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Lot 454
the cream coloured dial, 20mm diameter, with blue Arabic numerals, gold coloured scrollwork hands and gold coloured dot minute track, the crown wind mechanical movement with onion shaped winder and hand setting button at 1 o'clock, the case, 30mm diameter, with engraved bezel, verso engraved with foliate designs and featuring a two stems of roses each with a bloom around a central vacant escutcheon shaped cartouche, stamped inside '14K' and numbered 125821, the base metal cuvette similarly numbered, pendant bow removed and with later added fixed lugs to a brown leather strap with pin buckle, gross weight 23.1gFootnote: Until the beginning of the 20th century, watches were generally worn by gentlemen suspended from chains, with the watch housed in the waistcoat or breast pocket - hence the name 'pocket watch' - and watches for ladies were either attached to clothing with a brooch fitting, or suspended from a chain around the neck. However, during the first Word War there was a need by soldiers to be able to see the time quickly and easily without having to rummage in a pocket, not least because they may well have their hands full, and pocket watches began to be worn strapped to the wrist with leather. Later, pocket watches had the pendant bow removed and lugs attached to the side and were fitted with a traditional watch strap, and the 'trench watch' was born. It soon became fashionable to wear the watch on the wrist, so at this time many pocket watches were converted in this way. It was not until later that the dial configuration was changed so that '12' and '6' were positioned at 90 degrees to the wrist as they are today. This was not only because fixing lugs where the winding crown and case hinge were located would be difficult, but also so that the crown rested comfortably on the wrist when worn. The dials were not repositioned as that was 'a watchmaker's job', whereas soldering lugs to the case side was reasonably easy to do 'at home'. In this example, the '12' and '6' are still parallel to the wrist and the pendant bow is missing. It started life as a pocket watch and was subsequently converted to a wristwatch - following the fashion which remains to this day.
Lot 848
A collection of 19th and 20th century pencil and watercolour sketches, including landscapes, still life studies, figures, horse study, etc, by Morris Rylands and Maimie Bleckly.Additional InformationAs there is so much included in this lot it is difficult to do a condition report. Some visible foxing, spotting, discolouration. Wear to page corners and edges. Some of the pictures are damaged and torn. Outer bindings and covers of the sketch books are heavily worn. Stained, discoloured, etc.
Lot 1019
ALLAN COWNIE (1927-2015); two pastels on paper, 'Na Et Naif', 33 x 48cm, 'Sleeping Nude' 29 x 60cm, also three still life drawings, the largest 27 x 38cm, all framed and glazed (5). (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 1057
IAN PARKER (born 1955); oil on board, still life study of fruit and blue and white ceramics, signed, inscribed on Beckstones Art Gallery label verso, 44.5 x 60.5cm, framed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 1068
MINOU STEINER (born 1940); oil on board, still life, signed lower right, 56 x 38cm, unframed. (D)Additional InformationAs it is unframed there is wear to the corners and edges with some small areas of paint loss. A crease to the lower right corner and general wear. This will fit in one of our picture boxes. Please see our postage page for prices. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
![Cox (Morris). March Demon, A Collage Novel, author's original 'manuscript' copy, London, 1938, [12], 232 leaves, the title-pa](https://cdn.globalauctionplatform.com/117b213f-3a61-4e3a-8621-ab1400de82b3/14c73e1d-27a6-4415-b886-ab140120cbe7/468x382.jpg)
Lot 702
Cox (Morris). March Demon, A Collage Novel, author's original 'manuscript' copy, London, 1938, [12], 232 leaves, the title-page and text a collage cut up from ten 19th-century works, the composite text pasted centrally to recto of each hand-numbered leaf, occasional use of whitener, versos blank, original canvas-covered boards with two screwed spine pegs, the two covers hand-coloured by Cox in a magic square design, small typed label to upper cover, 4to (26 x 20 cm) (Qty: 1)NOTESProvenance: Alan Tucker, from the author. From the Library of Alan and Joan Tucker, Stroud, Gloucestershire. A typed note on the leaf following the title-page explains: 'This collage is altogether made up of the following short and (most likely) forgotten works'. The following eight leaves have the title-pages of the eight works from which Cox composed this work: 1) The Maiden Monarch; Or, Island Queen , vol. 1, R. Hastings, 1840; 2) The Tell-Tale: An Original Collection of Moral and Amusing Stories , Harris and Son, 1823; 3) Louisa Featherington, and Other Tales , Religious Tract Society, [1866]; 4) The Child's Guide to Knowledge; Being a Collection of Useful and Familiar Questions and Answers on Every-Day Subjects... , by a Lady, 48th edition, Simpkin, Marshall, & Co., 1874 5) The Girls' Reading-Book or Chapters on Home Work and Duties by Mrs Henry Sandford, W. & R. Chambers, 1877; 6) A Guide to the Knowledge of Life, Vegetable and Animal... , by Robert James Mann, 3rd edition, Jarrold & Sons, circa 1860s; 7) The World's Birthday. A Book for the Young by Professor L. Gaussen, T. Nelson, 1865; 8) Model Lessons for Infant School Teachers and Nursery Governesses, Prepared for the Home and Colonial Infant School Society, by the Author of 'Lessons on Objects' , R.B. Seeley and W. Burnside, 1838. According to Alan Tucker all the books were bought for a few pence on Faringdon Road or at chapel fetes. 'Note the seventh title devoted to the Sabbath, the 8th to objects. Why eight books? Maybe an arbitrary number, though the first title is out of character with the rest, and probably indicates Victoria, eight letters to her name, still a maiden in Vol. 1. Solomon of course was born (and buried) on a Monday. On the last page the hero gets married and imagines he's arrived in heaven.' Cox's inspiration for collage came from Kurt Schwitters and Max Ernst and was submitted to Faber who rejected it 'just as they were about to publish (with some misgivings) Finnegans Wake . Cox used to say Faber turned him down from a natural reaction to [James] Joyce: Enough already. They have taken one chance and were not in the mood to promote another uncommercial book, particularly from a totally unknown writer' (Alan Tucker, 'Finnegans Wake and March Demon: A collage text by Morris Cox', flashpointmag.com, 28 July 2009. Cox gave this book to Alan Tucker and later borrowed it back to issue in his Gogmagog Photocopy Library (1984), Franklin 46.
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