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Lot 147
A 19th Century Chinese cabinet plate, the central reserve decorated with figures set within a walled garden, framed with two border rims, the first with a brown fish scale band, the outer border with scenes of Mount Fuji and landscape cartouche panels, unmarked, diameter 19.5cm together with a Chinese blue and white charger, diameter 28cm, a Chinese oval dish with figures playing in a garden, length 15cm S/D and a Staffordshire vase stand in blue with a hand painted roundel, damages (4)
Lot 324
A collection of Russian metal work items, comprising set of six vintage silver plated Soviet tea glasses, each of fine filigree design, three salts, one with red and white enamel scale decoration, and spoons, and a bronze pendant depicting the Virgin Mary, a bronze double sided plaque depicting three saints and a cross verso, a brass standing censer, and a brass crucifix. (16)
Lot 312
SELECTION OF VARIOUS TOYS, including Limited edition Vitesse L130C Fiat 500R in original box, Corgi Collectors Series boxed 1915 Ford Model T, Ertl 1/25 scale Corvette die-cast model in original card box, Two Corgi toys Collectible Icon Figures of Scottish Military Pipers, Burago 1/43 scale Fiat Cinquecento in its window box, The Beatles Jigsaw Puzzle (not checked if complete) in original box, plus other items. (22 items)
Lot 185
SET OF MAPS OF RAILWAYS INTEREST BY EDWARD STANFORD, LONDON, the maps were a series of 24 produced in 1876, titled “Large Scale Map England & Wales Showing The Railways In Operation, The Stations and also The Sanctioned Lines, High Roads, Towns, Villages & c”. 18 of 24 piece set. Generally in good condition. (18 items)
Lot 332
A George III carton pierre wall mirror, circa 1770 A George III carton pierre wall mirror, circa 1770, the oval plate within a gadroon and acanthus moulded surround and an elaborately pierced frame incorporating scrolling foliage, surmounted by a twin handled urn hung with swags of bellflowers and a further stylised honeysuckle motif above, 184cm high, 95cm wide To be sold by order of the executors of the late Sally, Duchess of Newcastle The original painted colour scheme used for this mirror relates closely to that employed by Thomas Chippendale for a suite of furniture supplied to David & Eva Garrick for their villa at hampton, middlesex (now south-west london) in 1779. Other pieces supplied by Thomas chippendale (1718-1779) included a dressing table (now at anglesey abbey, cambridgeshire), a pair of cabinet bookcases, a pair of clothes presses, a corner cupboard and a bed. several of the pieces from the suite are part of the Victoria and Albert museum collection. The bed is situated in the British Galleries, room 118a, case 1 (W.70-1916) For a related carton pierre mirror see Christie s, Dealing in Excellence, a celebration of Hotspur & Jeremy, 20th November 2008, lot 57. The design for the Christie s example was related to a design by John Linnell in the 1770 s (H. Hayward, 'The Drawings of John Linnell', Furniture History, 1969, figs. 90, 92 and 126). Linnell was not recorded as making carton pierre mirrors but amongst the specialist papier-maché frame makers working in the manner promoted by Linnell was the Berwick street carver and gilder William Duffour (d.1784), who may have executed a related vase-decked pier-glass (acquired in 1926 by the Victoria & Albert museum (m. Tomlin, Catalogue of Adam Period Furniture, London, 1982, N/14). A related 'Oval Glass Frame' pattern, with reed gadrooned border, and another crowned by a basket, were published in W. Ince and J. Mayhew's, Universal System of Household Furniture, 1762 (pls. 78 and 79). Their patterns also relate to those previously issued in 1758 by Thomas Johnson, for his Collection of Designs and other recorded designs by Matthias Lock and Thomas Chippendale. For a mirror design reflecting very similar use of the large scale stylised honeysuckle or anthemion motif surmount above an urn flanked by rams heads, see Susan E. Stuart, Gillows of lancaster and london 1730-1840, antique collectors club 2008, Volume II, page 81, pl.625
Lot 14
A German wooden portable cube sundial David Beringer, Nuremburg A German wooden portable cube sundial David Beringer, Nuremburg, circa 1800 The 2.75 inch cube with brass gnomon and red printed Roman numeral square hour chapter rings to South, top and North faces, each with floral garland decorated centre and the latter signed D. BERINGER to lower margin, the East and West faces with brass blade-shaped gnomons and diagonal chapters flanked by cherubs, the West side incorporating plumb line and scale divided for degrees of latitude to a banner draped between the two printed cherubs, the assembly mounted via hinge joint to a flared turned upright onto a rectangular cavetto moulded ebonised wood platform base applied with printed paper decorated with a Neo-Classical panel incorporating cornucopias and inset glazed compass printed with eight-point compass rose set with declination for N 22 degrees W, 18cm (7ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. David Beringer is recorded by The National Marritime Museum as born in Nuremburg on 12 January 1756. He was admitted as a master of his craft in 1777 and in the same year married Anna Ottilia Hofmann. In 1798 he was registered as a householder in the Lorenzseite (district of Sankt Lorentz) in Nuremberg. He died on 28 October 1821 as the result of an accident. Beringer is perhaps best known for producing polyhedral sundials (such as the current lot) which became popular in South Germany during the latter years of the 18th century.
Lot 11
A German Augsburg pattern brass portable equinoctial compass sundial Andreas... A German Augsburg pattern brass portable equinoctial compass sundial Andreas Vogler, Augsburg, circa 1775 The recessed compass centre with simple rose and radial lines engraved with German annotations for the four cardinal points beneath glazed panel within octagonal surround engraved with geometric bright-cut concave bands , the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a sprung square section arbor, the underside of the compass engraved Eleva Po'l, Augsburg, Paris 48, Cracau 50 and signed And. Vogl. , the instrument 4.8cm (1.9ins) wide; in original leather covered card box, 5.7cm (2.25ins) wide overall. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Andreas Vogler took over the business of his older brother Johann Georg Vogler (who had been making and selling instruments in Augsburg from 1740) on the latter's death in 1765. Andreas Vogler continued the business until the 1790's; he is though to have died in around 1800. Vogler specialised in the production of simple equinoctial compass sundials no doubt marketed as an affordable alternative to those who could not afford a pocket watch.
Lot 1
A German ebonised cased pair of coin scales Johann Caspar Mittelstenscheid A German ebonised cased pair of coin scales Johann Caspar Mittelstenscheid, Lennep, early 19th century With filed steel beam fitted with central knife-edge pivot incorporating vertical pointer within arched armature to centre and loops for attaching the brass pans suspended via three cotton lines to each end, in ebonised pocket case with a selection of various weights named with their numismatic equivalent and applied with trade label to lid inscribed Deife geachte Waag und Gewicht, macht, Ibro Churfurftl. Durchl., zu Pfalz-Bayern, gnagigft privilegirter und, gefchworner, JOHANN CASPAR MITTELSTENSCHEIDT, in der Bergifchen Hauptftadt Lennep, 18.. the exterior of the case with caddy moulded edge to top and two hinged securing clasps, (two weight apertures vacant), 18cm (7ins) wide; with a German simple portable lacquered brass table-top sextant, Polytechniker Brandegger, Ellwangen, mid 19th century, the folding frame with cylindrical section lower rail drilled to take adjustable tripod supports and fitted at one end with pivoted arched scale calibrated in degrees, the other end with angled upper frame member drilled for a plumb bob at the apex and central adjustable arm stamped Brandegger fitted with pin-hole projection sight and steel pointer for the elevation scale, in original scumbled pine box with wooden rule and printed with trade label inscribed Taschen-Sertant, .. Stellung der Uhr, nach der Sonne, von, Polytechniker Brandegger, in Ellwangen , the box 23cm (9.125ins) long, (2). Johann Caspar Mittelstenscheid was born in 1764 and trained under his uncle Peter Braselmann, in Wichlinghausen. He specialised in producing coin scales and died in 1819.
Lot 7
A mahogany mercury wall thermometer Dollond, London A mahogany mercury wall thermometer Dollond, London, circa 1800 The rectangular silvered Fahrenheit scale divided for every degree between minus fifteen and two hundred and twenty with annotations at ten degree intervals, the right hand margin with seven temperature descriptions beneath engraved signature Dollond, London to upper border, the mahogany case with shaped extension pierced for hanging to backboard over domed pediment and moulded surround to the glazed front panel, 56cm (22ins) high. Peter Dollond is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1680-1860 as born 1730 and died 1820. He was the son of John Dollond, a Huguenot silk weaver and started business as an optician in 1750. He was joined by his father in 1752 until his death in 1761, and then by his brother, John, until his death in 1804. The family business was continued by Peter Dollond's nephew, George Huggins, who changed his name to Dollond. George Dollond became instrument maker to William IV and Queen Victoria, exhibited at the Great Exhibition in 1851 and died 1856. A closely related instrument to the current lot resides in room XVIII of the Museo Galileo, Florence.
Lot 15
A rare Italian portable pillar sundial Initialled with maker's monogram I. A. G A rare Italian portable pillar sundial Initialled with maker's monogram I. A. G. A. F., dated 1778 The removable gilt ogee moulded cap with ball-shaped finial and internal plunger concealing two hinged brass gnomons over cylindrical shaft applied with printed paper scale annotated with calendar to upper edge with months annotated in Italian, over two opposing projected scales delineated with two sets of curved hour scales annotated with opposing Arabic and Roman numerals V-XII and 7-1 each scale with printed banner beneath, one annotated ESPOSTO IN FACCIA AL SOL, I. A. G. A. F. 1778 the other SEGNO LE ORE, elev. Pol. 45. the lower margins further inscribed in Italian to instruct which of the two gnomons should be used for each scale, on heavy crisply-turned cast gilt brass base, 16.5cm (6.5ins) high; with a brass cylindrical case applied with reinforcement strips to exterior. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Column or pillar sundials (sometimes termed shepherd's dials) are a type of altitude sundial probably developed during the early Renaissance. Indeed similar pillar sundials to the current lot were certainly in use well before the 1530's and feature in Hans Holbein's works 'The Ambassadors' and portrait of Nicholas Kratzer. The current lot is designed to operate at 45 degrees latitude and is used by first removing the cap and to fold-out the brass gnomons. The cap then needs to be re-inserted ensuring that the gnomons line up with the relevant date printed to the upper margin of the shaft. The instrument then needs to be placed in sunlight and aligned so that the shadow of the gnomon falls vertically down the column, the time will then be indicated at the point where the shadow terminates on the projected hour scale printed beneath. As the sundial relies on the altitude of the sun to provide a reading the hour scales are annotated with two opposing sets of numbers (one in Arabic numerals the other Roman) these allow the time to be ascertained both in the morning or afternoon and converge at six o'clock.
Lot 10
A German Augsburg pattern brass portable equinoctial compass sundial Andreas... A German Augsburg pattern brass portable equinoctial compass sundial Andreas Vogler, Augsburg, circa 1770 The recessed compass centre with rose and radial lines engraved with German annotations for the four cardinal points beneath glazed panel within octagonal surround engraved with repeating foliate motifs and herringbone bands, the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a sprung square section arbor, the opposing side with scroll pierced and engraved pivoted armature enclosing a metal plumb, the underside of the compass engraved Eleva Poli, Madrid 40 Cadix, 56. Barcellona 41, Amfterdam 52, Carterdam 45 and signed And. Vogl. , the instrument 6.5cm (2.5ins) wide; in a leather covered card box, 7.5cm (3ins) wide overall. Andreas Vogler took over the business of his older brother Johann Georg Vogler (who had been making and selling instruments in Augsburg from 1740) on the latter's death in 1765. Andreas Vogler continued the business until the 1790's; he is though to have died in around 1800. Vogler specialised in the production of simple equinoctial compass sundials no doubt marketed as an affordable alternative to those who could not afford a pocket watch.
Lot 19
A German brass Butterfield pattern portable horizontal compass sundial... A German brass Butterfield pattern portable horizontal compass sundial Andreas Vogler, mid to late 18th century The elongated octagonal plate with double engraved hour scale IIII-XI-I-VIII and 4-12-8 divided into quarter hours to outer track, the centre with stylised scallop shell engraved panel within foliate trail infill, with glazed four-point compass and hinged bird engraved adjustable gnomen calibrated in degrees for elevation to the outer edge, the underside engraved with latitudes for seven cities including Paris 48, Cadix 36, and Madrid 40 over signature Andr. Vogler, 6cm (2.375ins) long; in a wooden case with pivoted lid, 9cm (3.5ins) long overall. Andreas Vogler took over the business of his older brother Johann Georg Vogler (who had been making and selling instruments in Augsburg from 1740) on the latter's death in 1765. Andreas Vogler continued the business until the 1790's; he is though to have died in around 1800. Vogler specialised in the production of simple equinoctial compass sundials no doubt marketed as an affordable alternative to those who could not afford a pocket watch. This type of portable pocket sundial was devised by Michael Butterfield, an English Instrument maker who settled in Paris around 1685.
Lot 175
A fine George III ºngo' cased black chinoiserie japanned tavern timepiece... A fine George III ºngo' cased black chinoiserie japanned tavern timepiece John Rayment, Huntingdon, circa 1785 The substantial six pillar eight-day movement with high pinion count to the five-wheel train and anchor escapement regulated by seconds pendulum, the 17 inch circular gilt on black Roman numeral dial with Arabic five minutes to outer track and decorative pierced gilt brass hands set behind substantial hinged glazed wooden ogee moulded bezel within caddy moulded border to the dial panel behind, the teardrop shaped drop-trunk case signed in gilt John Rayment Huntingtdon in a curve to throat above concave-topped baluster outline lift-out door finely decorated in raised polychrome and gilt with figures and oriental pavilions including a female in European dress within double line border and continuous gilt scroll band painted surround, the sides with movement access panels above large stylised floral spray decoration, the base with ogee moulded canted foot decorated with further large scale foliate motif to front, 140cm (55ins) high. Provenance: George Fludyer, (d.1837) and by descent through the Fludyer Family, finally to Sir Arthur John Fludyer, 5 th and last baronet, who died childless in 1922. Then to his sister Katherine who married Henry Randolph Finch of the Croft, Manton, second son of George Finch, Burley-on-the-Hill, Rutland and by descent. The Finch Family had the title of the The Earls of Winchelsea and Nottingham Burley-on-the-Hill. John Rayment is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Huntingdon 1751-95. The current lot is unusual in having a wooden glazed bezel which would suggest that the owner sought to ensure that the hands could not be tampered with when in use. From this it may be appropriate to speculate that the timepiece could have been supplied for use in the servants hall of a large country house rather than in a tavern or other public place. This possibility is supported by the continuous single-family provenance which is also perhaps the principal reason why the timepiece has survived in fine original unrestored condition.
Lot 12
A German Augsburg pattern gilt brass portable equinoctial compass sundial... A German Augsburg pattern gilt brass portable equinoctial compass sundial Ludwig Theodor Muller, mid to late 18th century The recessed compass centre with precise rose and radial lines engraved with German annotations for the four cardinal points beneath glazed panel within octagonal surround engraved with symmetrical foliate scrolls on a matted ground, the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a sprung arbor, the underside of the compass with engraved Elev Poli, Corfu 39 Lion 45, Paris 49 DanZig 54, Moscau 57 Petersb, Stockholm 60 over monogram L. T. M. to lower margin, 5cm (2ins) wide. The exact working dates for Ludwig Theodor Muller appear to be unknown however he is believed to have flourished between 1710 and 1770.
Lot 148
A Queen Anne ebonised eight-day longcase clock Etherington, London A Queen Anne ebonised eight-day longcase clock Etherington, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with rise/fall regulation to suspension, the 12 inch shallow break-arch brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Etherington, London to lower margin, with fine pierced steel hands and crisply cast gilt brass Indian mask and scroll spandrels to angles within herringbone engraved outer border, the shallow arch centred with applied arched silver rise/fall regulation scale annotated Slo/Fas and divided 0-60 within fine symmetrical foliate scroll engraved field incorporating basket of fruit and strapwork over festoon to centre and conforming herringbone border to upper margin, the ebonised case with brass ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand over moulded cornice and conforming foliate pierced quadrant frets to frieze and generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with arched apertures and quarter columns set against bargeboards at the rear beneath further rectangular blind frets, the trunk with concave throat above 42 inch rectangular door centred with a brass lenticle, on ogee moulded plinth base applied with two-tier moulded skirt, (case reduced in depth), 259cm (102ins) high excluding finials; 277cm (109ins) high overall. Provenance: By repute formerly at Marston House, Somerset. Literature: The dial of the current lot is illustrated in Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 on page 39 (Fig. 40). George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the oath of allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. George Etherington's work can generally be characterised as distinctive, often impressive and innovative in its decorative form; this very much follows the shift in fashion towards increased scale and heightened decoration which occurred during the Queen Anne period. The current lot is typical of this approach with the very early use of a shallow break-arch dial featuring unusual arched regulation scale within a finely engraved field. The case is also of impressive proportions and was almost certainly made by the same case maker responsible for that accommodating a clock of six week duration by John Lowndes which was sold in these rooms on Tuesday 15th September 2015, lot 204.
Lot 24
An English brass universal equinoctial ring dial Unsigned An English brass universal equinoctial ring dial Unsigned, mid to late 18th century The outer meridian ring with two quadrants divided into degrees annotated 0-90 in two directions to one side opposing engraved quadrant of degrees for altitude also annotated 0-90 to be used in conjunction with a pin (missing) to be placed in a hole opposing the scale, the pivoted inner ring is engraved with Roman numeral chapter ring annotated I-XII twice divided into five minute intervals and with tied lozenge half hour markers, the rotating bridge with central slot fitted with pinhole slider and finely engraved with a zodiacal scale with corresponding signs over declination scale in degrees opposing calendar to other side, the outer rim with adjustable bracket fitted with suspension ring, diameter 10cm (4ins); with an English mahogany pocket compass, unsigned, late 18th century, the circular paper scale printed with rose within band annotated with the cardinal points sub-divided into four within outer scale calibrated in degrees, fitted with locking pointer beneath glass secured by a brass bezel in simple square case with hinged cover, 5.5cm (2.125ins) wide. The equinoctial ring dial is generally thought to have been developed from the mariner's astrolabe by William Oughtred in around 1600. To use an equinoctial ring dial the suspension ring bracket must be first slackened and moved to line up with the scale at a position corresponding to the latitude of the location from where the reading is being taken. The sliding pin-hole curser to the bridge needs then to be positioned to correspond with the date. Ensuring that hour ring is fully opened (ie. at ninety degrees to the outer ring) the instrument then can be suspended in sunlight and orientated until the pin hole projects onto the inner edge of the hour ring thus providing a reading for local solar time. When correctly orientated the outer ring will be aligned with the north-south direction, the hour ring with the equator and the bridge will be parallel with the access of the earth. The fact that the current lot has a calendar annotated in English as well as typical tied lozenge half-hour markers to the hour ring confirms it origins. With regards to dating the instrument, the calendar is divided so that the sign of Aries commences on the 20th of March, this indicates that the current lot was made to operate under the Gregorian calendar which was adopted in England in 1752.
Lot 23
A rare Spanish pewter portable equinoctial compass sundial Unsigned A rare Spanish pewter portable equinoctial compass sundial Unsigned, 18th century The square case centred with recessed compass incorporating a circular paper scale printed with rose within band annotated in English with the cardinal points sub-divided into four beneath circular glazed panel retained by a scalloped brass bezel, the surround with band annotated in Spanish NORTE, Norteste, LESTE, suete, SVR, sudoeste, ESE, Noveste within spandrel areas engraved with masks emblematic of the four winds, the hinged open hour circle set within a pierced square frame and pivoting against a folding arm locating into corresponding graduated slots calibrated for degrees of elevation to the side of the instrument, the hour ring engraved 1-12-1-12 twice and fitted with pivoted needle gnomon to centre, the interior of the lid engraved with a panel of a naked figure holding a basket of fruit and blowing a horn over Memento Mori motif with further masks to angles, the exterior engraved with rococo scroll motifs and the text SYRVOAD: ETAN, CISCOCRVANTeS, NEGRI , (suspension post/ring lacking), 6cm (2.375ins) wide. The current lot is a rare form of Spanish dial which operates essentially in the same manner as other sundials designed with inclined chapter rings and pivoted pin gnomons such as German Augsburg pattern dials. A noteworthy detail which sets the current lot aside from related German models is the use of a pivoted stay engaging with graduated slots cut into the body of the instrument to set the elevation of the hour ring rather than a reading directly against a pivoted arm engraved with degrees for latitude.
Lot 9
A German Augsburg pattern brass portable equinoctial compass sundial Lorenz... A German Augsburg pattern brass portable equinoctial compass sundial Lorenz Grassl, Augsburg, late 18th century The recessed compass centre with radial lines engraved with German annotations for the four cardinal points and locking lever for the blued steel pointer beneath glazed panel within octagonal surround engraved with alternating arched cross-hatched panels and floral motifs on a matted ground, the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a sprung arbor, the underside of the compass with engraved Eleva Poli, Wittenberg 53, Venedig 45 ZeiZ, Edenburg 57, over signature Lor. Grafsl to lower margin, 5cm (2ins) wide. Lorenz Grassl is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Augsburg circa 1700, however the engraved hatched decoration to the plate of the current lot would stylistically suggest a date towards the end of the 18th century.
Lot 18
A fine French brass horizontal compass sundial Michael Butterfield, Paris A fine French brass horizontal compass sundial Michael Butterfield, Paris, circa 1700 The square baseplate signed Butterfield, AParis to lower edge and incorporating a compass centred with a finely engraved thirty-two point rose fully annotated in French within glazed moulded bezel divided into 360 degrees with scale annotated for every ten degrees both for the entire circumference and for each quarter to the inside edge, the circular sundial plate fitting via overlapping friction collar onto the compass with repeat signature Butterfield AParis and scroll-bordered aperture revealing section of compass scale opposing hinged bird engraved adjustable gnomon calibrated in degrees for elevation, the circumference with four hour scales for 52, 49, 46 and 43 degrees annotated from the outside in for hours 4-12-8, IIII-XII-VIII, 4-12-8 and V-XI-I-VII divided into half hours with cruciform half hour markers, the centre engraved with latitudes for twenty-two cities including Londres 51..32, Hambourg 53..41, Strasbourg 44..42, Nantes 47..46, Grenoble 45..13t, Marseille 43..20 and Nice 43..32 , the baseplate 9cm (3ins) square. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Michael Butterfield was an English Instrument maker born in 1635 who is believed to have emigrated to Paris in around 1663. Butterfield initially set up business in rue Neuve-des-Fosses, faubourg Saint-Germaine trading under the sign 'AUX ARMES D'ANGLETERRE' (at the sign of the English coat of arms) however by 1685 he had relocated to a workshop in 'Le Quay de l'Horloge'. Amongst Butterfield's patrons was the Royal Court and in 1717 he supplied a number of instruments to Tsar Peter the Great. He died in 1724 Butterfield is best known for devising a pattern of pocket sundial with compass set into stretched octagonal plate often annotated with several hour scales for differing latitudes and fitted with a hinged gnomen with adjustable vane calibrated in degrees (see lot XX for an example by N. Bion). In addition to sundials Michael Butterfield also well known for producing fine quality sectors and related drawing and surveying instruments. The current lot is notable in that it is clearly made with accuracy in mind hence would have been an expensive 'top of the range' model when made. The extensively annotated rose and the finely divided outer scale to the compass allows accurate direction readings to be taken. In addition to this the sundial itself is engraved with four hour chapters, and relevant latitudes for each European city in the centre includes annotations for seconds as well as minutes. The present dial can be compared to a compass sundial attributed to Pierre Le Maire, Paris sold at Sotheby's, New York MASTERPIECES FROM THE TIME MUSEUM, PART FOUR, October 13th and 14th, 2004 (lot 773). This example is of the same basic form as the current lot with compass set beneath the sundial plate visible through a shaped aperture in front of the gnomen. However it varies in that there is only one hour chapter which is compensated by the fact that the plate itself is hinged allowing an inclined plane dial (rather than relying on several hour chapters annotated for differing latitudes engraved on a fixed as per the current lot).
Lot 13
A German Augsburg pattern brass portable equinoctial compass sundial Johann... A German Augsburg pattern brass portable equinoctial compass sundial Johann Schrettegger, Augsburg, circa 1800 The recessed compass centre with simple rose and radial lines engraved with German annotations for the four cardinal points beneath glazed panel within octagonal surround engraved with repeating arched foliate motifs, the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a square section arbor, the opposing side with scroll pierced and engraved pivoted armature enclosing a metal plumb, the underside of the compass with engraved signature Johann Schrettegger in Augsb. within concentric stylised herringbone engraved band, the instrument 7.5cm (3ins) wide; in original blue velvet lined texured paper covered card box gilt embossed with the name PIETRO SIMEONI to lid, 10cm (4ins) wide overall. Johann Nepomuk Schrettegger is recorded as working 1764 to 1843.
Lot 17
A rare French portable pillar sundial Henry Robert, Paris A rare French portable pillar sundial Henry Robert, Paris, early 19th century With turned plunger concealing a hinged metal gnomon over cylindrical shaft applied with printed paper scale annotated with divisions for the calendar to upper edge and months annotated in French beneath, the single projected hour scale set-up for 49 degrees of latitude and delineated with hour scale annotated with two opposing Arabic numeral scales 6-1.1/2 and 6-10.1/2 printed to the margin alongside signature A PARIS. HENRY ROBERT, HORLOGER, AU PALAIS ROYAL. No. 164 , 12.5cm (5ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Henri Robert is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as 'an eminent maker' born in 1794 who published L'Art de connaitre les pendules et les montres in 1841 and Etudes sur diverses questions d'horlogerie in 1852 as well as many articles in Revue Chronometrique ; he died in 1874. The current lot is designed to operate at 49 degrees latitude and is used by first removing the plunger to fold-out the metal gnomon. The cap then needs to be re-inserted ensuring that the gnomon lines up with the relevant date printed to the lower margin of the shaft. The instrument then needs to be placed in sunlight and aligned so that the shadow of the gnomon falls vertically down the column, the time will then be indicated at the point where the shadow terminates on the projected hour scale printed beneath. As the sundial relies on the altitude of the sun to provide a reading the hour scales are annotated with two opposing sets of numbers - these allow the time to be ascertained both in the morning or afternoon and converge at six o'clock.
Lot 22
A rare Spanish brass portable equinoctial compass sundial Unsigned A rare Spanish brass portable equinoctial compass sundial Unsigned, dated 1622 The square case with recessed copper compass plate engraved with sixteen-point rose and retained by a square brass friction collar beneath fitted glass cover, the hinged open hour circle set within a pierced square frame engraved with hatched border decoration and pivoting against a folding brass arm locating into corresponding graduated slots calibrated for degrees of elevation to the side of the instrument, the hour ring engraved V-XII-VII and fitted with pivoted needle to centre, the inside of the lid engraved with table entitled Gra dosdelas ciudades infra escriptas giving the respective latitudes of thirty countries and cities including Acapulco. 17, Alexandria. 31, China 17. a. 48, Guatimala. 15, Iapon 31. a. 37, Madrid. 40, Mexico. 20 and Roma. 41 the exterior of the lid engraved with a cruciform motif within circular border and leafy spandrels, the front engraved with the text Yoxic. August. Iap and the left hand side dated Anno Dni 1622 beneath the elevation scale, the right hand side, rear and base decorated with engraved foliate designs, (compass plate a replacement, suspension post/ring lacking), 4.5cm (1.75ins) wide. The current lot is a rare form of Spanish dial which operates essentially in the same manner as other sundials designed with inclined chapter rings and pivoted pin gnomons such as German Augsburg pattern dials. A noteworthy detail which sets the current lot aside from related German models is the use of a pivoted stay engaging with graduated slots cut into the body of the instrument to set the elevation of the hour ring rather than a reading directly against a pivoted arm engraved with degrees for latitude.
Lot 65
A brass pedestal timepiece 'The Orrery Clock' The St A brass pedestal timepiece 'The Orrery Clock' The St. James's House Company, London, late 20th century The horizontal eight-day movement with tandem barrel drive and inverted platform lever escapement applied to the underside of the top plate set beneath silvered annular Roman numeral hour and subsidiary minutes ring, the superstructure modelled with an armillary sphere enclosing an orrery simulating the relative orbits of six planets around the sun against a meridian scale calibrated in degrees to interior and with the months of the year to exterior, the orrery motionwork contained between circular plates incorporating a shaped sub plate and driven by an external pinion arbor engaging with one of the barrel greatwheels of the timepiece movement beneath, the whole raised on a concave lacquered brass pedestal foot with turned wooden plinth, 44.5cm (17.5ins) high; with original instruction booklet and a glass dome cover, 46cm (18ins) high overall.
Lot 108
A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.
Lot 64
A gilt brass and Perspex white 'Marina' model Atmos timepiece Jaeger-LeCoultre A gilt brass and Perspex white 'Marina' model Atmos timepiece Jaeger-LeCoultre, Switzerland, circa 1960 The fifteen jewel 526/5 calibre single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended beneath, the suspension platform numbered 265489 , the circular white painted gilt baton numeral dial applied with gilt Arabic quarters and signed JAEGER-LECOULTRE, ATMOS to centre, with gilt baton hands and canted bezel to circumference, the rectangular case with gilt canted angles enclosing four white backed deep bevelled Perspex panels incorporating hinged front with aperture for the dial over reverse intaglio-cut decoration of a galleon opposing mountainous islands to lower margin inscribed Marina to right hand corner , the sides with conforming larger scale men-o-war riding on stylised waves, the rear with clear panel, on stepped skirt base with adjustable feet and incorporating bubble level to inside surface, 23cm (9ins) high; with original simulated cream leather covered protective case lined with blue baize cushions to interior and instruction booklet.
Lot 162
A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.
Lot 6
A George III mahogany stick barometer Dollond, London A George III mahogany stick barometer Dollond, London, late 18th century With open triangular pediment above rectangular brass vernier scale calibrated in barometric inches, with the usual observations and signed Dollond, London near the upper margin, the chevron veneered caddy moulded trunk inset with visible tube over hemispherical cistern cover to the rounded base incorporating brass level adjustment screw to underside, 98cm (38.5ins) high excluding finial. Peter Dollond is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1680-1860 as born 1730 and died 1820. He was the son of John Dollond, a Huguenot silk weaver and started business as an optician in 1750. He was joined by his father in 1752 until his death in 1761, and then by his brother, John, until his death in 1804. The family business was continued by Peter Dollond's nephew, George Huggins, who changed his name to Dollond. George Dollond became instrument maker to William IV and Queen Victoria, exhibited at the Great Exhibition in 1851 and died 1856.
Lot 62
A brass electromagnetic balance mantel timepiece Eureka Clock Company Limited A brass electromagnetic balance mantel timepiece Eureka Clock Company Limited, early 20th century The movement with large diameter sprung split bimetallic balance applied with timing weights to circumference and with transverse electromagnetic impulse coil to centre oscillating against a sprung detent contact breaker and cam operating a lever and ratchet shunt for the motionwork, the rear with visible ball bearing pivot over regulation adjustment scale inscribed EUREKA, CLOCK Co. LTD. LONDON, PAT. No. 14614-1906, No. 57 , the 4 inch convex cream enamel Roman numeral dial with steel spade hands and repeat signature over inscription "1,000 DAY ELECTRIC CLOCK" to centre within spun brass bezel, the whole raised on two cylindrical supports onto a circular moulded base carrying a domed glass cover, 25.5cm (10ins) high overall. The Eureka mantel timepiece was invented by Timothy Bernard Powers of New York shortly after 1900 and Patented in 1906. It is thought that around 10,000 were made by the Eureka Clock Company, London before their demise in 1914. The design of the balance is such that a constant voltage (of 1.5 volts) is required to ensure consistency in the amplitude of oscillation. Unfortunately early 20th century battery technology struggled to deliver a suitably stable output hence such timepieces acquired a reputation for poor timekeeping. Nowadays, once correctly set-up, good timekeeping can be achieved through use of modern cells which provide a much more consistent voltage output.
Lot 91
A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London, circa 1830 The five pillar twin fusee movement with anchor escapement regulated by small disc-bob pendulum and striking the hour on a bell fitted to the shouldered backplate over pendulum holdfast bracket and engraved signature Dwerrihouse, Ogston & Bell to lower margin, the 4 by 6 inch cream painted Roman numeral arch dial with blued steel spade hands over husk bordered oval signature cartouche inscribed Dwerrihouse, Ogston & Bell, DAVIES STREET to lower margin, the ebonised case with shallow hipped chamfer pediment and cavetto cornice over silvered brass fillet inset arch glazed front door with canted angles, the sides with rectangular brass fish scale sound frets, the rear with rectangular glazed door with conforming canted angles, on moulded skirt base with brass bun feet, 25cm (9.75ins) high. The partnership of Dwerrihouse, Ogston and Bell are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working at Davies Street, London in 1832.
Lot 76
Limited edition, boxed Corgi scale 1:50 CC1220 Scania Low Loader and Thames Trader Tipper, W.H. Malcolm Ltd. CONDITION REPORT: As from image, in mint condition, hasn't been taken out of original packaging, box overall in good condition, some light creases and folds to edges, but overall good.
Lot 84
Tray of assorted Corgi boxed diecast scale model vehicles to include: Corgi Barton 1908-1989; Corgi Classics Watts Bros. Bedford pantechnicon set; Corgi Classic Commercials; AEC bus and Bedford OB coach etc. together with original Omnibus Company coaches. (15) CONDITION REPORT: Condition report on request.
Lot 75
Five Corgi Classics Heavy Haulage diecast vehicles in original boxes to include: 1:50 scale model Hills of Botley Scammell constructor and 24 wheel low loader; GC Munton Forden S21 Mickey Mouse Articulated and Low Loader; Siddlecook Scammell Constructor, etc. (5) CONDITION REPORT: Hills of Botley box has a vertical tear to one of the corners otherwise on the whole all in very good unused condition.
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