PTOLEMAEUS - COSMOGRAPHIA -- COLLECTION of all the original maps from the 'Cosmographia', Rome, 1490 edition. 27 double-p. maps, loose, all with central vertical fold. (All maps restored/cleaned (i.a. vertical folds skilfully strengthened on v°, remargined in places, marginal splits closed), the left outer half of world map partly skilfully remargined and w. few scale numbers and some lines in the world map skilfully redone in ink by a later hand, throughout small markings added in ink in places, a bit thumbed/soiled/brown spots in places, some small ms. annotations in an old hand in places (e.g. on first Asia map), but altog. in fine condition). NOTE: Maps from the 5th incunable edition of Ptolemy's famous 'Cosmographia', being the 4th edition with maps, and the 3rd edition with copper-engravings. Comprising 10 maps of Europe, including the famous map of the 'world' (Shirley 4), 4 maps of Africa, and 12 maps of Asia. The first printed edition of the 'Cosmography', including maps, was published in 1477 in Bologna. The first Rome edition was issued by Arnold Buckinck on 10 October 1478. Later editions were reissued on 4 November 1490 by Petrus de Turre. In 1490 the plates were still in excellent condition, having the original sharpness and quality. Watermark in our maps reveal a cardinal's hat, which indicates that these maps derive from the 1490 Rome edition (cf. on the 'Cosmographia' editions: R. Peerlings, F. Laurentius & J. v.d. Bovenkamp, Quaerendo, vol. 47, nr. 3-4, (2017), p. 315 and also (at length): https://www.berlinghieri.eu by R. Peerlings and F. Laurentius).
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SOUTH AMERICA -- CARIBBEAN -- "CARTA ESFERICA DEL MAR DE LAS ANTILLAS y de las Costas de Tierra Firme, Desde las Bocas del Rio Orinoco Hasta el Golfo de Honduras (…). Construida (…) por la Direccion de Hidrografica hasta 1808, (…) por J. de Espinosa". London, 1810. Plain engr. coastal chart. 650 x 980 mm. (A bit age-toned, but in good condition). NOTE: This large scale chart depicts the coastlines surrounding the Caribbean Sea, from Belize to Venezuela, including the Caribbean islands from Jamaica through the Lesser Antilles. Below the map are insets of 4 Venezuelan ports: Puerto Cabello, Barcelona, La Guaira, and Cumana.
KEULEN, J. & G. v. De nieuwe groote lichtende zee-fakkel, van de geheele wereld. (Facs. ed. 1716-53). Amst., Theatrum Orbis Terrarum Ltd., (1969). 6 in 3 vols. Prof. ill., w. num. fold. plates. Lge-fol. Or. blind tooled & gilt dec. simili leather. NOTE: Well executed facsimile edition on 1:1 scale of this world famous maritime atlas, published in Amsterdam, 1716-53. - Printed in a limited and numb. edition of 500 copies.
Tabatière en or de forme rectangulaire partiellement émaillée, XIXe siècleA rectangular snuffbox in gold, partially enamelled, 19th centuryDecorated on all sides in scale motif and enamel ribbons imitating lapiz lazuli and blood jasper, marked 'K' for Paris 1757-1758, and 'MO' for Francois Guillaume Tiron, discharge mark to the rim, 2.9cm high, 4.9cm wide, 6.8cm long, weight 102g Footnotes:Provenance: Formerly in the J. Pierpoint Morgan CollectionFor further information on this lot please visit Bonhams.com
Groupe en bronze représentant le Chasseur au repos, Jean-Claude Chambellan Duplessis (1699-1774), vers 1750, d'après un modèle de Nicolas Coustou (1658-1733)A bronze group depicting the resting Hunter, Jean-Claude Chambellan Duplessis (1699-1774), French, Paris, circa 1750 after a model by Nicolas Coustou (1658-1733).Signed Duplessis fec; dark brown patina with green highlights, resting on a square wooden later socle, 37cm high, 45cm total high, (14 1/2in high, 17 1/2in total high)Footnotes:Provenance:By repute collection Charles François de Vintimille, Comte du Luc, Provence, his sale, C.F. Julliot et F.C. Joullain, Paris, 22-23 December 1777, lot 18;Defining Taste, Sotheby's London, 12 Novembre 2013, lot 162;Private Parisian collectionThe bronze presented, equally called Adonis se reposant de la chasse is a reduction of the famous marble sculpted by Nicolas Coustou in 1710, once conserved in the gardens of Marly (inv. no MR 1796). Several bronze versions of Adonis seated were commissioned throughout the 18th century to decorate the Parisian hôtels particuliers.Our bronze is the work of Jean-Claude Chambellan Duplessis, best known for his Vincennes and Sèvres porcelain creations. In 1751, Duplessis is commissioned by Louis XV to design the drawings of the first large scale service de table. In 1758, he is granted the status of Orfèvre du Roi.See the following for comparable examples:The French Bronze, 1500-1800, exh. cat. Galerie Knoedler & Co., New York, 1968, no.45;F. Souchal, French Sculptors of the 17th and 18th centuries. The reign of Louis XIV (1977), pp. 168-169, no.52;G. Bresc-Bauthier, Sculptures des jardins du Louvre (1986), p. 115;S. Lami, Dictionnaire des sculpteurs de l'école française au XVIIIe siècle, III, 1910For further information on this lot please visit Bonhams.com
Commode d'époque Louis XV de Pierre Fléchy, en marqueterie de bois de rose, amarante, bois satiné et bois teinté vert, ornementation de bronze ciselé et doré, milieu du XVIIIe siècleA Louis XV ormolu-mounted tulipwood, amaranth, green-stained wood and bois satiné marquetry bombé marquetry commode by Pierre Fléchy, mid-18th centuryThe shaped moulded brèche d'Alep marble top above two drawers inlaid sans traverse with ribbon-tied floral and foliate sprays, the central heart-shaped cartouche inlaid with a pomegranate issuing the floral spay pattern, within C-scroll encadrements, the pierced escutcheons and pulling knobs and pierced chutes above foliate sabots, the sides conformingly inlaid with large-scale foliate and floral sprays with a pomegranate, stamped twice 'P.FLECHY' and twice 'JME', the ormolu mounts stamped with a 'C' couronné poinçon, with a small oval trade label inscribed 'ROBBIG' and numbered '377', 129.5cm wide x 64.5cm deep x 89cm high, (50 1/2in wide x 25in deep x 35in high)Footnotes:Provenance:With Röbbig, Munich;The Rosa Alba CollectionLiterature: Nicolay, L'Art et la Manière des Maîtres Ebénistes du XVIIIe siècle, Paris, 1976, Vol.1, p.16Pierre Fléchy, maître ébéniste in 1756.The 'C' couronné poinçon was a tax mark employed on any alloy containing copper between March 1745 and February 1749.Pierre Fléchy (1715-1769), maître in 1756, was one of the many ébénistes working in the busy environs of the rue du Faubourg-Saint-Antoine. First working as artisan privilégié, then as maître ébéniste, Fléchy specialised in marquetry of large flowers in bois-clair which covered the entire surface of commodes, as this present commode. As many other confrères ébénistes, he produced as well a certain quantity of fashionable furniture in lacquer.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Importante tapisserie de Bruxelles figurant 'Le Colosse de Rhodes', fin XVIe siècleAn important Brussels tapestry depicting 'The Colossus of Rhodos', late 16th centuryWoven in wools and silk, after designs by Maarten van HeemskerkDepicting the Colossus of Rhodes -the monumental semi-clad statue of the sun god Helios -one of the wonders of the ancient world, with his quiver of arrows on his left shoulder and his bow grasped in his left hand, set against an extensive and bustling landscape with numerous boats, the central field flanked by large scale figures admiring the Colossus dressed in elaborate costume and gesturing to the ancient monument, to the right of the large female figures on the left is the seated sculptor (Chares of Lyndus?) dressed in a red tunic, designing a sculpture on paper while his assistants polish pieces of sculpture including a large head to the centre of the main field, the rich border with standing draped figures, flowering vases and vignettes with scenes featuring couples on boats, pastoral scenes and extensive foliate and floral surround with birds and fruited elements, with blue outer slip, 391cm wide350 cm high, (153 1/2in wide x NaNin deep x 137 1/2in high)Footnotes:Provenance:By repute, Contini Bonacossi Collection, Florence;Private Collection, AthensThe present lot forms part of a series called 'The Wonders of the World.' For a similar examples see the 'Colosseum' tapestry at the Metropolitan Museum of Art -although this has an 'Elements' border (specifically designed by Philip II) which differs from the figurative border in the present lot.The designer for the Wonders of the World series was Maarten van Heemskerck (Netherlandish, Heemskerck 1498-1574 Haarlem). These designs are thought to have been based on Pedro Mexia of Seville's Silva de varia Leccion, published in 1540. When it comes to attribution of a weaver for the series, Standen suggests that the following could be possible candidates: Willem Segers, Francis Sweerts, Niclaes de Canter, Isaac van Asperen or Nikolaus Le Coustre. The set was made up of eight panels although the Colosseum usually does not form part of the seven wonders. Standen argues that the Colosseum attained the status of one of the Ancient Wonders of the World partly because the colossal statue of Nero that once stood within the building was confused with the Colossus of Rhodes. The ancient monument was built, circa 280 BC, to commemorate the triumphant defence of Rhodes against an attack by Demetrius I of Macedon. It was believed to stand at 33m (108ft) high and collapsed in the earthquake of 226BC. What is considered to be the original dedication for the Colossus reads as follows:Αὐτῷ σοὶ πρὸς Ὄλυμπον ἐμακύναντο κολοσσὸντόνδε Ῥόδου ναέται Δωρίδος, Ἀέλιε,χάλκεον ἁνίκα κῦμα κατευνάσαντες Ἐνυοῦςἔστεψαν πάτραν δυσμενέων ἐνάροις.οὐ γὰρ ὑπὲρ πελάγους μόνον κάτθεσαν, ἀλλὰ καὶ ἐν γᾷ,ἁβρὸν ἀδουλώτου φέγγος ἐλευθερίας·τοῖς γὰρ ἀφ' Ἡρακλῆος ἀεξηθεῖσι γενέθλαςπάτριος ἐν πόντῳ κἠν χθονὶ κοιρανίαTo you, O Sun, the people of Dorian Rhodes set up tis bronze statue reaching upto Olympus, when they had made peace with the waves of war and crowned their city with the spoils taken from their enemy. Not only over the seas but equally on land did they kindly the lovely torch of freedom. For the descendants of Herakles, theirs in dominion over land and sea. Two panels which are not thought to have survived from the series are Pharos of Alexandria and the Walls of Babylon. The known survivals from the series include Zeus at Olympia, The temple of Diana at Ephesus, The Colossus of Rhodes, The Mausoleum of Halicarnassus and the Pyramids of Egypt. A set of six pieces were sold by Francis Swerts, the Antwerp weaver and dealer to the archduke Ernst in 1594/95 and in inventory of the Hotel de Conde, Paris, made in 1719 includes 'Huit pieces de tapisserie representant les Sept Marveilles.'A set of four were sold in 1920 at Georges Petit in Paris on June 18, lots 55-58. Other sets are known to form the collections of Palazzo Venezia, Rome and the William Rockhill Nelson Gallery, Kansas City. See the following for further reading:E. Cleland, Grand Design Pieter Coeke van Aelst and Renaissance Tapestry, Yale University Press, 2015;E.A Standen, Romans and Sabines: A Sixteenth Century set of Flemish Tapestries;E.A. Standen, European Post-Medieval Tapestries and Related Hangings in The Metropolitan Museum of Art, New York, 1985, cat, 19, vol. I, pp. 154 - 161;M.F Viale, Tapisseries Flamande inédites en Italie, illustrated fig 4This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
A very rare and important small Bracket Timepiece Movement, by Daniel Quare of London, its break arch brass dial signed on its chapter ring 'D. Quare, London,' with a single winder, mock pendulum and date apertures, and a rise/fall dial in its arch. Its backplate with elaborate floral and foliate engraving and a basket of fruit, and signed "Dan. Quare, London;" its movement now with anchor escapement and with pull quarter repeat removed, c. 1720; in a fine neat later custom-made brass mounted mahogany case with a brass carrying handle and fish-scale side frets and a hole in the base for its pull quarter repeat, approx. 36cms h (14"). (1) * Daniel Quare was a very important maker, a member of the London Clockmakers Company in 1671. He died in 1724.
A Timurid or early Ottoman silk and metal-thread brocade panel Persia or Turkey, 15th/ 16th Centuryof rectangular form, woven in cream and silver thread with a repeat design of circle motifs interspersed by bubri motifs, all on a black ground, backed 37.5 x 23.5 cm.Footnotes:ProvenancePrivate Swiss collection.This textile panel features a distinctive combination pattern of staggered rows of circles surrounded by short wavy stripes. This pattern finds a close comparative in the famous Ottoman çintamani motif, which usually features three circles arranged in a triangle, positioned above two parallel wavy stripes. The Ottoman çintamani alludes to abstract representations of leopard spots and tiger stripes.However, in this brocade panel, the gold brocade circles and stripes are not arranged in the standardized çintamani order. This textile could be a Timurid or early Ottoman predecessor to the çintamani design. The Ottomans inherited the simplified circle motif from the Timurid dynasty, who were known to use the motif of three circles arranged in a triangle in coinage (Alexandru Gh. Sonoc, 'Some remarks on the leopard and tiger pelts in the Turko-Iranian and Indian imagery and on the origin of the chintamani motif,' Brukenthal. Acta Musei, January 2022, p.468). Timurid manuscript paintings display repeated gold-embroidered dots or circles, an adaptation of Chinese imagery, as a common motif in the representation of clothing. While there are few extant Timurid textiles, evidence from manuscripts suggests that the Timurid courtiers preferred small-scale gold brocade motifs on silk (Thomas W. Lentz and Glenn D. Lowry, Timur and the Princely Vision: Persian Art and Culture in the Fifteenth Century, Los Angeles, 1989, p.217). Ruy González de Clavijo's narrative of his ambassadorial visit to Timur's court in the years 805-08/1403-06 also indicate the fashionability of gold-embroidered circles. In his description of the young Timurid prince Pir Muhammad, Clavijo notes that the prince was 'sumptuously attired as is the Tartar custom, he was wearing a robe of blue [Chinese] Zaytuni silk embroidered in gold circles, like small wheels, which back and front covered his chest and shoulders and passed down the material of the sleeves' (Ruy González de Clavijo, Embassy to Tamerlane, 1403-1406, London 1928, p.254).The tiger-stripe or bubri motif is not as commonly found as the circle motif in extant Timurid art and does not usually accompany the circle motif. However, these stripes are often seen in Timurid Shahnama manuscripts in the painted depictions of the heroic Rustam's tiger-pelt clothing.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A FINE, RARE AND LARGE CHARLES II YEW AND BEADWORK MIRROR CIRCA 1665/1675 The beadwork depicting flowers, a lion and a lioness, the bevelled rectangular plate flanked by a depiction of King Charles II to the right and Catherine of Braganza to the left, the upper border also centred by a roundel with depiction of the King and beneath by an alternate depiction of Catherine of Braganza, within borders of yew wood cross grain moulding throughout 110cm high, 85.5cm wide Whilst it is not uncommon to find embroidery framed mirrors of this period- beadwork mirrors are altogether rarer- especially of this scale and retaining such good colour. Unlike fabric embroideries the beads tend to retain most if not all of their original colour. The beads themselves it is believed were often sourced from national and international makers- including Murano in Italy. The depictions of King Charles II and Catherine of Braganza, together with the inclusion of the heraldic lion and leopard, suggest a Royalist supporting family and may be a commemoration of the Royal marriage of 1662. The overall scale of the piece, the size of the mirror plate, further suggests a very wealthy family. For similar please see: A related but smaller Restoration period mirror with provenance possibly to the Horton Fawkes family of Farnley Hall was purchased by the Art Fund in 2014 for the Leeds Museums and Galleries and is now housed in Temple Newsam. A mixed raised work embroidery framed mirror with similar iconography and lobed corners from the Irwin Untermyer collection in the Met Museum (accession Number: 64.101.1332). A Charles II beadwork and faux tortoiseshell dressing mirror circa 1670, illustrated in Graham Child, World Mirrors 1650-1900, Sotheby's Publications, 1990, page 60, plate 2 and subsequently sold Sotheby's New York, Important European Decorative Arts, 9th June 2014, lot 167 $20,000.SALEROOM NOTICE: Please note that the beadwork mirror actually depicts Queen Henrietta Maria on the left, in full-length, opposite King Charles I, in full-length on the right and Charles II is depicted at the top of the mirror on the roundel, and the bottom of the mirror, in the roundel, is depicted, the ever so beautiful, Catherine of Braganza. Condition Report: Marks, scratches and abrasions commensurate with age and useSome old chips and splits. Some small losses including a section of moulding the the outermost lower right corner of the frame. Some old repairs and replacements as expected for age. Some areas of the beadwork replaced. Some movement, warping the frame overall creating an overall 'bow' as expected for age. (see additional images)The mirror plate has significant age and the hand bevelled edge is true to its current size and placement, however it is not possible to guarantee that this plate is entirely original to the frame. It is possibly original. Textile was previously glued to the side edges of the frame and apparently the same material to the reverse of the frame throughout. To the reverse there is various old staining to the textile. To the side edges a high percentage of the textile is lost and mainly only very small fragments remain. The reverse of the frame looks generally good and original. There are later fixtures screwed to the reverse in order that the mirror can be hung. We cannot guarantee the originality or condition of the timber immediately underlying the glued down textile to the reverse. Very good original surface, depth of colour and patina to the yew mouldingsThere is no further specific provenance regarding this lot.Please refer to the additional images available via email for visual reference to condition in addition to the images available on our website. Condition Report Disclaimer
ROMAN SCHOOL (LATE 18TH CENTURY) DRAWING OF A ROMAN CINERARY URN IN ORIENTAL ALABASTER, KNOWN AS THE URN OF LIVILLA Watercolour, pencil, and ink Inscribed 'English fecit for the vase' (lower right); further extensively inscribed (lower centre) 91 x 56.5cm (35¾ x 22 in.)Provenance: Mr. R. Doughty, Leominster, United KingdomThe ancient Roman urn of Livilla was discovered in 1777 in the remains of the Mausoleum of Augustus and takes its name from six travertine funerary cippi - the fragments of which are reproduced in the lower section of the present sheet - each bearing the name of a member of the Imperial family, and the nearest to the urn was that of Julia Livilla (c. 18-41 A.D.). She was the sister of Caligula, daughter of Germanicus and great-granddaughter of Augustus. Given the prominent location where the urn was found, its imposing size and exquisite material, it is possible that it did once contain Livilla's ashes, or those of another member of the imperial family. The urn is in the Vatican Museums and is most probably carved of Alabastro di Palombara, often referred to as Oriental, or Egyptian, alabaster. The lustrous patterns and changing hues of the alabaster's rings and veining have been so meticulously recorded , that it was most likely made in Rome, in the presence of the object. The inscription and scale in English indicates that it was made for a British audience, likely a Grand Tourist visiting the Eternal City. The art historian Professor Cinzia Sicca has suggested that given the date of the excavation of the Urn of Livilla and its presence in Rome, our sheet could have been commissioned by an agent such as the prominent antiquary Thomas Jenkins (c. 1722-1798), who employed draughtsmen including Claude François Nicole (c. 1700-1783), Nicolas Mosman (1727-1787) or Friedrich Anders (born c. 1734), all of whom specialised in drawings recording antiquities. Professor Sicca has also suggested that the present work may have served as the model for two drawings of the Urn of Livilla in the collection of the London Society of Antiquaries and perhaps the former was owned by a member of the Society, who offered to have it studied and copied. It is interesting to note that, like the present watercolour, the drawing in the Society of Antiquaries (Classical Antiquities Album 10) illustrates the alabaster urn without any cracks on its surface, nor the inscription added at the behest of pope Pius VI at its base, characteristics that reinforce the potential connection between the two drawings. Condition Report: There is a horizontal folding crease running along the centre of the sheet. Various repaired tears to the edges of the sheet, together with some further creasing. Some spots of discolouration scattered throughout. Under glass, unexamined out of frame.Condition Report Disclaimer
Franklin Mint A Unboxed Group to include Franklin Mint 1/24th Scale 1935 Mercedes-Benz 770K Grosser, Franklin Mint a boxed 1/24 scale Al Capone's Armoured Cadillac Touring Sedan V-16, Franklin Mint, a boxed1:24 scale B11PW73 1933 Duesenberg SJ Twenty Grand in Metallic Silver. (See Photo) Conditions generally appear Good. (Not checked for completeness) (3)
A Mixed Unboxed Group Of Danbury & Franklin Mint to include Franklin Mint 1/24th scale Rolls Royce 1925 Silver Ghost, Franklin Mint 1/24th scale Rolls Royce 1929 Phantom 1 Cabriolet De Ville, Danbury Mint 1938 Phantom 3 (maroon) (Unchecked for completeness) Conditions generally appear Good Plus. (3)
Franklin Mint A Mixed Unboxed Group to include Franklin Mint 1/24th scale 1930 Bugatti Royal Coupe Napoleon, 1937 Cord 812 Phaeton Coupe, Franklin Mint 1939 Maybach Zeppelin, The 1930 Duesenberg J Derham Tourster. (Unchecked for completeness) Conditions generally appear Good to Excellent. (4)
Corgi, a boxed 1:50 scale Commercial models "Tippers/Rigids Series" comprising of CC13901 (Rigids) Foden Alpha Aggregate Tipper "J.H. Jones & Son", CC13609 (Rigids) DAF CF Tipper "Thomas Armstrong" & CC13607 (Tippers) DAF CF Aggregate Tipper "JC Balls". All appear to be Excellent although not checked for completeness in Good window boxes. (3)
51.25cm straight, slender pamor blade with short winged top, characteristic tapering cylindrical white metal hilt with scale or petal decoration, two-stage bulbous white metal collar with filigree decoration, contained in its white metal mounted wooden sheath decorated with scrolling foliage within foliate borders.
A 1:48 SCALE MODEL FOR THE M.V. BORODINO BY AILSA SHIPBUILDING, TROON, FOR THE ELLERMAN LINE LTD, 1950 the 72in. laminated and carved hull with bilge keels, gilt propeller, rudder and Plimsol marks with lined decks with fittings, including plated anchors with winches and chain, companionways, ventilators, ship’s bell, covered hatches, rigged derricks with navigation lights, bridge with wood capped rails, and binnacle with speaking tube, rangefinder, deck light and sonar funnel with Final with hooter and safety valve extension pipe for covered lifeboats in davits emergency helm and binnacle and other details mounted on four bronze columns within Plexi glass display case with baize-lined base and silvered plate on table stand, overall measurements – 59 x 92 x 25in. (150 x 234 x 63.5cm.)
A 1:48 SCALE MODEL OF THE LNG (LIQUID NATURAL GAS) CARRIER T.T. KHANNUR, BUILT BY MOSS ROSENBERG, NORWAY, FOR GOLAR GAS TPT INC, 1977, the 56in. hull with gilt propeller, bilge keels and bulbous bow, red pained decks complete with fittings as appropriate, gas holders and stern superstructure with twin liveried funnels and covered lifeboats in davits, mounted on two metal columns within glazed case – 17½ x 67½ x 15in. (44.5 x 171.5 x 38cm.) on table stand – 30 x 71 x 18½in. (76 x 180.5 x 47cm.)
![A FINE 1:48 SCALE MODEL OF THE 44-GUN AMERICAN FRIGATE CONSTITUTION ("OLD IRONSIDES"), [1797]modelled by Georgio Opletal, Gen](https://cdn.globalauctionplatform.com/449d2ef8-c20a-449b-a6d6-b0a000f40b25/bf4ea840-ffd5-4fa7-80ff-b0a000fa4599/468x382.jpg)
A FINE 1:48 SCALE MODEL OF THE 44-GUN AMERICAN FRIGATE CONSTITUTION ("OLD IRONSIDES"), [1797]modelled by Georgio Opletal, Genoa, c. 1976, in oak, ash and walnut, the planked and framed 22in. hull, with gilt-wire decoration to stern, open gun ports with brass guns, anchors with bound wooden stocks, chain plates with deadeyes, hammock racks, gratings, belaying rails with brass pins, stove pipe, fitted boats in chocks, capstan, double helm and other details, bound masts with standing and running rigging, block, yards with stun's'l booms, American flags, the foremast flag inscribed FREE TRADE AND SAILORS RIGHTS, mounted on turned supports within glazed wooden case -- 30 x 42 x 15½in. (76 x 107 x 39.5cm.) fine overall condition
A ⅙IN.:1FT. SCALE MODEL OF A COMBINED OPS ROCKET SHIP BY BASSETT-LOWKE, CIRCA 1945hull carved from the solid, finished in grey with upper decks supporting rocket racks, stern superstructure with open bridge, funnel, quick-firing gun nests and fire direction turret and other details, waterline mounted in calm blue sea within ebonised glazed case with plate to front and maker's label underneath -- hull length 11½ x 15 x 4½ (29 x 38 x 11.5cm.) Good condition.
Ø A 10½IN. RADIUS VERNIER OCTANT BY E. & G.W. BLUNT, CIRCA 1810the ebony 'T' frame with inset ivory maker's plate and scale divided to 105º, brass index arm, pinhole sights and shades, contained within stepped keystone case with decorative lock plate -- 14in. (35.5cm.) wide, IDN: G2ZBL3V6Sclae time stained. Mirrors spotted. Case missing lock.Lot 237 & 238: please note that the images for lots 237 & 238 in the printed catalogue have been transposed. The octant on the left is 238. The octant in the middle is 237.
Ø A 9½IN. VERNIER OCTANT BY HORNE & THORNTHWAITE, LONDON, CIRCA 1850with ebony pi frame with inset ivory scale and maker's plate, lacquered brass fittings including shades, mirrors, index arms, contained in keystone case with sighting tubes and maker's label -- 12in. (30.5cm.) wide, IDN: EAEKSYAL; together with A 1¾IN. ACHROMATIC THREE-DRAW TELESCOPE BY TROUGHTON & SIMMS, LONDON, CIRCA 1850, signed on the third draw as per title, the leather-covered main tube with lens cap and inscribed on the brass cuff with owner's name JOHN MACKRORY, LITTLE HALES, NEWPORT, SALOP, in fitted leather case -- 11in. (28cm.) cased (2)One leg detached.SALEROOM NOTICE: Lot 237 & 238: please note that the images for lots 237 & 238 in the printed catalogue have been transposed. The octant on the left is 238. The octant in the middle is 237. A Troughton & Sims telescope, c. 1840/50 is included with the octant in 238.
Ø A 9½IN. RADIUS VERNIER OCTANT BY GEORGE LOWDEN JUNIOR, DUNDEE, CIRCA 1840the ebony 'double T' frame with inset ivory maker's plate and scale divided to 105º, brass index arm, sighting tubes, seven shades, mirrors and wooden handle, contained within lined keystone case -- 12in. (30.5cm.) wide, IDN: 53WLV5Y1Good overall condition. Case has corner missing from base.
A FINE AND HIGHLY ORIGINAL PLATINUM-SCALED PRIZE SEXTANT FROM H.M.S. WORCESTER, 1886with lacquered and gilt ladder frame, signed, inscribed and numbered on the arc 'Henry Hughes & Son, 59 Fenchurch Street, London, Platina & Gold, no. 2914', scale divided to 150º, vernier with magnifier, adjustable telescope holder, mirrors and shades with oxidised facings, with wooden handle with brass lined stand socket, contained in fitted box with complete set of accessories including magnifying glass, rotating sight shade, screwdriver and five sighting tubes, the lid with test certificate dated '30th June 1886', an external dedication prize plate to 'Charles George Budge' -- 11½in. (29cm.) wideExtremely fine original condition. Apparently unused.
A 7IN. RADIUS VERNIER SEXTANT BY HEATH AND CO., LONDON, CIRCA 1916with oxidised brass bell frame, inscribed on the arc 'Made for H.G. Blair and Co., Cardiff & Barry' and numbered 'N 788', inset silvered scale, vernier with magnifier, 7 shades, with wood handle, contained in fitted box with complete set of accessories including binoculars, 4 lacquered brass sighting tubes and original test certificate inside lid, with gilt embossed leather outer case -- 11in. (28cm.) wideFrame spotted and would benefit from a clean. otherwise good overall condition. leather case dry and stained commensurate with age.
A 3½IN. RADIUS AVIATION SEXTANT BY HENRY HUGHES & SONS LTD FOR THE AIR MINISTRY, CIRCA 1946with crackle-finish T-frame, the inset scale divided to 120°, the arc numbered 36794, index arm with micrometer adjustment, stamped with Air Ministry mark and numbered 6B/177, sighting tube with rubber eyepiece, seven shades, Bakelite handle and pin feet, contained within fitted composition box of issue with maker's label dated 23-2-46 -- 8in. (20.5cm.) diameter
A UNIVERSAL MICROSCOPE AFTER BENJAMIN MARTIN BY CHADBURN BROTHERS, SHEFFIELD, CIRCA 1850constructed in lacquered brass and signed on the folding foot as per title, 6in. tube with nose piece, platform and mirror -- 15in. (38cm.) highDr. Mill notes:Alfred and Francis Wright Chadburn founded this firm in 1837 in Sheffield and were joined by Charles Henry Chadburn who opened a Liverpool branch in 1845. They were mentioned for the cheapness of their products at the 1851 exhibition and were given Prince Albert's Royal Warrant. They seem to have been primarily concerned with optics and produced lenses on a massive scale (mainly for spectacles) which they built into various instruments. An engraving of their showroom contains a microscope of this type in the centre.This is clearly a form of microscope derived from designs by Martin, Shuttleworth, Adams and others with a single pillar arising directly from a flat tripod foot. Focussing is by moving the stage by means of a rack set into the flat rear face of the triangular pillar. Achromatic lenses appeared from the 1830s on - but not here. There are three simple lenses with an eye lens, a large field lens in the body join and a single objective lens, The long nose piece gives the appearance of an achromatic objective but the simple lens is attached to the end of it by a screw cap. No other lenses accessories or case are now present.These 'primitive' features are not in some ways surprising. Similarly 'antique' designs were found in the simple drum microscopes which continued almost into the 20th century. They do contrast strangely with the sophisticated microscopes being produced by Ross, Powell and Lealand, Beck et alia from the 1840s on and the reason of course lies in the price. The advanced stands served both the professional market and the advanced and well heeled amateur. The simpler basic stands appealed to the recreational market.Lacking box and accessories.
A 1:48 SCALE FRAMED AND SEMI-PLANKED MODEL FOR A 19TH CENTURY MERCHANTMAN semi-planked with simulated trennels and loosely inverted on bar stand -- 10 x 28in. (25.5 x 71cm.)display base warped, old glue runs to centre, the model has old dust & wear, the port side lacking half inch section of ballwark stringing.
A FINE 1:48 SCALE BUILDER'S-STYLE MODEL OF R.M.S. CARMANIA ORIGINALLY BUILT BY JOHN BROWN & CO. FOR CUNARD, 1905laminated and carved 66 in. hull with glazed ports, propellers, rudders and bilge keels, scored wooden decks with painted and plated fittings included, anchors with winches and chain, ventilators with red interiors, deck rails, rigged derricks, superstructure with glazed bridge, binnacle over, staid funnels with safety valve extension pipe and ladder, engine room lights, covered lifeboats rigged in davits, handrails, water tanks and other details, mounted on four metal columns with plates with glass cover -- 26 x 70 x 12½ in. (66 x 178 x 32cm.)Carmania, 19,650 tons, was built in 1905 for Cunard's Liverpool to New York supplementary service and during the winter months either relieved the regular mail steamers or sailed from Fiume on the American tourist route to and from the Mediterranean. On the morning of 14 September 1914, off the western end of the island of Trinidad, the 18,700 ton German Armed Merchant Cruiser Cap Trafalgar, was surprised in the act of coaling by the Carmania, under the command of Captain Grant, R.N. At first she made off at high speed, but later turned about and prepared to engage. Both ships began firing at 7,500 yards, the 4.7-in.guns of the Carmania doing great damage to the hull of her enemy. The fire from the Cap Trafalgar was initially too high, but as the ships closed she began to score, setting Carmania on fire under the forebridge and cutting her main water pipe so that the fire could not be brought under control. After an engagement lasting one hour and forty minutes, the Cap Trafalgar was ablaze and sinking. Towards the end of the action, she attempted to escape, but her engines were not equal to the strain and she finally capsized to port and sank by the head. Five boats crowded with survivors were picked up by the German colliers, the Carmania being still on fire and too badly mauled to render assistance. Carmania herself survived and was, in fact, the only Armed Merchant Cruiser ever to have sunk a similar antagonist in a straight gun duel; when, after extensive repairs, she returned to sea, she found herself with an unrivalled reputation that outlived her long after she was broken up in 1932.Fine overall condition
A pair of gilt and ebonised wall mirrors, late 19th century, with rounded tops, rectangular plates, 74cm wide 26cm high (2)Condition ReportSpotting to the plates, new backs. Frames with some cracking and loss. Knocks, wear and some losses to the ebonised and gilt finish. Please see the additional images for scale.
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