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Lot 2085
Designed 1939, made 1945, with needle-point three band tuning scale, in bubble-rib profile brown bakelite case. Footnote: The very first British post WW11 set released, but born from Ferranti's drawings set and approved in late 1939. It is noted that these surviving examples retain some clever yet inevitable 'cutting-of-corners' from a time when parts, manpower and financial restrictions were very tight. Good old Ferranti - they were almost as good as Murphy. But without the cigar.
Lot 2101
a large GEC three-band set with double-pointer square tuning scale; another GEC Type BC4650 in brown bakelite case; an early Cossor Melody Maker - mains version - Type 347 (back panel replaced well); a large PYE world-band receiver with vertical tuning columns and push button controls; and a GEC Gecophone 'Gala' with metal Greek-Key speaker spandels, in stepped wooden case (5)
Lot 2102
a Radio Rentals three-band receiver with circular dial; a Marconi three-band set, in gilt line decorated brown bakelite case; a similar unmarked receiver; a Philips Type 462A15 'Lattice Grille' (missing the ever-vulnerable glass tuning scale); a Philco two band set, continental supply; and a Masteradio Type D120, continental supply. (6)
Lot 2105
a Panther Ultra receiver with inset tuning and controls below stepped Deco front; a McMichael Twin-Superhet with arc tuning scale in banded veneered case; a Marconi Type 219 with roundel tuning scale and bakelite inset speaker fret (missing back); and a Cossor Type 6864 with large arc tuning scale. (4)
Lot 2106
a Philips Superinductance Type 472A receiver, with raised bakelite tuning scale and changeable dial ducal slide; an unmarked three-band set with arched speaker panel; a Lissen Type LN8100 battery receiver; and an HMV three-band set with large arc needle tuning scale, all within veneered wooden cases. (4)
Lot 2109
: an Osram Music Magnet 33, with canted top profile and plain speaker cloth (tuning scale and back panel later), with period set-making instructions and chart; a GEC Universal Mains Three receiver with stepped case, speaker bars, (back panel remade very well); and a Philips Type 940A-15 with stars-and-stripes trademark below barred speaker grille. (3)
Lot 2113
A good Murphy Type A74, with dual-speed drum tuning scale and magic eye; a Philips portable battery set in brown rexine case; a Westminster Radio set Type ZA617, in mottled brown; a Sobell Type 717 with large drum tuning scale, in walnut veneered case; and a good McMichael Type 481 with magic eye tuning. (5)
Lot 212
Ainslie, John 4 Rare Maps, comprising Ainslie, John A Map of the County of Renfrew. Surveyed by John Ainslie in 1796. London: W. Faden, 1801. Second edition, map on 4 sheets, 104 x 116cm (image size), hand-coloured in outline, mounted on linen with a W. Faden label to each part, [BL, Bodleian, Glasgow & NLS copies - Worldcat & Copac]; Ainslie, John A Topographical Map of the Stewartry of Kirkcudbright, Surveyed by John Ainslie, 1796. London: W. Faden, 1801. Second edition, map on 4 sheets, 104 x 116cm (image size), hand-coloured in outline, mounted on linen with W. Faden label to each part, [BL, Bodleian, NLS and 1 copy in Germany - Worldcat & Copac]; Ainslie, John A Topographical Map of the County of Wigton or Shire of Galloway. Surveyed by John Ainslie, 1782. London: W. Faden, 1801, Second edition, map on 4 sheets, 78 x 108cm, mounted on linen, hand-coloured in outline, [One copy only Germany in Worldcat & Oxford on Copac]; Ainslie, John A Map of Selkirk Shire or Ettrick Forest, from a Survey taken in the year 1772 by J. Ainslie. London: W. Faden, 1801. Second edition, map on 2 sheets, 66 x 66cm, hand-coloured in outline, mounted on linen, imprint in bottom right-hand corner has been overprinted most probably on the erased Ainslie 1773 imprint leaving only the word Edinburgh decipherable, [BL & Bodleian copies only on Worldcat & Copac]; the 4 maps contained in a contemporary calf 'pull-off' case with red morocco label lettered in gilt, case slightly rubbedFootnote: Note: John Ainslie (1745-1828) was born in Jedburgh in the Scottish Borders. In 1762 he was apprenticed to the London mapmaker and publisher Thomas Jefferys Sr., Geographer to King George III. It is here that he first learned the talents that made him the greatest British land-surveyor of his generation. As the Seven Years' War, and its American phase, drew to a close, Jefferys turned his attention away from military mapping to large-scale surveys of the English counties with Ainslie taking a leading role. At Jefferys' death in 1771 Ainsie returned to Scotland, establishing himself in business in Edinburgh as a land surveyor and publisher. He is best known for the sequence of large-scale Scottish county maps and his great map of Scotland. The Counties of Ayr and Dumfries were proposed but not produced and therefore this is the complete set of South West Scotland contained in a contemporary box labelled in gilt to the spine 'Counties of Kircudbright/Renfrew/Selkirk/Wigton'. No copies have been traced of these maps selling at auction.
Lot 148
Four pieces of Chinese export porcelaincomprising a 19th century famille rose teapot, of cylindrical form, decorated with birds and flowers within a cartouche on a celadon ground, a shaped bamboo style spout and twisted handle and gilded finial, a 19th century shaped dessert dish decorated with figures in a garden within a foliate border and a gilded and red ground cresting, a late 18th century famille rose teapot, decorated with foliage and scale pattern border, a 19th century famille rose plate decorated with peacocks and foliage on a celadon ground, with mark to base, (4)Height of teapot approx. 11cmFamille Vert Teapot (listed as famille rose) - first has no major cracks, with some minor losses to the surface of the glazing, some rubbing to the gilding on the handle, some nibbles to the base, some sticky tape remove applied to the lid which would need removing with care.Peacock plate on celadon - small chip to rim, faults visible to underside, fleabite chip to rim, glazing fault to rim. Dessert dish with scalloped edge - One large chip to rim, to further chips to plate rim. Famille Rose Teapot - is lacking the lid, a large hairline spreads from the rim and around the base of the spout, another star shaped hairline to the body, a loss and hairline crack to the base of the handle where it joins the pot, nibbles to base and wear to the surface.
Lot 149
A pair of Chinese export famille rose Mandarin pattern platesc. 1800, decorated with figures in landscape settings, inside a scale pattern and gilt border set with cartouches containing landscape scenes, (2)diameter approx. 24.5cmCondition: The first illustrated left has 3 old chips to the edge at 7 o'clock and 11 o'clock, some areas of the surface rubbed, wear to gilding. The second illustrated right has chips to the edge at 4 o'clock, small chip to edge at 11 o'clock, large areas of the gilding has worn and other areas of the surface have worn.
Lot 13
Three Second World War RAF issue "silk" escape maps circa 1944 but un-dated, each sheet comprising two maps which are printed back to back in scale 1:1,000,000 and depict parts of China, Indonesia, modern-day Vietnam and Thailand, comprising sheets 44E-F (Sumatra, Siam and Malaya); 44J-K (French Indo China and Siam) and 44L-M (China and French Indo-China - this map, in particular, is heavily creased and misfolded), approximately 94cm x 60cm
Lot 4085
An early 20th Century small scale long case clock in the early 19th Century style, with black Roman numerals and subsidiary minutes to the 15.5cm silvered chapter ring, the arched brass face with ornate spandrels and inscribed "Tempus Fugit", the 8-day movement striking and chiming on eight gongs; the oak case with tea caddy moulded top and pillar stiles to the hood, over a long trunk door to a shallow paneled base and small bracket feet. 152cm tall. With pendulum and winding key.
Lot 240
An interesting Victorian oak Jockey Scales chair by Avery, 85cm wide, with nice transfer print balance scale column marked W & T Avery Ltd with removable brass weights, red leather seat, armrests and back rest, damaged. Provenance: Purchased by Joe Mercer at an auction at Dewitt's many years ago, from an auction relating to Fred Archer, it is rumoured Fred used these scales to weigh his jockey's when training on a weekly basis
Lot 82
MASRIERA Y CARRERAS pendant; Barcelona, 40-50s.In white gold, pliquè-a-jour enamels, diamonds, emerald and ivory.Signed.Measurements: 7,5 x 3,5 cm (pendant).Pendant with oriental figure by the prestigious Catalan firm Masriera y Carreras with the same design, although with some changes in the materials, as the one published in "Els Masriera, Un segle de joieria i orfebreria", page 136, whose original Indian ink drawing (scale 1/1) appears, in turn, in the "Catàleg de models de Masriera Hermanos y Joaquín Carreras", vol. 3, n. 2998 and vol. 4, num 3672. Both pieces have also been published in "Els Masriera. Josep, Francesc i Lluis", Mnac, Editorial Proa, 1996, p. 131.Within the iconographic repertoire of Lluis Masriera's jewellery, the numerous representation of female figures stands out, in contrast to the almost non-existent presence of male figures. This pendant, which has an oriental figure as its subject, is one of the exceptions.The pendant's exceptional design features a frontal decorated with the image of a turbaned man whose face has been worked in ivory. The surface is decorated with pliqué-à-jour enamels, in the style of Masriera and Carreras, with the background in dark blue with vegetal and floral decoration in oranges and ochres, and with brilliant-cut diamonds around the whole of the piece. The upper part of the pendant features a knob-cut emerald, bordered with diamonds and contained in a masterly interplay of openwork. With a yellow-gold chain and a loop clasp.The plique-à-jour technique, French for "letting the light in", is a vitreous enamelling technique in which the enamel is applied in cells, similar to cloisonné, but without any backing material on the finished product, so that light can pass through the transparent or translucent material. It is an extremely expensive technique (up to 4 months to produce a piece), with a high failure rate.The silverware and jewellery firm was founded in Barcelona in 1839 by Josep Masriera Vidal. The process of making the pieces, from the design to the final polishing, was carried out in the family workshop, which gradually expanded as demand increased and, with it, production. By the end of the 19th century, the Masriera workshop was already the most important in the city of Barcelona, winning the Gold Medal and the Unique Prize awarded by the Associació d'Artífexs en Joieria i Plateria de Barcelona (Association of Jewellers and Silversmiths of Barcelona). In 1887 the firm was renamed Masriera y Hermanos, with Josep Masriera Manovens at the helm. At this time, production was extended to jewellery, partly thanks to the revival of various enamelling techniques, and Lluís Masriera Rosés, Josep's son, became the jeweller of Catalan modernism, achieving international renown. In the second decade of the 20th century, the firm left the Art Nouveau style behind in favour of more geometric lines, close to the new Art Deco. At the height of the Noucentisme, in 1915, two of the oldest families of silversmiths and jewellers in Catalonia, the Masriera and Carreras families, who had been in business since 1766, merged thanks to the association of Masriera and his brothers with Joaquim Carreras Nolla. The Masriera and Carreras firm was born, focused on the production of Lluís Masriera's designs and on the new and thriving European Art Deco style. Their participation in the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, and in the Universal Exhibition in Barcelona in 1929, brought the firm definitive international recognition. In 1985, Masriera y Carreras and Bagués, another of Barcelona's historic firms, joined forces. The Bagués-Masriera firm remains active to this day.
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