(Ireland), Sir William Petty, Fra R.. Lamb, J.H.. Andrews: 'Hiberniae Delineatio... and Geographical Description of ye Kingdom of Ireland', Shannon, Irish University Press, 1969, facsimile reprint of the first atlas of Ireland, title page + 37 maps on 36 sheets (some folding), maps 53 x 42cm (folding maps larger), with printed booklets, 26pp Introduction, and [38]pp small scale facs reprint booklet of the original maps and title page, each original stitched printed wraps, all housed together in original green cloth portfolio, 2Home Office Library Whitehall" inkstamp to inside of portfolio (no other lib markings, no markings to plates), printed title label to front cover of portfolio, ribbon ties. Scarce; together with two Thomas Larcom engraved hand coloured maps of Cork and Limerick, each mounted (3)
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Mark Lyken (Scottish b. 1973) Let Me Taste Your Smoke Kiss Spray paint and acrylic on canvas Signed titled and dated by the artist in black pen verso 50 x 50 cm (19 x 19 in) Mark Lyken is a multitalented visual and acoustic artist dividing his time between painting, composing electronic sound works and film making. His paintings and visual art are heavily influenced by digital transformation, technological meditation and the idea of computers as prosthesis of human personality as well as scale and time of a living cosmos.
James Cauty (British b. 1956) Suicide Bunny 2 Giclee print Unsigned, numbered 29/321 with stamp Framed and glazed 41 x 30 cm (16.5 x 12 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
James Cauty (British b. 1956) 5-11 A / B / C & Final Edition, 2005-06 Four giclee prints Each signed and numbered 2/150 in black pen Accompanied with certificate of authenticity Each framed and glazed Each 64 x 59 cm (25 x 59 in) Comes with the original triptych of Hanged, Drawn & Quarter Pop edition prints, also signed and numbered 2/150. Each 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
RichT (British) Triangulators, 2009 Screen Print Signed, dated and numbered 19/25 in pencil 53 x 38 cm (21 x 15 in) Originally part of the British street art scene of the early noughts, Richt, aka Rich Thorne, has been straddling the illustration and painting worlds ever since. Establishing himself painting walls and exhibiting his work worldwide, he was featured in Tristan Manco’s influential Street Sketchbook, leading on to commercial work as an illustrator and art director for Aardman and the BBC. Richt’s recent experiments have seen him progress further still. His collaborations, including the epic ‘Spider Mandem’ collectible figure with Trap Toys, denote an irreverence for authority and a tongue-in-cheek sense of heroism, alongside other recurring themes further explored in his current work. Abstracting the graffiti aesthetic and combining it with his love for the 60s and 70s comic book artists, Richt’s refined lines and bold palettes reference the work of greats such as Jack Kirby. Most recently he has travelled to the States and Europe painting large-scale murals, including work with Hawaiian street art czars Pow! Wow! in DC. Richt currently works from his studio in Bristol, UK.
James Cauty (British b. 1956) Stop The War Giclee print Unsigned, numbered 3/30 and stamped 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
James Cauty (British b. 1956) Dead Dad 1, 2007 Lithograph poster, part of the Operation Magic Kingdom series Unsigned, open edition 70 x 48 cm (27 x 19 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recorded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
Antique Ridgeways Childs dinner wares to include plates and servers 2 tureens and a gravy boat and stand and all back stamped -( one sliver to back of tureen rear handle) Cobalt blue Humphrey’s clock England from Dickens design -each piece back stamped; Charming dolls set -dinner plates are c 4.4” by way of scale. Beautiful set for antique doll display ( quantity)
A mid 19th century Scottish bow-fronted mahogany stick barometerAdie & Son, Edinburghthe squared cresting over a stepped top and straight sides to the block base (lowermost moulding missing), the trunk with flame veneer and reeded edge, signed silvered dial with rack-and-pinion vernier operated via an ivory button, to the 26-31inch scale with five engraved weather predictions. 1m (39.5ins) highFootnotes:Adie & Son worked from 58 Princes Street 1835-43; in 1844 they moved to number 50 until 1876. From 1877 to 1880 they worked from 37 Hanover Street.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A rare early 19th century kingwood-banded mahogany wheel barometer with timepieceJ Saldarini, Peterborough, the timepiece by William Terry, London, No.285The swan neck pediment and acorn finial over a waisted body set with a hygrometer, detachable mercury thermometer, 4.25-inch white enamel Roman dial with matching blued steel spade hands, signed level and 12-inch silvered barometer dial offering seven weather predictions within its 28–31-inch scale divided to 100ths of an inch, with blued steel hand and brass recording pointer. The timepiece movement with signed circular plates, chain fusee to a tic-tac escapement and silk suspended 3inch pendulum. 1.26m (4ft 2ins) Footnotes:Provenance:Sotheby's New Bond Street, 7th June 1984, lot 183.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A fine late 18th century mahogany 'flat to the wall' bow fronted stick barometerHolmes, LondonThe broken swan neck pediment centred by an ivory ball finial over a long flame-veneered trunk with detachable recording knob, bordered by ebony line inlay, terminating in a canted base with applied urn cistern cover, the signed silvered dial with seven weather predictions and scale from 27 to 31 inches, with rack-and-pinion vernier 99cms (3ft 3ins) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
An early 20th century electric mantel timepieceThe bevelled glass case with mirror back panel within nickel uprights on an oak plinth with lockable door to the front, on a moulded base. The 4.75inch white enamel gothic-Arabic dial with minute markers and blued steel hands, set in a chrome bezel raised on four turned pillars with fancy terminals and twin finials, the pendulum bob consisting of a flat rectangular block below a cylinder with engraved regulation scale, swinging forwards and backwards over a pair of coils and in so doing advancing the angled escape wheel one tooth at a time and driving an endless screw. The movement now driven by a pair of batteries in the base. 43.5cms (17ins) high.For further information on this lot please visit Bonhams.com
A fine and rare late 18th century mahogany two-day marine chronometer with Exhibition ProvenanceThomas Earnshaw, London, Number 247The two-part case with sliding inset to the top lid opening to reveal a circular glazed aperture, set to the front with an ivory signature plaque, Earnshaw No 247, the lower section with inlaid brass lozenge escutcheon and folding side handles, on a moulded base. Internally, the case is set with a full-length hinge, a raised lip carrying the twin trunnions to support the gimbals and with sprung gimbal lock in the upper left-hand corner, the top right-hand corner carries a hole for the winding key (key no longer present). The 3.25-inch silvered dial signed Thos Earnshaw Invt et Fecit No 247 with Roman chapter ring and outer minute scale, a large subsidiary seconds dial between V-VII, three blued steel spade hands.The spotted full plate 60mm movement with four pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring (of ten turns and with outer terminal curves) with diamond endstone and jewelled Earnshaw escapement, cut and compensated bimetallic balance with wedge shaped weights and a pair of timing screws, sitting in a weighted, gimballed bowl with sprung dust cover to the winding square. Ticking. 17cms (6.5ins) highFootnotes:Exhibited 'Your Time', an exhibition by the Northern Section of the Antiquarian Horological Society at Prescot Museum, February-April 2008; Williamson Museum & Art Gallery, Birkenhead February-April 2008. Exhibit P13.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A rare third quarter of the 19th century inlaid walnut spring driven wall regulator with mercury pendulumThwaites and Reed, Clerkenwell. The frontplate numbered 13737. The arched case with full length glazed door with applied carved architectural details to the canted corners, the sides also glazed to reveal the back board and base, inlaid with floral groups in woods of different colours, mounted internally with a silvered beat scale, the 6.75-inch one-piece silvered dial with outer minute track framing gothic-style Roman numerals and fancy half-hour markers, the signed centre further engraved with an extensive symmetrical pattern of interlaced scrolls, with blued steel fleur-de-lys hands. The substantial movement with arched plates united by four knopped pillars, Harrison's maintaining power to the chain fusee and deadbeat escapement to a 47cms pendulum with T-bar suspension from the backboard over a circular-section rod terminating in an intricately engraved brass and steel stirrup framing the jar of mercury, with fine adjustment and blued steel pointer reading against the beat scale. 57cms (22.5ins) high.Footnotes:The number to the frontplate dates this clock to circa 1867, see Rose, E.D. (1978) English Dial Clocks. Suffolk: Antique Collectors' Club.For further information on this lot please visit Bonhams.com
A late 18th century mahogany musical table clock playing six tunes on 12 hammers and 12 bellsRobert Sampson, Westminster The broken arched case with caddy top and five matching ball finials over side handles and fish scale frets flanked by twin reeded quarter columns on a moulded plinth base raised on brass ogee feet, the rear of the base bearing a lacquered brass plaque with Cyrillic lettering 'NKID' and the number 7544. The 8 inch arched engraved gilt brass dial plate framing the (restored) signed Roman and Arabic dial with matching hands below twin subsidiaries for strike/silent and choice of tune comprising 'song; march; air; song; dance and air' the upper corners further decorated with engraved martial and agricultural motifs. The substantial triple gut fusee movement with substantial plates and knopped pillars, the verge escapement playing a choice of six tunes on the hour. The backplate with repeat-pattern border framing the symmetrical pattern of scrolls centred by a basket of fruit over the initials RS. Ticking and playing music, but strike train with broken gut line. Together with a later crank winding key. 62cms (24ins) high Footnotes:The Cyrillic letters 'NKID' are an acronym for the 'People's Commissariat for Foreign Affairs' of the Soviet Union, similar to the United Kingdom Foreign Office.For further information on this lot please visit Bonhams.com
A fine and rare mid-late 19th century mahogany floor standing regulator with four-legged gravity escapementThe wide moulded cornice over long glazed door with internal dust beading and twin locks, the sides similarly glazed, the solid backboard with additional applied panel to carry the heavy steel plate on which the pendulum and escapement assembly are mounted, the board further set with a mercury ivory thermometer, all on a moulded base. The unsigned 10.25inch silvered dial with outer Arabic minute band framing the Roman hour and Arabic subsidiary seconds dials (with Observatory marks), with blued steel hands. The weight-driven movement with substantial waisted skeletonised plates united by four heavy pillars, Harrison's maintaining power and high-count pinions throughout, mounted on a pair of very substantial brass brackets, a central contrate wheel driving a vertical eight-inch arbor terminating in a bevel gear running to the four-legged escapement with pierced vanes and twin arms, the heavy zinc and steel compensated pendulum with large facetted bob reading against an engraved silvered beat scale. Driven by a tall cylindrical brass weight weighing 9kg (approximately 19.8lbs) suspended via a pulley set into the roof of the case. Together with a crank winding key and a door key with brass ring engraved with the number 4. 2.12m (6ft 11ins) high.Footnotes:Gravity, also including Remontoire, escapements are defined as escapements which instead of relying on the going train or weights to impulse the pendulum, are instead reliant on a small, lifted weight or bent spring, which provides impulse with every pendulum beat. Theoretically, this provides a constant impulse to the pendulum. The first such escapement, a Remontoire, was made by Alexander Cumming in 1774, originally described in his 1766 book The Elements of Clock and Watch-Work, Adapted to Practice. The main benefit of this escapement, as Cumming saw it, was that the escapement could function without oil on the pallets, which should reduce the error caused by old or dirty lubrication. Cumming explained further that 'these pallets, do also correct all the irregularities of action in the main spring, wheels and pinions; or any other irregularity that can possibly happen in the movement, from any cause whatever' which was the desired result for a gravity escapement. Cumming's escapement features some hallmarks of gravity escapements, including weighted arms and pins which link the escapement's impulse to the pendulum.Thomas Mudge also produced a similar escapement around this time, which was used in his marine clock. The main difference was Mudge positioned the weights on the arms of the pallet, rather than having them separate, as in Cumming's design. Mudge's escapement was criticised as being too delicate; a small change to the force of the train would cause the escapement to trip. Even if it wasn't tripping, it has been noted that the escapement had a tendency to half-unlock after fully unlocking, meaning that the pendulum would sometimes get an extra partial impulse. Not only did this mean the escapement was prone to a mutable rate, but circular error was also increased.Inspired by Cumming's book, both Edward Massey and George Prior separately devised Remontoire escapements, in 1803 and 1809 respectively.Between 1809-1811, William Hardy, at the behest of the then Astronomer Royal Dr. Nevil Maskelyne, developed a new escapement for the Board of Ordnance which he described as a spring pallet escapement. This escapement was to be used in an astronomical regulator, to supplement Troughton's ten-foot Mural Circle. Hardy's escapement was similar to Cumming's, however, Hardy's relied on a spring which unlocked the escapement with every pendulum swing. As with the Cumming's escapement, Hardy's escapement did not require oiling. Interestingly, Alexander Cumming was consulted by the Board of Ordnance regarding the practicality of Hardy's design, Dr. Maskelyne having since died. Hardy was eventually awarded £200 for the regulator and received several requests for similar regulators. Thomas Reid, around 1811, also developed a spring pallet Remontoire escapement, though slight modifications to the pallet faces meant that Reid's escapement could function for longer than the 15-year lifespan of Hardy's pallets. One of the regulators Reid made with this escapement was for the Astronomical Institution of Edinburgh, which later became the Royal Observatory of Edinburgh.The final British precursor to Dent and Denison's gravity escapements was created by James Mackenzie Bloxam. Bloxam's escapement relied on one large locking wheel with nine teeth and a much smaller lifting/unlocking centre wheel, also with nine teeth. This escapement was an improved, simpler version of previous gravity escapements and avoided the issues of tripping and circular error that were present in Mudge's escapement. The main drawback to this escapement was that it demanded a finely finished, high quality movement with a high pinion leaf count and an absolute minimum of weight to run. In one of Bloxham's clocks which used this escapement, the pinions went as high as 18 leaves. Such clocks would necessitate a high level of skill to make and the cost of such a clock would be very high, making the escapement largely impractical for most uses.Edmund Beckett Denison, later Lord Grimthorpe, used these past escapements, especially Bloxam's, to create a more robust gravity escapement. The four-legged gravity escapement owes a debt to Bloxam's design, though it is different in a few key ways. First, the number of teeth on the locking wheel was reduced to four, the teeth were now called 'legs', and the lifting centre wheel became four centre pins which protruded on both sides of the locking wheel. Another major difference was the escapement was distributed between two planes: one pallet in front, and the other pallet in back with the escape wheel and pins between. This escapement avoids the risks of tripping and circular error and is easier to manufacture then many of the above escapements. Additionally, Denison's escapement did not require a high pinion leaf count to work and benefitted from a large driving weight. Denison would later develop another escapement on this two-plane principle, which would rely on two three-legged locking wheels, connected by three unlocking pins. Denison's design for the four-legged gravity escapement, first described in his Rudimentary Treatise on Clocks, Watches, & Bells For Public Purposes of 1850, was manufactured by James Brock of George Street, Portman Square shortly after. The four-legged gravity escapement was recommended for use in astronomical regulators and similar sized clocks, whereas the double three-legged gravity escapement was usually reserved for turret clocks, most noticeably the Great Clock at Westminster. There are some exceptions to this rule; the turret clocks at both Chichester and Salisbury cathedrals use four-legged gravity escapements. Both cathedrals are also auditory only; there are no dials for the movements to drive, thus the more robust double three-legged gravity escapement is not necessary, and a four-legged escapement can be used. Additionally, both clocks hav... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A rare mid 19th century 19th Century carved mahogany floorstanding regulator with keyless windingE. Fisher, BathThe arched case with full length glazed door revealing the mercury jar pendulum (now empty) and floral scroll engraving to the top and bottom, over a substantial base with recessed oval panel, applied carved scrolls and block feet. The one piece signed silvered 13.75-inch dial with outer minute track enclosing the recessed subsidiary dials for Arabic seconds (with Observatory marks) and Roman hours. The substantial weight-driven movement with thick (5mm) tapering plates united by four heavy turned pillars secured by eight heavy blued steel screws and collets, the single train with wheels of six crossings, high count pinions and terminating in a deadbeat escapement with jewelled pallets, triple-screwed to the arbor which is set in endstops, the long polished steel crutch terminating in a right angle with hinged steel arbor carrying the fork to the fine-screw regulation nut over the empty mercury jar pendulum with tapered pointer reading against a silvered beat scale secured to the back board. Wound by pulling on a heavy fusee-type chain emanating from the right hand side of the hood. Together with the small (c.2.75kgs) cylindrical brass weight, the four-spoke pulley and case key. 2.18m (7ft 2ins)Footnotes:Edwin Fisher is first recorded working in Bath in 1819; he is recorded as a watchmaker and a jeweller working at 13 Somerset buildings. At some point he relocated to 14 New Bond Street; an 1833 directory records him at this address. On a trade card, he is styled as a watchmaker, specialising in French watches, chronometers, and repeaters, as well as carrying out repairs to musical works and offering a supply of keys and precious metal chains. Nine years later he had moved again, to 13 Abbey Churchyard, though he would stay here only briefly, moving to his final location, 9 Old Bond Street, in 1846. He stopped advertising in Bath in 1866, which is reasonable to suggest as his date of retirement.Another regulator, with a jewelled deadbeat escapement, is known by him, as well as a few skeleton clocks. His name and a date of 1839 are also on the hour dial of the Cockshutt church clock; it has been suggested that he carried out some extensive repairs to the clock, possibly including a repair or conversion of the clock's pinwheel escapement, the movement being signed Bullock and Davies of Ellesmere. A turret clock, previously from the Bishop's Palace stable block in Bath, was made entirely by Fisher, and features quarter chimes and a wooden pendulum. None of these clocks have been described as having the peculiar pull-wind system present on the current lot.It is also interesting to note that the ticking of a balloon clock made by Fisher was recorded around 1941, by the BBC at Maida Vale. The recorded ticking was used as a time interval signal on radio broadcasts between programs, to assure listens that their sets had not died, but that a new program was being prepared.British Horological Society (1972) 'A Working Edwin Fisher Clock', Horological Journal, Vol. 115 (3), pg. 29Goodship, G. (1998) 'Time and the BBC', Antiquarian Horology, Vol. 24 (4), pg. 309.Aked, C. (1969) 'The Joyces of Whitchurch', Antiquarian Horology, Vol. 6 (4), pg. 216.Wooster, W. (1833-1885) The Post Office Bath Directory Bath: Lewis, Sons & Tyte.Gye, H. (1819-1824) Gye's Bath Directory Bath: H.Gye.The Fitzwilliam Museum (2022) Trade card for Edwin Fisher, Watch & Clock maker, Bath: P.12890-R. Available at: https://collection.beta.fitz.ms/id/object/185709This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A REGENCY MAHOGANY BREAKFRONT LIBRARY BOOKCASEEARLY 19TH CENTURYThe glazed doors and panelled doors enclosing adjustable shelves245cm high, 437.5cm wide, 50cm deepProvenance: Private Collection, Grade II listed Manor, WirralFor a bookcase of the period and of similar scale but with a less rich patina to the timber, see Christie's, New York, Important English Furniture including a Selection of Irish, 18th October 2001, Lot 307 ($28,200).Please note, the measurements for this lot have been revised. The width and height are switched in the catalogue and should read as such: 245cm high, 437.5cm wide, 50cm deepCondition Report: Please note, the measurements for this lot have been revised. The width and height are switched in the catalogue and should read as such: 245cm high, 437.5cm wide, 50cm deepThe width of the upper central section: 130cmThe width of the upper left and right sections: 113cm eachThere are chips, knocks, cracks, scratches and abrasions consistent with age and use.There are losses, restorations and observations including:The dentil cornice has signs of cleaning or later staining; there are some cracks including to some of the hinge areas; some missing screws to the hinges.The locks are later, Bramah style, some fitted upside down, there are no keys. One lower door has a later beaded section where the two join.The interior with adjustable shelves; the backboards are lined to the interior with calico, some marks and aging of the fabric, some reflecting the lines of the panelled backboard construction.The mahogany to the top of the base has a different patina and figuring to the other timber, suggesting that it might possibly be later. Other later timber to the top of the base, supporting the top section.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A GEORGE II MAHOGANY OPEN ARMCHAIRIRISH, MID 18TH CENTURY98cm high, 74cm wide, 71cm deep Condition Report: There are scratches, scuffs, knocks and abrasions consistent with age and use.There are losses, restorations and observations including:The chair is generously sized appearing more of more impressive scale, weight and proportions in reality than in the photograph.Repairs including re-gluing, dowel repairs, splicing to various areas including the crest rail, the interlaced back, the arm joints and the shaped seat sides. Some later staining.There is evidence of worm including to the seat rails. The seat rails with holes from previous upholstery. It is not possible to inspect the upholstered area for condition and originality. The upholstery is blue velvet with stains, marks and impressions.Please see the additional photographs as a visual reference of condition.The shoe is loose to the base of the interlaced splat. Condition Report Disclaimer
Scarce vintage PONFA baby dolls carriage, French circa 1960, the cream tinplate carriage with red foldable hood and cover, sprung chassis and spoke wheels with white rubber tyres, 11” (28cm) long, (condition: good clean example, few minor paint chips), the scale of these prams make them perfect accessories for Sasha dolls.
Suite of Tarbena 1/12th scale Regency style painted wooden Dolls house furniture, Linen press with opening front to three shelves above drawer base, 6” (15cm) tall, double bed, chest of drawers, dressing table, side table and chair, together with a mirror on stand by Dennis Jenvey, breakfast tray and various ornaments, (lot).
Suite of Escutcheon 1/12th scale Georgian Study Dolls house furniture, large breakfront bookcase with pedestal top, shelves, drawers below with sides cupboards, 7 ½” (19cm) tall, writing desk with green leather top, circular side table with opening drawers, red upholstered armchair, folding ladder chair and two chairs together with a magazine rack by Dennis Jenvey, unmarked globe on stand and games table, various ornaments and accessories, (lot).
Dining room 1/12th scale Dolls house furniture, Escutcheon Regency oval dining table, Dennis Jenvey half circle side tables and triple shelf circular table, two carvers, four chairs and an ice bucket all marked signed in gold F ‘ 96, unmarked sideboard, metal painted diner service, pair of hanging mirrors, fire grate, fender, tools and more, (lot).
Living room 1/12th scale Dolls house furniture, Escutcheon Chest of drawers and side table with side flaps, Dennis Jenvey upholstered chair, unmarked Harpsicord, circular table, nest of shelves with drawer below, settee and two armchairs, fire grate, fender and tools, hanging mirror, porcelain and a selection of pictures, (lot).
Rare large scale Talfourd Toys Alice in Wonderland wooden articulated figures, 1920s, thirteen brightly painted figures including Alice holding a Flamingo 5” (12.7cm) tall, Queen and King of Hearts, Mad Hatter, Cheshire cat, Duchess, Fish and Frog Footmen, March Hare, White Rabbit, Dodo, Jabberwock and Door mouse, each mounted on its own stand, each figure with TFF monogram signature, (condition: excellent, no damage or loss except Door mouse lacks one arm), provenance: These figures were given to the vendors mother who was born in the USA to English parents in 1921 by her English Grandparents over a period of years as Birthday and Christmas presents.
A Worcester sucrier and cover, circa 1765The finial modelled as a partly opened bud, the well-controlled powder blue ground reserving alternate fan-shaped and circular panels, the panels revealing a continuous band of colourful flowers, edged in gold and with sprigs of gilded flowers scattered on the blue ground, 11.5 cm high, incised numeral 2 inside the cover (2)Footnotes:ProvenanceWith Robyn RobbGerald Moore CollectionThis well-controlled powder blue ground apparently pre-dates blue scale at Worcester. A dish probably by the same hand is illustrated by John Sandon, Dictionary of Worcester Porcelain, p.267.For further information on this lot please visit Bonhams.com
A fine Worcester mask jug, circa 1770-75Of pear shape on a neatly turned foot, with a scrolled handle, the spout moulded with a grey-bearded male mask, the blue scale ground reserving gilt scroll-edged panels of colourful flowers, 17cm high, square markFootnotes:ProvenanceGerald Moore CollectionFor further information on this lot please visit Bonhams.com
A Worcester plate from the Lord Craven service, circa 1770The blue scale ground reserving rococo shaped panels of colourful flowers framed with scrollwork and flowers in ciselé gilding, the lobed rim also edged with a gold line, 22.2cm diam, square markFootnotes:ProvenanceGerald Moore CollectionThe 6th Baron Craven (1738-91) was a valued customer of the Giles workshop. Purchases in his name are noted in the Giles account ledger in December 1771 and January 1772 but there is no record of the specific patterns and wares that he purchased and so it remains unclear why this particular blue scale-ground service is associated with Lord Craven. See Stephen Hanscombe, James Giles China and Glass Painter (2005), fig.19 for a matching plate.For further information on this lot please visit Bonhams.com
A Worcester butter tub, cover and stand, circa 1770Of drum shape with lug handles, the cover with a large flower finial, painted with garlands of colourful flowers and smaller sprigs within gilt-edged cartouches, reserved on a blue scale ground, with gilt rims, stand 16cm diam, square marks (3)Footnotes:ProvenanceS Barratt CollectionGerald Moore CollectionFor further information on this lot please visit Bonhams.com
The Narford Hall Chestnut Basket: an exceptional Worcester basket, cover and stand, circa 1768The modelling by John Toulouse, each part moulded with puce florets, the basket with a honeycomb ground, the cover and stand with pierced arcaded borders, the centre of the stand and interior of the bowl with colourful flower panels on a blue scale ground, the twig handles and finials with elaborate modelled flower terminals, stand 26.5cm wide, square marks, the footrim of the basket impressed with initials 'To' for John Toulouse (3)Footnotes:ProvenanceThe Fountaine Collection at Narford HallC Boot, probably purchased at the celebrated Fountaine sales in 1884 (paper label)With Rod JellicoeGerald Moore CollectionJohn Toulouse had created related moulding while at Bow and he probably introduced the shape to Worcester around 1766-68. The modelling of the flowers is typical of Worcester porcelain bearing the To mark, although it is very unusual to find chestnut baskets marked with his initials. This shape is traditionally known as a chestnut basket and this is likely its intended purpose. This name does not appear in the 1769 Worcester sale catalogue, however, and instead several pairs of 'cream basons' with covers and plates are listed. Whichever function was intended, the present lot is an exceptional example with nothing to indicate that it was ever used, other than as the most splendid decoration.For further information on this lot please visit Bonhams.com
A fine Worcester saucer dish, circa 1770The rich underglaze blue scale ground reserving rococo or mirror-shaped panels, painted in the Giles workshop with distinctive flower sprays and sprigs, framed with gold scrollwork, 18.8cm diam, square markFootnotes:ProvenanceWith Robyn RobbGerald Moore CollectionThe flower painting is undoubtedly by Giles, whereas the gilded pattern is typical of the Worcester factory. It is possible the Giles workshop was asked to make an addition or replacement for a slightly earlier factory decorated service.For further information on this lot please visit Bonhams.com
A rare Worcester teacup, circa 1770Decorated in the Giles workshop with three cursive floral garlands suspended from a scrolled purple scale border, edged in gold, the entwined handle also picked out with gilt dots, 5cm diam, crossed swords and numeral 9 markFootnotes:ProvenanceGerald Moore CollectionInspired by Meissen, the Giles workshop used scale borders in a number of colourways. This shade of purple is particularly rare. A matching saucer dish is illustrated by Gerald Coke, In Search of James Giles (1983), col. pl.23.For further information on this lot please visit Bonhams.com
A Flight Worcester cream jug and a teapot and cover, circa 1785-90Both decorated with 'Rich Kakiemon' flower panels including wheatsheaves, framed with rococo gilding on a blue scale ground, the lobed oval jug originally from a déjeuner, 10cm high, crescent mark, the conical teapot of large size, 15.5cm high, unmarked (3)Footnotes:ProvenanceLord and Lady Flight CollectionFor further information on this lot please visit Bonhams.com
A mid-century 9ct gold and ruby flexible snake bracelet, hallmarked Chester 1957, the head with chased scale and foliate decoration, with small round cut ruby eyes, internal diameter 5.25cm.. Hallmarks good. Dent to underside of head and another to top of head. Two tiny dings to tail and tiny indent to the last two coils of the flexible body just before the head.
A TAG Heuer Carrera stainless steel chronograph automatic wrist watch, ref. CV2013/1, no. FJ0737, automatic chronograph movement, 25 jewels, cal. 16, dark claret red dial, applied baton markers with luminous dots to outer minute track, luminous hands, orange centre seconds, subsidiary dials for constant seconds, 30 minute and 12 hour recording, date aperture at 3 o'clock, claret red bezel with tachymeter scale, screw down glazed back, case, dial and movement signed, on a Tag Heuer dark brown leather strap, diameter 41mm, boxed with Service Guarantee card dated 06.09.2018.. Currently running and chronometer functions working correctly. Dial VG. Crystal VG. Some wear visible to outside edge of bezel. Light scratching to case. Strap heavily worn and leather starting to split at clasp. Box is tatty with losses to faux-leather covering to inside and exterior.
Two Russian black lacquered boxes, late 20th century, one of square form, signed and inscribed, 3½in. (8.9cm. square); the other rectangular, painted with figures in a palace, 4 7/8in. (12.3cm.) long; together with an Empire style Portugese porcelain box and cover, factory printed marks to base, sarcophagus form with gilt foliate and scale decorated decoation, 6¾ x 4in. (17.1 x 10.1cm.). (3) Good condition, with no faults.
Vintage advertising interest - A rare British Airways model of a Vickers VC10, 1/50th scale, G-ABBA, raised on stylised shaped wooden stand with brass banding and lettering 'V10C', wingspan of 37in. (94cm.), standing 23¾in. (60.4cm.) high. Needs cleaning, some repairs and touch-ups etc, very pleasing to the eye, good.
T. W. Brouard (Guernsey, early 20th century), Two naive style paintings of the White Star Line ocean liners RMS Titanic and RMS Aquitania at sea, with much smaller vessels to the foreground to emphasise the huge scale of the liners,. * gouache on board, each signed and dated 1925 lower left, in original frames. * Titanic 20¼ x 28¼in. (51.5 x 71.75cm.), Aquitania 21 x 29½in. (53.3 x 75cm.). (2). * Both framed behind glass - dirt behind glass and some surface dirt to paint, which is more pronounced on the Aquitania. Aquitania also has three mould spots to the paint surface to the funnels and some yellowed varnish patches in the sky, and a patch of paper adhered to the paint surface at the lower right margin. Both with some losses from frames.
A Victorian walnut centre table by Gillows, stamped 'Gillow' to drawer, the chamfered edged rectangular top with clipped corners and octagonal pendant finials, over a single shallow drawer, raised on fluted twin end supports to bar bases with octagonal feet and brass castors, united by a scale carved stretcher, 29¾ x 18¾in. (75.5 x 47.5cm.), 24in. (61cm.) high.. *
Toys - models including Corgi 1:50 scale Hauliers of Renown CC13729 Scania R - C Doyle Plant Hire and Construction Ltd, boxed and Truckfest 25 CC13523 Volvo FM - MM & LM Finnie, boxed with certificate, Limited Edition No.1226 of 1,810 distributed Worldwide; other Models of Yesteryear, Corgi etc (quantity)
Toys - Corgi 1:50 scale Kings of the Road models, comprising CC12504 Atkinson Borderer flatbed trailer - Pollock, boxed with certificate, Limited Edition No.0290 of 4,000 distributed Worldwide; CC10301 AEC Ergo sheeted platform trailer - Willmotts Transport Limited, boxed with certificate, Limited Edition No.1034 of 2,400 distributed Worldwide; Corgi Fleets of Renown Premium Edition model 26102 Albion Reiver six wheel platform lorry - Tyson Burridge, boxed (3)
An impressive Bohemian ruby stained and engraved exhibition vase, circa 1850-60Of generous baluster shape, the separate tall flanged trumpet neck section cut with eight broad vertical flutes and with a star-cut base, the body cut with twelve broad vertical flutes, both sections deeply carved in Tiefschnitt with continuous wooded landscapes depicting deer, the neck with a barking stag and recumbent doe, the body with four stags and two does running through a dense waterlogged forest, the scalloped collar over a spreading octagonal foot engraved with a border of vines, further vines to the lower part and flange of the neck, 75cm high (2)Footnotes:ProvenanceKojiro Ishiguro Collection, TokyoPrivate Japanese CollectionWith Mayuyama Ryusendo, Kyobashi, TokyoTokyo Art Club, Shinbashi, TokyoPrivate Collection, TokyoThe scale of this piece is remarkable. A ruby stained exhibition vase of different form decorated with similar forest friezes of deer and virtually identical vine borders was sold by Bonhams, Masterpieces of Bohemian Glass, Part II, 30 September 2015, lot 139. Compare also to the bottle vase of similar size sold by Bonhams in Part I, 11 December 2013, lot 48.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A good Worcester chocolate cup and stand, circa 1770Of double ogee form, richly decorated in the Giles workshop with panels of 'fancy birds' in leafy landscapes, the cup with smaller panels of flowers and birds in flight, the stand with small panels of insects, with various gilded ciselé borders, reserved on a blue scale ground, the handles and shaped rims gilt, stand 14.8cm wide, square marks (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Worcester bowl, circa 1767-68From the Bodenham service, finely potted and painted with a blue scale ground reserving rococo gilt scroll-edged panels, enamelled with Chinese figures in stylised landscapes, smaller panels with flowering plants in red and puce, 15cm diam, 'B' mark in underglaze blueFootnotes:A service of this pattern was sold as part of the Bodenham Collection in 1872. A teabowl and saucer of this design from the Crane Collection was sold by Bonhams on 31 March 2010, lot 260. An attribution to James Giles remains debated. See Gerald Coke who illustrates a spoon tray of this pattern in the Ashmolean Museum, In Search of James Giles (1983), pl.42a. See also Sandon and Spero, Worcester Porcelain, The Zorensky Collection (1996), p.357, pl.456 where another teabowl and saucer is illustrated and discussed. The inclusion of a 'B' mark on the present lot is an intriguing feature.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Worcester teapot stand, circa 1770Of lobed hexagonal form, richly decorated with a Mandarin pattern, a charming riverscape with a woman carrying her young son casting a fishing net from a sampan, a gentleman perched on the jetty nearby with a pole and fishing net of his own, below a panelled border of puce landscapes and flowers on a red scale ground, with a gilt line rim, 14.5cm wideThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A gold aquamarine and diamond 'Luna' ring, by Erté, an oval mixed cut aquamarine, claw set to a scalloped fan above, with scale detail either side, and a row of brilliant cut diamonds grain set below, to a plain shank, marked CFA 14k, 44/500, 9.11g.Finger size N approximatelyBuying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportShank not completely round.Minor surface marks/scratches.
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