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Click here to subscribeHERMÈS Seidencarré "DIES ET HORES", by Françoise Façonnet, Entwurf erstmals erschienen 1963. Akt. NP.: 410,-€. 100% Seide. Sonnenuhrmotiv in Blau, Weiß und Goldfarben. 90 x 90cm. Handrollierte Säume. Karton anbei. Neu. | HERMÈS silk scarf "DIES ET HORES", by Françoise Façonnet, design first published 1963. Retail price: 410,-€. 100% silk. Sundial motif in blue, white and gold colours. 90 x 90cm. Handrolled hems. Cardboard box enclosed. New.
Sido and François TheveninImportant, monumental and unique 'Musique au Paradis' wall-mounted sculpture, 1974Bronze, brass, iron.Overall: 131 x 234 x 5.5 cm Tree root collar impressed SIDO AND FRANÇOIS/THEVENIN/GTS/FT/CANNES/1974.Together with a certificate of expertise from Nicolas Thevenin.Footnotes:ProvenanceGalerie Drouant, Paris, 1974Aga Khan IV, acquired from the aboveAndré Malizard, Villefranche-Sur-Mer, France, 1970sAcquired from the above, private collection, Villefranche-Sur-Mer, France, 2002Thence by descent to the present ownerExhibitedGalerie Drouant, Paris, 1974A FEW THINGS ABOUT SIDO AND FRANÇOIS THEVENIN. Nicolas Thevenin François Thevenin was born in Aix-en-Provence, France in 1931, and Sido (Gisèle Sidoti), Casablanca, Morocco in 1934. Sidoti was her maiden name, which led to her artist's pseudonym Sido and is the reason why some works are impressed GTS: Gisèle Thevenin Sidoti. Both artists' careers began from an early age. François achieved first place for modelling clay in year two, sculpting spontaneously and ambitiously the impressive 'Montagne Sainte-Victoire'. At age five, Sido made local news headlines for a sandcastle contest at the beach, having sculpted a shepherd and her sheep that measured a monumental four meters long, commenting 'It is fun shaping forms!' In 1952, François and Sido met at the Beaux-arts de Paris, where they studied under the direction of the sculptor and painter Louis Leygue. Following an un-official marriage celebrated with close friends, who described how, 'these two spend too much time together', François and Sido officially married in 1954. After welcoming their first child Dominique in 1955 in Paris, they settled in Cannes in the French Riviera between 1957-1958. In 1961, François and Sido worked with the artist Jean Cocteau on the sundial 'Les Lézards' for the village Coaraze in the Alpes-Maritimes above Nice. This commission comprised one of François and Sido's earliest artistic collaborations and works in metal. François and Sido had progressed toward working in metal following an overwhelming and precarious disappointment. For many months, they had shaped and sculpted hundreds of raw terracotta figures, a 'real pacific and sympathetic army'. When it came time to bring the works to be fired at a kiln in Vallauris, they carefully packed up every figure into the car and set off. Alas, a sneaky bump at the entrance of the facility reduced their fastidious three months of artistic production to utter dust and detritus. However, this unfortunate event led to a fortunate outcome, convincing François and Sido to turn towards the far more durable medium of metal. Another collaboration began after meeting Jacques Couëlle, acknowledged as 'the architect of billionaires', whose ideas and appreciation for execution appealed to François and Sido. In 1962, they began working with the architect on Castellaras Estate in Mouans-Sartoux, France, applying their artisanal skill within the space to create door furniture, lighting, among other interior fittings and fixtures. Whilst working with Couëlle, François and Sido became close friends with the actor Marcel Duhamel, who subsequently introduced them to the brothers Jacques and Pierre Prévert, Pablo Picasso (who often visited their workshop, commenting that it reminded him of Bateau-Lavoir, his workshop in Montparnasse), Yves Tanguy, Brassaï, and many others. In 1966, Sido gave birth to their second son Nicolas in Cannes. During this time, François and Sido worked on several international commissions, including work in Montreal, New York, and Santiago del Chile. François and Sido also collaborated with Couëlle's son Savin, the architect for Porto Cervo, Sardinia, which was initiated by the Aga Khan IV. The artists and architect worked together for decades, becoming a symbiotic alliance, that could be thought of as almost genetic, as Savin would incorporate François and Sido's sculpture and objects into his architecture, while the two artists would intricately form Couëlle's volumes into their sculpture. This close collaboration developed through many projects across several continents, resulting in sculptural pieces of furniture that includes tables, seating, lighting, doors, grills, and handrails, many of which were unique works of art. Together François and Sido created a vast collection of work and exhibited at prestigious galleries, including Drouant, Paris in 1972, and Cartier in 1980. Their work, which extends from furniture to sculpture, painting, drawing and etchings, was continually inventive and conveyed an organic, unexpected, and enchanting world for their viewers. In 1986 Sido passed away at age 52, followed by François in 2016 at age 85, both in their shared house-workshop in Cannes.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional 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 selection of cast metal and other sculptures, including: contemporary bronzed arrow sundial, with Roman numerals in relief, 24cms high; bronzed carved wood sculpture of an Egyptian cat, after an Egyptian Bronze Ptolemaic Period cat; bronzed metal sculpture of a nude; maritime brass bell; and other items.
A GEORGE II LEAD FIGURAL GARDEN SUN DIAL ATTRIBUTED TO JOHN CHEERE AFTER JOHN NOST MID 18TH CENTURY The solid gnomon and dial above the crouching figure of Father Time or Kronos, the dial signed "B MARTIN, LONDON" and indistinctly engraved with the Boevey escutcheon of arms 152cm high overall, the base 92cm wide 74cm deepProvenance:Possibly acquired by Thomas Crawley-Boevey, 1st Bt. of Flaxley (1709-69), at the time of his marriage to Susanna (née Lloyd) in May 1743, and by descent at Flaxley Abbey, Gloucestershire, until sold and removed from the premises- Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1009.Returned to Flaxley Abbey by Frederick Baden WatkinsLiterature: Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 36, no. 3.Mrs. A. Gatty, The Book of Sun-dials, London, 1900, 4th edition, p. 472.R. Bowling, 'Sundial Supporters Revisited', BSS Bulletin [The British Sundial Society], vol. 19, September 2007, p. 126.This 18th century lead sundial was described as 'The Flaxley Sundial' when it was sold from the Flaxley Abbey estate in 1960. The lead figure of Father Time is depicted as a bearded old man kneeling under the weight of a bronze dial that bears the Boevey coat of arms. He is shown with wings to represent how 'time flies'. 'B. Martin', possibly the maker, is incised on the dial. He is shown with wings to represent how 'time flies'. 'B. Martin', possibly the maker, is incised on the dial. It's possible that the maker of the sundial was Benjamin Martin who worked between 1738 and 1777 from one address in Chichester and five in Fleet Street and latterly as Benjamin Martin & Son until 1782 when the firm went bankrupt.At the time of cataloguing only two similar sundials of this particular kneeling form of Time were noted. One, with receipt dated for 1743 by John Cheere, was noted at Blair Castle, Perthshire (RCAHMS SC 763911). As the lead was piece-moulded, Cheere could assemble parts in new configurations; this was supposedly the case with the Blair Castle example, which is adapted from John Nost I's (fl. 1677-1710) Indian sun dial at Melbourne Hall, Derbyshire (I. Roscoe, A biographical dictionary of sculptors in Britain, 1660-1851, New Haven and London, 2009, p. 262).Another version of Father Time was formerly at St. Osyth Priory, Essex- however it has been noted that this one was of a slightly different form- with just one hand holding the plate above. It was listed in the house sale of 1920 as: 'A fine XVII cent. cast lead figure of Time supporting a sundial, 3' 6" high on a square stone base' (In fact, it was 18th century and life-size). The sundial failed to sell, and remained at St. Osyth Priory until 1986; its present whereabouts are unknown, and no image is extant (R. Bowling, 'Sundial Supporters Revisited', BSS Bulletin [The British Sundial Society], vol. 19, September 2007, p. 126).Subsequent research has shown an almost identical sundial to this lot- offered by Seago Antique Garden Furniture, 22 Pimlico Road London, and illustrated at the back of John Davis "Antique Garden Ornament" (Antique Collector's Club 1991). The Seago lead statue of Father Time is recorded with provenance for Fonthill House, Wiltshire, home of Alderman William Beckford. Unfortunately its current whereabouts is unknown and the maker of the sundial plate unrecorded.A related sundial known as the 'Blackamoor' is recorded in the gardens of the Inner Temple, London (W. Lethaby, Leadwork, old and ornamental, and for the most part English, London, 1893, pp. 101-111). This sundial is signed on the dial 'Ben Scott in the Strand Londini Fecit' and '1731'. It is almost certainly after an earlier model by John Nost I, who at the turn of the century, was awarded a contract for an extensive programme of sculptural works at Hampton Court Palace, Middlesex, including a 'Blackamore' sundial. The records state that Nost I was employed 'for modelling a figure of a Blackamore kneeling being 5 ft high holding up a sundial', and for 'casting the said Blackamore in hard metal and repainting'. Another 'blackamoor' sundial attributed to Nost I based on the Melbourne Hall example sold Sotheby's, London, 10 July 2014, lot 140 (£56,250 inc. premium).The tradition of casting statues in lead dates back to the Roman period, but in Britain it was particularly prevalent in the late-17th and 18th centuries when lead figures featured predominantly as garden statuary. Nost I founded the original lead figure manufactory in London, at the Hyde Park Corner end of Piccadilly. This neighbourhood became the centre for the production of lead figures with a number of lead yards in operation, including that of Nost's cousin, John Nost II (d. 1729), who took over the family business, and John Cheere, known for his life-size lead figures that were often painted 'to resemble nature'. It is additionally noted that the Blair Castle version of this may have been painted to resemble marble.Condition Report: Weathering, wear, marks, knocks and scratches as per age, handling, use, and cleaning. Comparison with the two photographed similar examples at Blair Castle () and with Seago in 1991 (see additional images) shows that each is mounted on a stone plinth base, right foot down and the left overlapping at the back. In this example however the left ankle has a bracing rest, the right foot is slightly elevated and an iron rod runs up from the plinth into the body. Evidently the rod and possibly the plinth are therefore later- part of a conservation process to ensure greater stability to the figure. In each photographed comparable example there is damage or repair evident to the legs/feet. This lot shows old remedial and conservation work- notably around the left ankle, foot and knee. However weathering has resulted in colour variance to the surface throughout- making it difficult to determine whether further work was carried out on the right leg, limb extremities and around mould-junction points. There does seem to have been restoration work at the shoulders, and elbows- and slight feather crack to left elbow. Certainly with this lot there is a notable colour difference to the fingers of both hands- a natural weak spot- which suggests old repairs. Additionally, there has been discussion as to the colour and form of the sundial circular surround. Comparison with the other two shows a similar colour variance and smoothness- a paler slightly greener colour- suggesting it may have been cast slightly differently from the main body for stability and accuracy to accommodate the sundial plate. The plate itself is not fixed in place- with vacant screw holes. The plate has strong scattered verdigris patina and the markings are faint and rubbed. Please see additional images for visual references to condition which form part of this condition report.All lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers.Condition Report Disclaimer
Antique bronze sundial finely engraved with calendar, dates, etc. Approx. 18cm in diameter. Inscribed with the names "Caleb Dickenson" and "ROBERT SPURELL FECIT". Dated as 1716 (and possibly 1845?). Possibly related to the famous Dr. Caleb Dickenson of Jamaica, and Robert Spurell may have had a connection to the London firm of James Shears and Sons
AN IVORY SUNDIAL, TUGUI, QING DYNASTYChina, 1644-1912. Of rectangular form, incised with characters to one side indicating time periods and to the other indicating the celestial poles, seasons, and 24 solar terms, along with how long the shadow should be for specific time periods. The top of the sundial is pierced with two small holes to insert the gnomon, which is stored in a small recess at the lower end covered by a small rectangular ivory fitting.Provenance: From a French private collection. Condition: Very good condition with minor wear, natural age cracks, few minuscule nicks and light scratches. With a naturally grown, honey-golden patina overall.Weight: 118.7 gDimensions: Length 15.8 cmTrade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0074).Some types of sundials have existed in China since around 800 BC, and these eventually evolved into sophisticated water clocks by circa 1000 AD. Sometime during the Song dynasty, a compass would also be added to the sundial. There is an early reference to sundials from 104 BC, found in an assembly of calendar experts. However, equatorial and polar sundials, as commonly found in Europe and Arabia, did not exist in China until the late Ming dynasty, when Catholic missionaries introduced them to Chinese astronomers.Literature comparison: Compare a wood sundial compass, dated possibly 18th century, in the collection of the Cooper Hewitt, Smithsonian Design Museum, accession number 1957-165-12, and another dated 1850-1900 in the Horniman Museum & Gardens, London, museum number 6.12.65/265, and an ivory compass and sundial, dated to the 19th century, at Christie's New York, 17 October 2000, lot 41.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.清代象牙日晷中國， 1644-1912年。 象牙長方形日晷，一面有南北兩極的使用指示和二十四節氣，另一面的移動式陀羅尼上有一個小格子開口，表面刻著交錯時間。 可根據緯度的不同，調節好晷版的坡度仰角，在晷版立一籤板，在晷版投影上，就可以讀出時間，在景版上，就可以讀出節氣來。 來源：法國私人收藏。品相：品相極好，輕微磨損， 年代裂紋， 一些微小的刻痕和輕微的劃痕。 整體帶有自然生長的蜜色包漿。 重量：118.7 克 尺寸：長 15.8 厘米象牙交易證書：附有此拍品在歐盟範圍內的交易證書複本(證書編號 AT 22-B-0074)。 西元前 800 年左右，中國有了日晷，最終在西元 1000 年左右演變成複雜的水鐘。 在宋朝時，日晷上也會增加一個指南針。 曾有記錄發現了西元前 104 年的日晷。然而，在歐洲和阿拉伯常見的赤道日晷和極地日晷，直到明朝末年才出現在中國，是當時的天主教傳教士將它們介紹給中國天文學家。 文獻比較：比較一件可能約為十八世紀的木雕日晷，見庫柏休伊特設計博物館，編號1957-165-12。另一件1850-1900年的木雕日晷在倫敦Horniman Museum & Gardensmuseum，編號6.12.65/265。一件十九世紀象牙日晷，見紐約佳士得，2000年10月17日，lot 41。
AN 18TH CENTURY-STYLE COMBINED POLYHEDRAL SUNDIAL AND WINDVANE, CONTINENTAL,the central gilded sphere surrounded by four brass panels, engraved with eight sundials with accompanying gnomons, the upper panels engraved with the cardinal points and various celestial scenes, surmounted by wind vane with twin stylised lions, on a faux marble pedestal base, overall 75in x 19in x 14in (191cm x 48cm x 35.5cm) 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
AN EDWARD NAIRNE OCTAGONAL BRASS HORIZONTAL SUNDIAL, ENGLISH, LATE 18TH CENTURY,signed E Nairne London, engraved with compass rose and cardinal points, hour and minutes scale and mounted with shaped gnomon, 9in (23cm) wide Footnotes:Edward Nairne (1726-1806) is recorded at his own London workshop by 1752, on Cornhill opposite the Royal Exchange. Nairne took on numerous apprentices over the course of his career, most notably the instrument maker Thomas Blunt.For further information on this lot please visit Bonhams.com
A 19th century brass engraved sundial, EnglishWith decorative gnomon, the square back plate engraved with an eight-point compass rose, the hours marked with Roman numerals, and inscribed ‘A Light Guides Me / The Shadow You’, height 16cm, width 25.5cm, depth 25.5cmProvenance:Albert Bartram Collection
An engraved brass sundial, English, dated 1716With ornate pierced gnomon, the near-square backplate with five concentric time zones, namely Rome, Jerusalem, Mexico, Quinsay and Coventry, the spandrels engraved ‘Coventry Fecit’, Berkswell 1716’, ‘William Sleath’ and ‘Charles Hewitt’, height 16cm, width 28.5cm, depth 29cm A Charles Hewitt, of Coventry or Kenilworth, Warwickshire, is recorded as repairing the clock of St. Nicholas Kenilworth in 1693-95 and may well be the maker of this sundial. William Sleath is probably the original owner. ‘Parishes: Berkswell’, A History of the County of Warwick, Vol. 4 (1947), reads: ‘William Sleath by will dated 30 Dec. 1729 gave to the poor of Berkswell 10s. per annum, to be paid out of his coppice wood called Round Reading’s to the churchwardens and distributed by them in bread’. ‘ Quinsay’ may refer to a town near Boston, USA.Provenance:Albert Bartram Collection
Gill, Eric (1882-1940) Gill family collection of photographs of Gill's statues, carvings, inscriptional works &c. 1) 25 photographs of Eric Gill's statues & inscriptional work, all inscribed on the backs in Eric Gill's hand;including such works as "Mankind" (in the Tate Gallery); carvings in Portland stone for the West Dean Lychgate; stone decoration for Mirfield Refectory; "B.B.C. Details of Ariel, unfinished"; memorial stone for Sir Charles Hamilton at Broadway, Glos.; "Eve". Bath Stone 2 feet high approx. EG Apr. 1930"; 'St. Dominic Caen stone carved by Eric Gill, the Blackfriars Church, Oxford 1931 (about 18 inches high)...'; St. Francis (for Coplestone gravestone), Hoptonwood stone, about 3 feet high, 1935, in cemetery at Chester...'; 'Model for South Wind ca. 1929. Bath stone, about 2 feet long' (St. James's Park station); torso of a woman, a work completed at Ditchling, ca. 1920; 'Torso, Portland Stone, about 18 inches high'; The Glastonbury Madonna, in Portland Stone, completed in 1928; 'Headstone in Hopton-Wood Stone (Pitman's system), E.G. del. David R. Sc. 1936'; "Garden Statue", an early work completed 1911/12, later in Roger Fry's collection; elaborate bas-relief commissioned by the L.M.S. railway for their hotel at Morecombe, Lancs., illustrating the story of Nausica and Ulysses (1933), afterwards used on LMS menu cards; the Crucifix for G.K. Chesterton's grave in Beaconsfield Cemetery, 1937. 'S. Simeon Stylites (Garden Figure)'; Coat-of-arms for Jesus College, Cambridge, "Weldon Stone", about 7 ft. 6 inches high. 1930-31". The earliest photograph is one dated 1908 which shows three memorial stones, captioned 'Three memorials. A. Portland Stone - letters incised & printed black. B. Statuary Marble & Alabaster - Letters incised & painted "Brun rouge". C. York stone - Letters in relief.' A in the headstone for John Kipling, commissioned by the Earl of Lytton, 119 in THE INSCRIPTIONAL WORK... B is the oval tablet for Harriet Templer, 112 in THE INSCRIPTIONAL WORK. C is the headstone with relief inscription for Lily Duff, 79 in THE INSCRIPTIONAL WORK... 19052) 46 photographs of Eric Gill's statues & inscriptional work, all with inscriptions on the backs by members of the Gill family: Mary Gill, Evan Gill (E.G.'s brother), Petra Tegetmeier & Joan Hague (his daughters); and by Sir Wm. Rothenstein. There are 46 with their captions or other MS inscriptions. They include such works as "the money changers", the War Memorial of Portland Stone (6 ft x 16 ft.) on the wall of the Library at Leeds University, 1922-23, 418 in THE INSCRIPTIONAL WORK...; pierced carvings in door at the Radcliffe Library, Oxford, 1934; unfinished 'Headstone, Portland Stone, about 6' high'; 'The Divine Lovers'; funeral urn, in Willesden Cemetery, in memory of Walter Mortimer Ronalds, 1925; 'The golden calf'; Madonna & Child; tablet of polished Hopton-Wood stone, St. James, Piccadilly, in memory of Mary Beatrice Johnson, 1930; Memorial of Portland stone at Chirk, near Wrexham, 1920; 'A contortionist'; 'St. John the Baptist'; headstone in memory of Walter Consitt Boulter, 1913; Crucifix on the altar of Hart House Chapel, Toronto; Mother & Child (1913); portrait panel of Hopton-Wood stone, in memory of Ottoline Morrell, 727 in THE INSCRIPTIONAL WORK...; headstone of Delabole slate in memory of Percy Walter White; 'Joan of Arc'; 'A dancer'; '4th Station. St Cuthbert's Church, Bradford' (this has a number of inscriptions in William Rothenstein's hand); 'Study for Leeds War Memorial'; 'Leeds Memorial. The money changers, 1st stage'; 'Mater Amabilis'; 'Mankind'.3) 9 photographs of statues & carvings by Gill's assistants, six inscribed on the back in Eric Gill's hand. They are by Antony Foster, Charles Blakman, H.J. Cribb and Laurie Cribb. And the headstone for Eric Gill in the communal cemetery, Speen, Bucks, which was designed by E.G. himself but cut by his assistant Laurie Cribb. This is 762 in THE INSCRIPTIONAL WORK...4) 127 photographs without captions or inscriptions. They include such works as the headstone for Guinevere Shove; 'Ecstasy'; gravestone in Boulogne in memory of Herbert Trench, 438 in THE INSCRIPTONAL WORK...; tablet in memory of the McCosh family; Hopton-Wood stone tablet at Sevenoaks, Kent; coloured alabaster Mother & Child; Gravestone of York stone, 639B in THE INSCRIPTIONAL WORK... Plate VI); 'South Wind'; portrait panel of Lord Rutherford; statue of Mother & Child, commissioned by Rupert Brooke; Delabole slate tablet, 718 in THE INSCRIPTIONAL WORK; Grave-board at Suhr bei Aarau, Switzerland, 1933; The splits, 1 & 2; Portland headstone REMEMBER PHILOMEL; wall tablet in Brighton, for site of Russell House; stone tablet to mark the Coronation of King George V; Headstone at Drumoak, Aberdeen; wall tablet in the Maharani Hospital, Jagdalpur; sundial; headstone in Chester Cemetery for members of the Coplestone family; tablet of Roman stone in the Peek Frean pavilion, 1939; incised lettering on a pilaster of the British Museum, 394 in THE INSCRIPTIONAL WORK...5) Envelope of 15 photographs of Eric Gill's statues & carvings, mostly inscribed on verso by him or Mary GillNote: Provenance: Property of an English collector.
An early 19th century universal cross dial by Samuel Porter, the turned mahogany case with screw on/off lid enclosing an equation of time table to the underside and pivoted cross, 16 point compass, two spirit levels and three levelling screws, 11.5cm diameter Reference: The British Sundial Society Bulletin, Vol, 34 (i) March 2022 included
An English Equinoctial travelling compass sundial, having folding latitude arc, the hour ring inscribed 'L Casella, London', contained in a mahogany folding case CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Nürnberger Erdglobus auf Vielflächen-Sonnenuhr und Kompass, vor 1851Kleiner Erdglobus, signiert "The Earth published by J.G. Klinger in Nuremberg", 12 vielfarbige Kupferstich-Segmente auf Holzkugel, englische Beschriftung, Ø 5,5 cm, halber Meridianring aus Silber, Erdkugel darauf neigbar gelagert, Horizontring aus Bein, mit geschnitzter Gradeinteilung, Monaten und griechischen Tierkreiszeichen, auf 3 Säulen und Kubus, Oberseite mit eingelassenem Kompaß, Windrose und Fassung aus Bein, 3 Seiten mit Sonnenuhren, gravierte Zifferblätter aus Bein, Gnomone aus massiven Silber, Kantenlänge des Würfels 7,3 cm, Gesamthöhe 18 cm. - Extrem selten, das einzige bekannte erhaltene Exemplar. Start Price: EUR 1800 Zustand: (2-3/2-3)Nuremberg Terrestrial Globe on Multisided Sundial and Compass, pre-1851Miniature 2 1/5-inch terrestrial globe marked: "The Earth published by J.G. Klinger in Nuremberg", made up of 12 polychrome copperplate gores on wood globe, with inscriptions in English, tilting mount on silver half-meridian ring, bone horizon ring with carved graduation lines, months and Greek zodiacal signs, resting upon 3 columns and a cube, the top with inset compass, bone compass rose and mounts, sundials with engraved bone dials and solid silver gnomons on 3 of the sides, edge length 3 in., total height 7 in. - Extremely rare, the only known surviving example. Start Price: EUR 1800 Condition: (2-3/2-3)
Sonnenuhr mit Kompaß, um 1850Süddeutschland, klappbares Mahagonigehäuse, Kompaßskala aus Papier, Stahlnadel, Glasabdeckung mit Sonnenuhr, versilberte Skala, klappbarer Gnomon, Maße 7 x 7 cm, funktioniert, guter Originalzustand. Start Price: EUR 240 Zustand: (2-3/2)Sundial with Compass, c. 1850Southern Germany, hinged mahogany case, paper compass scale, steel needle, glass cover with sundial, silvered scale, hinged gnomon, dimensions 2 ¾ x 2 ¾ in., works, good original condition. Start Price: EUR 240 Condition: (2-3/2)
A small mixed lot comprising a vintage office hand press 'K Gosden Limited', a soapstone hinge-lidded trinket box, a Swiss musical box by Alfred Schild-Clever, woodcarver of Interlaken with Swiss musical movement 'Edelweiss' (sic) and a compact brss Compass / Sundial in brass inlaid hardwood case [4]
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