fusee movement with maintaining power, crescent shaped backplate united by three large turned pillars, the escapement set on a sub plate with free sprung blued steel helical spring with diamond endstone to an Earnshaw type detent escapement with cut and compensated bi-metallic balance with keystone shaped weights. The movement contained within a gimballed bowl with locking arm and original marine ivory and brass tipsy key. The case 20cms (8ins) wideFootnotes:Sold with a folder of information including copies of Certificates of Competency for second Mate, First Mate and Master of it's owner, Henry Jones Hanson.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A rare late 19th century French porcelain panelled carriage timepieceThe dial and case signed A. Drocourt 28 Rue Debelleyme Paris No. 29214The case surmounted by an elaborate engraved handle above the oval escapement observation window, framed by engraved foliate scrolls on a matted ground over moulded pillars on a matching base, set with porcelain side panels depicting romantic pastoral figures, the underside of the case stamped A Drocourt Fabricant 28 Rue Debelleyme Paris 29214 in an oval.The porcelain Roman dial depicting a farmhouse in the spring countryside, the centre signed hors obscured A. Drocourt Fabt Paris 28 Rue Debelleyme below blued steel spade hands.The single spring barrel movement with silvered and jewelled English lever platform escapement, the bimetallic balance half-cut with timing screws, and the backplate stamped JWB and 29214. Ticking. 15cms (5.5ins) highFor further information on this lot please visit Bonhams.com

A very rare mid 19th century mahogany floor standing regulator with gridiron pendulum and Mudge gravity escapementMcGraw, LeedsThe arched case with moulded frame to the full-length door, with glazed sides over a recessed panel base on moulded block feet. The 13-inch signed silvered dial Roman dial with minute track and steel hands, the recessed subsidiary seconds dial set at VI, with bold five-second markers. The weight driven movement substantially constructed throughout, with shouldered plates 6mm in thickness united by four heavy turned pillars. The inverted single train winding below XII, the gut line running over an off-set free barrel, with Harrison's maintaining power, high count pinions and substantial wheels of six crossings out, tear-drop shaped cock on the rear of the backplate supporting the deadbeat escape wheel, the gravity escapement with separately mounted vertical entry-and exit-pallets, their sprung roots screwed to the back cock and running down to the escape wheel, each playing against the outer edge of the heavy gridiron pendulum as it swings. The pendulum with T-bar suspension over five bars of brass and steel to a heavy lenticular bob, driven by a brass weight. 2m (6ft 7ins) high.Footnotes:Joseph Copeland McGraw was born in Leeds in 1873. It is unknown where he served his apprenticeship, but he was described as a clockmaker. He married Eliza Phoebe Pearson in 1893 in Nottingham. After the birth of their first child, James, in 1895, the family moved to Leeds, where the other six children were born. McGraw died in 1909, at the age of 36, and the family moved back to Nottingham. Two years later, they are listed as living at 6 Institute Street, Hartley Road; Eliza is described as a charwoman, and the children that are old enough to work are either listed as scholars or errand girls/boys. The eldest child, James, would enlist shortly after the beginning of the First World War, eventually being killed in action in France 1918. Nottinghamshire County Council (2022), Roll of Honour: James McGraw. Available at: https://secure.nottinghamshire.gov.uk/RollOfHonour/People/Details/7405This 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

A fine and rare mid 19th century English gilt engraved brass miniature carriage clock with hour repeatHunt and Roskell, LondonSurmounted by a facetted chevron-engraved handle on a stepped floral-engraved top framed by acorn finials, on reeded Doric columns, the sides decorated with bluebells, harebells, primroses and other flowers, the back door plain, with a sprung catch, on an engraved block base with knurled button feet. The silvered 2 inch Roman dial with engine turned centre and finely divided minute ring, with blued steel moon hands, signed under the mask Hunt & Roskell London, set into an intricately engraved gilt mask, the lower part displaying a waterside castle, with two large engraved Rocs with outstretched wings to either top corner.The twin spring barrel movement and jewelled underslung English lever escapement with monometallic balance mounted to the back plate, rack striking on a coiled blued steel gong. Ticking, striking and repeating, with winding key. 13cms (5ins) highFootnotes:Paul Storr was born in 1771, possibly a relation of Marmaduke Storr, father and son horologists from London. Paul Storr was apprenticed to Andrew Fogelberg as a silversmith and is first recorded as a 'working silversmith' at 30 Church St., Soho in 1794. Two years later, he had relocated to 20 Air St. Piccadilly, where he would remain until 1806. After this point he moved to 53 Dean Street, Soho, and is joined by four partners: Philip Rundle, John Bridge, Edmund Waller Rundle, and William Theed, formally being described as Storr & Co.. By 1810, Storr & Co. had expanded to encompass 54 Dean Street, though it appears that from 1809-1816, Storr maintained premises at 22-23 Air Street, as well as the north side of Vincent square in 1814. In 1811, Storr & Co. was robbed of 127 oz. (3.6 kg) of silver by one of their porters, James Potter. He was charged with stealing from his employers and transported for seven years.It appears that Storr had a falling out with his partners around 1818; although the business was still named Storr & Co., they were not listed on insurance forms, as they had been previously. He also moved the shop to 17 Harrison Street, Gray's Inn Road. Two years after this move, he was still at this location, though he was now described as a 'gentleman', rather then as a 'working silversmith'. By 1823, Storr was again in partnership, this time with John Mortimer, and they operated out of 13 New Bond Street, while the Harrison Street property seemed to be reserved for manufacturing. Storr & Mortimer were now described as 'silversmiths and jewellers', rather than simple 'working silversmiths'. Mention was also made of Eley & Co. at this time, who were working silversmiths, and with whom Storr & Mortimer. did business with, apparently for repairs.1831 saw the company move to 26 Harrison Street, Grays Inn Lane, and also expand the New Bond Street location, to include both 13 and 14. Less then two years later, they had moved to 156 New Bond Street. By 1835, John Samuel Hunt, a chaser and silversmith, had become a partner, and lived next door to their Harrison-street manufactory, though the firm still traded out of their Bond Street location. It appears that Hunt was responsible for the day-to-day administrative running of the firm, and that Mortimer was responsible for overseeing the designs and production. It seems that around 1838/1839, Storr retired to Brixton, Surrey, possibly dying in 1844. After Storr's retirement, the company was renamed Mortimer & Hunt, and they continued using the same addresses as those used by Storr & Mortimer. Robert Roskell, a watchmaker from a horological family in Liverpool, joined the firm in 1842, and the firm was thus renamed Hunt & Roskell, though the two addresses remained the same. Old Bailey Proceedings Online (1811) trial of James Potter and Joseph Aaron. Available at: https://www.oldbaileyonline.org/browse.jsp?id=t18110220-27-victim283&div=t18110220-27#highlightSun Fire Office (1794-1839) Records of Sun Fire Office, London: London Metropolitan Archives: City of LondonOld Bailey Proceedings Online (1835) trial of Timothy McCarty. Available at: https://www.oldbaileyonline.org/browse.jsp?id=t18350706-name-244&div=t18350706-1638#highlightKelly (1843) Post Office London Street Directory, London: Kelly's Directories Ltd.Kelly (1891) Post Office London Commercial and Professional Directory, London: Kelly's Directories Ltd.Old Bailey Proceedings Online (1823) trial of Henry Kinder. Available at: https://www.oldbaileyonline.org/browse.jsp?id=t18230219-109-victim997&div=t18230219-109#highlightUniversity of Leicester (2022) Historical Directories of England & Wales: London 1808-1915. Available at: https://specialcollections.le.ac.uk/digital/collection/p16445coll4/search/searchterm/London/field/place/mode/exact/conn/and/order/nosortFor further information on this lot please visit Bonhams.com

A rare and interesting 18th century continental night timepieceJoseph Galindo a la HayeThe silvered 6.75 inch dial pivotted at the centre and rotating anticlockwise, the time read against a pierced steel tip mounted at the top and pointing to the time to the nearest 15 minutes via the pierced outer ring, the Roman numerals and lozenge half hour markers also pierced. The dial framed top and bottom with a foliate scroll mount. The spring driven movement set on a turned brass upright to a foliate scroll base, wound from the rear, it's thick plates united by four turned and knopped pillars, the verge escapement with silk suspended pendulum, signed on the backplate Joseph Galindo Ala Haye, set above with a shaped tray to support a burning lamp. Ticking. 36.5cms (14.5ins) high.Footnotes:Brian Loomes in his Watchmakers and Clockmakers of the World lists a Joseph Galindo from Spitalfields who went bankrupt in 1751. La Haye is the French name for The Hauge in the Netherlands.For further information on this lot please visit Bonhams.com

A very rare and historically interesting late 19th century two-day marine chronometer movement that took part in Ernest Shackleton's Nimrod expedition from July 1907 to September 1909. Now mounted in a mahogany mantel case.R. Gardner,20 Lloyd Square, London W.C. Stamped with the Admiralty arrow and'I 1920', No. 5/4186The 3.75-inch signed silvered Roman dial with outer minute track and subsidiary power reserve indicator from 0-56 hours at XII, the observatory style seconds dial at VI framing the Admiralty arrow and numbers 1/1920 and 5/4186, signed across the centre R. Gardner 20 Lloyd Square London. W. C. below the blued steel spade hands.The spotted full plate movement with four ringed pillars and maintaining power to the chain fusee, free sprung palladium helical balance spring (top pivot broken) with diamond endstone and Earnshaw type escapement (detent lacking), cut and compensated bimetallic balance with circular timing weights, sitting in a weighted, gimballed bowl punch numbered 5 4186 and with sprung rear cover to allow winding access. Now set into a 20th century mahogany mantel piece case. 16cms (6ins) highFootnotes:Robert Gardner was born 1851 in Glasgow, to Robert Gardner, a horological supplies wholesaler. He was apprenticed to a clockmaker in Glasgow, and later, in 1871, to a London watchmaker, Troy Thomas. In 1875, his father died, and the business passed to Robert and his brother John. Robert returned from London to run the family business with John. Their partnership was short lived, however, and by 1878 Robert had established his own watchmaker's shop in Glasgow. Apparently, he was travelling extensively at this time, to both the Continent and the United States, all in the pursuit of discovering improved horological techniques. In 1880, some ship owner friends in Glasgow commissioned him to go to London and buy them some chronometers for their ships. After his return, it seems he became fixated with chronometers and by 1885, he was again living in London; he was married that same year, to A--, who was 11 years his junior. In 1886 he had established his workshop in his home at 20 Lloyd Square, Clerkenwell Road; he gradually moved into marine chronometers, originally purchasing finished Kullberg chronometers, and then using the bought stock from James Nelson, who had since retired and moved to New Zealand. Eventually, Gardner began making his own chronometers, with one of his chronometers taking first place in the 1897/98 Greenwich Trials. His son, Malcolm, had been born the year before, in 1896. Once he began making his own chronometers, he became increasingly engrossed in making the best chronometer balance with the optimum spring combination to ensure isochronism. This included fitting two and three in one balance springs, and also mercury compensated balances to attempt to overcome middle-temperature error. These balances built on the work of Le Roy and E. T. Loseby; in essence, a custom-made mercury filled bulb and stem were formed into a hook shape and attached to a partial metal rimmed balance. According to Loseby, this eliminated middle temperature error, and chronometers fitted with such mercury balances won Loseby first in the Greenwich trials for five consecutive years. Interestingly, Gardner finished several of Loseby's chronometers on the latter's death, including two which were given to Loseby's executors. Purportedly, Gardner had contracts to supply chronometers to the Italian, Dutch and Thai governments, and he continued to submit chronometers to Greenwich up until WWI. He also frequently contributed technical articles to the Horological Journal, on various aspects of chronometer function and manufacture.Around 1901, Gardner travelled to Fleurier, Switzerland to meet with Charles Edouard Guillaume, of 'Invar' and 'Elinvar' fame. Gardner successfully negotiated a contract with Guillaume, stating that he, Gardner, would become the only supplier of 'Guillaume balances' in the U.K. and Ireland. The contract specifies that the balances were to be sold for no less than £2 and were to be used in chronometers sold for no less than £25. Unfortunately, the contract was later cancelled through mutual agreement, as Gardner's frequent trips abroad and extensive work at home culminated in a nervous breakdown. Gardner continued to work on his chronometers and the pursuit of 'middle temperature error' elimination, his workshop being moved to the third floor of the house as his eyesight deteriorated. He worked on improving chronometers, particularly investigating palladium springs and five bar cut balance wheels, right up until his death in 1931. A contributor to his obituary noted that 'what he did not know about chronometers was not worth knowing, but at the same time he always had his eyes and ears open for new ideas'. His wife died in 1943.After his father's death, Malcolm Gardner, under the auspices of Courtenay Ilbert, established a horological bookselling business to clear out his father's extensive book collection. Malcolm rapidly became very well-known in the horological world, later dying in 1960. The majority of the books he sold eventually ended up in the British Horological Institute's Library. The current chronometer, No. 5/4186, had a varied service life. It was purchased by the Admiralty in March 1899 for £44. Less then a year later it was used on board a ship bound for Sydney, and it spent more then a year on board. On its return, it was serviced by Usher & Cole; why Gardner did not service it is unknown, possibly he was too busy with manufacture and travel to worry much about servicing. In 1903, the chronometer was used by HMS Merlin, on the ship's maiden voyage to Australia, as part of the Royal Navy Survey Service. The chronometer was collected a year later from Bombay. After another Usher & Cole service, the chronometer was next used in 1907 on the Nimrod as part of Ernest Shackleton's 1907 Antarctic expedition to reach the South Pole. The team, lead by Shackleton, came to within 97 miles of the magnetic pole, before being forced to turn back due to bad weather. The expedition was the first to climb the southernmost volcano, Mt Erebus. A description of the expedition, written by Shackleton, notes that Jameson Boyd Adams, the Royal Navy Reserve Commander and the first to volunteer for the expedition, 'every morning, directly after breakfast, wound up the chronometers and chronometer watches, and rated the instruments'. Which chronometers these were, is unknown.In 1909, the chronometer was returned to the admiralty and again serviced by Usher & Cole. In 1915, the chronometer was installed on HMS M19 a monitor ship seemingly stationed near Turkey during WWI. Shortly after the chronometer was installed, a 9.2' gun on board the ship exploded, causing a fatality and several injuries. The ship was then transformed to a crude oil carrier. The chronometer was returned to the admiralty in 1917. The chronometer was next transferred to the India office in 1920, being sold to said office the following year. The chronometer's movements after this date are unknown.For further information on this lot please visit Bonhams.com

A very rare late 17th century ebony veneered basket top table clock caseSurmounted by a tied-bud handle on foliate pommels set on a repousse basket of floral swags, scrolls and birds within a moulded base, the simple overhanging cornice over rectangular glazed side panels to a moulded base, the rear door glazed, the front door with a working lock opening to reveal a mask measuring 6.75ins wide by 7ins high, with original oak seatboard to the interior. 36cms (14ins) highFor further information on this lot please visit Bonhams.com

An extremely rare late 18th century mahogany longcase clock with enamel dialSamuel Clare, Warrington The boxed swan neck pediment with verre-eglomised glass panels supported on freestanding brass-mounted Corinthian columns, the long trunk door of excellent figuring flanked by matching quarter columns on a panelled base to ogee bracket feet. The 12 inch dial comprising of two sections - the arch with central bowed signature cartouche flanked by exotic birds within foliate scrolls, the main dial cast to form a chapter ring within raised circular bands and a slightly convex centre, with hand painted bird and scroll corner decoration to frame the Roman and Arabic numerals, subsidiary seconds dial and date aperture with urn above, and pierced hands. The movement with four knopped pillars, anchor escapement and rack striking on a bell. With a pair of lead weights, a pendulum and a door key. 219cms (7ft 2ins) high.Footnotes:This very rare dial is comprised of two pieces of high-fired enamel, both contra-enamelled on the reverse and secured to a skeletonised brass frame via small screws through the front.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

A rare mid-19th century French one-piece cased carriage clockBaullier (Père et fils) and Paul GarnierThe typical bevelled glazed case surmounted by a turned handle on baluster uprights with moulded frame on a stepped base with wooden block underneath, the front panel lifting up via an applied knob to allow for winding and hand setting. The silvered one-piece dial with engine turned centre, the Roman chapter ring framed by a watered-silk effect mask, and set with blued steel moon hands. The large twin spring barrel movement with a jewelled English lever platform escapement, the uncompensated monometallic balance with engraved cock, striking on a large flat bell, the backplate stamped Baullier Père et fils and in the centre P. G. Brevete. Ticking and striking. 18cms (7ins) highFootnotes:The Baullier dynasty of clock manufactures were established in 1789. By 1823, the elder Baullier was operating out of 102 Rue du Temple in Paris and advertising as a clock and watch maker. Three years later the firm had become Baullier, père et fils, still operating out of the same location. It seems likely that the younger Baullier was apprenticed to his father, finishing his apprenticeship in 1826. On 15 April 1827, the shop was relocated to 9 Rue Vendôme, and the firm appears to have expanded their offerings to included horological wholesale. Two years later, the firm had expanded again, to include gilt bronze clock cases. Confusingly, they are listed as still operating out of 102 Rue du Temple, as well as 7 Rue Vendôme. Additionally, a clock and watch maker named Baullier was listed as part of the committee for the Parisian 6th district town hall, beginning from this date. Two years after this, a horologist named Baullier served as juror. Sometime before 1836, the younger Baullier appears to have married a woman of very good standing, though as with the rest of the dynasty her first name remains unknown. In 1836, though, she is listed as a wealthy donor to a charity ball, specifically held to raise money for the poor of the 6th district in Paris. Her address is listed as 9 Rue Vendôme. Less then a year later, the name of the firm was changed to 'Baullier, Elder & Co.' and their address was listed as 9 Rue Vendôme. The firm's trades were described as 'clock makers, wholesale orders, gilt bronzes cases and watches of all types'. This title would be in place throughout 1839, though by this point the firm was known by several other names; 'Baullier, elder clockmaker 9 Rue Vendôme', 'Baullier's son & Co. Rue Vendôme', and the first mention of 'Baschet-Baullier 9 Rue Vendôme'. Similar to the Baullier family, Baschet's surname is unknown and very little is known about them. A year later, these titles were all still in use, though Baullier, père et fils 9 Rue Vendôme, had supplanted 'Baullier, Elder & Co.'It appears that Baullier Sr. had transferred the shop to Baullier Jr. and Baschet in 1841, a notice appearing in several trade journals that the latter were now the successors to the former. It is also the first time that Baullier's wife is listed in the trade journals, as a metal engraver working out of 48 Coquillière. Baullier is also listed as working out of this address as a horologist. No mention is given of Baschet trading at this location.Less then a year later, the Baulliers had relocated to 67 Vieux-Augustins, though the shop Baullier and Baschet took over remained at 9 Rue Vendôme. In 1843, mention is again made of a horologist named Baullier serving as part of the committee for the 6th district town hall; it is possibly that the elder Baullier's position on the committee was transferred to his son on the former's retirement, though it is also possible that the younger Baullier had been part of the committee since 1829. This same year, the famed conjuror and horologist began working out of 9 Rue Vendôme (having been at 11 Rue Vendôme the previous year) an address he would work out off until 1846.The following year, the firm exhibited during the 'Industry Exposition of 1844' though their name had again changed, now becoming 'Baschet, Baullier and brother'. They exhibited a selection of pillar clocks and gilt bronze cases. The firm's name was changed in trade journals as well, to 'Baschet, Baullier and brother', with mention being made that all three were the successors of the elder Baullier. In 1846, Baullier and his wife moved to 43 Vieux-Augustins, and the former expanded his offerings to include both horological repair and polishing. The firm expanded in 1847, to offer Carcel lamps (clockwork driven oil lamps) in addition to 'clocks and general horology'. In 1848, Baullier's wife advertised as a jeweller as well as a metal engraver, the couple had also moved again, to 55 Montmartre. Interestingly, Baullier's wife is also referred to as Mme. Hte, likely Madame Haute which was a designation for an aristocrat at the time. Based on her past involvement as a donor to a Parisian ball, it seems that she may have been quite wealthy.In 1849, Mme. Baullier began to specify that she was a metal engraver for horological items, likely meaning an engraver for back/balance cocks, backplates, etc. There is also no longer any reference to the Baullier brother, the firm's name reverting back Baschet Baullier. Two years later the shop would move premises for the last time, to 7 Rue Vendôme. Less then a year later, in Baullier's solo advertisement, working out of 55 Montmartre, he described himself as a shop horologist (a horologist who repairs horological items out of a non-horological shop), possibly indicating his wife owned a jeweller's shop at which he was the horologist. In 1854, the Baulliers were operating out of 49 and 55 Montmartre, moving to 47-49 Montmartre shortly after. In 1856, Baschet, Baullier and Callaud of 7 Rue Vendôme Paris took out a 15-year patent for an 'electric remontoire'. Callaud appears to have been a Parisian horologist who had been working in Paris since at least 1833. As he is only named in the patent, it is possible that he entered into partnership with Baschet and Baullier strictly for the manufacture of clocks with an 'electric remontoir'. The firm continued to advertise in trade journals until 1861, after which point no mention can be found of Baschet Baullier, or Baullier on his own. The advertisements for the Baullier's wife stopped a year previously, and never pick up again. This date, 1860-61, coincides with the very end of the third global cholera pandemic, and the very beginning of the fourth, making it possible that all three manufacturers were victims. In 1884, an obituary was published for Julie Bourlet, née Baullier, a 24 year old horologist. Further, in 1898, a marriage notice is published for Rose-Emilile-Pauline Baullier (no profession) to Jules-Louis-Joseph Abry (watch case manufacturer). What relation these two women have to each other, and the Baullier horologists described, remains unknown.As the clock is marked Baullier, père et fils, the clock would likely have been manufactured between 1826-1840 For further information on this lot please visit Bonhams.com

A rare mid 19th century engraved gilt brass oval desk timepiece in the form of a toilet mirror.Attributable to Thomas Cole. Numbered to the underside of the base and rear of the dialplate 848The oval dial supported between a pair of shaped uprights on an elaborate base with rotating support, engraved all over with scrolls, flowers and foliage on a hatched ground. (the front panel with later engraved presentation to D. P.-g 15 Feb. 1957, the rear inscribed J. W. H. from G. & E. Kean. The richly engraved Roman dial with delicate blued steel fleur des lys hands framed by a floral engraved bezel and pierced sight ring. The single chain fusee movement with maintaining power and jewelled English lever escapement with monometallic balance, the backplate pinned. Ticking with winding key, the number 848 stamped on the dial plate under the dust cover. 14cms (5.5ins) highFootnotes:A very similar model, numbered 1107 to the stand and dial plate (as in the current example) is illustrated in Hawkins, J.B. (1975) Thomas Cole & Victorian Clockmaking. Sydney: Macarthur Pres Pty., Item 41.For further information on this lot please visit Bonhams.com

A rare late 18th century mahogany wall timepiece of small size with verge escapementG. Staples, LondonThe 8 inch convex one-piece silvered Roman dial signed G. Staples London with matching blued steel hands framed by a minute track with lozenge quarter marks set in a cast bezel with latch locking behind the concave moulded frame to a fixed rear box with doors to the right-hand side and below. The single gut (now wire) fusee movement with shaped plates united by four knopped pillars, the four-wheel train with long pinions terminating in a knife-edge verge escapement with a long pendulum and tear-drop shaped bob. Ticking, with a winding key. 27cms (10.5ins) wideFor further information on this lot please visit Bonhams.com

A fine and rare mid 19th century brass-banded mahogany one day marine chronometerJames McCabe, Royal Exchange, London, No 165. The small three part box with vacant brass cartouche to the top lid framed by protected corners and central banding, lower part with number plaque and lock (with working key), a pair of swing handles to the sides. The 2.75 inch signed silvered Roman dial with outer minute track and gold spade hands, the large Arabic subsidiary seconds at VI with delicate lozenge Observatory marks and fine blued steel hand. The signed and numbered full plate movement with maintaining power to the chain fusee, the freesprung blued steel helical spring with diamond endstone to a Z-type bimetallic balance with keystone weights to an Earnshaw type detent escapement, hung in a gimballed bowl with sprung winding cover and locking arm. Ticking, together with the original safety winding key and case key. 14 (5.5ins) wide. This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A rare first half of the 18th century burr walnut quarter repeating table timepieceWattson, London (sic)The inverted bell top case surmounted by a handle over an intricately moulded cornice and tall arched glazed side windows on a moulded plinth on block feet. The 7 inch brass dial with shouldered arch set with a subsidiary date ring marked 1-9 consecutively, then 11-31 with odd numbers only, flanked by the signature and foliate engraving, four winged cherub head spandrels frame the silvered Roman and Arabic chapter ring with lozenge half-quarter marks and meeting-arrowhead half hour markers, the finely matted centre with engraved chamfered mock pendulum aperture. The single gut fusee movement united by six knopped pillars, knife edge verge escapement, the pull repeat sounding the hours on a (replaced) bell and the quarters on a run of six bells and hammers. The backplate signed in a leafy cartouche framed by symmetrical interlaced foliate scrolls. 47cms (18.5ins) highFor further information on this lot please visit Bonhams.com

A rare late 18th century figured mahogany longcase clock with high tide and calendar indicationKenyon, LiverpoolThe swan neck pediment with carved floral terminals over freestanding reeded columns to the front and rear, the shaped door with book-matched veneers framed by a walnut border, flanked by quarter columns over a base with applied panel and canted corners to the stepped base with carved ogee bracket feet. The 13 inch arched brass dial with painted rolling moonphase over engraved planets, the Roman and Arabic chapter ring with floating lozenge half hour markers framing the finely matted centre with burnished foliate scrolls emanating from the root of a triangular aperture revealing one of the Deities of the days (Luna, Mars, Mercury, Jupiter, Venus, Saturn and Apollo) painted in colours, under elaborate steel hands; the uppermost corners set with a silvered subsidiary dial giving date of the month (marked in Roman numerals) and high tide indicator. The twin weight driven movement united by four knopped pillars and smooth barrels, anchor escapement and internal count wheel striking on a large bell marked G. Ainsworth WarrN. 224cms (88ins) highThis 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

A fine and very rare large late 19th century patinated and bronzed alloy conical pendulum clockThe figure stamped A. Carrier. The patinated figure of a woman sporting a diadem in crimped and waved hair tied high in a stylised top knot, her classically inspired dress bunched above the waist and cast with flowing creases and a gilt-heightened fringe; with her left arm raised she gazes towards the pendulum rod as it continuously rotates, a sheaf of leaves in her lowered right hand; she stands - without shoes - on a shaped base festooned in heavy laurel and berry swags, further mounted on an ebonised wooden stand with bowed sides and elaborately moulded base. The 5.5 inch black dial with gilt Roman numerals with each minute marked by a single line and with subsidiary dial for running seconds (hand missing) at XII, with gilt Breguet style moon hands. The spring driven movement wound through the dial, with vertical pinion above XII to drive a continuously rotating open arrow hand in which sits the tip of the pendulum rod, the spherical two-part bob applied with five-pointed stars (29 of the original 30 still in position), with a simple hook at the top to locate into the silk suspension to allow for free rotation. Striking the hours on a bell. The figure 1.48m (4ft 10.5ins) high; the pedestal 91cms (3ft) high. Total height 2.39m (7ft 10ins) high. (Farcot)Footnotes:The top of the backplate is punch numbered 125, 450, with an oval stamp between reading B. R & Cie B T S. G. D. G. Paris. The bottom of the backplate is stamped YMT in a circle.An identical model, but with enamel dial featured in The Joseph M. Meraux Collection of Rare and Unusual Clocks, Sotheby's New York, June 28th 1993, lot 499, sold for $23,000. Another similar model by Farcot on a marble plinth also featured in the same sale, lot 494 sold for $134,500.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

A Fascinating and Unique 19th Century Mahogany Floor Standing Eight-Day RegulatorRecorded by Dr Vaudrey Mercer to be the Arnold Workshop RegulatorThe hood with flat top and ogee moulded cornice over plain sides and square glazed front door lined in a quarter-moulding, the throat with narrow moulding over two trunk doors: the upper being 29.5 inches long with central lock and moulded edge, the lower 16.5inches long with a lock, to a plain apron at the base. The sides of the case plain except for a pair of 5 inch panels let into the sides set at 37.5inches from the pendulum suspension point (presumably evidence of an alternative pendulum being in use at some stage). A small handwritten paper label bearing a fractional number (365/189?) is applied to the interior left-hand side. The 22cms (8.75inch) square silvered brass dial with twin subsidiaries set one above the other; the upper marked in Arabic five-second intervals with inner Observatory marks at the fives, with single blued steel counter-balanced hand. The lower dial with identical markings and now set with a pair of blued steel hands to give hours and minutes. Signed across the centre of the dial Arnold, 84 Strand, LONDON. The weight driven movement with arched plates measuring 22cms x 13cms (8.75ins x 5.25ins) united by five knopped pillars pinned through the backplate (the movement originally had six pillars, although this last was removed in order to make way for a new great wheel), the lower two pillars threaded to accept securing bolts from the underside. Now winding through the front on to a barrel, with Harrison's maintaining power. The great-, centre- and third-wheels all of six crossings, the deadbeat 'scape wheel of four crossings, to a pair of jewelled pallets spanning eleven teeth, the high count pinions unusually made of brass. The long steel crutch with brass fork to an invar pendulum rod terminating in a pair of steel cylinders joined top and bottom and held by a long threaded screw to allow for fine adjustment. The pendulum is suspended from a substantial right angled brass frame secured to a solid mahogany block mounted on the backboard via seven screws, its lower right-angled arms drilled to accept the securing bolts which locate into the two lower movement pillars. With pendulum and small brass weight.Footnotes:Provenance: The private collection of Dr Vaudrey Mercer, and thence by descent. Dr Mercer was confident enough to record this in his exhaustive work, John Arnold & Son, Chronometer Makers 1762-1843 (published in 1972, and updated with a supplement in 1975) as 'The Workshop Regulator'. Five pages and four plates are dedicated to it in Chapter XI, which also includes the seven other known Arnold regulators at that time: John Arnold No.1; Arnold No.2; the Manheim regulator; Arnold No.101; two at Dunskirk Observatory (only one of which is complete); and the Shuckburgh regulator. He suggests that the current pendulum may have been added by Dent, or 'more likely by Frodsham when the business was taken over by them.' Having discussed different aspects of the clock, Mercer delivers the following verdict: '..I think this clock started life as a thirty hour clock with only minutes and seconds hands, and that it was used purely and simply as a regulator in the true sense of the word and almost certainly by John Arnold himself. The dial and eight day mechanism being an improvement on John Roger's part, to save the bother of daily winding, and then perhaps later still the hour hand was added, but still retaining the old dial without any hour numerals.' It is very interesting to note that while the use of two doors on the case trunk is very rare, it is not unheard of – a similar example exists in the collection of the Royal Museums Greenwich, reference number ZAA0534. Literature: Mercer, T. (1972) John Arnold & Son, Chronometer Makers 1762-1843, The Antiquarian Horological Society, p121-123, Plates 144 – 147. Staeger, H. (1997) 100 Years of Precision Timekeepers from John Arnold to Arnold & Frodhsam 1763 – 1862 Gerlingen: Karl Dieringer. p715. FOR FURTHER DETAILS, INCLUDING A TRAIN COUNT AND FAMILY REMEMBRANCES OF DR MERCER, PLEASE SEE THE APPENDIXThis 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

A rare 19th Century patinated and gilt brass wall hanging calendar timepiece in the manner of Thomas ColeJames McCabe, London, no. 1744The frame cast with flowerheads, C-scrolls and foliage around a frosted gilt surround to an inner mask of engraved foliate scrolls centred by the head of an imp, the rear body of the case with rounded edge and screw-on back panel (sliding cover now lacking), set with a suspension hook.The 2.5 inch silvered Roman dial with gilt floral edging enclosing a minute band and Roman numerals to a decorated centre with blued steel hands. Below the main dial sits a manually adjusted weekly calendar, the main table marked 1-31, with a rotating day-of-the-week drum; a mercury thermometer sits to the right hand side with silvered Fahrenheit and Reamur scales. The rectangular movement measuring 7cms x 5.5cms with chain fusee to a five-wheel train terminating in a lever escapement (cut and compensated bimetallic balance currently distorted), signed on a subplate Jas McCabe Royal Exchange, London, No. 1744. 21cms (8.25ins) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare early 19th century Maltese weight-driven wall clock with alarmThe rectangular frame with shaped cresting over a cushion-moulded glazed bezel to a shaped base, with open sound apertures to the sides, decorated all over with silvered interlaced strapwork and fleur-de-lyse on a green ground. The 18 inch rectangular white painted Roman dial protected by a glazed door hinged to the left-hand side and opening to allow winding, with decorative half-hour markers framed by floral sprigs to each corner, painted to the centre with a three-mast ship leaving port, the large pierced single hand with alarm-setting disc, over a pendulum aperture. The movement secured to the back of the dial and wound from the rear, the barrels set along the top edge and raising the weights over a pair of pulleys mounted in iron brackets in the top corners of the case, both wheel trains inverted, the going with anchor escapement, the striking train with count wheel planted on the front plate, striking on the hours and the alarm on two bells. Together with the pendulum, two small lead weights and a winding key. Untested, but appears complete. 1.01m (3ft 4ins) highFor further information on this lot please visit Bonhams.com

A very fine and rare early 19th century ormolu-mounted red marble mantel timepiece with original numbered pendulumVulliamy, London, No. 518Surmounted by a gilt eagle looking to the left with outstretched wings, the shafts of his feathers individually burnished, with boldly cast claws grasping a stylised thunderbolt, set on a plinth over the drum case flanked by a pair of lions, each with finely rendered mane and tail curled around its body, the stepped plinth mounted with a finely cast and burnished foliate scroll frieze centred by acanthus foliage, raised on cast button feet, the side panels with matching acanthus mount. The 3.5 inch gilt dial with engraved dotted minute band framing the matted Roman chapter ring and graduated engine turned centre, with fine blued steel heart-shaped hands enclosed by a snake bezel. The signed and numbered chain fusee movement with circular plates united by four turned pillars with stepped collets and single collar, the high quality train terminating in a half-deadbeat escapement with rise and fall regulation to the original numbered pendulum, with two-piece cock. Ticking. 30cms (12ins) highFootnotes:Provenance: Sotheby's 'The contents of Stonor Park, Oxfordshire' 1970, property of Lady Camoys. The use of a Roman-style thunderbolt sitting below the eagle is very rare in Vulliamy's ouevre, two others are known to us, number 591 (which incidentally uses the same frieze as the current lot), sold Christies 2.10.1991; and number 598 advertised by Blairman in 2015 and later by Anthony Woodburn in 2018. The present lions are modelled 'from nature' by the sculptor James Smith (1775-1815) and are identical to those used on the preceding clock, number 517, which Vulliamy sold in 1814. For a full analysis of the different lions used on Vulliamy's clocks, see Smith, Roger, 'Vulliamy Lions: Their Designers and Modellers, Furniture History Society, Vol. LVI (2020), pp69-82.We are grateful to Roger Smith for his assistance with this entry.For further information on this lot please visit Bonhams.com

A fine and rare mid 19th century engraved gilt brass, grande sonnerie striking and repeating carriage clock with chaff-cutter escapement, gilt numerals, original travel case and numbered keyPaul Garnier No. 2228. The frontplate stamped H.L.The one piece case with slender tapering handle on hinged baluster uprights, over large bevelled glass panels, (the uppermost with repeat button passing through the panel), framed by cast moulded members engraved with delicate foliate scrolls, the hinged rear door with shuttered apertures for setting and winding, opening to reveal the punched number along the backplate, repeat numbered on the shaped aperture cover. The white enamel dial with rare gilt Roman numerals and minute track over a gilt Arabic alarm-setting dial, with original tapering, trefoil hands. The spring barrel movement with jewelled chaff cutter escapement with plain three-armed gilt balance, with rack striking and repeating on a pair of nested bells and brass hammers. Signed Paul Garnier Paris on the backplate and further set with selection levers to opt for 'silent or sonnerie' and 'grande sonnerie and petite sonnerie' , the frontplate stamped H.L. for Holingue Freres. Contained in the original tooled leather travelling case with brass catches and central swing handle, the interior with bespoke recess to accept the original numbered gilt key. 18cms (7ins) high. Footnotes:Provenance:This clock was the property of William Eve, mayor of Stoke Newington 1902-1903, and could well have been in his family ownership since new. The Holingue family, also sometimes spelt Hollingue, were generational clock manufacturers, whose workshop was thought to have been established by Jean-Baptiste Holingue in Saint-Nicolas-d'Aliermont, possibly in the early 19th century. It was taken over by his two sons, Jean-Francois and Louis, around 1845, or possibly a bit earlier. It appears there was a period when Jean-Francois, presumably the elder of the two brothers, was running the workshop on his own and trading under the name of Holingue fils. This period seems to have begun around 1845, when Holingue fils is mentioned in a civil service journal, and continued at least until 1849, when Holingue fils were awarded a Bronze Medal at the Universal Exposition of that year. The workshop was only mentioned as manufacturing clock movements. It is known that Louis and his partner had a son, Louis Albert, around 1848, which may explain his initial absence from the workshop. It has been suggested that Holingue fils briefly partnered with Emile Martin to form Holingue et Martin, possibly just to exhibit together in the 1851 Exposition. Both workshops were based in Saint-Nicolas-d'Aliermont, but this potential partnership couldn't be verified. By 1855, however, Louis seems to have joined his brother, as the workshop had been renamed to Holingue frères. They were advertising as 'makers of rough movements, carriage clocks, 8-day clocks, alarm clocks, etc.' and reference was also made to the bronze medal won in 1849.A year later, at the 1856 Universal Exposition, they received an honourable mention and seemingly had expanded their offerings to include regulators, chronometer blanks, calendar complications, and telegraph movements. In 1857, they listed their business simply as makers of movements, and this description continued until at least 1864. Whether they had stopped producing chronometer blanks, telegraph movements, etc. or they felt it unnecessary to advertise the breadth of their output is unknown. The workshop did exhibit in the Rouen Exposition of 1857, and their entry was described as a 'perfected movement' which struck the quarters and alarm on a carillon. In 1875/76 Louis Albert, Louis' son, appears to have sold the workshop to Drocourt, which was one of the main firms they supplied movements to. It is likely that this sale was due to Louise Albert not wanting to take up the family workshop; he had married in Paris, in 1870, to Victor Reclus' daughter, Henriette Clarisse Amélie Reclus. As the Reclus family had a workshop in Paris and a home in the Parisian suburbs, it is understandable that Louis Albert would not relish the prospect of taking on a workshop in Saint-Nicolas-d'Aliermont. It remains unknown if either his father or uncle were alive when the workshop was sold. Drocourt continued to supply rough movements to the Holingue frères former customers, in addition to using the old stock in his own clocks.The following firms and workshops are all known to have used movements by Holingue frères: Moser, Paul Garnier, Moise Bollviller, Drocourt, Leroy et Fils, Athanase Bourdin, Dent, and Victor ReclusNormandy Association (1856) Annuaire des Cinq Départements de la Normandie. Paris: Derache. p.504.Extence, L. (2022) Holingue frères: An Engraved Gorge Carriage Clock with Subsidiary Dials. Available at: https://www.extence.co.uk/1440-holingue-gorge-carriage-clockFrench Empire (1846) Bulletin des Lois de la République Française. Nos. 793-820. Paris: Imprimerie Royale. p. 498.Bères, É. (1850) Liste des Exposants Auxquels Ont Été Décernées des Recompenses. Paris: G. Gratiot. p. 262.Wotruba, T. (2020) 'Carriage Clocks Identified with Dent and Paris in Their Signatures', Antiquarian Horology, Vol. 41 (1), pgs. 68-75.Extence, L. (2019) 'Story of a Carriage Clock', Horological Journal, Vol.161 (11), pgs. 462-463.Firmin-Didot, A. (1855-1863) Annuaire-Almanach du Commerce, de l'industrie, de la Magistrature et de l'Administration. Paris: Ambroise Firmin-Didot.Willot, B. (2018) Victor Reclus, Inventeur et Homme de Cœur. Available at: https://polmoresie.over-blog.fr/2017/09/victor-reclus-inventeur-et-homme-de-coeur.htmlExtence, L. (2014) Pierre & Alfred Drocourt: An Exhibition of Carriage Clocks. Available at: https://www.extence.co.uk/_files/ugd/401715_28a0b07365c34b97bf1b22c078f5417e.pdfBordeleau, P. (2020) 'Les Grands Moments de l'Horlogerie Française', Collectionner Des Horloges Anciennes. Available at: https://clockworks-horloges.com/300-histoire/307-france/For further information on this lot please visit Bonhams.com

A fine and rare late 18th century Chinese Imperial tribute paste-set ormolu and white marble quarter striking, centre seconds 'Double Gourd' table clockThe movement, pendulum and dial swinging horizontally as one in the open centre of a double gourd frame supported by a large tied foliate mount on a stepped oval socle applied with an open ormolu frieze of overlapping and intertwined scrolls and foliage, the top of the frame surmounted by a shaped ormolu mount depicting a stylised bat among clouds below a pineapple, the front of the frame set with over 160 individually shaped brilliant turquoise square-cut glass stones mounted between cast foliage and beading. The white enamel Roman dial with Arabic quarters centred by a pair of paste-set hands and centre seconds hand, all framed by a multi-coloured bezel of 92 applied blue, red, yellow and clear paste gems mimicking sapphires, rubies, topaz and diamond. The pendulum-rod mounted with a similar running design of oval-cut paste gems and centred by a red-framed long life medallion, suspended on a knife edge mount set behind the finial. A pair of hinged arms mounted to the rear of the frame allow the clock to be secured for transit. The twin spring barrel movement suspended on a knife edge with fine-screw adjustment set behind the top finial, the circular plates united by turned pillars, with deadbeat escapement mounted on the backplate; striking the quarters every fifteen minutes on a large bell and a pair of hammers, the whole backplate framed by an engraved running border and with stylised signature Luloilu(?). Ticking and striking. 68cms (2ft) high.Footnotes:Provenance:The Dimitri Mavrommatis Collection. Literature:Illustrated and discussed in White, I. (2012) English Clocks for the Eastern Markets 1580 - 1815. Ticehurst: Antiquarian Horological Society, Figure 8.41. Comparative literature:Xiuhua, L., Xiaopei, Q. (2002) Clocks and Watches of the Qing Dynasty From the Collection in the Forbidden City. Beijing: Foreign Languages Press.Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum, Christies Hong Kong, 27th May 2008, lot 1501.For further information on this lot please visit Bonhams.com

A rare late 18th century mahogany two-day marine chronometer with Z- balanceJohn Arnold and Son, London, No. 120/210The later bespoke octagonal case with a glazed top lid with brass bezel over plain sides and a keyhole to the front, the underside with rotating circular winding shutter. The 4.5-inch signed silvered dial with Roman chapter ring and outer Arabic minute numerals marked in 5s, with individual minutes marked on a single line border, the centre signed John Arnold & Son London No 120; a large subsidiary seconds dial between V-VII centred by the initials JRA, below blued steel spade hands.The full plate movement with four ringed and tapered 'cannon barrel' pillars with maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone set in a double-screwed chaton to an Arnold type detent escapement, the bi-metallic Z balance with brass arm and cylindrical timing weights, the barrel mounted to the backplate with a bridge cock and signed John Arnold & Son London No 120/210, Invt. et Fect. 13cms (5ins) highFootnotes:Provenance:The private collection of Dr Vaudrey Mercer, and thence by descent. Literature:Staeger, H. (1997) 100 Years of Precision Timekeepers from John Arnold to Arnold & Frodhsam 1763 – 1862 Gerlingen: Karl Dieringer, page 309For further information on this lot please visit Bonhams.com

A good and rare late 18th century mahogany drop dial timepieceMatthew and Thomas Dutton, LondonThe 13.5 inch signed Roman and Arabic dial with minute track and original heart shaped hands framed by a cast concave brass bezel within a convex moulded surround over shaped side pieces to the drop trunk terminating in a moulded chisel foot with locking door (key present). The substantial single gut (now wire) fusee movement with large plates united by four tapering pillars, the anchor escapement with heavy steel-rod pendulum on a T-bar suspension 66.5cms (26ins) high. Footnotes:A similar wall clock by Thomas Mudge and William Dutton is illustrated in Birch Thomas Mudge and William Dutton, a perfect partnership 2019, page 44.William Dutton was apprenticed to George Graham in 1738, suggesting 1724 as a likely birth year. His father is listed as Matthew Dutton, a gentleman from Marton, Buckinghamshire. William gained his freedom in 1746, possibly marrying Ann Millward a year later, though this is not confirmed. Around 1760, a William Dutton is recorded living in Bolt Court, which was quite near to Fleet Street. Another former Graham apprentice, Thomas Mudge, was living very close to William Dutton. The two eventually entered into partnership, though exactly when is unsure. It seems that for most of their partnership, Mudge was solely responsible for paying the Land Tax, meaning Dutton's name doesn't appear in the Tax books until the 1770's. The earliest proposed date for the start of the partnership is 1750/51, with most sources agreeing that the two were certainly in partnership by 1765, operating out of 151 Fleet Street. Around the time that the partnership was forming, William and Ann had two children; Matthew, likely born around 1757, and Thomas, likely born around 1762, who would both become horologists. The couple would have at least four other children; Sarah, Hephzibah, Nancy, and Dorothea. In April 1771, Matthew Dutton was apprenticed to Thomas Mudge. However, this same year Mudge departed London for Plymouth, to concentrate on his chronometer construction. It appears that Matthew's apprenticeship was turned over to his father at this point, and he gained his freedom in 1779. His younger sibling, Thomas, was apprenticed to their father in 1776, and gained his freedom in 1791. William Dutton managed the business for Mudge and is recorded as being the rate holder for 151 Fleet Street, beginning in 1772. By 1774, Dutton had moved the premises to 148 Fleet Street, though the shop continued to be called Mudge & Dutton. Around this same time, Mudge began submitting chronometer's to the Board of Longitude, and Matthew Dutton appears to have acted as a go between. He would deliver the chronometer to be tested to the Observatory, taking it apart to demonstrate Mudge's modifications, monitor it when it was on test, and then communicate to Mudge any questions or rulings from the Board. Interestingly, Mudge Jr. noted that the 'Green' and 'Blue' chronometers were delivered to 'Mr. Dutton' in 1790 and had since remained with the Duttons. When, and under what circumstances, the chronometers left 148 Fleet Street, remains unknown.William Dutton died in 1794, having left all the tools, engines, and utensils of his trade to Matthew and Thomas. He also left the shop and, presumably upstairs, apartment to Matthew, and the adjoining apartment to Thomas. Thomas Mudge also features heavily in William's will, being left one-third of all William's estate, land, and tenants in Bedford, the other two-thirds to be shared by Matthew and Thomas. The three horologists were also appointed his executors, as well as the appraisers of all the stock in his shop, with the option of appointing additional appraisers, should they see the need. Money was also left to the other four children, as well as a small annual pension to be paid to Elizabeth Dutton, and her daughter Caroline. It seems quite likely that Elizabeth and Caroline Dutton where the wife and daughter, respectively, of Benjamin Dutton, William's nephew and a horologist. He was apprenticed to John Holmes in 1755, though it is unclear when he gained his freedom. Interestingly, it has been suggested that John Holmes was one of the first manufacturers to supply 'Mudge & Dutton' with movements, before Holmes moved out of the area around 1760. Benjamin died in 1786, leaving everything to his wife Elizabeth.William Dutton also left some money to Thomas Mudge and John Priest, another of Graham's former apprentices, to thank them both for their firm friendship throughout the years. It appears that William's wife, Ann, died in 1787, the same year that the majority of William's will was written. It was updated in 1792, to include leaving some money to his daughter in law Katherine, who appears to have been Matthew's partner (possibly Catharine Dunant), and his future grandchildren. As there was some confusion regarding the validity of this amendment, Thomas Mudge and James Bullock, a Holborn clockmaker and long-time friend, both appeared in person to swear to the amendment's validity. Matthew and Thomas entered into partnership together, operating out of the 148 Fleet Street premises. Oddly, the 1794 entry lists 'M. & J. Dutton, watchmakers' working out of this address. It is possible this was a misprint for 'T'. Matthew and Katherine would have at least four children; Louisa, Catherine, Matthew, and Jane. Of these, only one would go on to be a horologist; Matthew, who was apprenticed to his father in 1799.In 1802, two years after Matthew (Sr.) had been made Master of the Clockmaker's Company, the partnership between Matthew and Thomas was mutually dissolved, with notice given that Matthew Dutton would be continuing the 148 Fleet Street business alone. It is not known what happened to Thomas; he isn't listed as a horologist in any trade directory for London, Plymouth, or Buckinghamshire after the dissolution. It has been suggested that he married Sarah Kingdom in 1794, and that one of their children, Thomas (Jr.), became a Captain with the Royal Navy and eventually emigrated to Tasmania. However, this has not been independently confirmed, and still doesn't clarify what Thomas (Sr.) was doing after 1802..For further information on this lot please visit Bonhams.com

A very rare, dated, mid 18th century mahogany-crossbanded oak longcase clock with Dutch strike and bolt-and-shutter maintaining powerHenry Hindley, YorkThe inverted bell top with shaped cresting flanked by twin capped pedestals over a stepped multi-part cornice raised on freestanding reeded Doric columns, the long trunk door with mahogany crossbanded edge on a matching panel base and apron. The 12 inch arched brass dial with large subsidiary date dial framed by addorsed dolphin mounts over mask-and-scroll spandrels enclosing the silvered Roman and Arabic chapter ring signed either side of VI, the finely matted centre with running seconds and matted shutters for the maintaining power. The weight driven movement secured to the (replaced) seatboard by twin J-bolts locating into the lower edges of the plates which are united by four typical turned baluster pillars of particularly good colour, the going train with maintaining power engaged via a pull cord below, the striking train with rack striking system on a bell, (originally Dutch striking, now one bell hammer removed). The frontplate with engraved date 1743. The tapering steel rod pendulum with brass faced lenticular bob, and a pair of lead weights. 2.41m (7ft 11ins) high.Footnotes:Henry Hindley was born 'Henry Hindle' in 1699 to Margaret Proctor and Henry Hindle, a blacksmith, in Great Harwood, near to Blackburn. The Hindles were a well-known blacksmith family in Great Harwood, going back at least 150 years. It has been suggested that Henry served his apprenticeship in Wigan and at least two clocks signed Hindley de Wigan and dated to around 1720, are known to exist, which would support this conclusion. It is unknown who his master was; John Burgess, a Wigan clockmaker and gun smith, has been suggested, though there is no concrete proof that this was the case. Henry was the eldest of eleven, possibly twelve children. His sister, Katherine, was around a year his junior, followed by John (1704), Elizabeth (1705), Sarah (possibly another sister, though not confirmed), Mary (1708), Anne (1709), Edith (1711), another Anne (1713), the twins Margaret and Alice (1714), and the youngest of the siblings, Roger, who was born in 1716. By 1731, Hindley was in York, obtaining the Freedom of the City in March of that year. In order to gain Freedom in York, a horologist either had to be apprenticed in York, or pay for their freedom, with gifts being accepted in lieu of payment. Hindley accordingly gifted two specially made eight-day longcase clocks; one for the Mayor of York's home (Mansion House) and another for the Common Hall/Guildhall. He also agreed to maintain both clocks for a year (after which point, he would be paid for servicing them) and was subsequently granted his freedom. At some point, he married a woman named Sarah, and the couple had at least two children, Elizabeth and Joseph. The latter was born around 1728 and would likely have been apprenticed to his father.Hindley originally appears to have lived in Petersgate, before moving in 1741 to the corner of Blake Street and Stonegate. Around the time of his move to York, he seems to have apprenticed his younger brother Roger, though no formal record of this apprenticeship exists. Roger would later move to London, seemingly around the time that Henry moved to Blake Street and Stonegate. His main trade was watch-cap manufacture, and as no finished timepieces are known with his signature, it is assumed he built his career on supplying parts for the trade. He was known to have married, and the couple had at least one son, John. The last known record of this part of the Hindley family is in 1785, where Roger is noted as still an active horologist. In addition to changing residence in 1741, Henry Hindley made the acquaintance of John Smeaton, who would eventually become a London scientific instrument maker and civil engineer, as well as a life-long friend and posthumous promoter of Henry Hindley. During their first meeting, Smeaton references a wheel-cutting engine in Hindley's possession, and of Hindley's own manufacture around this time, which was equipped with an endless screw, and the ability to cut up to 360 teeth. Smeaton was so intrigued with the machine and its manufacture, that he would later deliver a lecture before the Royal Society in 1785, specifically about the machine and Hindley's process for dividing circles. The machine was acquired by a varied string of clockmakers, after Hindley's death, and alternatively run down and restored. It is unknown what eventually became of it.In addition to clocks, around 67 of which are extant (most being longcases, followed by turret clocks and then spring driven clocks) Hindley was known to have made at least two equatorial telescopes. The first was made around 1754, a contemporary opining that the mounting for the telescope was originally made to test the accuracy of Hindley's wheel cutting engine. He advertised the finished telescope for sale in the local newspaper of August that year, though it seemed to generate little interest. The telescope languished until 1761, when it was bought by a landowner, William Constable, to watch the transit of Venus. The second telescope Hindley made appears to have been made on commission for the Duke of Norfolk. Additionally, a pyrometer and rack-driven fusee engine are known to have been made by Hindley. Elizabeth died in 1762, the exact cause being unknown. Sarah followed shortly after, around the end of the same year. Henry continued his business until his death in 1771, reportedly after a 'lingering illness', though he managed to install a turret clock made for St. John's Church in Manchester before his death. One of the last jobs completed before his death, poetically, was the servicing of the clocks he had made for the Manion House and the Guildhall. He was described in his obituary as a 'Clock, Watch, and Mathematical Instrument maker.' Joseph took out a notice the following week, that he would be continuing his father's business. In 1774, shortly after completing work on the Holy Trinity Church's clock in Hull, Joseph also died, apparently in the middle of making an atmospheric steam engine for the same town's waterworks. He was described as a clock and watchmaker, with his obituary declaring him 'a most ingenious man, and esteemed one of the best Mechanics in the North of England.' Joseph had no children, nor did he ever marry, meaning that six months later, all the tools he inherited from his father were sold off, including the famed dividing engine.For further information on this lot please visit Bonhams.com

A very rare late 18th century figured mahogany inverted wheel barometer and matching thermometerJoshua Long, 20, Little Tower Street, LondonEach with a signed silvered 7.5 inch dial with matching blued steel active hands and brass recording hands adjusted via a separate knob, set below a swan neck pediment over a tapering trunk; the barometer with seven concentric weather predictions reading against a 28 to 31 inch scale divided into 100ths of a inch; the thermometer with four engraved temperatures ranging from 25 to 110 degrees centigrade 99cms (3ft 3ins) high (2)This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

Warhol (Andy) The Philosophy of Andy Warhol (From A to B and Back Again), first English edition, signed presentation inscription from the author, "To Robert F with love" and "London 1975" with a large soup can drawing "Campbell's Pea Soup" in black felt tip to front endpaper, original cloth, dust-jacket, spine sunned, light damp-staining to spine head and along lower panel top edge, some slight creasing at edges, corners a little bumped with small nicks, Cassell/Dempsey, 1975; with two association A.L.s from previous owner loosely inserted, 8vo (3) ⁂ Rare copy with the Campbell's pea soup doodle, and with a good association. Dedicated to Robert Fraser (1937-1986), the prominent London-based art dealer. Fraser introduced and promoted the work of many important British and American artists, including Andy Warhol, to the British market, and was at the forefront of modern art in Britain throughout the 1960s and 70s. The two letters accompanying this present copy, are signed and written by previous owner Jaine (?)Wilson, in which she testifies that the book was given to her personally by Robert Fraser. She recalls how, "I mentioned to him that it looked valuable and he said 'you don't understand, it would be an unsigned copy that would be valuable'".

Royal wedding.- Stoop (Dirk, circa 1610-1686) Six festival prints illustrating Catherine of Braganza's voyage from Portugal to England on the eve of her marriage to Charles II in 1662, lacking the final and seventh print in the series, engravings, early impressions with burr printing in places, each platemark approx.190 x 565 mm (7 5/8 x 22 1/4 in), two with small margins, the others trimmed to the platemark or just within, old central folds with two splitting but reinforced verso, some scattered spotting and minor browning, light surface dirt, all tipped at the left corners onto support, each support verso with purple ink stamp 'Zentralstelle für Denkmalschutz', unframed, 1662Provenance:[Plate 1 only] Johann Peter Maria Cerroni (1753-1826) [Lugt 1432]Olga Raggio (art historian and curator with the Metropolitan Museum of Art, New York, 1926-2009)Gifted to the present owner⁂ Exceptionally scarce on the open market, with no auction records of the complete suite or individual plates that we can trace in the last 30 years. The British Museum appear to hold a complete set of seven, however Rudolph Weigel notes in the Supplement au Peintre-Graveur de Bartsch that 'this suite is so rare that there are barely four copies that are complete'.Prints included illustrate:1) The entrance of the Lord Ambassador Montagu into the City of Lisbonne the 28 day of March, 16622) The publique proceeding of the Queenes Matie, of Great Britaine through ye Citty of Lisbone ye 20th day of Aprill, 16623) The manner how her Matie Dona Catherina imbarketh from Lisbon for England4) The Duke of York's meeting with ye Royall Navy after it came into the Channell5) The manner of the Queenes Maties. landing at Portsmouth, &c.6) Ye coming of ye King's Matie and ye Queene from Portsmouth to Hampton Court

Ashendene Press.- James (Henry) Refugees in Chelsea, one of 6 copies printed on vellum, one initial printed in red, presentation copy signed and inscribed by the printer C.H.St.John Hornby, original russet morocco, gilt, t.e.g., [Hornby, Minor Pieces VII; Franklin 132; Tomkinson 25], 4to, Ashendene Press, 'For private circulation only', 1920.⁂ Extremely rare, no copy on vellum traced at auction and only occasional appearances of one of the 50 copies on paper. The Ashendene Press Bibliography explains: "It was written to help the local Chelsea Committee to raise funds in America to start an industry for crippled Belgian [especially those from the Flanders part] Soldiers."This copy is inscribed by Hornby to B.L. Richmond on the front free endpaper and dated November 1920. Bruce Lyttleton Richmond (1871-1964), known as the "architect of the Times Literary Supplement" was its editor for 35 years from 1902-37. The work, a poignant essay, was written by Henry James in February 1916 and he died on 28th of that month. It was first published in the TLS in March that year and the colophon states "Printed by the kind permission of the Proprietors and Editor from 'The Times Literary Supplement'", so perhaps not surprising that Richmond received one of the very special vellum copies.

Architecture.- Georgian Society (The). Records of Eighteenth Century Domestic Architecture and Decoration in Dublin, 5 vol., first edition, each vol. one of 600 copies or fewer, vol.5 & 2 with publisher's compliments slips, plates and illustrations, some with browning to endpapers, prelims foxed, original decorative cloth, some fading, corners bumped, 4to, Dublin, Society at the Dublin University Press, 1909-13.⁂ Rare complete set of this Irish architectural record. Library Hub lists only a handful of copies at Oxford and Birmingham University, and at the National Library of Scotland.

City Planning.- London.- Goldfinger (Erno) and Ursula Blackwell. Planning Your Neighbourhood: for home, for work, for play, 20 sheets, 500 x 360mm., colour, small holes at corners, some light toning, mainly marginal, [for the Army Bureau of Current Affairs], [1944].⁂ Rare. Library Hub lists 2 copies only.Architect Erno Goldfinger played an important part in the development of the modernist movement in Britain, particularly famous for his Brutalist designs, which were often unpopular publicly (allegedly Ian Fleming, Goldfinger's neighbour, was so opposed to one design that he named the Bond villain after the architect). 'Planning Your Neighbourhood' is an optimistic presentation of an utopian vision of improved post-war city life. Shoreditch, with slums and heavily damaged in the war, was a perfect candidate for post-war reconstruction. The 20 sheets of the proposal here, incorporate maps, aerial photos and diagrams to aid visualisation - the idea was that anyone, young and old across different social classes, would enjoy living in the "vertical city".

City Planning.- London.- Goldfinger (Erno) and Colin Penn. Planning Your Homes, 20 sheets, 500 x 360mm., colour, small holes at corners, some light toning, mainly marginal, some light chipping to edges, [for the Air Ministry & Admiralty Education Department], [1945].⁂ Rare, unrecorded on Library Hub or any copies in commerce.Goldfinger designed a number of exhibitions during World War II for public bodies, envisioning a pragmatic and modernist take on improved city living. Like 'Planning Your Neighbourhood' (see next lot), each exhibition series comprised drawings, photographs and graphics on boards designed to be reproduced and toured. 'Planning Your Homes' is another in this series, this one exceedingly rare. The sheets here include plans of rooms in accordance with family size, comparisons for insulation materials; how to achieve optimum warmth, quiet, light, and fresh air, as well as designs for everyday activities - "A good plan must co-ordinate these physical and functional requirements" - sheet 12.

Holy Land.- Jacob (Abraham bar) [Map of the Holy Land from: Seder Haggadah Shel Pasah / The Passover Haggadah], oriented with north to the left and the Mediterranean in the lower half, with the Promised Land in the upper half of the sheet, showing the route of the Exodus, the 41 encampments of the Israelites listed within ornate scroll-work cartouche alongside biblical vignettes including Jonah and the whale, extensive Hebrew text printed throughout, engraving, on fine laid paper with watermark of foolscap and large Arms of Amsterdam, sheet 285 x 505 mm (11 1/4 x 19 7/8 in), old folds as issued, some repairs to splitting, repaired tears at the right right edge running into the map, small marginal losses restored, minor surface dirt, 1695⁂ Rare example of the earliest engraved map of the Holy Land with Hebrew text. Originally created for a Haggadah first printed in 1695, considered a seminal moment in the history of Hebrew printing and illustration, Jacob's map is based on the cartography of Van Adrichom.

Russia.- Rovinsky (Dimitry) Russkia Nardodniva Kartinki, 3 plate vol. in 4 (ie without the text), [one of 250 copies], 458 plates only (of at least 475), many hand-coloured, some folding, some foxing and browning, occasionally heavy, many margins water-stained, a few repairs, but generally plates in sound condition, printed titles and lists of plates (not always accurate), many plates with red ink library stamp of Société des Artistes Russes à Paris, usually to margins, one binding loose, contemporary black half morocco, rubbed, spine ends worn, folio, St. Petersburg, 1881; sold not subject to return⁂ This rare and important work covers the period 1627 to 1839 (when pictorial broadsheets were brought under censorship) and the plates depict all aspects of Russian life, folklore, legends, political satires, historical subjects (including over 200 Napoleonic caricatures, many by Terebenev), portraits, maps, views, prophecies, alphabets etc. There are some 4000 individual illustrations. Included are the celebrated caricatures of Peter the Great as the Great Cat of Astrakhan. No copy at auction since this one at Bloomsbury in 1999.

Harrowing of Hell.- Parkes (Richard) An apologie: of three testimonies of holy Scripture, concerning the article of our Creed, [he descended into hell.]...lately seconded by a printed pamphlet, masking vnder the name of Limbo-mastix, first edition, E8 blank, 3 later writing exercise ink words and 3 numbers to title, pagination of preliminaries provided in later neat ink, occasional later neat underlining in red ink, B1 small hole in text with loss of a few letters, 2B8 lower corner torn away, affecting part of printed side-note recto, L4 large horizontal tear within text, without loss, closely trimmed at head, occasionally just touching a headline, some spotting or staining, lightly browned throughout, modern calf-backed marbled boards, gilt spine in compartments and with burgundy leather label, [STC 19295], small 4to, George Eld [?& William Jaggard], 1607.⁂ Rare at auction. Part of a pamphlet war with the clergyman and controversialist Andrew Willet on the subject of the descent of Christ into hell (the period between the Crucifixion and resurrection), known in Old and Middle English as the 'Harrowing of Hell'. It is in part a reply to Willet's Loidoromastix, in which Parkes is roughly treated.