A Regency inlaid mahogany mercury stick barometer, Purchion, Leeds, early 19th century, With pierced crest above parquetry banded cavetto cornice and rectangular glazed door enclosing heavy siphon tube with simple wire recording pointer before a white painted scale calibrated in barometric inches and with the usual weather observations within husk decorated arched surround with gilt fan infill to upper corners and signed Purchion Leeds to the lower margin, the trunk with exposed tube flanked by repeating lozenge inlaid decoration to fascia and scroll pierced ears, the shaped base applied with floral marquetry decorated oval cover enclosing bulb cistern, 98cm (38.5ins) high. A George Purcheon is recorded in Banfield, Edwin, BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Glass House, Leeds circa 1820-40. Banfield notes that he made barometers with paper or enamelled (painted) plates; a related instrument by George Purcheon is illustrated by Banfield in BAROMETERS, Stick or Cistern Tube on page 116.
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A rosewood and mahogany mercury tube stick barometer, C.A. Canti, London, circa 1840, The arched case with canted surround to the applied engraved ivory vernier scale calibrated in barometric inches and with the usual weather observations opposing mercury Fahrenheit and Reaumur scale thermometer, the upper left margin inscribed C.A. CANTI, 30 HIGH HOLBORN, the waisted trunk with visible tube above rounded base applied with a half-ovoid cistern cover with moulded cylindrical upstand and narrow band to waist, the underside with brass level adjustment screw, 91.5cm (36ins) high. C.A. Canti is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from 30 High Holborn, London, circa 1830-60.
A rare Victorian cast iron mounted oak outdoor mercury stick barometer, Chadburn Brothers, Sheffield for E.H. Straw, London, mid 19th century, The arch-glazed canted silvered brass double vernier scale calibrated in barometric inches and with the usual weather observations labelled YESTER’Y 9. A.M. and TODAY 9. A.M. to lower margin, the arch engraved with retailer’s signature E.H. STRAW, OPTICIAN, 69 LEMAN ST., WHITECHAPEL set within moulded surround to the heavy cast iron arched fascia incorporating relief trade label CHADBURN BRO’S, OPTICIANS & C., SHEFFIELD to lower rail over vernier adjustment screws, conforming arch-glazed mercury tube Fahrenheit and Reaumur scale thermometer with spiral bulb (damaged) and moulded circular cistern panel decorated with armorial device, the plate fitted via brass capped studs onto a moulded oak back panel, 100cm (39.5ins) high. Chadburn Brothers are recorded in Banfield, Edwin, BAROMETER MAKERS AND RETAILERS 1660-1900 as ‘notable makers’ working from Albion Works, 26 Nursery Road, Sheffield and 71 Lord Street, Liverpool circa 1837-75. E.H. Straw do not appear to be recorded in the usual sources.
A George III inlaid mahogany mercury wheel barometer, Francis Saltery and Company, London, early 19th century, With 8 inch circular radial motif centre-engraved circular silvered register signed Fran.Â’s Saltery & Co. No. 94, Holborn Hill, LONDON within concentric scale calibrated in barometric inches and with the usual observations to the outer track, with blued steel pointer set behind fixed cast brass glazed bezel fitted with brass recording pointer to centre, beneath arch-glazed Fahrenheit scale alcohol tube thermometer with geometric band decoration around bulb and floral spray within the arch, the parquetry chevron edged shaped case with open triangular pediment above circular fan cartouche panel to frieze and conforming ovoid panels flanking dial and further circular motif to the rounded base, 96.5cm (38ins) high. Francis Saltery (and Company) are recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1660-1900 as working from 94 Holborn Hill, London circa 1800-30.
A Regency inlaid mahogany mercury wheel barometer, Unsigned, early 19th century, The 8 inch circular silvered register inscribed Warranted to centre within scale calibrated in barometric inches and with the usual weather observations set behind glazed brass bezel fitted with brass recording pointer, the ebony and box line edged case with open triangular pediment above rosette and arched alcohol tube Fahrenheit scale thermometer flanked by conch shell inlay to trunk, the rounded base with conforming rosette, 96.5cm (38ins) high
A Regency inlaid mahogany mercury wheel barometer, Joseph Aprile, Sudbury, early 19th century, The 8 inch circular silvered register signed JosÂ’h Aprile, Sudbury, Warranted to centre within scale calibrated in barometric inches and with the usual weather observations set behind glazed brass bezel fitted with brass recording pointer, the ebony and box line edged case with open triangular pediment above rosette and arched alcohol tube Fahrenheit scale thermometer flanked by conch shell inlay to trunk, the rounded base with conforming rosette, 96.5cm (38ins) high. Joseph Aprile is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as a clock and watch maker working in Sudbury circa 1825-45.
A Victorian rosewood cased sympiesometer, Crichton Brothers, London, circa 1875. The rectangular silvered scale applied with siphon tube with open bulb to the left and sealed bulb to the right filled with pink stained fluid, the left hand margin with mercury tube Fahrenheit scale thermometer above engraved signature Crichton BroÂ’s., 11 Billiter St. London, opposing right hand side with engraved vertical scale for degrees Fahrenheit ranging between 20 and 120 set behind slide with expanded scale annotated for barometric inches and with the usual weather observations, the upper edge of the slide fitted with angled brass pointer for calibration against the temperature scale behind and with adjustment by rack and pinion to a knurled brass knob fitted to the right hand side of the case, the lower edge with recessed circular level recording disc labelled REGISTER and engraved with barometric scale visible through an arched aperture in the plate and manually adjusted via projecting rim to the base, the case with shaped upstand to the cavetto moulded cornice above moulded surround to the bevel glazed front aperture, (with restoration), 55cm (21.75ins) high. Crichton Brothers are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as specialist makers of sympiesometers working from 11 Billiter Street, London, 1871-7. The sympiesometer was invented by Alexander Adie of Edinburgh in 1818 and is essentially an improved version of Robert HookeÂ’s thermobarometer which was subject of a paper presented to the Royal Society in 1668. The instrument works by having a syphon tube filled with liquid open to the air at one end and with trapped gas at the other (sulphuric acid and hydrogen were used in later sympiesometers). As barometric pressure increases the liquid will be forced down the tube causing the gas to be compressed, resulting in a change in level in the tube. Unfortunately the volume of the gas changes with temperature so before a reliable reading can be taken the instrument would first need to be calibrated by adjusting the position of the movable barometer scale in relation to the temperature scale behind to reflect the reading provided by the thermometer. The sympiesometer was conceived as an alternative to the mercury marine barometer as it was smaller and believed to be less susceptible to the motion of a vessel at sea.
A very rare Victorian rosewood mercury ‘Patent Compensating Portable Barometer’ or mercury sympiesometer, William Harris and Son, London, mid 19th century, The rectangular silvered scale applied with short U-shaped mercury tube terminating with open bulb to left hand column opposing sealed bulb to the right, the centre with mercury tube Fahrenheit and Reaumer scale thermometer and with engraved inscription Harris’s Patent Compensating Portable Barometer, the upper margin signed WILL.’M HARRIS & SON, 50 High Holborn, London, above right hand side with engraved vertical scale for degrees Fahrenheit ranging between 20 and 120 set behind slide with compressed vernier scale annotated for barometric inches and with the usual weather observations, the upper edge of the slide fitted with angled steel pointer for calibration against the temperature scale behind and with adjustment by rack and pinion to a knurled brass knob fitted to the right hand side of the case, the vernier with independent adjustment via friction slide to a smaller secondary brass knob to the exterior, the lower edge with engraved serial number 284 over recessed circular level recording disc engraved with barometric scale visible through a semi-circular aperture in the plate and manually adjusted via projecting rim to the base, the case with shaped upstand to the cavetto moulded cornice above moulded surround to the glazed front aperture, 33cm (13ins) high. Many makers with the surname Harris have worked in the London instrument trade since the middle of the 17th century, however this branch of the family can be traced back to Richard Harris who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from several addresses in London circa 1710-1810. His son, William, was apprenticed to the clockmaker Joseph Robinson and gained his freedom of the Clockmakers’ Company in 1796. William set up business first at 47 High Holborn, London in 1805 before moving to a couple of doors down to number 50 in 1815. The business became ‘William Harris & Company’ in around 1813 before being renamed ‘William Harris & Son’ in 1841 when William Harris is believed to have taken in his son, Richard Joshua, into partnership. The business is recorded working from 50 High Holborn until around 1855. The design of current lot was described in the 1851 publication by Adolphus Oliver Harris A Treatise on the Patent Compensation Portable Barometer and was developed by William Harris and Son as an improvement on the sympiesometer invented by Alexander Adie of Edinburgh in 1818 (which in turn was essentially an improved version of Robert Hooke’s thermobarometer which was subject of a paper presented to the Royal Society in 1668). Both instruments essentially work in the same way with a syphon tube filled with liquid open to the air at one end and with trapped gas at the other (sulphuric acid and hydrogen were used in the sympiesometer). As barometric pressure increases the liquid will be forced down the tube causing the gas to be compressed, resulting in a change in level in the tube. Unfortunately the volume of the gas changes with temperature so before a reliable reading can be taken the instrument would first need to be calibrated by adjusting the position of the movable barometer scale in relation to the temperature scale behind to reflect the reading provided by the thermometer. The sympiesometer was conceived as an alternative to the mercury marine barometer as it was smaller and less susceptible to the motion of a vessel at sea.
An ebonised barograph, Retailed by Yeates and Son, Dublin, early 20th century, The mechanism with eight segment aneroid chamber within lacquered brass armature operating via a system of pivoted levers an inked pointer for recording the change in barometric pressure on a clockwork-driven rotating paper-scale lined drum, the patinated baseplate numbered 1066 and with applied ivorine trade label inscribed YEATES & SON, DUBLIN, the bevel glazed case with mirror-backed four glass cover and cavetto moulded base with chart drawer to apron and on bracket feet, 36cm (14.25ins) wide
A rare wall mounted mahogany barograph, J. Hicks, London, late 19th century, The large diameter circular nickel plated aneroid chamber mounted vertically within a hinged gilt brass frame with armature operating the inked pointer for recording the change in barometric pressure on a horizontally pivoted clockwork driven paper-scale lined rotating drum, the lower edge of the brass frame with silvered scale divided for barometric inches and engraved J. HICKS, LONDON, No. 71, the recording drum with automatic mechanism to facilitate periodic lifting and dropping of the pointer for recording a series of dots rather than a continuous line, the rectangular glazed case with rounded top angles, moulded surround to the front glass and bottom-hinged cover allowing full access to the mechanism, 25.5cm (10ins) high; with a quantity of spare recording papers. James Joseph Hicks is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Hatton Garden, London from 1861 until after 1900. He was a committed Catholic who presented various meteorological instruments to the Vatican receiving the title of Knight Commander of St. Gregory for his services. The current lot is a rare design which is thought to have been developed for maritime use. Recording by dots would both help to lessen the chance of interruption through jolts onboard a vessel, as well as allow clear indication of sustained fall in pressure which normally precedes a storm.
A French white marble combination mantel clock with aneroid barometer and thermometers, The movement by Vincenti and Cie, Paris, late 19th century, The circular eight-day bell striking movement with Brocot type pendulum regulation and stamped with VINCENTI & CIE, MEDAILLE DÂ’ARGENT, 1885 roundel above number 523, 92 to backplate, the 5 inch circular engraved gilt brass dial applied with raised Roman numeral chapters and with blued steel spade hands set within a hinged moulded bevel-glazed bezel, the drumhead case with twin sarcophagus form upstands flanking dial above central aneroid barometer with conforming engraved gilt brass register calibrated in barometric inches and with the usual observations set behind fixed bevel glazed bezel flanked by rectangular glazed FAHRENHEIT and REAUMUR scale mercury tube thermometers to the tapered side uprights capped with rectangular panels to front, on stepped skirt base with lozenge centred moulded panel decoration to front, 43cm (17ins) high
A French novelty brass and copper combination timepiece, aneroid barometer, thermometer and compass in the form of a lantern, Unsigned, late 19th century, The small circular eight-day single train movement with replaced platform lever escapement and circular silvered Roman numeral dial with recessed gilt centre, blued steel hands and regulation lever at twelve oÂ’clock set behind a bevel glazed hinged cast brass bezel, the cylindrical copper case fitted with opposing conforming aneroid barometer calibrated in barometric inches and with the usual observations and curved Fahrenheit scale mercury thermometer between brass baton uprights capped with knop finials, the top applied with small cylindrical glazed upstand enclosing compass beneath conical cover and ring handle, the base with stretcher modelled as a faux oil reservoir set between the baton uprights fitted with bun feet, 24cm (9.4ins) high excluding handle
A Regency mahogany longcase regulator, Johnston, Tottenham, early 19th century, The five pillar movement with thick shouldered plates, deadbeat escapement, HarrisonÂ’s maintaining power and wood rod pendulum fitted with heavy brass-faced lenticular bob suspended from a bracket fitted to the case backboard, the 12 inch circular silvered brass dial with subsidiary seconds over hour dials and signed Johnston, Tottenham to centre within outer minute track with Arabic five minutes and canted silvered brass bezel, in a shallow-break-arch case with cavetto cornice above door inset with circular convex glass and with ebony line inlaid lower quadrant panels flanked by reeded canted angles and blind circular panels to sides, the trunk now with rectangular glazed door enclosing silvered pendulum beat scale, on shaped moulded panel fronted plinth base with moulded skirt, (unrestored, pendulum shaft broken), 187cm (73.5ins) high
A very rare German Renaissance gilt brass astronomical monstrance table clock case originally fitted with a Universal Astrolabe, In the manner of Jeremiah Metzger, Augsburg, circa 1570, the movement and dial centre later, The high grade English single fusee movement dating to around 1830 with deadbeat escapement, five-spoke wheel crossings, concealed clicks to the fusee and twenty-four hour motionwork to the large diameter frontplate, the dial with later centre engraved with foliate scrolls on a matted ground and incorporating tripartite banner bearing spurious inscription Reighs, Dresden, 1536, set within original narrow twenty-four hour chapter ring with asterisk half-hour markers, button touch pieces and outer track engraved for every minute, the case with ovoid urn finial to the disc-shaped upstand engraved with vestigial subsidiary day-of-the-week dial annotated with respective planets to rear opposing fine foliate scroll cast and pierced rosette within moulded surround to front and with delicate chased open strapwork fret to the circumference, the rear of the principal section with centre cut-out to accommodate the later movement leaving border engraved with lines for stereographic projection around the celestial equator stamped POLUS, MITNECHTLICH to upper margin opposing MITLEGLICH, POLUS at the base, the left and right hand margins with a series of horizontal lines annotated with symbols for the signs of the Zodiac, the outer edge of the ring divided for degrees annotated in five degree intervals for every quadrant set within conforming outer scale to the moulded surround, the edge of the shallow drum casing with continuous border etched in low relief with stylised Arabesque strapwork within tightly moulded bands, the whole raised on a patinated bronze figure cast as Atlas seated on a fine pieced and chased strapwork dome with moulded collar over shallow ogee-shaped foot decorated with conforming continuous Arabesque strapwork, 34.5ins (13.5ins) high; now mounted on a circular turned ebonised wood base, 39.5cm (15.5ins) high overall. The current lot can be closely compared with an example signed by Jeremias Metzger and dated 1564 residing in the collection of the Victoria and Albert Museum (Museum Number 4273-1857). Another similar example is in the Kunsthistoriches Museum, Vienna, and is illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 146 (Fig. 118); whilst a third (which is presumably lost) features in a full height portrait of Anna, Duchess of Bavaria painted by Hans Mielich of Munich in 1556. The presence of a twenty-four hour chapter ring to the main dial of the current lot differs to that of the example by Metzger in the V. & A. which has a relatively simple and fairly conventional twelve-hour dial layout incorporating an alarm disc to the centre. The surviving elements of the dial also indicate that it would have had at least two-hands (hours and minutes) whilst the relatively narrow proportions of the hour and minute rings suggests that space was required in the centre for a reasonably complex feature. The most obvious candidate to occupy this space would be a form of standard astrolabic dial (similar to that fitted to the example in the Kunsthistoriches Museum, Vienna) however the presence of a Universal Astrolabe to the rear of the clock would perhaps render this unnecessary. It is therefore more probable that the dial centre was possibly fitted with a wide concentric band of self-adjusting overlaid sectors giving the lengths of the day and night which, when used, were often positioned within a ring annotated for the signs of the Zodiac with the relative positions of the sun and moon indicated by a pair of hands issuing from a disc engraved with a diagram of aspects to the centre. Close examination of the monstrance clock that features in the portrait of Anna, Duchess of Bavaria by Hans Mielich seems to support the possibility of such a dial layout (which would have been essential for providing the correct time under the system of unequal hours in use during the 16th century). The rear of the case of the current lot is fitted with the remnants of a Universal Astrolabe with enough of the engraving surviving to establish that it was laid-out to a design described and published by the Spaniard Juan de Rojas y Sarmiento in 1551 (although he was describing a design which was already known to exist). The Universal Astrolabe differs from a standard astrolabe in that it projects the celestial sphere from pole to pole (hence ‘from the side’) rather than across the equator as with a normal astrolabe. The inherent advantage of this type of projection is that the relative position of celestial bodies can be plotted for different latitudes whilst standard astrolabes require the position of the stars to be determined and recorded on a template (rete) before their positions for a given time and date can be observed. The Universal Astrolabe is particularly useful for calculating the length of the day for any given time of the year which is particularly relevant when considering the system of unequal hours in use at this time. The Universal Astrolabe originally fitted to the current lot was probably not connected or ‘driven’ by the movement in any way - it was most likely to have bee supplied as a form of accessory to allow independent calculations to be made. The disc-shaped surmount incorporates a dial for days-of-the-week to one side, this would have probably been fitted with a central disc (applied with a pointer to the circumference) as the centre is currently plain with little gilding. The other side is finely cast and pierced with foliate strapwork which resembles the decoration sometimes seen to the exterior of German ‘tambour’ clock watches of the period (see Basserman-Jordan, Hans von THE BOOK OF OLD CLOCKS AND WATCHES page 65, fig. 41a). The fact that this panel is pierced (coupled with the delicate fretwork to the outside edge of the surmount) suggests that it may have also housed a bell - perhaps for an alarm (in addition to the day-of-the-week calendar mechanism). This possibility is supported by evidence in a form of a slot in the case beneath indicating that their was a mechanical connection between the movement and whatever was originally housed within the surmount. The base of the clock would have been fitted with a bell (probably for sounding just the hours). The Atlas figural support appears to be a relatively standard casting as the same basic model appears to have been used on two of the other examples noted above. The unusual low relief ‘Arabesque’ decoration to the ogee-shaped bottom moulding and to the edge of the shallow cylinder of the case can be compared to that on a drum-shaped table clock by Jakob Marquart, Augsburg dating to around 1560 illustrated in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 203 (exhibit 39). This decoration reflects the influence of Middle Eastern design borne out of a strong trading relationship with the Ottoman Empire. The current lot is an extremely rare survivor (albeit in partial-form) from the ‘golden’ period of early German Renaissance clockmaking with strong stylistic similarities to an example from arguably the most important workshop of the period - that of Jeremias Metzger of Augsburg. The original fitment of a Universal Astrolabe to the rear of the case appears to be an extremely rare, if not unique feature of possibly documentary importance.
A fine and rare Charles II brass lantern clock of impressive large proportions, Thomas Knifton, London, circa 1665, The posted countwheel bell striking movement with remote hour hammer pivoted between lugs riveted to the upper surface of the gallery top plate above verge escapement set within the gallery and short bob pendulum now swinging within the frame of the case at the rear, the dial signed Thomas Knifton at the (crossed keys) in Lothbury, London towards the upper margin of the dial centre and with engraved stylised flowering tulip scrolling infill beneath, the centre with alarm disc and distinctive sculpted iron ‘arrowhead’ hand within applied 7.25 inch circular silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and leafy infill to spandrel areas, the large ‘Lothbury’ type frame with column-turned corner posts beneath open-work gallery and foliate pierced and engraved frets set between multi-knop vase-shaped finials with domed bell bearer incorporating decorative pierced lobes and fitted with further central finial above, the sides with brass doors, the rear with iron hanging hoop and short spurs, on turned ball feet, 50cm (19.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist, purchased at Sotheby’s, Bond Street, London, 11th June 1998 (lot 343). Thomas Knifton is recorded in Loomes, Brian LANTERN CLOCKS and Their Makers as born in Nottingham 1614 and apprenticed to William Sellwood in 1632 gaining his freedom of the Clockmakers’ Company in 1640. He worked at the Cross Keys, Lothbury in St. Margarets Parish and at one time at the Draper’s Arms. He died in January 1667 in the parish of St. Botolph’s, Bishopsgate from a sudden illness. He was a prolific maker of lantern clocks who was probably succeeded by John Ebsworth who invariably signed his early clocks with the same ‘crossed keys’ device. The current lot was clearly made to impress with the frame being of particularly large proportions. The incorporation of a pierced gallery above the movement top plate is perhaps first seen on a clock originally made with balance wheel (probably dating to the 1640’s) by David Bouquet illustrated in White, George, English Lantern Clocks on page 110 (Figure II/141). Bouquet was a French Huguenot immigrant whose clocks tended to exhibit strong a Continental influence. For balance wheel clocks the gallery naturally provides a convenient enclosed space for the balance to oscillate. Relatively few lantern clocks with true enclosed galleries appear to have been made, however during the 1640’s a pattern of fret was developed which incorporated a pierced gallery to the lower edge in order to give a similar visual impression, this type of fret was often used by Knifton. The scale of the frame is impressive and of a size normally reserved for quarter chiming clocks with the additional space being necessary for the third train. The gallery also provides an additional platform onto which the hour and quarter hammers can be fitted without conflicting with the balance wheel. The development and relative standardisation of this type of chiming lantern clock (contained within a frame of large proportions incorporating a gallery for the balance wheel) is principally associated by George White (English Lantern Clocks page 155) to the workshop of Peter Closon during the 1640/50’s, although other examples are known by various makers including Knifton, Henry Child and Ahasuerus Fromanteel. Technical developments, which included invention of the pendulum in 1658, resulted in a gradual overhaul of lantern clock design during the early 1660’s, with balance wheel escapements being superseded by verge escapements and short bob pendulums and trains wound via Huygen’s endless rope system (rather than by separate lines and weights) which required the striking trains to be ‘reversed’. The provision of a short pendulum required some inventive thinking with regards to the positioning of the alarm mechanism which had traditionally been planted to the rear of the frame on balance wheel clocks. One solution was to place the pendulum within the frame - either between the trains (thus creating the ‘winged’ lantern clock) or at the rear tucked-in behind the countwheel. The other method was to move the alarm inside the frame (a system popular with West Country makers) thus allowing the pendulum to be fitted to the rear of the clock. The current lot was originally made with alarm set within the frame at the rear to allow the pendulum to oscillate unhindered to the exterior. At some point the alarm has been removed and the pendulum moved so that it swings within the area originally occupied by the alarm mechanism. This relatively minor modification allows the clock to hang much closer to the wall. As Thomas Knifton died in 1667 the current lot would have been amongst one of the first lantern clocks made with verge escapement regulated by short bob pendulum. A similar large lantern clock with gallery and short bob pendulum by Ahasuerus Fromanteel is illustrated and described as ‘an important early pendulum clock’ in White, George English Lantern Clocks on page 189 (Figures IV/59-61). The deeply hatched engraving to the dial centre of the current lot is noteworthy as is the unusual ‘arrowhead’ iron hand, both of these features are indicative of Knifton’s bold approach to detail and also arguably date the clock to the first few years of the 1660’s on stylistic grounds
North Eastern Railway - Plan Of Mineral Districts 1875 printed by M & M W Lambert (Newcastle upon Tyne), folding map 2miles to the inch scale, with hard covers 38x53`` (97x135cm) originally belonging to J A Pease (hand written name inside cover) (map in Excellent condition, the covers are worn and the front detached) together with an NER 66ft tape measure in leather case (F-G) (2)
Various Manufacturers A Collection Of Large Scale Diecast Models including Signature Models 1939 Lincoln Zephyr, Mattel F1 McLaren Mercedes, Road Signature MG TC Midget, Minichamps 1948 Land Rover, Hot Wheels Damon Hill Jordan, Maisto 1939 ford Deluxe, Revell Auto Union Type C, Mark P36J Lightning and others (all E boxes E) together with two unboxed examples and two Ertl Collectibles Aircraft Coin Banks (both E boxes E) (17)
A GERMAN PORCELAIN MOULDED BEAKER WITH OGEE BOWL, DECORATED WITH FLOWERS BENEATH A BLUE SCALE BORDER, A PAIR OF STAFFORDSHIRE PORCELANEOUS FIGURES OF A SPORTSMAN AND COMPANION WITH DOGS C1840, A SAMSON TYPE PSEUDO ARMORIAL PORCELAIN TEA CANISTER AND COVER AND A MALING ORANGE LUSTRE BOX AND COVER
A Georgian silver cream jug, probably Thomas Shepherd, London, 1780, the baluster body chased with gadroon band, scrolling foliage and fish-scale decoration, on a spreading foot, gilt interior, vacant cartouche, 10 point 8 cm high, 2 oz; an early Victorian decanter label, indecipherable maker`s mark, London, 1845, chased with C-scrolls, grapes, vine leaves and a mask, pierced ""Claret"", 0 point 6 oz; a German silver cup and saucer, 800 standard, of plain form with swag decoration, 5 oz in total; two silver mounted brushes and comb, hammered finish (7)
A map showing the fox hunts of England, Wales and Scotland, scale 17 miles to 1 inch, 69 x 50 cm in gilt frame together with a coloured print after Lionel Edwards showing a steeple chasing subject, signed in pencil bottom right, 33 x 42 cm in black and gilt frame, two 19th century coloured prints of race horses and a further coloured print after Victor Venor of a humorous hunting scene with figures on a seesaw (all framed)
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186094 item(s)/page