A Victorian black japanned aneroid barometer Patrick Adie, London, late 19th century The 4 inch circular silvered register signed PATRICK ADIE, Broadway Works, No. 1 Broadway, WESTMINSTER, No. 1479, Compensated to centre, within concentric scale calibrated to hundreths of an inch from ranging 26.5-31 inches, the rotating bezel fitted with blued steel setting pointer, the cylindrical case with suspension ring and engraved Chadwick Trust to verso, diameter 10.5cm. Patrick Adie, son of the renowned Scottish Instrument maker Alexander Adie (1775-1858) is recorded in Banfield, Edwin, BAROMETER MAKERS AND RETAILERS 1660-1900 as working from several addresses in London 1846-86 (see previous lot), they were based at Broadway Works, Westminster from 1874. The Chadwick Trust was set up in 1895 under the provisions of the will of Sir Edwin Chadwick to promote research into public health engineering. The trust is now affiliated to University College, London awarding scholarships to students in order to sustain continued research in this field.
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A very rare mahogany cased aneroid barocyclonometer or `Typhoon Barometer` Schmidt & Ziegler, Remscheid, to a design by Jose Algue, Manilla, early 20th century The box opening to reveal Faura pattern aneroid barometer with 6 inch circular silvered register calibrated in both barometric inches and millibars and inscribed TYPHOON-BAROMETER by JOSE ALGUE S.J. Director of MANILLA OBSERVATORY, SCHMIDT & ZIEGLER, REMSCHEID to centre, within adjustable outer scale annotated for the Northern hemisphere with latitudes 0-25 opposing 25-32 grouped with appropriate pressure readings for different seasons to the lower half, the upper half annotated with typhoon predictions, the whole set into brass plate numbered 317, the lid of the box applied to the inside with patinated brass and glass CYCLOMETER with central bevelled glass plate scribed with direction arrows and applied with two pointers one engraved with scale 0-100 the other with pivoted direction indicator, the whole rotating within a circular plate annotated with the points of the compass and with repeat signature, the exterior of the box with shaped brass nameplate to top and visible dovetail joints to corners, 22cm wide, 12cm high. This remarkable instrument was the culmination of the efforts of two successive Jesuit Priest directors of the Manilla Observatory, Federico Faura and Jose Algue. The problem of predicting destructive typhoons, which took dozens of lives each year in the Phillipines, led to Faura`s research and eventual publication of his paper Senales precursoras de un temporal in 1882. He then went onto develop the `Faura` pattern barometer which through use of a carefully devised scale could predict with a fair degree of accuracy the proximity of a typhoon. Jose Algue, who succeeded Faura in 1897, undertook further research to devise a method of forecasting the direction from which a typhoon would approach. This led to the development of his `cyclonometer` or `wind disc`. The incorporation of both instruments into one unit was termed a `baroclclonometer`, examples of which were utilised throughout the Phillipines saving countless lives during the opening years of the 20th century. In 1912 Jose Algue was invited by the U.S. government to devise a version of his tried and tested barocylonometer for use in the Northern hemisphere in order to assist in the prediction of Hurricanes and Atlantic storms. In August 1912 he visited New York and Washington where it was agreed that a model calibrated for the Northern hemisphere would be made in Germany for trial onboard Connecticut flagship of Rear Admiral Osterhaus -commander of the Atlantic Squadron for U.S. Navy. By January 1913 Algue was in London where discussions regarding the production of further models in London took place. An account of his visit to New York was published in The New York Times August 18th 1912, and a review of the instrument was published in Popular Mechanics January 1913 issue. The current lot is probably from the very early series of German made models as specified for the order for the U.S. Navy. Another later model (dating to circa 1928) by H. Hughes & Son, London is in The National Maritime Museum collection in Cornwall.
A mahogany barograph Negretti & Zambra, London, circa 1905 With four-part large diameter aneroid chamber within lacquered brass armature operating inked pointer for the clockwork driven rotating paper-scale lined drum, the patinated brass baseplate signed NEGRETTI & ZAMBRA, LONDON, beneath five panel glazed cover on cavetto moulded base with full width squab feet, 34cm wide. The firm of Negretti & Zambra are recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1680-1860 as being established in 1850 when a partnership between Enrico Negretti and Joseph Warren Zambra was formed. The firm became one of the most prolific makers of fine quality weather instruments and continued trading well into the 20th century. An identical example to the current lot is illustrated in Collins, Philip Barographs on page 86.
A mahogany barograph Unsigned, early 20th century With concealed aneroid chamber beneath lacquered brass armature operating inked pointer for the clockwork driven rotating paper-scale lined drum, the pivot arm stamped PAT No. 22556, beneath five panel glazed cover on ogee moulded base with squab feet, 32cm wide.
A fine Charles II brass lantern clock John London, Bristol, circa 1675 The posted countwheel bell-striking movement with early conversion to anchor escapement, the dial centre with characteristic tulip engraving and signed John London in Bristoll in flowing script to upper margin, within an applied narrow Roman numeral chapter ring with stylised wheat sheaf half hour markers and engraved radial designs to angles, the frame with one-piece finial, post and feet castings, ‘lion and unicorn’ armorial frets and bell contained within the domed bearer above, (lacking pendulum and weight), 42cm (16.5ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Provenance: The property of a private collector. Illustrated and discussed in Loomes, Brian Lantern Clocks pages 178-81 John London is first recorded gaining his freedom of the City of Bristol as a gunsmith on 2nd June 1675, on August 10th 1678 he married Mary Baker otherwise relatively little is known about his life. He is perhaps best known for being the first Bristol based maker of longcase clocks of which a handful of eight-day movements and one complete thirty-hour example survive. His work is highly distinctive with generous use of brass and exuberant engraving. When his sole surviving complete thirty-hour clock (exhibited TIME & PLACE English Country Clocks 1600-1840 The Antiquarian Horological Society at The Museum of the History of Science, University of Oxford, 25th November 2006- 15th April 2007 exhibit number 6) is compared with the current lot, striking similarities become apparent. Firstly the same frame castings are employed with the only differences being the finials which are turned down to buttons on the longcase and the feet which retain small extensions in the castings. Secondly the movements closely compare exhibiting the same details such as heavily tapered arbors, fly castings and unusual keyhole shaped decorative cut-outs to the bases of the movement plates. Finally the dial engraving, which are clearly by the same hand and possibly executed by London himself. Both dial centres are decorated in the same manner with large scale foliage and flower heads incorporating the unusual detail of parallel line with broken line infill to the petals. This detail is further explored to create the precisely scribed radial decoration to the angles of the dial of the current lot. These details appear to differ slightly from other known longcase and lantern clock dials by London which tend to exhibit smaller more intense but perhaps less precise foliage without the dotted parallel line decoration. A lantern clock by London signed Axford beneath the chapter ring is known suggesting that London sub-contracted some of his dials to an outside engraver. However the precision and confidence demonstrated in the dial of the current lot perhaps is perhaps reflective of London’s training as a gunsmith.
Salviani (Ippolito) Aquatilium Animalium Historiae engraved title incorporating portrait of Salviani and Pope Marcellus II`s coat-of-arms within architectural border with marine motifs (slightly frayed and repaired to verso) 76 engraved plates only (of 81) all water-stained some with marginal repairs some corners frayed no letterpress later marbled boards worn [Adams S190; Harvard Italian Books 454; Nissen ZBI 3555] folio Rome 1554; sold not subject to return *** “The drawings by Salviani not so numerous [as Pierre Belon du Mans`] but much finer are copperplate engravings on a rather large scale... some have not been surpassed in more recent works. They number ninety-nine; almost all are of fishes of Italy with some from Illyria and the Archipelago not counting a few mollusks.” Georges Cuvier Historical portrait of the progress of ichthyology edited by Theodore Pietsch 1995. It is generally believed that Nicolas Beatricetto designed the title and some of the illustrations whilst the illustrations are by Antoine Lafrery. Ippolito Salviani (1514-1572) studied medicine in Rome where he also developed an interest in natural history and in particular ichthyology. Under the patronage of Cardinal Cervini later Pope Marcellus II his studies were developed and financed not only on the coast of Italy but also in other Mediterranean and Northern European regions. Cervini died before the work was printed however and the work was dedicated instead to Pope Paul IV.
Van der Maelen (Ph.) large 20-sheet engraved map of Germany in original outline hand-colouring (scale 1:600 000) not joined a few sheets with slight staining along centrefold occasional light foxing Brussels; Carte de l`Italie large 15-sheet engraved map of Italy in original outline hand-colouring unjoined occasional light foxing Brussels together in 1 vol. half cloth over old boards with red morocco label rubbed folio [c.1830].
Mixed Instruments, including a bakelite office telephone, two wooden wall mounted telephones, calculating machines, cased MKII rangefinder by Watts, Elgometers, thermometers, two Otis Kings calculators, cased scale, Casella compensated barometer, in a stitched leather case (a/f), `Palantype` stenotype machine etc
An Early 19th Century Brass Universal Equinoctial Ring Dial by Proctor, Bielby & Co., London, the meridian ring graduated I - XII in Roman numerals (twice), the equinoctial ring with 90 - 0 - 90 scale to one side and a 0 - 90 declination scale to the other, with sliding throne to rim, the bridge with sliding pinhole sight, calendar scale to one side and signs of the zodiac to the other, diameter 13cm
World collection in 10 Senator albums - strength in the better countries Canada, America & States, S. Africa, Nigeria, Nyassaland, Malayan States, India, France & cols, Germany & States, Persia, Israel, Palestine, Egypt and many more on a smaller scale in Europe:- Belgium, Austria, Poland, Russia, Spain, Rumania, Holland Hungary, Netherlands, Denmark, also some Brit. comm. Australia, New Zealand, South Africa
Port of London.- Appendix to the Second Report an 2 titles each above lists of contents complete with 14 and 24 plates respectively of plans sections elevations and perspective views 38 engraved or aquatint plates some with partial hand-colouring many folding v.s. largest 640 x 1850mm. some surface dirt mostly marginal occasional slight spotting and browning a few fore-edges slightly frayed or unevenly cut not affecting plates all bound in later half-calf over contemporary marbled boards rubbed folio 1799 and 1800. *** A fine complete set of designs submitted for a competition to assist in the development of the Port of London which desperately needed to modernise due to the substantial increase in demand and the scale of merchant vessels at the turn of the century. Designs include bridges warehouses docks quays and embankments and an engraving after Sir Christopher Wren`s original plan for the rebuilding of London after the Great Fire of 1666. Engineers and architects include Black Dodd Mylne Wilson Telford & Douglass the latter submitting an impressive project for a cast iron bridge with a single span of 600 feet amongst others.
![Sylvanus, Bernardus Prima Europae Tabula. [Venice, 1511]. Map on two engraved sheets, printed in red and black, margins worn](http://lot-images.atgmedia.com/SR/10121/2805759/46-20101223124649_468x382.jpg)
Sylvanus, Bernardus Prima Europae Tabula. [Venice, 1511]. Map on two engraved sheets, printed in red and black, margins worn and repaired with some loss of marginal text and scale at base, 42 by 50cm., world map on verso, some discolouration along inner edge of maps Note: From "Claudi Ptholemaei Alexandrini liber geographicae cum tabulis..." [Colophon] "Venetus per Jacobum Pentium... MDXI". The earliest Venetian edition of Ptolemy is of significance because of the innovative approach of its editor, Bernard Sylvanus of Eboli, who extensively re-drew some of the Ptolemaic maps according to more up-to-date information. The map of the British Isles shows, for the first time, a more correct north-south orientation, Scotland and Ireland become recognisable and the outlines of the south coast of England and Cornwall are much improved.
James Bond -- Faulks, Sebastian Devil may care. Bentley Motors Ltd. Edition, 2008. First edition, Special series, no. 117, "Burnt Oak" leather, with diamond pattern red stitching with Bentley "Flying B" radiator cap symbol on front cover and spine, red leather endpapers, with cast and polished 1:43 scale model of the R-type Bentley inset into the text, in plexiglass slipcase
Alfred Wallis (1855-1942) Harbour Approaches signed in pencil bottom right A.WALLIS oil on card 18.5 x 29.5cm, unframed. Provenance: Ben Nicholson. Gifted to the vendor by Ben Nicholson in 1958; the present owner was a close personal friend of Ben and Felicitas Nicholson. Alfred Wallis was a Cornish fisherman and artist. In the early 1870s he became a mariner in the Merchant Service. He married in 1876, when he was 20 and his wife 41, and became step father to her five children. The family moved to St Ives in 1890 where he established himself as `Wallis, Alfred. Marine Stores Dealer`. Following his wife`s death in 1922 Wallis took-up painting, as he later told Jim Ede `for company`. His paintings are a fine example of naive art; perspective is ignored and an objects scale is often based on its relative importance, and this gives his paintings a map-like quality. Wallis painted his seascapes from memory in large part because the world of sail, which he knew, was in transition and being replaced by steamships. As he said, his subjects were "what use to bee out of my memery what we may never see again". Having little money Wallis improvised with materials, mostly painting on cardboard ripped from packing boxes and using a limited palette of paint bought from ship`s chandlers. In 1928 Ben Nicholson and Kitt Wood came to St Ives where they were delighted to discover Wallis and celebrated his direct approach to image making. Wallis was propelled into the circle of some of the most progressive artists working in Britain in the 1930s.
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