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Click here to subscribeTEN 1/43 SCALE DIECAST MODEL FORMULA 1 RACING CARS by Minichamps (3), Atlas (6), and Onyx (1), including a two model Graham Hill / Damon Hill set, each mint or near mint and boxed; together with a 1/24 scale Heritage Classics No.5017, Williams Renault FW16 'Damon Hill', mint or near mint and boxed; and a model Damon Hill driver's helmet, boxed, (12).
TW Steel "Canteen" stainless steel and gold PVD coated gentleman's wristwatch, model no. CB34, circa 2018, the signed silver dial with baton, markers, Arabic quarters and outer minutes track, date aperture between the four and five o'clock positions, subsidiary seconds, minutes and hours dials, the bezel with tachymetre scale, the crown with screw-down canteen style cover, quartz movement, the case 45mm diameter, housed in original flight case style box with guarantee card dated 2018
Christopher Ward Rapide Chronograph stainless steel gentleman's wristwatch, model no. C7, circa 2013, the signed black dial with baton markers, outer minutes track and date aperture at the four o'clock position, with subsidiary tenths, seconds and minutes dials, the bezel with tachymetre scale, quartz movement, the case 42mm diameter, housed in original box with instructions
Seiko Chronograph 100M gentleman's gilt metal wristwatch, the signed grey dial with gilt baton markers, outer minutes track and date aperture at the twelve o'clock position, subsidiary 24 hour, seconds and minutes hands, the black bezel with tachymetre scale, quartz movement, the case 44mm diameter, housed in original box with instructions
Casio Edifice WR100M Red Bull Racing gentleman's stainless steel wristwatch, model no. 5147, the signed black skeleton style dial with baton markers, outer minutes track and date aperture between the seven and eight o'clock position, subsidiary 24 hours, minutes and seconds dials, the back bezel with tachymetre scale, quartz movement, the case 48mm diameter, housed in original box with instructions
Bulova Precisionist gilt gentleman's 1/1000 chronograph wristwatch, the signed black dial with baton markers, date aperture between the four and five o'clock positions, subsidiary hours, minutes, 1/10 seconds/ 1/100 seconds and 1/1000th seconds dials, the uni-directional rotating bezel with inner tachymetre scale and outer Arabic numerals, quartz movement, the case 48.5mm diameter, housed in original box with instruction manual
Citizen Eco-Drive gentleman's stainless steel wristwatch, the signed blue dial with Arabic markers and outer tachymetre scale, date aperture at the four o'clock position, subsidiary seconds, minutes and 24 hours dials, solar powered, the case 43.5mm diameter, housed in original box with instruction manual
TW Steel "Canteen" rose gold PVD coated gentleman's wristwatch, model no. CB183, circa 2018, the signed blue mirror dial with baton, markers, Arabic quarters and outer minutes track, date aperture between the four and five o'clock positions, subsidiary seconds, minutes and hours dials, the bezel with tachymetre scale, the crown with screw-down canteen style cover, quartz movement, the case 45mm diameter, housed in original flight case style box with guarantee card dated 2018
A collectable Ransomes of Ipswich model MG2 Crawler having a Sturmey Archer air-cooled petrol engine. A surprisingly capable and easily transported small scale track-laying tractor. The engine turns but the valves are situated in a box in the foot-well. An ideal winter project to use or perhaps to exhibit on the vintage rally scene next year.
AGOSTINO BONALUMI (1935-2013)Bianco 1967 signé, daté 67 et inscrit N.Y. au revers toile de forme et tempera vinylique signed, dated 67 and inscribed N.Y. on the reverseshaped canvas and vinyl tempera 127.5 x 176 x 30.5 cm. 50 3/16 x 69 5/16 x 12 in.Footnotes:Cette œuvre est enregistrée sous le n° 67-015 auprès de l'Archivio Bonalumi, Milan ; un certificat signé par l'artiste sera remis à l'acquéreur.ProvenanceGalleria Fumagalli, BergameAcquis auprès de celle-ci par le propriétaire actuel en 2006ExpositionNew York, Galleria Bonino, Agostino Bonalumi painting – constructions, 1967BibliographieWolbert Klaus, Agostino Bonalumi, Parme 2003, p. 152, illustré en noir et blanc Renato Barilli, Lia Durante, Agostino Bonalumi. Premio 'Artista dell'anno 2006', Milan 2006, p. 53, illustré en couleurs Fabrizio Bonalumi, Marco Meneguzzo, Agostino Bonalumi. Catalogo Ragionato, Milan 2015, Vol. II, p. 406, n° 332, illustré en noir et blancAgostino Bonalumi est né en 1935 à Vimercate, en Italie. Artiste autodidacte, il a étudié le design technique et la mécanique. Il a passé la majeure partie de sa vie en Italie, à l'exception d'une période d'étude et de travail en Afrique méditerranéenne et en 1967 aux Etats-Unis. Bonalumi est surtout connu pour ses toiles monochromes enduites de vinyle façonné.Alors qu'il visite l'atelier du peintre Enrico Baj, il rencontre Piero Manzoni et Enrico Castellani, avec lesquels il exposera à Rome, Lausanne et Milan en 1958. Leur questionnement autour de l'art et de leur époque les amène à repenser leur peinture vers une forme de peinture-objet : pittura-oggetto concept qui plut aussitôt à Bonalumi. Un an plus tard, Bonalumi et Castellani fondent la revue Azimuth et commencent à fréquenter l'atelier de Lucio Fontana. En effet au contact de Lucio Fontana, Bonalumi a étudié le concept d'espace et a réalisé ses premières Estroflessioni, consistant à étirer et à déformer les toiles à travers des structures et des cadres construits derrière elles créant ainsi l'illusion d'une force invisible poussant par dessous. Dans les années 1960, l'artiste introduit de nouveaux matériaux dans ces peintures construites tels que l'aluminium, et il a agrandi l'échelle de son travail, créant finalement des installations.Le travail de Bonalumi a été présentée dans de nombreuses grandes expositions individuelles et collectives, notamment aux Biennales de Venise et de São Paulo, et fait partie des collections de plusieurs musées, dont la Galleria Civica d'Arte Moderna e Contemporanea de Turin, la Galleria Nazionale d'Arte Moderna e Contemporanea de Rome, le Museu Coleçao Berardo de Lisbonne, la Peggy Guggenheim Collection de Venise et le Walker Art Center de Minneapolis. Des rétrospectives de l'œuvre de l'artiste ont été organisées à l'Institut Mathildenhöhe de Darmstadt, en Allemagne, en 2003, au Musée d'art moderne de Moscou en 2011 et au Palazzo Reale de Milan en 2018.Le public américain a pu découvrir, Bianco et le travail de Bonalumi lors de son exposition dédiée par la Galleria Bonino à New York en 1967. Cette œuvre de 1967 est extrêmement importante étant donné cette composition extraordinaire qui sont l'une des plus recherchées par les collectionneurs et que le marché n'a que trop peu l'occasion de pouvoir voir sur le marché. Grand Artiste de son vivant, Agostino Bonalumi, nous éblouit à nouveau avec ses extroflexions semi circulaires sur les trois angles et joue avec une plus petite estroflessione pointue dans l'angle supérieur gauche, défiant avec les limites de la toile qui lui sont imposées. Son habileté et cette vision si particulière de l'espace nous amène vers la contemplation et l'introspection. Légère, aérienne, puissante, ce pur pittura-oggetto présenté est l'exemple parfait de la capacité de l'artiste à jouer avec les trois dimensions qui enrobe le spectateur. Cet architecte de la toile met en scène ici la lumière tel un réflecteur sensoriel ; les volumes dans l'espace captent avec force l'œil du spectateur et lui donne une dimension physique et tactile.Agostino Bonalumi was born in 1935 in Vimercate, Italy. A self-taught artist, he studied technical drawing and mechanics. He spent most of his life in Italy, except for a period of study and work in Mediterranean Africa and 1967 in the USA. Bonalumi is best known for his monochrome canvases covered with shaped vinyl.While visiting the studio of the painter Enrico Baj, he met Piero Manzoni and Enrico Castellani, with whom he exhibited in Rome, Lausanne and Milan in 1958. Their questioning of art and of their current times led them to rethink about their painting as a form of object painting: pittura oggetto, a concept that immediately appealed to Bonalumi. A year later, Bonalumi and Castellani founded the magazine Azimuth and began to visit Lucio Fontana's studio. Inspired by Lucio Fontana, Bonalumi studied the concept of space and made his first Estroflessioni, which consisted of stretching and deforming canvases through structures and frames built behind them, thus creating the illusion of an invisible force pushing from below. In the 1960s, the artist introduced new materials into these constructed paintings, such as aluminium, and expanded the scale of his work, eventually creating installations.Bonalumi's work has been shown in numerous major solo and group exhibitions, including the Venice and São Paulo Biennales, and is included in the collections of several museums, including the Galleria Civica d'Arte Moderna e Contemporanea in Turin, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, the Museu Coleçao Berardo in Lisbon, the Peggy Guggenheim Collection in Venice, and the Walker Art Center in Minneapolis. Retrospectives of the artist's work were held at the Mathildenhöhe Institute in Darmstadt, Germany, in 2003, the Museum of Modern Art in Moscow in 2011 and the Palazzo Reale in Milan in 2018.The American public first discovered Bianco and Bonalumi's work at his solo exhibition at Galleria Bonino in New York in 1967. This 1967 work is extremely important due to the extraordinary composition, one of the most sought after by collectors, and which rarely surfaces on the market. A great artist during his lifetime, Agostino Bonalumi dazzles us again with his semi-circular extroflexions on 3 angles, playing with a smaller sharp estroflessione in the upper left corner, defying limits imposed by the canvas. His skill and unique vision of space lead us to contemplation and introspection. Light, airy, powerful, this pure pittura-oggetto here on show is the perfect example of the artist's ability to play with the three dimensions that engulf the viewer. Here, this architect of the canvas stages the lighting as if it were a sensory reflector; the volumes of the space, giving it a physical and tactile dimension, forcefully capture the eye of the spectator.... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Breitling Top Time gentleman's stainless steel wristwatch, ref. 2002, circa 1965, the signed black dial with baton markers, outer minutes track and tachymetre scale, silver subsidiary seconds and minutes dials, central seconds hand, the case with original crown and two pushers, manual wound, the case 36mm diameter
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... 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
SOPHIA VARI: 'VIRGILE II' CUFF, 2007The ebony cuff mounted with a black marble sculpture, signed Vari, numbered, French assay mark, maker's mark, internal diameter 5cm, height 5cmFootnotes:This bracelet is an edition of 8 plus two Artist's Proofs.Provenance: Louisa Guinness Gallery Exhibited: London, Louisa Guinness Gallery, Beauty and Harmony: Jewellery, Painting and Sculpture by Sophia Vari, 1st October - 15th November 2019. Sophia Vari (b.1940) works in mixed media: metal, marble, jewellery or collage, creating 'beauty and harmony' through abstraction. Jewellery design came to Vari while exploring small-scale plasticine versions of her sculptural works. They became the basis of her jewellery designs. Vari says, 'When I create a jewel, I don't think about a 'jewel' but a 'sculpture', putting in all my convictions and strength. It is only later that I adapt the sculpture with technical tools to make it wearable.'Lots 36-42 are from a Private Collection of Artist Jewellery.For further information on this lot please visit Bonhams.com
A GERMAN BRONZE FIGURE OF A MAN WIELDING A SPEAR IN THE MANNER OF CASPAR GRAS, POSSIBLY 17TH CENTURYIn the Renaissance Mannerist style, now mounted on a mahogany swept base the figure 11.5cm high, 28cm high overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCaspar Gras (1585-1684) was considered to be one of the finest metalworkers in Northern Europe. He is particularly known for his small-scale Kunstkammer pieces, many of which were created during his appointment to the court of Archduke Maximillian III. Condition Report: Surface has been cleaned back leaving a warm paler golden tone, formerly holding something in right hand, some damage to feet from old mounting Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A PAIR OF BRONZE STATUETTES DEPICTING CHAINED BARBARY PIRATESAFTER PIETRO TACCA (1577-1640), IN THE MANNER OF FOGGINI (1652-1725)LATE 18TH/EARLY 19TH CENTURY Set on variegated Verde Antico marble pedestalseach 46cm high, the bases 14.5 x 14cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThese figures are derived from Tacca's early 17th century "Monumento dei Quattro mori" around the statue of Ferdinando I de' Medici, Grand Duke of Tuscany, in Piazza Micheli, Livorno. The figures represent captured Ottoman pirates and it is thought that he sculpted them using Turkish and Algerian men held in the Bagno dei Forzati in Livorno and used by the Duke as galley slave. Reduced scale bronze adaptations were made by Foggini and these were the basis of reproductions for connoisseurs into the 18th century. The Monument influenced Bernini's Fountain of the Four Rivers in the Piazza Navona in Rome. Pietro Tacca was the chief pupil and Follower of Giambologna.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. scuffs and attrition to exposed knees, rubbing from handling to exposed limbs- shoulder blades etcleft hand figure has been knocked- resulting in some damage to pedestal under buttocks Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A SCALE MODEL OF 'BIG BEN' THE CLOCK TOWER AT THE PALACE OF WESTMINSTER BY JACK INGLIS TOLTEC STUDIO, LONDON, CIRCA 1965/1966 Painted wood, paper and fitted for electricity, 99.5cm high: in a bespoke wooden case with maker's label and accompanying press and newspaper articles and correspondence between the British Travel Association and Jack Inglis with regards the commission and construction of this model C. 1965/1966the case 104.5cm high The Clock Tower at The Palace of Westminster is colloquially known as 'Big Ben' - correctly this name applies only to the Great Bell contained within the tower. In 2012 it was officially renamed the Elizabeth Tower to mark the Diamond Jubilee of Her Majesty Queen Elizabeth II. This lot was given to the present owner by the craftsman as a birthday present 17 years ago. Condition Report: This has not been removed from its storage box for 17 years. Consequently there is build up of spider webs and internal dust as the sponge lining has started to perish. Will remove from box but requires careful handling- signs to the reverse where it has been damaged slightly in the process. Some losses, lifting and fragments detached. 1 face with clock/timepiece wind-up mechanism behind but this has seized. Internal wiring leading to bulb in spire- this will require remedial rewiring and work to get working again and light switch to base with loss. Internal stamps for Luxembourg customs- case with wear from travel!Condition Report Disclaimer
A good scratch-built live steam model of the Launch Branksome, scale 1:12, well detailed with panelled interior, padded seats, steam-powered kettle, and half canopy, on stand bearing plaque 'Branksome Windermere Steam Launch, scale 1in. to 1foot, model builder W. Nurse K.M.B.E.', 130 x 23cms.Notes:Branksome is one of the finest surviving Victorian steam launches in the world and is a member of the UK’s National Historic Fleet. Built in 1896 by George Brockbank of Windermere, Branksome was commissioned for Mrs Edna Howarth of Langdale Chase. Originally named Lily after Edna’s daughter, Branksome was designed for luxury. It cost around four times as much as similar boats, and features leather seats, walnut panelling, velvet upholstery and a marble hand basin in the galley. The vessel was owned by Mrs Howarth until 1919 and then passed into the Cowburn family. It stayed with them until around 1958 when Branksome was sold to George Pattinson. Branksome retains its original engine, built in 1896 by W. Sisson & Co of Gloucester, number 502.
THE TAY BRIDGE. A late 19th Century manuscript plan depicting the first Tay Bridge, Dundee, Scotland, to scale, showing tidal movements and structure, approx size 242 x 47cm, rolled. Plans for a bridge over the Tay to replace the train ferry service emerged in 1854, but the first Tay Bridge did not open until 1878. The bridge was designed by engineer Thomas Bouch, who received a knighthood following the bridge's completion. It was a lightweight lattice design of relatively low cost with a single track. On 28 December 1879, the bridge suddenly collapsed in high winds. The incident is one of the greatest bridge-related engineering disasters to have occurred. An enquiry determined that the bridge was insufficiently engineered to cope with high winds.
THREE CORGI AVIATION ARCHIVE DIECAST MODEL AIRCRAFT comprising a 1/72 scale No.AA33701, Heinkel He111 H-3-11./KG1 'Hindenburg', 1940, Battle of Britain; 1/144 scale No.47509, Lockheed C-121A Constellation 'Military Air Transport Service'; and 1/144 scale No.47502, Lockheed Constellation 'Qantas', each mint or near mint, each boxed. Condition Report : Heinkel box slightly faded and damp-scarred. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ASSORTED DIECAST MODEL VEHICLES & ACCESSORIES including a 1/12 scale Maisto Jaguar XJ220, silver; each mint or near mint and boxed, (8). Condition Report : Maisto box damp-softened and with snagged hole to base. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
(Ireland), Sir William Petty, Fra R.. Lamb, J.H.. Andrews: 'Hiberniae Delineatio... and Geographical Description of ye Kingdom of Ireland', Shannon, Irish University Press, 1969, facsimile reprint of the first atlas of Ireland, title page + 37 maps on 36 sheets (some folding), maps 53 x 42cm (folding maps larger), with printed booklets, 26pp Introduction, and [38]pp small scale facs reprint booklet of the original maps and title page, each original stitched printed wraps, all housed together in original green cloth portfolio, 2Home Office Library Whitehall" inkstamp to inside of portfolio (no other lib markings, no markings to plates), printed title label to front cover of portfolio, ribbon ties. Scarce; together with two Thomas Larcom engraved hand coloured maps of Cork and Limerick, each mounted (3)
Mark Lyken (Scottish b. 1973) Let Me Taste Your Smoke Kiss Spray paint and acrylic on canvas Signed titled and dated by the artist in black pen verso 50 x 50 cm (19 x 19 in) Mark Lyken is a multitalented visual and acoustic artist dividing his time between painting, composing electronic sound works and film making. His paintings and visual art are heavily influenced by digital transformation, technological meditation and the idea of computers as prosthesis of human personality as well as scale and time of a living cosmos.
James Cauty (British b. 1956) Suicide Bunny 2 Giclee print Unsigned, numbered 29/321 with stamp Framed and glazed 41 x 30 cm (16.5 x 12 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
James Cauty (British b. 1956) 5-11 A / B / C & Final Edition, 2005-06 Four giclee prints Each signed and numbered 2/150 in black pen Accompanied with certificate of authenticity Each framed and glazed Each 64 x 59 cm (25 x 59 in) Comes with the original triptych of Hanged, Drawn & Quarter Pop edition prints, also signed and numbered 2/150. Each 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
RichT (British) Triangulators, 2009 Screen Print Signed, dated and numbered 19/25 in pencil 53 x 38 cm (21 x 15 in) Originally part of the British street art scene of the early noughts, Richt, aka Rich Thorne, has been straddling the illustration and painting worlds ever since. Establishing himself painting walls and exhibiting his work worldwide, he was featured in Tristan Manco’s influential Street Sketchbook, leading on to commercial work as an illustrator and art director for Aardman and the BBC. Richt’s recent experiments have seen him progress further still. His collaborations, including the epic ‘Spider Mandem’ collectible figure with Trap Toys, denote an irreverence for authority and a tongue-in-cheek sense of heroism, alongside other recurring themes further explored in his current work. Abstracting the graffiti aesthetic and combining it with his love for the 60s and 70s comic book artists, Richt’s refined lines and bold palettes reference the work of greats such as Jack Kirby. Most recently he has travelled to the States and Europe painting large-scale murals, including work with Hawaiian street art czars Pow! Wow! in DC. Richt currently works from his studio in Bristol, UK.
James Cauty (British b. 1956) Stop The War Giclee print Unsigned, numbered 3/30 and stamped 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
James Cauty (British b. 1956) Dead Dad 1, 2007 Lithograph poster, part of the Operation Magic Kingdom series Unsigned, open edition 70 x 48 cm (27 x 19 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recorded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
Antique Ridgeways Childs dinner wares to include plates and servers 2 tureens and a gravy boat and stand and all back stamped -( one sliver to back of tureen rear handle) Cobalt blue Humphrey’s clock England from Dickens design -each piece back stamped; Charming dolls set -dinner plates are c 4.4” by way of scale. Beautiful set for antique doll display ( quantity)
A mid 19th century Scottish bow-fronted mahogany stick barometerAdie & Son, Edinburghthe squared cresting over a stepped top and straight sides to the block base (lowermost moulding missing), the trunk with flame veneer and reeded edge, signed silvered dial with rack-and-pinion vernier operated via an ivory button, to the 26-31inch scale with five engraved weather predictions. 1m (39.5ins) highFootnotes:Adie & Son worked from 58 Princes Street 1835-43; in 1844 they moved to number 50 until 1876. From 1877 to 1880 they worked from 37 Hanover Street.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, 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 early 19th century kingwood-banded mahogany wheel barometer with timepieceJ Saldarini, Peterborough, the timepiece by William Terry, London, No.285The swan neck pediment and acorn finial over a waisted body set with a hygrometer, detachable mercury thermometer, 4.25-inch white enamel Roman dial with matching blued steel spade hands, signed level and 12-inch silvered barometer dial offering seven weather predictions within its 28–31-inch scale divided to 100ths of an inch, with blued steel hand and brass recording pointer. The timepiece movement with signed circular plates, chain fusee to a tic-tac escapement and silk suspended 3inch pendulum. 1.26m (4ft 2ins) Footnotes:Provenance:Sotheby's New Bond Street, 7th June 1984, lot 183.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, 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 late 18th century mahogany 'flat to the wall' bow fronted stick barometerHolmes, LondonThe broken swan neck pediment centred by an ivory ball finial over a long flame-veneered trunk with detachable recording knob, bordered by ebony line inlay, terminating in a canted base with applied urn cistern cover, the signed silvered dial with seven weather predictions and scale from 27 to 31 inches, with rack-and-pinion vernier 99cms (3ft 3ins) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, 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
An early 20th century electric mantel timepieceThe bevelled glass case with mirror back panel within nickel uprights on an oak plinth with lockable door to the front, on a moulded base. The 4.75inch white enamel gothic-Arabic dial with minute markers and blued steel hands, set in a chrome bezel raised on four turned pillars with fancy terminals and twin finials, the pendulum bob consisting of a flat rectangular block below a cylinder with engraved regulation scale, swinging forwards and backwards over a pair of coils and in so doing advancing the angled escape wheel one tooth at a time and driving an endless screw. The movement now driven by a pair of batteries in the base. 43.5cms (17ins) high.For further information on this lot please visit Bonhams.com
A fine and rare late 18th century mahogany two-day marine chronometer with Exhibition ProvenanceThomas Earnshaw, London, Number 247The two-part case with sliding inset to the top lid opening to reveal a circular glazed aperture, set to the front with an ivory signature plaque, Earnshaw No 247, the lower section with inlaid brass lozenge escutcheon and folding side handles, on a moulded base. Internally, the case is set with a full-length hinge, a raised lip carrying the twin trunnions to support the gimbals and with sprung gimbal lock in the upper left-hand corner, the top right-hand corner carries a hole for the winding key (key no longer present). The 3.25-inch silvered dial signed Thos Earnshaw Invt et Fecit No 247 with Roman chapter ring and outer minute scale, a large subsidiary seconds dial between V-VII, three blued steel spade hands.The spotted full plate 60mm movement with four pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring (of ten turns and with outer terminal curves) with diamond endstone and jewelled Earnshaw escapement, cut and compensated bimetallic balance with wedge shaped weights and a pair of timing screws, sitting in a weighted, gimballed bowl with sprung dust cover to the winding square. Ticking. 17cms (6.5ins) highFootnotes: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 P13.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, 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 third quarter of the 19th century inlaid walnut spring driven wall regulator with mercury pendulumThwaites and Reed, Clerkenwell. The frontplate numbered 13737. The arched case with full length glazed door with applied carved architectural details to the canted corners, the sides also glazed to reveal the back board and base, inlaid with floral groups in woods of different colours, mounted internally with a silvered beat scale, the 6.75-inch one-piece silvered dial with outer minute track framing gothic-style Roman numerals and fancy half-hour markers, the signed centre further engraved with an extensive symmetrical pattern of interlaced scrolls, with blued steel fleur-de-lys hands. The substantial movement with arched plates united by four knopped pillars, Harrison's maintaining power to the chain fusee and deadbeat escapement to a 47cms pendulum with T-bar suspension from the backboard over a circular-section rod terminating in an intricately engraved brass and steel stirrup framing the jar of mercury, with fine adjustment and blued steel pointer reading against the beat scale. 57cms (22.5ins) high.Footnotes:The number to the frontplate dates this clock to circa 1867, see Rose, E.D. (1978) English Dial Clocks. Suffolk: Antique Collectors' Club.For further information on this lot please visit Bonhams.com
A late 18th century mahogany musical table clock playing six tunes on 12 hammers and 12 bellsRobert Sampson, Westminster The broken arched case with caddy top and five matching ball finials over side handles and fish scale frets flanked by twin reeded quarter columns on a moulded plinth base raised on brass ogee feet, the rear of the base bearing a lacquered brass plaque with Cyrillic lettering 'NKID' and the number 7544. The 8 inch arched engraved gilt brass dial plate framing the (restored) signed Roman and Arabic dial with matching hands below twin subsidiaries for strike/silent and choice of tune comprising 'song; march; air; song; dance and air' the upper corners further decorated with engraved martial and agricultural motifs. The substantial triple gut fusee movement with substantial plates and knopped pillars, the verge escapement playing a choice of six tunes on the hour. The backplate with repeat-pattern border framing the symmetrical pattern of scrolls centred by a basket of fruit over the initials RS. Ticking and playing music, but strike train with broken gut line. Together with a later crank winding key. 62cms (24ins) high Footnotes:The Cyrillic letters 'NKID' are an acronym for the 'People's Commissariat for Foreign Affairs' of the Soviet Union, similar to the United Kingdom Foreign Office.For further information on this lot please visit Bonhams.com
A fine and rare mid-late 19th century mahogany floor standing regulator with four-legged gravity escapementThe wide moulded cornice over long glazed door with internal dust beading and twin locks, the sides similarly glazed, the solid backboard with additional applied panel to carry the heavy steel plate on which the pendulum and escapement assembly are mounted, the board further set with a mercury ivory thermometer, all on a moulded base. The unsigned 10.25inch silvered dial with outer Arabic minute band framing the Roman hour and Arabic subsidiary seconds dials (with Observatory marks), with blued steel hands. The weight-driven movement with substantial waisted skeletonised plates united by four heavy pillars, Harrison's maintaining power and high-count pinions throughout, mounted on a pair of very substantial brass brackets, a central contrate wheel driving a vertical eight-inch arbor terminating in a bevel gear running to the four-legged escapement with pierced vanes and twin arms, the heavy zinc and steel compensated pendulum with large facetted bob reading against an engraved silvered beat scale. Driven by a tall cylindrical brass weight weighing 9kg (approximately 19.8lbs) suspended via a pulley set into the roof of the case. Together with a crank winding key and a door key with brass ring engraved with the number 4. 2.12m (6ft 11ins) high.Footnotes:Gravity, also including Remontoire, escapements are defined as escapements which instead of relying on the going train or weights to impulse the pendulum, are instead reliant on a small, lifted weight or bent spring, which provides impulse with every pendulum beat. Theoretically, this provides a constant impulse to the pendulum. The first such escapement, a Remontoire, was made by Alexander Cumming in 1774, originally described in his 1766 book The Elements of Clock and Watch-Work, Adapted to Practice. The main benefit of this escapement, as Cumming saw it, was that the escapement could function without oil on the pallets, which should reduce the error caused by old or dirty lubrication. Cumming explained further that 'these pallets, do also correct all the irregularities of action in the main spring, wheels and pinions; or any other irregularity that can possibly happen in the movement, from any cause whatever' which was the desired result for a gravity escapement. Cumming's escapement features some hallmarks of gravity escapements, including weighted arms and pins which link the escapement's impulse to the pendulum.Thomas Mudge also produced a similar escapement around this time, which was used in his marine clock. The main difference was Mudge positioned the weights on the arms of the pallet, rather than having them separate, as in Cumming's design. Mudge's escapement was criticised as being too delicate; a small change to the force of the train would cause the escapement to trip. Even if it wasn't tripping, it has been noted that the escapement had a tendency to half-unlock after fully unlocking, meaning that the pendulum would sometimes get an extra partial impulse. Not only did this mean the escapement was prone to a mutable rate, but circular error was also increased.Inspired by Cumming's book, both Edward Massey and George Prior separately devised Remontoire escapements, in 1803 and 1809 respectively.Between 1809-1811, William Hardy, at the behest of the then Astronomer Royal Dr. Nevil Maskelyne, developed a new escapement for the Board of Ordnance which he described as a spring pallet escapement. This escapement was to be used in an astronomical regulator, to supplement Troughton's ten-foot Mural Circle. Hardy's escapement was similar to Cumming's, however, Hardy's relied on a spring which unlocked the escapement with every pendulum swing. As with the Cumming's escapement, Hardy's escapement did not require oiling. Interestingly, Alexander Cumming was consulted by the Board of Ordnance regarding the practicality of Hardy's design, Dr. Maskelyne having since died. Hardy was eventually awarded £200 for the regulator and received several requests for similar regulators. Thomas Reid, around 1811, also developed a spring pallet Remontoire escapement, though slight modifications to the pallet faces meant that Reid's escapement could function for longer than the 15-year lifespan of Hardy's pallets. One of the regulators Reid made with this escapement was for the Astronomical Institution of Edinburgh, which later became the Royal Observatory of Edinburgh.The final British precursor to Dent and Denison's gravity escapements was created by James Mackenzie Bloxam. Bloxam's escapement relied on one large locking wheel with nine teeth and a much smaller lifting/unlocking centre wheel, also with nine teeth. This escapement was an improved, simpler version of previous gravity escapements and avoided the issues of tripping and circular error that were present in Mudge's escapement. The main drawback to this escapement was that it demanded a finely finished, high quality movement with a high pinion leaf count and an absolute minimum of weight to run. In one of Bloxham's clocks which used this escapement, the pinions went as high as 18 leaves. Such clocks would necessitate a high level of skill to make and the cost of such a clock would be very high, making the escapement largely impractical for most uses.Edmund Beckett Denison, later Lord Grimthorpe, used these past escapements, especially Bloxam's, to create a more robust gravity escapement. The four-legged gravity escapement owes a debt to Bloxam's design, though it is different in a few key ways. First, the number of teeth on the locking wheel was reduced to four, the teeth were now called 'legs', and the lifting centre wheel became four centre pins which protruded on both sides of the locking wheel. Another major difference was the escapement was distributed between two planes: one pallet in front, and the other pallet in back with the escape wheel and pins between. This escapement avoids the risks of tripping and circular error and is easier to manufacture then many of the above escapements. Additionally, Denison's escapement did not require a high pinion leaf count to work and benefitted from a large driving weight. Denison would later develop another escapement on this two-plane principle, which would rely on two three-legged locking wheels, connected by three unlocking pins. Denison's design for the four-legged gravity escapement, first described in his Rudimentary Treatise on Clocks, Watches, & Bells For Public Purposes of 1850, was manufactured by James Brock of George Street, Portman Square shortly after. The four-legged gravity escapement was recommended for use in astronomical regulators and similar sized clocks, whereas the double three-legged gravity escapement was usually reserved for turret clocks, most noticeably the Great Clock at Westminster. There are some exceptions to this rule; the turret clocks at both Chichester and Salisbury cathedrals use four-legged gravity escapements. Both cathedrals are also auditory only; there are no dials for the movements to drive, thus the more robust double three-legged gravity escapement is not necessary, and a four-legged escapement can be used. Additionally, both clocks hav... This lot is subject to the following lot symbols: TP Y ФTP Lot 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.Y Subject to CITES regulations when exporting items outside of the EU, 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 mid 19th century 19th Century carved mahogany floorstanding regulator with keyless windingE. Fisher, BathThe arched case with full length glazed door revealing the mercury jar pendulum (now empty) and floral scroll engraving to the top and bottom, over a substantial base with recessed oval panel, applied carved scrolls and block feet. The one piece signed silvered 13.75-inch dial with outer minute track enclosing the recessed subsidiary dials for Arabic seconds (with Observatory marks) and Roman hours. The substantial weight-driven movement with thick (5mm) tapering plates united by four heavy turned pillars secured by eight heavy blued steel screws and collets, the single train with wheels of six crossings, high count pinions and terminating in a deadbeat escapement with jewelled pallets, triple-screwed to the arbor which is set in endstops, the long polished steel crutch terminating in a right angle with hinged steel arbor carrying the fork to the fine-screw regulation nut over the empty mercury jar pendulum with tapered pointer reading against a silvered beat scale secured to the back board. Wound by pulling on a heavy fusee-type chain emanating from the right hand side of the hood. Together with the small (c.2.75kgs) cylindrical brass weight, the four-spoke pulley and case key. 2.18m (7ft 2ins)Footnotes:Edwin Fisher is first recorded working in Bath in 1819; he is recorded as a watchmaker and a jeweller working at 13 Somerset buildings. At some point he relocated to 14 New Bond Street; an 1833 directory records him at this address. On a trade card, he is styled as a watchmaker, specialising in French watches, chronometers, and repeaters, as well as carrying out repairs to musical works and offering a supply of keys and precious metal chains. Nine years later he had moved again, to 13 Abbey Churchyard, though he would stay here only briefly, moving to his final location, 9 Old Bond Street, in 1846. He stopped advertising in Bath in 1866, which is reasonable to suggest as his date of retirement.Another regulator, with a jewelled deadbeat escapement, is known by him, as well as a few skeleton clocks. His name and a date of 1839 are also on the hour dial of the Cockshutt church clock; it has been suggested that he carried out some extensive repairs to the clock, possibly including a repair or conversion of the clock's pinwheel escapement, the movement being signed Bullock and Davies of Ellesmere. A turret clock, previously from the Bishop's Palace stable block in Bath, was made entirely by Fisher, and features quarter chimes and a wooden pendulum. None of these clocks have been described as having the peculiar pull-wind system present on the current lot.It is also interesting to note that the ticking of a balloon clock made by Fisher was recorded around 1941, by the BBC at Maida Vale. The recorded ticking was used as a time interval signal on radio broadcasts between programs, to assure listens that their sets had not died, but that a new program was being prepared.British Horological Society (1972) 'A Working Edwin Fisher Clock', Horological Journal, Vol. 115 (3), pg. 29Goodship, G. (1998) 'Time and the BBC', Antiquarian Horology, Vol. 24 (4), pg. 309.Aked, C. (1969) 'The Joyces of Whitchurch', Antiquarian Horology, Vol. 6 (4), pg. 216.Wooster, W. (1833-1885) The Post Office Bath Directory Bath: Lewis, Sons & Tyte.Gye, H. (1819-1824) Gye's Bath Directory Bath: H.Gye.The Fitzwilliam Museum (2022) Trade card for Edwin Fisher, Watch & Clock maker, Bath: P.12890-R. Available at: https://collection.beta.fitz.ms/id/object/185709This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot 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
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