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Lot 265
THOMAS WORSEY R.B.S.A. (1829-1875) Floral still life Oil on canvas Signed and dated 1856 lower right 40cm x 33.5cm Condition Report : some craqueleure but otherwise good, frame good Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 269
PHIL WEARE (BRITISH, CONTEMPORARY) Still Life Watercolour Signed in pencil lower right 18cm x 21.5cm Condition Report : mounted but unframed, good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 51
Mudwig (British b. 1980) That’s All Folks, 2008 Giclee print Signed and numbered 16/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures. His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.
Lot 52
Mudwig (British b. 1980) Pluto's Licking 2008 Giclee print Signed and numbered 35/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures. His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.
Lot 53
Mudwig (British b. 1980) Dogmatix Best Chum, 2008 Giclee print Signed and numbered 29/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures. His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.
Lot 71
DelPrado Vintage Victorian Life dolls house dolls, Nursery set and toy accessories-dolls are all still boxed and furniture( fault to one chair) There are also some structures and frame pieces and books for framing th edolls should you wish loose with the dolls + accessories loose and large selection of Victorian family series.( large very good quantity to include babies infants toddlers and adult figures set quantity)
Lot 132
A 19th century two day mahogany marine chronometerSigned 'Eleve de' Parkinson & Frodsham London #537The three part case with blank brass cartouche to the top lid, the centre section with brass flower button above a later ivory signature plaque, the lower section with inlaid brass escutcheon with an ivory number plaque below and folding handles to the sides. The 3.25 inch silvered Roman dial enclosed by an Arabic minute band, subsidiary power reserve from 0-48 at XII and observatory style seconds dial at VI, signed eleve de Parkinson & Frodsham London No. 537 below the gold spade hands. The spotted movement with four ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and Earnshaw type escapement, cut and compensated bimetallic balance with circular timing weights, with typical bayonet-fitting sprung dust cap in a weighted, scratch-numbered gimballed bowl. Ticking with two winding keys and a case key. 16cm (6 in) highFootnotes:Purchased 16 August 2002 from Gerald Marsh Antique Clocks, Winchester.There are three people associated with Parkinson & Frodsham that are known to have used the 'eleve' signature. The first is William Edward Frodsham who was the second eldest son of William James, born in 1814. He entered into his apprenticeship with his father in 1823, but tragically drowned in 1825, at the age of 20. Despite this, two marine chronometers are known to exist by him, numbered 1 and 2, and both signed on the dial Eléve of Parkinson & Frodsham. No. 2 accompanied Charles Darwin aboard H.M.S Beagle, and was sold in these rooms in 2014.The second person to use the 'eleve' name was Thomas Cotterell. Thomas Cotterell (also spelled Cottrell) was based at 163 Oxford street as Cotterell & Co. throughout the 1820's-1830's. Cotterell is known to have signed some marine chronometers as Elevé de Parkinson & Frodsham, despite not being listed as an official apprentice. One chronometer is known to be signed as Cotterell and Co., London and Parkinson & Frodsham, meaning it is possible that Cotterell made movements for Parkinson & Frodsham, rather then having been apprenticed to the firm. Further evidence of his association with Parkinson & Frodsham is that several chronometers were entered in the Greenwich trials by T. Cotterell, yet Parkinson & Frodsham literature took credit for the favourable results received. A chronometer made by Cotterell, No. 368, was bought for 80 guineas in 1829 by the government, to be used on the HMS Rainbow 1823, a 28-gun warship. He had several correspondences between 1822-1835 with Greenwich observatory, regarding the Trials and various parties interested in buying his chronometers. Beyond this, very little is known about his life, including when he stopped trading.The third person to consider is Henry Herbert Frodsham, William Edward Frodsham's nephew. Henry Herbert Frodsham was born in 1850 to Henry Frodsham, a Liverpool watch and chronometer maker and brother of the above-mentioned William Edward Frodsham. Henry Herbert served his seven-year apprenticeship with Thomas Robert Russell, completing it in 1871. After his apprenticeship, he was made a manager of Thomas Robert Russell and sent to manage their branch locations in Chile, then Germany, and finally London, where he seems to have established his own shop at 33 Picidilly, staying there between 1881-1884. A deck watch is known by him from this date, and it is signed on the dial Henry Frodsham élève of Parkinson & Frodsham, Change Alley, London. By 1886 Henry Herbert had moved to Bedford, again establishing himself as a watchmaker. In 1897, he went in to business with his wife Catherine, who was an optician, and formed H & C Frodsham, specialising in optics, whilst still offering watch repairs. Henry Herbert Frodsham died in 1915, but H & C Frodsham continued as an opticians under his daughter, Dorothy Frodsham, until her retirement in 1961.It seems likely that this particular chronometer was made by Thomas Cotterell. Cotterell outlived William Edward Frodsham and spent longer working in London then Henry Herbert Frodsham. Cotterell also used a grammatically correct French signature, eleve de, rather then William Edward and Henry Herbert, both of whom used eleve of. Why Cotterell didn't include his name, as he had done on previous examples remains unknown.The trade sticker in the chronometer box is from Liverpool nautical instrument and chronometer maker Alexander Cairns. He is recorded as working at 12-13 Waterloo Road between 1859-1872, having previously worked at 32 Waterloo Road, just up from Waterloo Dock. There is no record of interaction between Cairns and Parkinson & Frodsham. However, the latter had two branches in Liverpool, four wards east, also just up from the docks. It is possible that this chronometer may have been sent from the London workshop to be sold in Liverpool, though this cannot be confirmed.University of Cambridge (2015) Cambridge Digital Library: Papers of John Pond. Available at: https://cudl.lib.cam.ac.uk/search?keyword=Cotterell%2C%20Thomas%20(fl%201822-1835)%20chronometer%20maker&page=1Davidson, S., Linstead-Smith, P. (2016) 'W. E. Frodsham No.1. Another chronometer identified from HMS Beagle's second voyage', Antiquarian Horology, Vol. 37 (3), pgs. 70-80E. C. V. Blyth (1957) 'Trade Offers Under £50', Antiquarian Horology, Vol. 2 (5), p. 94.Harvard University Hilliar's Guide for Strangers and Visitors Through Liverpool 1854. Available at:https://iiif.lib.harvard.edu/manifests/view/ids:10327532Historic Liverpool (2022) 1860: Weekly Dispatch Atlas. Available at: https://historic-liverpool.co.uk/old-maps-of-liverpool/weekly-dispatch-atlas-1860/#2/-87.8/-61.9This 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
Lot 21
A fine and rare second quarter of the 19th century gilt brass carriage timepieceJames F. Cole, No. 1 Maddox St., Regent Street, LondonThe case surmounted by a stylised facetted Greek key handle with four ribbed mushroom finials above slender Doric columns to octagonal feet, the sides, top and front panels all engine turned, the rear panel patinated and with rotating winding shutter. The 1.75-inch engine-turned silvered Roman dial with subsidiary seconds and slender blued steel moon hands reading against the finely textured centre. The going barrel movement with underslung English lever platform escapement, cut and compensated bimetallic balance, the backplate signed James F. Cole No 1 Maddox Stt Regent Street. 13cms (5ins) highFootnotes:Based on the address on the backplate, this clock was likely made between about 1829-1835. James Ferguson Cole was born around 1798 in Nether Stowey, Somerset to Catherine and James Cole, the latter of whom was a clockmaker, and known throughout the village as 'Conjuror Cole'. It also seems that the family were personally acquainted with both William Wordsworth and Samuel Taylor Coleridge. The Coles had two more children after James, Thomas (born around 1800) and Elizabeth (born around 1808). Both James Ferguson and Thomas became clockmakers, presumably being apprenticed to their father, with evidence that at least James Ferguson began his apprenticeship at 11 years old. According to some sources, James Ferguson was named after the self-taught Scottish astronomer of the same name, who published books and travelled Britain explaining the concepts of Astronomy to lay people. He also made orreries and clocks, eventually becoming a Fellow of the Royal Society. James Ferguson Cole certainly lived up to his namesake and became renowned for his mechanical skill and dexterity; he took out his first patent, for a form of pivoted detent escapement, at the age of 23. Thomas Cole would be lauded for his fine cases and dials, though does not seem to have achieved the same mechanical superiority as his brother.The Cole family moved out of Nether Stowey in 1811, eventually settling in London by 1818. Clocks are known from James Ferguson beginning around 1821, when he seems to have established his own premises, seemingly working out of Hans Place, Chelsea. There is some confusion around this address, it is possible this was the family home. Later in 1821, though, Cole moved to 10 Park Lane, Piccadilly. It does also seem that both brothers were making clocks beginning in their mid-teens, though this was likely done as part of their apprenticeship.Beginning in 1823 the brothers formed a partnership at 3 New Bond Street and began making clocks together. They were responsible for producing some of the most complicated carriage clocks available, which included standard complications such as moon phase and days of the week, and more advanced complications such as perpetual calendar and daily times for sunrise and sunset. They also made watches and chronometers at this time. It is unclear when the partnership dissolved, or why, with the date of dissolution being variously given as 1829, up to 1832. James Ferguson's first shop, after Thomas Cole's departure, was located at 1 Maddox Street, Regent Street, where he stayed until about 1835, then moving to 9 Motcomb Street, Belgrave Sq. Throughout this period he advertised as a chronometer and clock maker. Around 1846, he moved again, this time to 30 Granville Square. At some point, possibly around the time of his move to Belgrave Sq. or a bit after, he married Charlotte Wyatt. The couple would have four children together: James Ferguson Cole Junior, Mortimer George Cole, Ada Martha Cole, and Jessie Cole. Both James Ferguson Junior and Mortimer would become horologists. Ada was a painter, miniaturist, and lithographer who exhibited her work at the Royal Academy. She also printed lithograph portraits, most well-known being of the chronometer maker William James Frodsham. It is unclear if she was or was related to the photographer Ada Cole, who was an early campaigner for animal rights. Cole continued to make high-quality, complicated pieces, relocating first to 20 Devonshire Street and then 11 Great James Street during the 1850's, while his place of residence remained 5 Queen Square Bloomsbury.James Ferguson became quite involved with the British Horological Institute from the beginning, becoming Vice President in 1859. Through his involvement, professional watchmakers began to share information with each other, when previously they had kept the most inconsequential of workshop procedure to themselves, fearing competition from others. For decades afterwards it would be said that 'he broke the ' Conspiracy ' of secrecy' amongst watchmakers. Despite this he relinquished the post in 1862, having become sick of the continual bickering and politicking at council meetings. Another BHI member, however, suggested that it was Cole's 'peculiarity of temperament' which caused the unrest during the meetings. Regardless, in 1875, Cole was commissioned by the BHI, for the sum of £100, to write a series of articles which, taken together, would form a Treatise on Isochronism. It was said that this was partially done to prevent the still new British Horological Institute from appearing antagonistic towards Cole; his possibly forced resignation was warned as being 'no compliment to such an eminent man and also bad taste'. The reviews of the Treatise, after it was published in 1877 were mixed with some members commenting it 'was difficult to criticise [the Treatise] because it contained more language than fact' and others protesting Cole's assertion that flat watchsprings demanded on overcoil if they were to keep accurate time. Some defended the Treatise, including a watchmaker named Joyce Murray, who had been practicing for over three decades. Murray claimed that Cole's Treatise was 'the most valuable work on the subject extant'. Murray further stated that 'Had it been published 30 or 40 years ago, when we began to adjust lever watches, the saving of time and mental labour would have been enormous.' This might suggest that politics and personality clashes biased some reviewers.Cole refused to debate the merits of his Treatise with the various BHI members. He died shortly after, in January 1880, though he continued to practice his horological skills until a few years before his death. James Ferguson Jr. moved into his house, Belvedere (later Tower) House, Bexley Heath, and lived there until 1935. In his obituary, James Ferguson Cole Snr.'s, it was noted that he was one of the foremost practical horologists of his time, and in his particular field of study (springing and timing) he was without equal. Paul M. Chamberlain was well-acquainted with James Ferguson Cole Junior, and his summary of James Ferguson Cole Snr. is probably the most apt: 'Exemplary in his private life, a devoted husband and father, brilliant as artist and scientist, he was in every way fitted to rank with the illustrious men of his time.'Good, R. (2001) 'James Ferguson Cole, Maker Extraordinaire', Horological Journal, Vol. 143(5), pgs. 166-170Murray, J. (1877) 'Letters to the Editor', The Horological Journal, Vol. 19 (6), p. 84Donovan, D. (1975) 'Thomas Cole, Clockmaker 1800-1864. Part 1: The Cole Family', Antiquarian Horology, Vol. 9 (2), pgs. 186-189.Cronin, K. (2016) The Ada Cole Story. Available at: https://unboundproject.org/the-ada-cole-story/British Horological Institute (1958) 'The Rumbustious Days when the Institute was Formed', Horological Journal, Vol. 100 (9), pgs. 566-568.Royal Collection Trust (2022) Astronomy explained upon Sir Isaac Newton's principles and made easy to those who have not studied mathematics / James Ferguson. 1756. Available at: https://www.rct.uk/collection/1090094/astronomy-explained-upon-sir-isaac-newtons-principle... For further information on this lot please visit Bonhams.com
Lot 38
A good late 19th century French gilt brass gorge-cased bell-striking carriage clock set with five polychrome enamel panelsNumbered 775The rippled handle over five enamel panels decorated in many colours, the top and side panels depicting pairs of lovers in Romantic rural landscapes, the rear door depicting a riverside scene, the Roman cartouche dial with blued steel hands over a still-life, all within fancy gilt borders of running flowerheads and foliage, framed by well cast gilt brass uprights on a moulded base, the twin spring barrel movement with compensated bimetallic balance, rack striking the hours on a bell. Ticking. 18cms (7ins) high. For further information on this lot please visit Bonhams.com
Lot 68
An extremely rare late 18th century weight driven walnut-cased floor standing regulatorHenry Ward, BlandfordThe obelisk-form case with shallow pointed arched top over tapering sides to an upright rectangular base on a plinth with moulded lip, the circular dial aperture set into the front of the full-width hinged door. The 9-inch one-piece engraved silvered dial with curved aperture to show the minutes via a rotating minute ring with Arabic fives read against a tapering blued steel pointer, below the minute aperture sit two engraved subsidiaries, to the left is a 24-hour dial with Roman hours marked in three hour intervals marked to the nearest quarter of an hour (i.e. four divisions per hour) read by a simple blued steel tapering hand; to the right hand side is a twice 0-60 second subsidiary dial, marked in individual seconds and named every ten, again read via a simple blued steel tapering pointer. The weight driven movement with unique inverted truncated pyramid shaped backplate (suggestive of a parallelogon) secured directly on to the back of the dial via three 7cms (2.75ins) long turned pillars, the single going train consisting of two large (c.13cms (5ins)) finely cut wheels with screwed collets and eight-leaf pinions driving a 7.5cms (3ins) 'scape wheel with 60 pins. The steel impulse and exit pallets are set directly on the pendulum rod. The pendulum is set on a substantial brass bracket mounted on the walnut block, and is constructed in three parts - two steel arms centred by a zinc core, of octagonal section, set at the upper end with a pair of steel pallets mounted on a brass block, the lower end terminating in a very heavy spherical brass bob with additional auxiliary timing weight (the largest bob approximately 13cms (5ins) in diameter and weighing approximately 10.5kg (approx 23lbs). 1.78m (5ft 10ins) high. Footnotes:Henry Ward was born around 1776; it is unknown where he was born, though he would spend most of his working life in Blandford, Dorset. However, his brother Richard, described as a watchmaker, lived in Middlesex. The details of his early career remain unknown, though, in 1797 a Henry Ward is listed in the Charing Church warden's book as having been involved with the upkeep of the clock for that year. Unlike many of the other listed clockmakers, his place of residence is not recorded. In 1804, Henry Ward of Blandford supplied and installed a turret clock to Milton Abbey, though the actual movement appears to have been manufactured by John Thwaites in London. This, along with his brother's place of residence and the Charing Church records, suggests Ward may have at least been apprenticed in London. In 1805 he received his first of four awards from the Royal Society of Arts, in the form of 15 guineas for a new simplified striking system. This system was noticeably different from other striking systems, as it did away with a separate striking train, instead using the pendulum to power the hammer via front plate levers: The hammer and the pallets are joined together with a rack; a lever is attached to the pallets and once the clock is striking, the pallet lever moves the rack tooth by tooth. Each movement of the rack connects with the hammer tail and causes a blow to be sounded. Ward notes that he uses this system with a deadbeat escapement. Interestingly Edmund Beckett Denison, later Lord Grimthorpe, in his Rudimentary Treatise On Clocks, Watches, & Bells For Public Purposes advocated for a crutch-less escapement. He noted that an escapement which had the pallets on the pendulum would be much more effect, though he did say that this was 'hardly possible [...] to manage behind a clock of regulator size.'Less than two years later Ward had received another award from the society, this time in the form of a silver medal, for his compensation pendulum. This pendulum consisted of two hammered iron rods on either side of a zinc rod, all secured by several screws along the length of the rods. These screws acted as adjustment, according to Ward; unscrewing the screw by one thread, would result in an alteration of the clock's going by about one quarter of one second per day. Ward was quite thorough in his experimentation, making up two pendulums, one using un-hammered iron and the other with half-hammered iron, and observing the change in their respective timekeeping based on the temperature. He even installed a rudimentary heat lamp in each clock case, to be able to test increases in temperature without being dependent on the weather. He eventually refined his pendulum to have chamfered edges and hammered iron rods, both of which he claimed further stabilised the clock's rate. This same year, he also received 10 guineas from the Society, for his invention of a locking crank mechanism for telegraph machines. His final prize from the society would come in 1814, in the form of another silver medal and five guineas for a simplified equation of time complication. This manifested itself as a minute dial with two hands; one hand recorded mean time, and the other tracked solar time. Ward explained in his submission to the Society that he thought it was essential to depict solar time, as the difference between it and mean time could be as much as -14/+16 minutes depending on the day of the year. That this complication was uncommon on standard domestic clocks, Ward ascribed to the cost, expertise, and skill of manufacture necessary. He viewed his complication, which relied on a cam, quadrant rack and a few additional wheels, as simplified and easier to make, with the hope that it would be adopted by more manufacturers. Unfortunately, Ward would die less than a year later, on 23rd February 1815. He is listed in the Blandford Forum burial records for 5th March of that year. Interestingly, he is listed as 'Henry, Ward Snr' opening up the possibility that a son of the same name was still alive as of 1815, though this conjectural child has not yet been located. His brother Richard, and his friend James Ferris, the latter of whom worked from Poole, having been apprenticed to Thomas Wright of London, served as the executors of his will. Richard Ward continued to work in London, at 27 Banner St., St. Luke's until at least 1853. A possible description of his house from 1815 suggests that he had three paying lodgers in his house at that time. This same source also references Mary Ann Ward, who was the daughter of Richard Ward; it seems likely that this is the same Richard Ward, though this cannot be confirmed.Passing reference has also been made to a Henry J. Ward, who was apprenticed to a Thomas Mayne as a watch finisher in 1792 at St. Luke's, London. Assuming Henry J. Ward was 14 at the time of his apprenticeship, he would have been born two years after Henry Ward. Whether this is actually Ward's younger brother, or simply an amusing coincidence, remains unknown.An early 19th century turret clock is known by Ward; it has a pinwheel escapement, with pendulum mounted pallets and a vertical fly. He seems to have been partial to a pinwheel escapement as several of his more complicated clocks used one. Longcase clocks of 30 hour and eight-day duration, as well as silver pocket watches, including one with a duplex escapement, are all known by him as well.Kelly (1843) Post Office London Street Directory, London: Kelly's Directories Ltd.University of Leicester (2022) Historical Directories of England & Wales: London 1808-1915. Available at: https://specialcoll... This lot is subject to the following lot symbols: TPTP 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
![German School 17th Century Oil on Canvas [a]: A Still Life of Walnuts on a Ledge [b]: A Still Life of Cob Nuts on a Ledge Dim](https://cdn.globalauctionplatform.com/1234f8d5-c578-46f9-a838-af4700d27bb2/8be9bb96-46cf-47ab-aa84-af4e00adc46d/468x382.jpg)
Lot 182
Roger Bliss (20th Century) British, A Continental landscape with a town in the distance, oil on board, with Roger Bliss studio collection stamp, 14.75" x 18", Still life with a bowl of flowers on a table, oil on board, with Roger Bliss studio collection stamp, 16" x 20", A seated man wearing a hat, oil on board, with Roger Bliss studio collection stamp, 24" x 18", A still life of a try with objects and fruit on a table covered with a cloth, oil on board, with Roger Bliss studio collection stamp, 24" x 20", (all unframed) (4).
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