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Lot 32
GB & Foreign Coins & Canadian Stamp Medallions - Lot comprises GB coin albums containing 1/2d and 1d coins, plus £5 face plus of GB decimal coins, Isle of Man £1 boxed coin and Queen Mother Crown, various bags of GB pre decimal coinage, plus 2 cased Canadian official 1976 Olympic Stamp medallions with stamps plus some world bank notes
Lot 341
Omnibus Stamp Collections - A plastic crate containing '50th Anniversary of World War 2' commemorative cover collection by Danbury Mint contained in three albums totalling 290 covers; a Millenium Collection of 12 Behham silk covers; plus a 1946 Victory British Commonwealth mint collection by Westminster containing 45 sets contained in an album.
Lot 349
Great Britain & World Stamps - A large suitcase containing GB/World stamps on leaves, loose and on covers. Noted autograph stamp covers bearing printed (?) signatures of Vera Lynn, Douglas Bader & Sir Francis Chichester. Also noted are GB First Day Commemorative covers with better cancellations and a GB smiler sheet
Lot 2254
A Lorna Bailey 'Hill House bud vase' (Tube lined) the very first limited-edition collectors club piece circa 1998 'signed', Old Ellgreave potteries with stamp. Plus 'Twenty-one' jug, originally only available at Lorna's 21st birthday party circa late nineties 'signed'. Sizes approx, vase 5 1/2 inches tall, jug 3 3/4 inches tall.
Lot 665
DIONIS, Monsieur 'Chief Chirurgeon to the late Dauphiness and to the Present Duchess of Burgundy'. 'A Course of Chirurgical Operations demonstrated in Royal Garden at Paris'. Translated from the Paris Edition. Many plates. Jacob Tonson, London 1710. 8vo. (200 x 125mm). Full calf, with tooled ornament, rebacked. B/p and owner's stamp.
Lot 686
MOORE, John, 'Medical Sketches in Two Parts'. Strahan & Cadell, The Strand London 1786. 8vo. 1/2 calf and marbled boards. Ex lib. so stamped plus PITCAIRN, Sir Archibald, The Works Thereof. Curll, Pemberton & Taylor, London 1715. (199 x 120mm). Full calf. Rebacked. New end papers. B/p and stamp. plus TARDIEU, Ambroise, Étude, Médico-Légale sur L'Avortement. Ballière Paris 1864. Marbled boards and calf back. (218 x 137mm) plus BAIRD, D. George and TICE, Charles, Disputio Medica Inauguralis Quaedam de Dysenteria... Adams, Edinburgh 1802. Full tooled tree calf with greek key border. With red title (210 x 138mm) (4)
Lot 832
MUSGRAVE, Sir Richard, 'Memoirs of the Different Rebellions in Ireland from the Arrival of the English…' 3rd Ed. 2 vols. 8vo. Dublin 1802. 10 plates/maps. No. 10 misbound. Library rebind in black cloth plus Rev John O'Rourke 'The History of the Great Irish Famine of 1847' James Duffy, Dublin 1902. 8vo. Black cloth, all ex lib with stamp etc (3)
Lot 156
A William III provincial longcase clock movement with 11 inch dialE. Bernard, Southampton, circa 1695The five finned pillar two train inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre, within an applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed E. Bernard, Southampton to lower margin, with scroll-pierced pierced blued steel hands and winged cherub and foliate cast spandrels to angles incorporating leafy scroll engraved decoration to the dial plate between, now in an oak case with complex moulded cornice and geometric parquetry band to frieze over three-quarter columns applied to the hinged glazed dial aperture and rectangular side windows to hood, over conforming complex moulded throat and parquetry-banded rectangular caddy moulded door to trunk, on parquetry decorated recessed panel fronted plinth base with moulded skirt, 190.5cm (75ins) high. An Elias Bernard is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as working in Southampton in around 1700. The movement of the current lot is well made with relatively tall plates and nicely detailed ring turning to the knops of the pillars. From this it would be reasonable to suggest that the maker was most likely London-trained.Condition Report: Movement is in working condition and appears all-original with no visible evidence of alteration or noticeable replacements. The mechanism is dirty and there is evidence of moderate pinion wear (as well as punch-stamp closing to some of the pivots) hence a gentle clean and service is required. There is a vacant spare hole to the upper edge of the backplate which is most likely from a movement securing bracket (for steadying the clock when it was in its original case). The dial is generally in sound condition although at some point it has been polished hence the matting is a little soft and there are also some slight blemishes (scuffs and slight ripples to the casting). The silvering is a little rubbed and the hands appear to be well made replacements. The screws securing the spandrels are modern replacements.As catalogued the case is not the original one for the movement and dial but may have been purpose made for it at a later date (during the 18th century). The top board to the hood has been replaced, the trunk door has a slight warp and the box base would appear to have been reduced (with the parquetry largely re-laid to match that of the door) otherwise case is in sound original condition albeit with bumps, scuffs, shrinkage and historic repairs commensurate with age and use.Clock has pendulum, two weights, case key and a winder. Condition Report Disclaimer
Lot 173
An interesting George III silver triple-cased small verge pocket watchEdward East, London, second half of the 18th centuryThe gilt full plate single fusee verge movement with four square section baluster pillars pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the backplate with asymmetric foliate scroll pierced and engraved balance cock with geometric bordered rim and leafy trail engraved matted foot flanked by silvered regulation disc within conforming engraved infill opposing signature Edw. East, LONDON and serial number 3966, the pillar-plate fitted with circular silver champleve dial with relief-chased ribbon banners engraved EAST, LONDON to the finely matted centre, within Roman numeral chapter ring with Arabic cartouche five minute numerals to outer track, with blued steel beetle and poker hands and in plain silver inner case with suspension post and ring at twelve o'clock, the second case with fine moulded detail to the bezel edge and outer rim, the outer case matching but with brass shells and overlaid with pinned morocco leather, inner case with indistinct date marks possibly for London 1776 and makers mark R.P for Richard Palmer I, the dial 33mm diameter; the inner case 38mm diameter; the outer case 53mm (2.125ins) diameter. The current lot would appear to almost certainly have been made by the maker of this name who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1736 and gaining his freedom of the Clockmakers' Company in 1743. It is not known whether this Edward East was directly descended from his esteemed 'Golden Age' namesake (who died in 1696), however Loomes notes (in The Early Clockmakers of Britain 1286-1700) that a son of the same name perhaps followed in his footsteps in becoming a clockmaker, and was the father to Edmund East who is recorded by Baillie as working from 1696.Notwithstanding the uncertainties regarding the exact origins of the maker of the current lot it is an interesting example. The maker's mark of the case (which appears original to the movement and dial) is still fairly clear and confirms that it was made by Richard Palmer I who was apparently registered this stamp in 1769. The movement also has some details which would confirm a date of around this time, most notable the matting to the balance cock foot and the geometric border around the rim of the cock itself. However there are many of the features which are particularly archaic for a watch of this date, in particular the champlevé dial, which by this time was very rarely used in favour of white enamel dials, the style of the engraved signature to the backplate also perhaps appears a little old-fashioned. With these observations in mind it may perhaps be appropriate to speculate that the maker of the current lot perhaps sought to capture the feel of examples emulating from his earlier esteemed namesake in order to set his work aside from his competitors.
Lot 8
An Excelsior telegraphic date and time stamping machineGamewell Fire Alarm Telegraph Company, New York, early 20th centuryThe clockwork driven-machanism incorporating a series of wheels for independently advancing five sets of stamps for minutes, hours, date of the month, month and year, set between thick lacquered brass shaped plates over an electromagnetic coil operating a lever for raising a pad towards the time and date stamp assembly with track for ticker-tape type paper to pass between, the front with canted top rail engraved Excelsior and thick bevel-glazed panel concealing the coils to lower section, on moulded cast iron base, (lacking top and rear glasses and small tape spools), 20cm (8ins) high; with a brass tape feed spool incorporating automatic braking system, 15cm 96ins) wide, (2). John Nelson Gamewell is recorded on The Firefighters Hall, Minneapolis website as born in Camden, South Carolina, in 1822 and died at Hackensack, New Jersey, on July 19, 1896. He saw the Channing and Farmer fire alarm system, recognized its value, and in 1855 purchased the rights to construct the fire alarm in the southern and western states. In 1859 he purchased all of the patents and launched his career in the Fire Alarm Telegraph field devoting his entire business life to its introduction and improvement. His business venture was cut short from 1861 to 1865 during the Civil War. As a southerner, Gamewell had returned to South Carolina and the U.S. Government confiscated all his patents on the Fire Alarm Telegraph system and proceeded to sell them at public auction. An employee, John Kennard of Boston, went to Washington prepared to pay $20,000 for the patents. He bought them for the meager sum of $80.00 and returned them to Gamewell after the war. Shortly after the wars end, Gamewell again actively pursued the business under the name American Fire Alarm Telegraph, John N. Gamewell & Company, Proprietor. In 1879, John Gamewell reorganized his company under the new name of Gamewell Fire Alarm Telegraph Company, made significant changes in the size and appearance of the fire alarm box and made improvements in its signaling mechanisms. The 'American Fire Alarm Telegraph' era came to an end but under the reorganization, the name 'Gamewell' would become synonymous with Fire Alarm Telegraph. The current lot would have been used in a fire alarm system to record the time of an event. The dates on the year spool start at (19)20 and end at (19)46 suggesting that it was made prior to 1920.
Lot 92
A French Napoleon III bronze, ormolu and white marble figural mantel clock in the Louis XVI styleRetailed by Juvenaux, Paris, circa 1870The circular countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with VINCENTI... MEDAILLE D'ARGENT, PARIS 1855 beneath indistinct retailers stamp JUVENAUX and number 62, the circular white enamel Roman numeral dial with Arabic five minutes to outer track and fine scroll pierced and engraved gilt brass hands set behind hinged cast convex glazed bezel, the case with lovebird, quiver and flaming torch cast surmount to the acanthus cast and chased laurel bordered superstructure over central rectangular section housing the movement fitted with brass grille frets to the sides and rectangular glazed door to the rear, flanked by seated putti holding aloft grapes and flowers, the base with repeating foliate band and scroll-fronted panel beneath the dial flanked by acanthus cast ogee platforms beneath the cherubs, over breakfronted white marble plinth applied with gilt tied laurel moulding to upper edge and on toupe feet, 35cm (13.5ins) high.Condition Report: Movement is in working condition with no visible evidence of alteration or significant replacements; the mechanism is a little dirty hence a gentle clean/service is advised and the bell is missing its securing nut. The dial has some light concentric scratching in the vicinity of the IX and X numerals, two small chips to the left hand winding hole and one to the right and a small hairline crack next to the 30 minute mark below VI. The case is generally in good original condition with the mounts retaining original gilding throughout with light wear to high spots and a few spots of green tarnishing to the superstructure. The marble base has a slight shallow edge bruise to the centre towards the left hand return of the breakfront otherwise faults very much limited to a few minor edge chips (can be felt rather than seen).Clock has a pendulum and a winding key. Condition Report Disclaimer
Lot 17
JOHN HARDMAN POWELL (1827-1895) FOR HARDMAN & CO. COLLECTION OF ORIGINAL DESIGNS, CIRCA 1860 to include: ORIGINAL DRAWINGS FOR A TEAPOT AND SUGAR BOWL WITH TONGS, CIRCA 1860, pencil, pen and ink on paper, mounted onto card, 17cm x 21cm and 14cm x 11.5cm; also an ORIGINAL DRAWING BY THE SAME HAND, depicting studies of medieval caps and cap badges, pencil, pen & ink on paper, mounted verso, 25cm x 20cm, card inscribed 72/ 30856/15 (1) and 71/ 30856 (15); together with THREE SHEETS OF ORIGINAL DRAWINGS, ATTRIBUTED TO A.W.N. PUGIN FOR HARDMAN & CO., the FIRST SHEET comprising two drawings of INKWELLS, for the Palace of Westminster, 9cm x 16.5cm and 9cm x 17.3cm; two of THURIBLES ON STANDS, 17.5cm x 7cm and 15cm x 6cm; one of a GOTHIC REVIVAL WALL MOUNTED BRACKET, 14cm x 5cm; a MONUMENTAL CLOCK, 17.5cm x 11cm and five further drawings of MEDALLIONS; A CASKET; A DEPICTION OF THE VIRGIN; and a WALL BRACKET; the SECOND SHEET comprising a drawing of a PAIR OF SIDE DISHES, 21cm x 20cm; a SWORD HANDLE, 10cm x 21cm; and verso a FONT COVER, 20cm x 14.5cm; and a STATUE OF CHRIST ON A PEDESTAL, 23cm x 11.3cm; the THIRD SHEET with drawings of a GOTHIC FRAME, 17.3cm x 11.7cm; a POLE SCREEN, 23cm x 8.5cm; a CHAMBER CANDLESTICK, 12.5cm x 16cm, each pencil, pen & ink on paper, mounted onto card; and ORIGINAL DESIGN FOR A PULPIT FOR THE MARQUIS OF BUTE BY JOHN HARDMAN POWELL FOR HARDMAN & CO., pencil, pen & ink on paper, with inscription "Design for a Pulpit in oak "carved"/ Marquis of Bute", bears makers embossed stamp HARDMAN & CO., 61cm x 26cmFootnote: Provenance: Hardman Archive Note: See V&A collection, museum number 8119-1863 for the realised teapot in silver dated 1861-2
Lot 117
A Study for the 'Bird's-Nesters', circa 1874 with artist's studio stamp in brown ink lower right 'J.F.M' (Lugt: 1460) black crayon on paper 27 x 16.5cm sight size; 44.5 x 33cm framedFootnote: Provenance: [By repute: The Leicester Galleries] From the collection of the art critic David Thompson (1929-2019) and Freda Dowie (1928-2019) The present work is a study for the central figure in Millet's 'Bird's-Nesters', one of his last works painted right at the end of his life, now in the Philadelphia Museum of Art. It depicts a scene from the artist's childhood whilst growing up on the Contentin coast of Normandy. He would go at night with other peasants to hunt the flocks of wild pigeons that migrated across the Channel. When the birds settled in trees at night, the peasants blinded them with light from torches and then clubbed hundreds to death. For peasants living a hard existence, this communal hunt was one of the few sources of meat in an otherwise limited diet. Millet worked out the positions of the figures in numerous small pen and ink sketches, as well as in pencil and crayon, known examples of which are in the Louvre Cabinet des Dessins and in the Indianapolis Museum of Art. A much larger charcoal underdrawing on canvas of the final composition was sold at Sotheby's New York on 15th November 2017, lot 129, for $150,000.Condition report: Slight toning and creasing to the paper. A tear left of the figure's right elbow along the left margin. This area is also discoloured. Light staining and discolouration in top corners. A small circular stain and two pinholes visible left of the figure's right hand. Little dirt under glass. Examined out of frame but not outside the glass.
Lot 131
Gwen Playing Cards, 1922 signed lower left 'HJ. Gunn.' oil on canvas 60.5 x 45cmFootnote: Provenance: The Artist's family and thence by descent; With The Fine Art Society, London, March 2008, Private collection, Kensington, LondonCondition report: Oil on canvas which us unlined with a artists’ supplier stamp for G. Rowney & Co. The canvas tension is good and the painting is in plane. The paint layer is a good, stable condition overall. The varnish is clear and semi-glossy. The frame has a few losses to the gesso and scuffs and scratches.
Lot 55
Portrait of George, 1st Lord Lyttelton (1709-1773) inscribed with the name of the copyist and the date 1913 on the reverse oil on canvas 75 x 62cmFootnote: After the original by an unknown artist in the National Portrait Gallery.Condition report:Oil on canvas which is unlined with an art supplier stamp for Winsor and Newton on the reverse. The canvas is in plane with adequate tension. One of the stretcher keys has fallen behind the lower stretcher bar. There is a light bloom across the surface. Several paint losses.Unglazed. The frame is broken and needs attention.
Lot 56
Portrait of Sir Thomas Lyttelton, 6th Bart. and 2nd and last Baron Lyttelton of Frankley (1743/4-1779) half-length gesturing towards a female figure from antiquity inscribed lower left 'Thomas 2nd Lord Lyttelton / 1744-1779', and on the reverse with the name of the copyist and the date 1914 oil on canvas 75 x 62cmFootnote: Thomas, 2nd Lord Lyttelton of Frankley married in 1772 Apphia Witts (d. 1840) and the figure to which the sitter is gesturing may be an allusion to Apphia, daughter of Philemon, a Greek comic poet who lived to be 97 and died of laughing. The present painting is a copy after the original by Cosway at Hagley Hall, Worcestershire.Condition report: Oil on canvas which is unlined with an art supplier stamp for Winsor and Newton on the reverse. The canvas is in plane with adequate tension. The paint layer is in a good condition overall. Drying cracks have formed in the lower half of the picture which would have occurred as the paint dried. There is a thin varnish layer which has sunk and is no longer adequately saturating the paint layers. There is a thick layer of dust across the surface. The frame has a few scattered losses to the gilding.
Lot 58
CHRISTOPHER DRESSER, OWEN JONES, LIBERTY & CO., LONDON ET AL: VICTORIAN AND EDWARDIAN DESIGN GROUP to include Printed card photograph frame, designed by Christopher Dresser; Owen Jones (ill): Thomas Moore: Paradise and the Peri. Day & Son, 1860; Laurence Weaver Houses and Gardens by Lutyens Country Life Library of Architectural Monographs, 1913; Lindsay P. Butterfield Floral forms in historic design, mainly from objects in the Victoria & Albert Museum, but including examples from designs by William Morris and C.F.A. Voysey, B.T. Batsford, 1922 with Pilkington Tile & Pottery Co. stamp; T. Martin Wood Drawings of D.G. Rossetti George Newnes Ltd.; Two original invoices from Liberty & Co., dated 1886; Hand Blocked Coloured Prints of the Gay 90s, a group of printed cocktail napkins; and Catalogue illustré des dessins de l'artiste découpeur, A. Hanchar-Duthoit, Liege 1906
Lot 1553
Various coins, to include two pound coins, half crown George V 1918, commemorative crowns, Jubilee, 40th Anniversary of Coronation of five pound, Peace and Goodwill two pound 1995, etc., George VI penny with original patina, and various other low denomination coins, and a Jubilee stamp album, etc. (a quantity)
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165598 item(s)/page