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Lot 134
Y A fine rare George IV brass mounted mahogany table regulatorBarwise, London, circa 1825The four swollen columnar pillar single chain fusee movement with inverted pear-shaped plates, Harrison's maintaining power and delicate pin-wheel escapement incorporating adjustable pallets regulated by heavy disc bob half-seconds pendulum with fine beat adjustment to crutch and suspension bar bridging the movement plates, the frontplate stamped with serial number 738 to the lower margin and the rear signed Barwise, London over the pendulum holdfast screw bracket, the 6 inch circular silvered dial with subsidiary seconds over Roman numeral hour dials and inscribed Barwise, London to centre within outer minute track incorporating Arabic five minutes, with blued steel hands and milled surround set behind a hinged convex-glazed cast brass bezel, the arch-top case with five generous canted brass-fillet edged glazed panels evenly positioned within the curvature of the top and sides of the upper section and fine ebony strung borders around the dial to the front, the tall plinth base section with crisply cut ebonised upper mouldings over brass-fillet edged glazed panel incorporating concealed spring catch and pin hinges to allow access to the pendulum behind and with cockbeaded surround, the sides with fine flame figured veneers and the rear with arched door set within the frame of the case incorporating glazed aperture positioned behind the movement, on moulded skirt with brass bell-shaped feet, 41cm (16.25ins) high.The life of John Barwise and his family are outlined by A.D. Stewart in his article Barwise & Sons: Watchmakers to the King. A brief history of family and firm published in the March 2014 issue of ANTIQUARIAN HOROLOGY (Vol IIIV No. 1 pages 621-34). Stewart notes that John Barwise was born into a clockmaking family in Cockermouth, Cumberland in around 1756. By 1780 he had moved to London where he opened a watch retailing business. Ten years later he married Elizabeth Weston with his address being recorded as 29 St. Martin's Lane where he remained until his death in 1820. Of their eleven children two (possibly three) died in infancy and two, John II (born 1795) and Weston (born 1793), subsequently joined their father in the family business. In 1800, such was his success, John Barwise I purchased a second house in Dulwich.In 1805 John Barwise I was one of the fifteen watchmakers appointed by The Board of Longitude to adjudicate in the dispute between John Arnold and Thomas Earnshaw regarding 'the respective merits of their chronometers'. On the 14th February 1811 Barwise was the victim of five highwayman who relieved him of a 'gold watch, greatcoat, and a guinea-and-a-half in cash' whilst en-route from Camberwell to Dulwich. This unfortunate occurrence may well have tempered Barwise's enthusiasm for his house in Dulwich as records indicate it was rented out to tenants by 1813. In around 1816 his sons, John II (who had just turned 21) and Weston, joined him in partnership with the business then becoming 'Barwise & Sons'. Shortly afterwards (probably in 1820) the firm obtained the Royal Warrant as watchmakers to King George IV.John Barwise senior died in 1820; by this time he was a wealthy man leaving two properties and substantial investments to his widow and children. The business was continued by Weston and John II in partnership, however this only lasted six years as Weston died in 1826 leaving the business in the hands of John II alone. It was at this time that John II married and moved from the family home at St. Martin's Lane to nearby 42 Craven Street; and then in 1840 to a spacious residence called East Lodge, near Acton which at that time was in open countryside. At around the same time John Barwise II entered into an alliance with the highly inventive Scottish Clockmaker Alexander Bain who was in the process of developing the first electric timepiece. Barwise and Bain subsequently filed a patent (No. 8743) for an 'Electro-Magnetic Clock' which was granted in January 1841; an example of which was then subsequently exhibited at the Royal Polytechnic Institution shortly afterwards.In 1842 John Barwise II was approached by Pierre Frederic Ingold (1787-1878) to assist in the creation of a watch factory which, by employing newly invented machinery, would be able to mass produce high quality watches at a much smaller cost than the prevalent hand-built movements available at the time. Barwise, along with Thomas Earnshaw junior, subsequently became managing directors of the newly established 'British Watch and Clockmaking Company'. The factory was established at 75 Dean Street but only lasted two years before closing due to financial difficulties mostly brought-about by poor reputation fuelled by pressure from rival watch component makers to whose livelihoods the factory posed a great risk. It would appear that John Barwise II had invested most of his personal wealth in the venture as he was declared bankrupt in 1846. With this he lost his house, East Lodge near Acton, but still managed to keep the business afloat - perhaps mainly due to the generosity of his father-in-law, Charles Baumer, who provided the family with a house at 7 Queen's Row, Camberwell rent free presumably until Barwise was back on his feet.In 1853 another former business Barwise partner the Calcutta retail Jeweller Robert John Lattey returned to London and became founder and auditor of the 'London & Eastern Banking Corporation'. With the resources of the Bank behind him Lattey (trading as Lattey and Company) took-on Barwise's debt and became owner of the business. It was at this point that John Barwise II stepped back from the firm with the overall management passing to the to the Swiss watchmaker, Jules Rochat who had joined the business in 1847. Unfortunately the situation did not improve under Rochat's tenureship as it subsequently transpired that the funds used to purchase the business were illicitly acquired, and in 1857 the London & Eastern Banking Corporation collapsed.After the 1857 liqudation of Lattey and Company the firm was acquired by the jeweller and Goldsmith Douglas Guillaume Cave and continued, again under Jules Rochat's management, until 1869 when bankruptcy again forced the company to change hands. The firm was subsequently continued under the Barwise name in the hands of several different owners up until 1988 with their last known address being 153 Fenchurch Street. Of John Barwise II, he is recorded in the 1861 census as being a 'chronometer maker out of business' and presumably still resided at 7 Queen's Row, Camberwell until his death in 1869.To read more, please refer to the full lot description in the page turning catalogue via the link here. Condition Report: Condition reports for this lot are available from the Clocks Department upon request (clocks@dreweatts.com). Condition Report Disclaimer
Lot 40
A Still life with summer flowers in a vase upon a ledge oil on canvas 66 x 49cmCondition report: Oil on canvas which has been lined. The upper paint layers are thinly applied and there are small scattered losses across the surface. However, the paint layer appears stable overall. Retouchings around the edges of the painting are slightly darkened. The varnish is glossy and even. The frame is in a good condition.
Lot 63
A Still life of lilies in a glass jug signed lower left 'Leo Klin / 1945' tempera on canvas laid on board 48 x 69cmFootnote: Provenance: Private collection, Kensington, London Exhibited: London, Royal Academy, 1947, no. 773, as 'Lilies - tempera' The painting of St George slaying the dragon, hung in the background, would appear to be copied from an illustration in a Connoisseur of 1941 of a Flemish 15th century panel by an unknown artist, which is today recorded in the Hulton Fine Art Library and the Getty Images.Condition report: Tempera on a fine weave canvas laid to board. The board has a slightly concave warp. The paint layers have been thinly applied and are in a good condition overall. There is a thin varnish layer present and spots of house paint or similar across the surface. There are losses to the black paint surface of the frame.
Lot 64
A Still life of books, art and ephemera, featuring an image Raphael's Madonna of the Meadow, laid on a table draped with a rug signed lower right "Idrányi M. V." oil on canvas 73 x 99cmFootnote: Provenance: Acquired by the grandfather of the present owner for his villa in Budapest in the late 1930s, thence by descentCondition report: Oil on a coarse weave canvas support which is unlined. The canvas tension is slightly slack with minor undulations and stretcher bar marks forming in the paint layers. The paint layers are in a good condition overall. Small drying cracks have formed in localised areas. The frame has scattered losses to the decorative moulding and gilding.
Lot 66
A Still life of plums in a wicker basket, with peaches and grapes; A Still life of currants and plums in wicker baskets both signed lower left 'Brunel de Neuville' oil on canvas (a pair) 47 x 63cmFootnote: Provenance: Rops Auction House, Belgium, 4th September 2016, lot 1073, when acquired by the present owner
Lot 8
A Still life of shrimps and peeled lemon on silver platters, with a loaf of bread, lemons, wine goblets and a silver beaker oil on panel 50 x 65cmFootnote: Provenance: Believed to have been acquired at a rectory house sale in Essex in the 1950s and presumed to have been on the consignment and thus unsold in 1964 (see exhibited) Exhibited: Leonard Koetser Gallery, 'Autumn Exhibition of Flemish, Dutch and Italian Old Masters', 1964, no. 10, as 'Attributed to Jan Davidsz. de Heem' We are grateful to Dr Fred Meijer for his assistance with this catalogue entry.Condition report: Oil on panel. The panel has had a cradle fitted to the reverse which appears fairly recent. There are also small fillets of wood attached to all four edges of the panel, possibly with fill and retouching over the edges to smooth the transition. The original panel appears to have been made from three boards in horizontal alignment, judging by the cracks in the paint layer. The paint layer is stable overall. There is extensive retouching in the background covering areas of old damage. The overpaint has darkened with age and has a slightly pink hue, noticeable around the glass cup at the centre of the composition. The cracks along the panel joins have also been retouched. The varnish is glossy, even and yellowed. Christie's stencil NP531
Lot 26
Mary Fedden (British, 1914-2012), still life of fruit, 2009, watercolour, signed in pencil and dated 09, H.10cm W.21.5cm, lightly mounted on card with pencil inscription by the artist -Happy Birthday Dear Peter, Lots of Love Mary-. Together with a greetings card by Mary Fedden, watercolour and collage with thank you note by the artist inside, H.22.5cm W.22cmProvenance:Acquired directly from the artist by the vendor (collection of Sir Peter Wright)
Lot 131
*John Northcote Nash RA (1893-1977)A still life of flowers in a vase, by a windowsigned with monogram l.r., pencil and watercolour, with pencil annotations56 x 38.5cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Pinholes to corners and a few tiny spots of foxing.
Lot 53
*Ursula Tyrwhitt (1878-1966)Still life of flowers in a vase, c.1913pencil and watercolour47 x 32cmProvenance: The Germaine Greer collection;a gift from the artist's niece, 1979.*Artist's Resale Right may apply to this lot.Condition report: There is some fading, background washes were likely stronger in colour than they are now. The paper has discoloured and there is scattered foxing throughout. A little surface dirt. A pin hole in each of the top corners. Not seen outside of glazed frame.
Lot 70
Boris Nakhalov (Russian, 1925-2008)'Still life with lilac'signed in Cyrillic and dated '61 l.l., oil on board70 x 80cmCondition report: Small dot of paint loss at lower right extreme edge. A small indent in extreme top left corner next to mount. A couple of misplaced flecks of white paint. Not other obvious flaws.
Lot 1402
W Lambregts (Early 20th century continental school) - Still life with vase of Chrysanthemums, oil on canvas, signed and indistinctly dated 1916? with continental address label verso, 100 x 74cm approx in wide oak frame with moulded gilt slip, together with a 19th century Berlin type needlework panel of an elderly man and a child, 56 x 39cm in moulded gilt frame (2)
Lot 1444
A collection of decorative pictures and prints including an oil on board of a Venetian canal scene, unsigned, 24 x 30cm, an oil painting on canvas of a country house and garden, 34 x 44cm, a watercolour still life of a vase of daffodils and iris, signed Ros Morley, 43 x 29cm, further floral subjects including a watercolour still life of Michaelmas daisies, signed Gill and dated 86, further small signed coloured limited edition etchings including examples by Kate Epps of a blue and yellow macaw, a tiger, etc, various sizes all framed (15)
Lot 1449
A collection of pictures and prints including an oriental watercolour on paper study of a bird amongst prunus blossom, with seal mark and inscription, 41 x 31cm, a pair of further oriental coloured studies of blossom sprays, an oil on board, still life with a vase of daisies, signed Lee, a signed coloured limited edition print after (Arthur Spencer Roberts (British 1920-1997) - Pauline 2/465, 52 x 85cm, etc, various size, mostly framed (10)
Lot 1490
Annie Brown (Early 20th century British school) - Still life with vase of white chrysanthemums, watercolour on paper, signed and dated 1909, 51 x 32cm, Winifred Pickard (British 1908-1996) - Hibiscus with Hummingbird, singed coloured limited edition etching, 36 x 28cm, together with further pictures and prints including early 20th century coloured engraving by Arthur Hogg after a 17th century Dutch genre scene, a further engraving by the same hand of a lady in 17th century style costume, etc, various sizes all framed (7)
Lot 1520
Sue Wales - Still life with fruit and a vase of nasturtiums, oil or acrylic on board, signed, 36 x 42.5cm approx, together with Judi Whitton, watercolour study of a spray of flowers, signed and with artists label verso with Upper Cam address details, inscribed Effervescence, 47.5 x 34.5cm, both framed (2)
Lot 1525
Dannault (20th century school) - Shore scene with figures and fishing boats, oil on canvas, signed, 45.5 x 54.5cm, together with an oil painting on board of a river scene with arched stone bridge, signed CS Freeman, 44 x 54cm, an early 20th century oil painting on canvas - still life with basket of plums, together with an early 20th century relief moulded and painted plaster panel of a nativity scene inscribed Venite Adoreous in integral moulded frame with botanic motifs, 49.5 x 44cm approx overall, all framed (4)
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