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Lot 289
An oak cased aneroid barograph, Negretti & Zambra, London, mid 20th century, with ten segment aneroid chamber connected via lacquered brass armature to an inked pointer for recording barometric pressure variation onto the paper scale lined clockwork rotating drum, the baseplate signed NEGRETTI & ZAMBRA, LONDON under oak framed five glass cover, on moulded base and squab feet, 35cm (14.75ins) wide
Lot 290
A mahogany mercury wheel barometer, early 19th century, the 8 inch circular silvered register calibrated in inches and with the usual observations beneath ebonised bordered convex mirror, arched alcohol scale Fahrenheit thermometer and hygrometer to the restored swan neck pediment, the rounded base with spirit level signed Pedrone Brothers, Carlisle to the rounded base, 97cm high
Lot 478
Toys: a collection of Exclusive First Edition 1:76 scale die cast models, comprising; Bristol MW Coach 16202; Daimler Utility Bus Midland Red 16401;Leyland Bet Style Bus Yorkshire Traction 24314; Leyland TD1 Closed Back Ribble 27301; Leyland Atlantean Sheffield City 16506; Bedford SB Duble Vega Barton Transport 18706; Leyland TS8 Tiger Type A Yorkshire Woollen 18301; EX London RTL Stevensons 11110; Leyland PD2 Lowbridge North Western 16007; Route Master Bus B.O.A.C. London Transport 15601; Bedford OB Coach West Yorkshire 20112; London R. T. with Roof Box Premium Bonds 16402; Bristol City Lodekka Bus 13901; Bristol VR Series II Manchester GMT 20304; Orion Bodied Regent II Sheffield City 190701; Leyland National Long 2 Door Bus Bristol City 15104; Leyland PD2 Highbridge Wigan Corporation 16101; Leyland PD2 Highbridge Sheffield City 16105; E18404 Leyland TS8 Tiger Type B Doncaster; Daimler DMS Fleetline South Yorkshire 25703; and Plaxton Pointer/Dennis Dart Yorkshire Terrier 20604DL. (21)
Lot 10
NESTEROV, MIKHAIL 1862-1942 The Nightingale is Singing , signed and dated 1918. Oil on canvas, 81 by 68.5 cm. Provenance: Private collection, UK.Authenticity certificate from the expert V. Petrov.Related literature: For a later version of the same composition, see Russkaya dorevolyutsionnaya i sovetskaya zhivopis’ v sobranii Natsional’nogo khudozhestvennogo muzeya Respubliki Belarus’, Vol. 2, Minsk, Belarus, 1997, p. 178, No. 1189, illustrated.Mikhail Nesterov’s The Nightingale is Singing is one of his earliest versions of the celebrated 1917 composition, of which the artist painted at least four. It is now impossible to establish what became of the 1917 original, which, according to contemporary sources, was a larger-scale work than the later versions. We know for certain that a picture of the same name was sold at the famous Russian Art Exhibition in America in 1924 (and it is possible that this and the present work are one and the same). Another version, painted in 1922, is in a private collection in Kiev and the 1929 work that concludes the series is in the collection of the National Art Museum of Belarus.The well-known avant-garde theatre director and theorist Nikolai Evreinov visited Nesterov’s studio in the early 1920s and wrote that: “Among the versions of subjects that I knew well I found my eyes glued, so to speak, to the spellbinding work The Nightingale is Singing which Nesterov had painted in 1917. The subject is not complicated: in early summer, a young novice nun stands by a dreamy lake bordered by a beautiful forest and listens breathlessly to the song of Nature pouring forth in the nightingale’s trilling; and on her lips, which have vowed never to know a sinful kiss, is a smile — such a sad smile, so understandable, so human!”The story of how this subject arose is closely linked to Nesterov’s cycle of works dedicated to nuns, the “brides of Christ”, which he created over twenty long and extremely fruitful years. He conceived The Bride of Christ as a memorial to his beloved wife who had died unexpectedly. He first painted a large study of a girl lost in thought, in a dark dress with a little stalk of grass in her teeth and “with the face of my Masha”. In the words of one who had seen this now-lost work, “you could stand before this pensive girl for a good while and ponder for hours that mystery of life that she too is pondering. And in those thoughtful eyes there was so much that was familiar and close to us, such a revelation of the deepest recesses of the female soul that, looking into them, you could not help but recall the similar pensive heroines of Melnikov-Pechersky, his Flenushka and others, and the whole of our native Rus and its God-seeking people.”“With this picture” said Nesterov later, “I had reached a turning point and something had appeared that would later grow more consistent, something well-defined, which gave me my ‘persona’... My love for Masha and my losing her made me into an artist, brought to my art what had been missing: emotion and a living soul — in a word, everything that people would later come to value and still value in my art.”And indeed, The Bride of Christ immediately attracted serious critical attention. With this work, the artist’s destiny was decided. Continuing his initial theme, between the 1890s and 1910s Nesterov painted a whole story in pictures dedicated to the fate of the innocent girl, partly serving to develop the theme of his own sweet melancholy and partly inspired by Pavel Melnikov-Pechersky’s twin works In the Woods and In the Highlands.However, according to the celebrated writer and close friend of the artist S.N. Durylin, it was The Nightingale is Singing that “became one of the most poetic versions of Nesterov’s theme of the fate of the Russian woman. Again we have a bride of Christ, but this time the artist brings her outside the convent walls one peaceful May evening to the edge of the forest, basking in the fragrant warmth of spring, while the nightingale’s song of love and paean to springtime makes her forget for a moment all her vows to obey, to pray and to ‘withdraw from the world’… We cannot see the nightingale in the picture, but we hear its song in the fragrant stillness of that spring evening, a stillness that seems to hear and respond, and the subject of the song is clear: youth, happiness and love.”Indeed, in the delicately observed motif of the nightingale’s song, which seems to come from beyond the bounds of the picture, a theme resonates which was of great significance in Nesterov’s work — the theme of music bringing man and nature into harmony. As we look at this picture, we are reminded of what Vasily Rozanov said of Nesterov in 1907, in connection with the gloomy and oppressive state of Itinerant painting, and his words seem prophetic: “Then, like the resonant song of the skylark from a warm, blue sky, we heard the music and the musicality of Vasnetsov and Nesterov. ‘To the sky! To the sky!’ And we all looked to the sky. That is why we love them!”
Lot 19
BOGDANOV-BELSKY, NIKOLAI 1868-1945 The Teacher`s Guests , signed. Oil on canvas, 80.5 by 102 cm. Provenance: Private collection, UK.The work will be included in the book on N. Bogdanov-Belsky being prepared by A. Kouznetsoff.The Teacher’s Guests by Nikolai Bogdanov-Belsky is the artist’s reworking of his celebrated work The Teacher’s Name Day. Executed with impeccable skill, it presents a significant departure from his earlier works painted at the turn of the century and bears witness to the creative strides made during his later period.The idea of a work on the theme of village children invited to tea with their teacher was first conceived of by Bogdanov-Belsky in 1908, when visiting the estate of a landowner named Ushakov, in Tver Province. There he executed a sketch entitled Visiting the Teacher from which, two years later, he painted the large-scale work that brought him celebrity in Europe. Sadly, it has been lost and is known only from reproductions. The artist, however, carefully preserved the sketch itself and used it as the basis for several variations which would have been well-known by his contemporaries, including The Teacher’s Name Day, The Teacher’s Birthday and Visiting the Teacher.When Bogdanov-Belsky left Soviet Russia for Latvia in 1924 he took the sketch with him, and it is today preserved in the Art Museum in Riga. As an émigré he again turned to the theme of children having tea in a garden, always composed from fresh sketches drawn from life and never forfeiting the principles of Impressionism, which for him were still relevant. Thus his protagonists change from picture to picture and this large work, The Teacher’s Guests, is a splendid demonstration of this. Painted while the artist was living in Latvia, this work continues to focus on the theme of a happy village childhood, which allowed him to address the creative problems of light and colour that interested him. By arranging his figures within their landscape and using lively, vivid, vibrant colours, the artist fills the picture with the fleeting movement of foliage trembling in the wind and with the sense of a glimpse of real life. The composition is imbued with the desire to convey artistically the link between man and nature and to suffuse the canvas with light and air.It was most likely local youngsters who posed for this picture, alongside the artist’s young wife, who often modelled for Bogdanov-Belsky’s portraits and genre works. Incidentally, many of the teacher’s guests can also be seen in his other works of the time. We can, for example, recognise the little girl in the flowered headscarf and striped top, drinking tea from a saucer, as the protagonist in the romanticised work Inspiration, and the two urchins sitting at the end of the table nearest to us as the young visitors to an artist’s studio in the painting Guests.
Lot 35
SAVRASOV, ALEKSEI 1830-1897 Pastoral Scene , signed. Oil on canvas, 65 by 54 cm. Authenticity certificate from the expert V. Petrov.Authenticity of the work has been confirmed by the expert N. Ignatova.Authenticity of the work has also been confirmed by the expert G. Churak.Pastoral Scene is one of the small group of light, lyrical landscapes that Savrasov painted towards the end of his life. Very few works of this period survive and for this reason they are of undoubted interest to collectors.The small-scale, salon-style format so beloved by Savrasov (similar to that of the celebrated works in the State Tretyakov Gallery, Rooks Have Returned and A Country Road) and the poetic nature of the motif bear testimony to that single-minded quest for artistic form which for many years was at the centre of the work of one of Russia’s most soulful landscape painters.The juxtaposition of the expansiveness of a Central-Russian river panorama, a blue sky covered with scudding clouds and the peaceful, unspectacular beauty of a river bank and pine forest with a herd of cows come to drink at the water’s edge, is a motif which first appeared in the artist’s work in the 1850s. Even then, in the earliest days of his artistic career, Savrasov’s keen love of nature, tinged with a religious quality, was already finding radiant expression in his low-key landscapes, imbued with careful and touching attention to the details of village life.Domestic cattle grazing peacefully by the water became the theme of a series of notable Savrasov works, so that the subject the artist elaborated in Summer Day (1850s, now in the Krasnodar Regional Art Museum) was taken further in his work of the 1860s and 1870s, including the celebrated Elk Island, Sokolniki (1869), acquired by Pavel Tretyakov. We sense definite echoes and resonances with this masterpiece in Pastoral Scene, painted two decades later, which was composed as a variation on the artist’s favourite motifs. It displays Savrasov’s usual selection of component parts: a watering-place in the foreground reflecting the intricate pattern of clouds and sky, a group of cows drinking unhurriedly, slender pine trunks suffused with sunlight, a path leading off into the distance and a far-off, evanescent church and bell-tower.His paint is applied in thin, almost transparent layers. The brushwork is without superfluous differentiation in the texturing of forms and only serves to emphasise the details this artist considered essential — the silhouette of the distant church on the hill and the tiny figures of birds over the water. Only the copse intrudes into the expanse of sky, preventing the eye from penetrating any further, instead directing us upwards towards the sky which still shows blue between the clouds. The artist has managed to seamlessly combine the intimacy of this homely little spot with the picturesque beauty of the view. As Savrasov’s pupil Isaak Levitan wrote of his master, “What simplicity! But behind that simplicity you sense the good, gentle soul of the artist, for all this is dear to him, close to his heart... In this simplicity lies a whole world of sublime poetry.”
Lot 52
Omega, First Generation Flightmaster, a stainless steel aviator`s chronograph wristwatch, ref.2750/67, no.145.013, circa 1969, the two piece screw down tonneau case with hooded lugs, Flightmaster logo on the case back, round side buttons for the chronograph function, and three crowns for winding, revolving minute ring and second time zone, the black dial with outer white checkerboard 1/5th second timing scale, luminous white baton hands for the time functions, yellow hands for the chronograph, luminous blue hand for the second time zone, and three subsidiary dials for the12-hour and 30-minute registers and the 24 hours with day-night indication in green and black, the seventeen jewel Omega chronograph movement cal.910, no.29134615, on a stitched black leather strap, the case 48mm including lugs
Lot 1482
A wooden cased Moore & Wright Cat No. 360 Engineer`s revolution Counter having a concentric double scale dial, the outer scale reading to 100 revolutions, the inner scale with 50 divisions advancing by one segment at each turn giving a total readout for one complete revolution of the device of 5000 revolutions, complete with two removable rubber faced drive heads. The case 7`` x 2 9/16`` x 1 1/8`` high, and having a slide-out lid.
Lot 1491
A last quarter of the 18th Century Silver Pair Cased Verge Watch, Jas Batty – Sheffield, 9602, the verge movement with pierced and engraved cock and engraved regulation scale to plain finned pillars, to an Arabic enamel dial (hairline), with outside minute track and beetle and poker hands, in a hinged and polished inner case and outer, marked for London 1795, Maker’s Mark TC with further journeyman’s mark; together with assorted watch papers for Robinson of Sheffield, and Bower of Chesterfield, width 2 1/16”; together with steel watch chain of split ring and oval link construction, fitted with a Cameo Seal, Propelling Pencil (A/F), Folding Knife (A/F) and a small Watch Key modelled in the form of a flintlock pistol (2)
Lot 1492
A 1st quarter of the 19th Century Silver Pair Cased Verge Watch, B Edmunds – Liverpool, No 5999, the frosted gilt movement with pierced and engraved cock and engraved regulation scale to plain finned pillars, to a Roman enamel chapter ring (hairline), with outside minute track and engraved in gilt to the outside edge “Keep Me Clean and Use Me Well and I To You the Truth Will Tell”, to a further floral engraved gilt central boss and blued steel spade hands, in a hinged and polished case and outer, marked for Birmingham 1824, Maker’s Mark JH, width 2 ¼”
Lot 1495
A last quarter of the 19th Century Silver Cased Open Face Pocket Watch, Alfd Porter of High Street, Hartley Wintney, No 24807, the frosted and gilt movement with jewelled end stone and mono-metallic balance with blued steel hairspring and silvered regulation scale, with finned pillars and fitted dust cover, signed Thos McClure 1887, to a Roman enamel dial (chipped at 7 and hairlines), with outside minute track, sunk subsidiary seconds and gilt spade hands, in a polished case with back cover centred with a vacant and gartered cartouche and milled band, London 1880, Maker’s Mark JW and No 24807, width 1 15/16”
Lot 1497
A last quarter of the 19th Century 18ct Gold Centre Seconds Open Face Pocket Watch, 58084, the frosted gilt and jewelled ¾ plate movement with blued steel screws to a bi-metallic cut compensated balance and blued steel hairspring, to a sunk centre Roman enamel dial with outside scale of 0-300, with gilt spade hands and blued sweep centre seconds, in a polished case with hinged back cover centred with a vacant and gartered cartouche and embossed band with stop button, marked for Chester 1882, Maker’s Mark JR, width 2 3/16”
Lot 1504
A Mixed Lot comprising: a Silver Cased Open Face Pocket Watch, No 517758, the frosted and gilt movement with bi-metallic balance and overcoil hairspring, with silvered regulation scale to a Roman enamel dial signed “The Express English Lever”, J G Graves, Sheffield, with sunk subsidiary seconds and gilt spade hands, in a polished case with back cover centred with a vacant and gartered cartouche and coin milled band; together with a silver cased Propelling Pencil, various dates and makers (2)
Lot 1624
A mid-19th Century Mahogany and Boxwood line inlaid Wheel Barometer, unsigned, the swan neck pediment (A/F) over a silvered hygrometer, to a detachable single scale silvered alcohol thermometer, to a spun brass bezel with convex glass enclosing a 10” silvered dial with scale of 28-30 with spirit level below, height 41 ½”
Lot 1628
An early 20th Century Ebonised and lacquered Brass aneroid Barometer, retailed by W H Harling – 40 Hatton Garden, London, the Ebonised and moulded surround to a lacquered Brass bezel, set with a bevelled glass (A/F), to a 7 ½” composite dial with scale of 28 to 31 over a twin scale demi-lune mercury thermometer, diam 12”
Lot 1633
A mid 19th Century Mahogany cased Sympiesometer E & E Emanuel, Hard, Portsea, the glazed rectangular case with shaped and moulded pediment, with side mounted and sliding Vernier scale, to a signed and silvered plate with central tube and reservoir, with slide enclosure and scale of 30 to 110, and Vernier scale of 28 to 31, to a single scale Mercury Thermometer over a rotating indicator disc, height 25”
Lot 1644
A first half of the 19th Century Flame Mahogany Stick Barometer, Watkins & Hill – 5 Charring Cross, London, the case with moulded and overhanging cornice, to a glazed panel, to a plain body and rounded base with convex and ring turned cistern cover, to a signed two-part silvered dial, with blued steel screws, and fitted with a twin scale Mercury Thermometer, to a visible tube and scale of 27 to 31, with screw adjusting Vernier Scale, height 37 ½”
Lot 1645
A 19th Century Mahogany cased Stick Barometer, Jas Long – Royal Exchange, London, the domed case with figured Mahogany and strung body with rounded base, and half round cistern cover, to a full length visible tube, signed Brass dial with scale of 27 to 31, and sliding Vernier scale, height 38”
Lot 1646
A mid-19th Century Rosewood and gilt highlighted Wheel Barometer, E Wenham – Shipdham, the onion topped case with baluster throat and all over painted gilt borders and detail, to a spun brass bezel with convex glass enclosing an 8” silvered dial with scale of 28-31 over a signed level, height 38 ½”
Lot 529
A GEORGE III MAHOGANY TABLE CLOCK, the arched painted Roman dial signed Hatton & Harris, Cornhill, London, with strike/silent to the arch, the twin train fuseé movement with anchor escapement and bell strike, the back plate also signed and with engraved border and matching pendulum bob, the break arch case with pad top and swing handle over brass fish scale side frets and glazed door, raised on brass ball feet, 15 1/4" high
Lot 203
WWII – British invasion maps Notes on GSGS Maps of France Belgium and Holland December 1943. Comprehensive British book of maps and other information including gazetteers and phrases useful for invading troops. Marked ‘Secret’ together with a group of large scale maps mostly of France produced by the War Office and a copy of ‘The Interpretation of Air Photographs’ (1942 edition) and a few other items
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186094 item(s)/page