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A Victorian rosewood cased sympiesometer, Crichton Brothers, London, circa 1875. The rectangular silvered scale applied with siphon tube with open bulb to the left and sealed bulb to the right filled with pink stained fluid, the left hand margin with mercury tube Fahrenheit scale thermometer above engraved signature Crichton Bro’s., 11 Billiter St. London, opposing right hand side with engraved vertical scale for degrees Fahrenheit ranging between 20 and 120 set behind slide with expanded scale annotated for barometric inches and with the usual weather observations, the upper edge of the slide fitted with angled brass pointer for calibration against the temperature scale behind and with adjustment by rack and pinion to a knurled brass knob fitted to the right hand side of the case, the lower edge with recessed circular level recording disc labelled REGISTER and engraved with barometric scale visible through an arched aperture in the plate and manually adjusted via projecting rim to the base, the case with shaped upstand to the cavetto moulded cornice above moulded surround to the bevel glazed front aperture, (with restoration), 55cm (21.75ins) high. Crichton Brothers are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as specialist makers of sympiesometers working from 11 Billiter Street, London, 1871-7. The sympiesometer was invented by Alexander Adie of Edinburgh in 1818 and is essentially an improved version of Robert Hooke’s thermobarometer which was subject of a paper presented to the Royal Society in 1668. The instrument works by having a syphon tube filled with liquid open to the air at one end and with trapped gas at the other (sulphuric acid and hydrogen were used in later sympiesometers). As barometric pressure increases the liquid will be forced down the tube causing the gas to be compressed, resulting in a change in level in the tube. Unfortunately the volume of the gas changes with temperature so before a reliable reading can be taken the instrument would first need to be calibrated by adjusting the position of the movable barometer scale in relation to the temperature scale behind to reflect the reading provided by the thermometer. The sympiesometer was conceived as an alternative to the mercury marine barometer as it was smaller and believed to be less susceptible to the motion of a vessel at sea.

A very rare Victorian rosewood mercury ‘Patent Compensating Portable Barometer’ or mercury sympiesometer, William Harris and Son, London, mid 19th century, The rectangular silvered scale applied with short U-shaped mercury tube terminating with open bulb to left hand column opposing sealed bulb to the right, the centre with mercury tube Fahrenheit and Reaumer scale thermometer and with engraved inscription Harris’s Patent Compensating Portable Barometer, the upper margin signed WILL.’M HARRIS & SON, 50 High Holborn, London, above right hand side with engraved vertical scale for degrees Fahrenheit ranging between 20 and 120 set behind slide with compressed vernier scale annotated for barometric inches and with the usual weather observations, the upper edge of the slide fitted with angled steel pointer for calibration against the temperature scale behind and with adjustment by rack and pinion to a knurled brass knob fitted to the right hand side of the case, the vernier with independent adjustment via friction slide to a smaller secondary brass knob to the exterior, the lower edge with engraved serial number 284 over recessed circular level recording disc engraved with barometric scale visible through a semi-circular aperture in the plate and manually adjusted via projecting rim to the base, the case with shaped upstand to the cavetto moulded cornice above moulded surround to the glazed front aperture, 33cm (13ins) high. Many makers with the surname Harris have worked in the London instrument trade since the middle of the 17th century, however this branch of the family can be traced back to Richard Harris who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from several addresses in London circa 1710-1810. His son, William, was apprenticed to the clockmaker Joseph Robinson and gained his freedom of the Clockmakers’ Company in 1796. William set up business first at 47 High Holborn, London in 1805 before moving to a couple of doors down to number 50 in 1815. The business became ‘William Harris & Company’ in around 1813 before being renamed ‘William Harris & Son’ in 1841 when William Harris is believed to have taken in his son, Richard Joshua, into partnership. The business is recorded working from 50 High Holborn until around 1855. The design of current lot was described in the 1851 publication by Adolphus Oliver Harris A Treatise on the Patent Compensation Portable Barometer and was developed by William Harris and Son as an improvement on the sympiesometer invented by Alexander Adie of Edinburgh in 1818 (which in turn was essentially an improved version of Robert Hooke’s thermobarometer which was subject of a paper presented to the Royal Society in 1668). Both instruments essentially work in the same way with a syphon tube filled with liquid open to the air at one end and with trapped gas at the other (sulphuric acid and hydrogen were used in the sympiesometer). As barometric pressure increases the liquid will be forced down the tube causing the gas to be compressed, resulting in a change in level in the tube. Unfortunately the volume of the gas changes with temperature so before a reliable reading can be taken the instrument would first need to be calibrated by adjusting the position of the movable barometer scale in relation to the temperature scale behind to reflect the reading provided by the thermometer. The sympiesometer was conceived as an alternative to the mercury marine barometer as it was smaller and less susceptible to the motion of a vessel at sea.

A fine and rare Queen Anne verge pocket watch movement, Thomas Tompion and George Graham, London, number 4650, circa 1713, The full plate gilt verge movement with four Egyptian pillars pinned through the frontplate and three-arm sprung steel balance, the backplate with fine leaf-bordered symmetrical foliate scroll pierced and engraved balance cock with female mask decoration at the base and conforming pierced broad foot flanked by silvered regulation disc with adjacent applied foliate scroll infill opposing signature Tho: Tompion, Geo: Graham, LONDON and engraved serial number 4560, the frontplate stamped with repeat serial number, movement diameter 39mm, now fitted to a late 18th century circular white enamel Roman numeral sedan timepiece dial with blued steel spade hands, the case contemporary to the dial with hinged cast brass bezel fitted with convex glass within moulded cavetto surround, the rear with circular hinged brass cover and brass suspension ring fitted to upper margin, 14.5cm (5.75ins) diameter. Thomas Tompion has often been referred to as the ‘father of English clock and wachmaking’. When considering the legacy of his work and influence on subsequent generations, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and was working in the clock and watchmaking trade. Although there is no record of his apprenticeship or whether he received any formal training prior to moving to London, he quickly became established and obtained his freedom of the Clockmakers’ Company in late 1671. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with eminent mathemeticians and scientists such as Robert Hooke and Jonas Moore - perhaps the most progressive and inventive minds of the day. Such associations lead to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676 and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his watches and clocks from around 1681/2. This, as well as maintaining a high degree of refinement in both the design and construction of his clocks and watches, ensured the highest level of exclusivity for clients purchasing from him. In around 1700 Thomas Tompion took a former apprentice, Edward Banger, into partnership however this arrangement came to an abrupt end in 1707-8 for reasons unknown. On Banger’s departure Tompion reverted to working alone until he found confidence in George Graham who had been engaged as a journeyman for Tompion since 1696. Graham’s character had already been given the seal of approval by Tompion who allowed him to marry his niece, Elizabeth, in 1704; however it still would be a few years before Tompion would take Graham into partnership which he eventually did in 1711. Thomas Tompion died in November 1713 leaving the business to George Graham who maintained the same exacting standards and became famous in his own right with notable achievements including the development of the deadbeat escapement for pendulum clocks and the cylinder escapement for watches. He continued Tompion’s sequential numbering for his clocks and watches and assisted John Harrison with his development of the marine timekeeper. George Graham died in 1751 and was buried next to Thomas Tompion at Westminster Abbey. The current lot belongs to a group of less than twenty examples signed by both Tompion and Graham from around four hundred known surviving watches from Tompion’s first numbered series as recorded by Jeremy Evans in Evans, Carter & Wright THOMAS TOMPION, 300 YEARS. The movement can be closely compared with number 4540 which is illustrated together with a view of the dial (providing a good indication of how the original dial for the current lot would have appeared) on page 292. It is also perhaps interesting to note that the current lot is the last example recorded on the list to be signed with Tompion’s name (albeit in partnership with Graham) suggesting that it is probably the last surviving watch made in Tompion’s workshop before his death in November 1713.

IHAGEE KAMERAWERK (Germany): Exakta Varex and VX 1000 35mm cameras: An Exakta Varex SN 683129 with eye level prism (Version 3) SN 103979 and Zeiss Tessar T 50mm f3.5 SN 3515242 in maker’s leather ERC. An Exakta Varex VX (Version 3) SN 761595 with Zeiss Biotar 58mm f2 T lens SN 3833072 and an uncommon uncoated brass Sperling prism finder all in maker’s leather ERC. An Exakta Varex IIb SN 1035447 with Zeiss Flektogon 35mm f2.8 SN 6265663, Zeiss lens cap and prism finder (version 5) in maker’s leather ERC and an Exakta VX 1000 third version (“aus DRESDEN” engraved) SN 1181013 with Zeiss Flektogon 35mm f2.8 SN 9865266, prism finder (version 5) with attached cold shoe mount, in maker’s leather ERC. Also a photocopy of the VX instruction booklet. (4 cameras)

MAMIYA CAMERA CO (Japan): Mamiya RB67 Professional medium format camera SN C90601. With Sekor 90mm f3.8 SN 58962, lens cap, waist level finder, 120 ProS back, camera strap and RB67 Professional and RB67 Pro-S manuals. (2)

TOKYO KOGAKU (Japan): Topcon 35mm cameras and accessories. A Topcon B SN 153397 with Auto-Topcor 3.5cm f2.8 SN 291345, lens cap, accessory flash mount, prism- and waist level finders, the latter in leather pouch. A topcon RE-2 SN 561362 RE Auto-Topcor 5.8cm f1.8 SN 11610793, lens cap, maker’s leather ERC, camera manual and brochure. Accessories consisting of an RE Auto-Topcor lens 5.8cm f1.8 SN 9900167 with both caps and hood in leather case, a set of Topcon extension tubes Nos. 1, 2 and 3, a manual for Topcon Super D and a Topcon camera case.

A collection of approximately 580 postcards, the majority topographical views, including photographic postcards titled `Guinness`s Brewery, Lower Level, Dublin`, `Victoria Quay, (Loading Steamers), Guinness`s Brewery, Dublin` and `The Quay Wexford`.

Grand Marnier Triple Orange 1 litre 40% Vol 1970`s bottling 1 bt Drambuie `Prince Charles Edward`s Liqueur Believed 1940`s level below shoulder, no signs seepage No size stated, Believed 50cl, 70% Proof 1 bt Tortosky Triple Sec Believed 1950`s No size stated 70% proof 1 bt Above 3 bts

Cary surveyor`s level in fitted case with tripod and staffs,

A small collection of Hornby Series gauge O railway accessories, comprising a No. 5 set of level signs and posts, a junction signal (distant), an island platform `Windsor`, a No. 2 railway station with slopes, a passenger platform, two slopes and a plate layer`s hut with fire and shovel, mostly boxed (playwear, faults, boxes creased, torn, scuffed and stained)

A bamboo and metal mounted system walking stick, second quarter 20th century, the crook handle fitted with an aluminium horse measure, with fold out brass arm with spirit level, the shaft with metal ferrule, 98.5cm high; a Victorian bamboo system stick, late 19th century, the shaft housing a steel spike, 87cm high; and a simulated wood and maple mounted walking stick, second quarter 20th century, the resin grip modelled as a hare’s head, with inset glass eyes, 92cm highBid Live at the-saleroom.com

A bamboo and metal mounted system walking stick, second quarter 20th century, the crook handle fitted with an aluminium horse measure, with fold out brass arm with spirit level, the shaft with metal ferrule, 98.5cm high; a Victorian bamboo system stick, late 19th century, the shaft housing a steel spike, 87cm high; and a simulated wood and maple mounted walking stick, second quarter 20th century, the resin grip modelled as a hare’s head, with inset glass eyes, 92cm high

SOL LEWITT, AMERICAN (1928-2007), paper folded into squares, 1971. Signed to bottom right square `Sol LeWitt London June 15 1971`. Lisson Gallery stamp and label verso, with No.7 written in pencil. PROVENANCE: Acquired from a 1973 Lisson Gallery exhibition, presumably from `Sol LeWitt: Lines through toward and to centre points` , May 1973, though the signature suggests that it was made at an earlier date. A similar example was sold at Christie`s Post-war & Contemporary Art auction on 17th April 2013. Compton visited exhibitions at the Lisson Gallery from its opening in 1967 and later met Sol LeWitt in New York. Sold with a copy of 1973 Lisson Gallery invoice. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. SOL LEWITT (1928-2007): Sol LeWitt was born 1928 in Connecticut to Eastern European immigrants. LeWitt received a BFA from Syracuse University in 1949 (where he made his first prints) and then was drafted in the Korean War in 1951. During his service, he made posters for the Special Services and spent time in Japan. In 1953, he moved to New York , where he studied at the Cartoonists and Illustrators School (now the School of Visual Arts). In 1960, he took an entry-level job at the Museum of Modern Art, where he met Dan Flavin, Robert Ryman, Lucy Lippard and Robert Mangold. Together, through the `Sixteen Americans` exhibition, they were introduced to the work of Jasper Johns and Frank Stella and Robert Rauschenberg. LeWitt was also interested in Russian Constructivism, with its engineering aesthetic and the idea of making utilitarian art in an industrialised age. LeWitt`s three dimensional structural works from the mid to late 1960s - such as Serial Project, Three Part Variations on Three Different Cubes, and hundreds of sculptures made of open white cubes - grew out of this interest in the serial. He applied the same system of permutations and variations in his prints, drawings on paper and drawings on the wall. Sol LeWitt executed his first wall drawing in 1968 at Paula Cooper Gallery in New York. Wall Drawing #1 emphasized the premise of the artwork over the final product. "I wasn`t really that interested in objects. I was interested in ideas." - SOL LEWITT. 21.70 x 4.10in. (55 x 10cm) Possible slight discolouration / sun damage throughout but very minor. Has been out of its frame. Fixed down in all four corners, back is plain. Slight rough edges, various creases around fold lines. Small dot (possible foxing) through the fourth segment top to bottom on the right hand side. Plain oak frame.

Two boxes of collectables including draughtsman`s drawing instruments, rules leather tape measures, brass and rosewood spirit level, reel to reel tapes, Ensignette de Luxe camera, Kodak Colorsnap 35 camera, slide viewers, pair of opera glasses etc

GRAND OLD PARR Blended Scotch Whisky. Bottled by MacDonald Greenlees Ltd. No capacity stated on label, 70°proof. Clasp seal. VAT 69 N.A.A.F.I Blended Scotch Whisky, specially labelled for the N.A.A.F.I. Stores for H.M. Forces. No strength or capacity stated. Bottle has a `Filling Height` label on side of bottle. DIMPLE Blended Scotch Whisky. 26 2/3 fl.ozs. 70°proof, in carton. WHYTE & MACKAY 21 YEAR OLD Blended Scotch Whisky. 75cl, 40% volume, in presentation box. BELLS DECANTER MARRIAGE OF PRINCE ANDREW AND SARAH FERGUSON Blended Scotch Whisky, 75cl, 43% volume. BELL`S COMMEMORATIVE BELL SELECTION BELL`S QUEEN MOTHER 90TH BIRTHDAY BELL Blended Scotch Whisky in white and blue Wade decanter. 75cl, 43% volume. PRINCE HENRY OF WALES BELL Blended Scotch Whisky in white Wade decanter. 50cl, 40% volume. 7 bottles Grand Old Parr- slightly weathered VAT 69- fill level is high shoulder, bottle is weathered Dimple - carton and label are weathered

HORNBY DUBLO 2R Set 2050 Suburban Electric Train comprising 2250 BR(S) Green Motor Coach and 4150 Trailer Car and a circle of 2R track. The Motor Coach has minor frosting to the cab edge on one side at route indicator board level otherwise contents are Mint in a Mint Box Base with an Excellent Plus lid. All paperwork.is missing.

PHENOMENAL THREE-DIMENSIONAL LEADED GLASS SHOE STORE TRADE SIGN. On occasion a fabulous piece of any nature comes to the market, having been tucked away for perhaps 50, 80, or even 100 years. Oftentimes, there is no provenance or history attached to said item. But on rare occurrence, this information comes to light along with the extraordinary piece itself. Please read below the history of the shoe`s origins as well as view the accompanying photo showing the former location of the sign in the present day. Unfortunately we were unable to secure a photo of the shoe in use during the time period. Adolph Schauder emigrated to the United States from Germany in 1893. He settled in the northern Wisconsin town of Rhinelander. Adolph brought nothing with him other than leather so he could reestablish himself as a shoemaker and provide for his family. He was able to purchase a two story building in downtown Rhinelander on Brown Street. His shop was on street level and the family living quarters were directly above. Four generations continued this business until it was closed in 1989 having operated for 96 years. There were no heirs to inherit and continue the business. It is not exactly clear when Adolph had this incredible trade sign created, but we have been told by family members that it was created and put in place in the earliest part of the 20th century. At some point, the shoe was taken down from its outside display area and relegated to the basement. A family member recalls that often on the Fourth of July, the shoe would make an appearance in the town parade with family members strapping it to the roof of the car for all to see and remember. After the shoe store closed, the new owner of the building held an auction to dispose of various items left in the building. The consignor of this item attended the public auction at the shoe store`s location and was stunned to see this fabulous item that was never even mentioned in the auction flyer. Due to age and the wish to downsize, they have decided to liquidate and consolidate their various treasures. At first appearance, one thinks of this as a boot, but in reality, it was designed as a shoe and the white glass actually simulates a spat. The lettering ""S&S"" is done in burgundy glass and was perhaps meant to represent Schauder & Son. The heel of the shoe is actually a tin surround with an opening at the bottom. The top of the shoe has a covering and most likely at one point had an electrical fixture to light up the shoe. A hole on the underside of the shoe would allow for easy access to change the light bulb. Although the actual glass pieces have not been counted, it must easily be in excess of a few hundred pieces. As one would expect, there have probably been some aged repairs to some of the leading and glass tiles, but the piece is firm, solid and intact. The shoe itself utilized amber colored glass to simulate leather and as previously discussed, the spat is a creamy white with the burgundy S&S lettering. The toe area of the shoe employs a different style of glass being of a green color. Truly an amazing and most important folk art trade sign to come fresh to the market and undoubtedly a once in a lifetime opportunity to own a piece of this magnitude. SIZE: 25-1/2"" h x 36"" l x 12-1/2"" w. CONDITION: As stated above. 1-14108

1930s ERA STEIFF WOOLEN MINIATURE RABBIT WITH BUTTON. Rabbit is made from white Nomotta wool and has a swivel head. He has a pom-pom tail and two pom-pom front arms. His white felt ears have a touch of pink airbrushing on their insides. Rabbit`s tiny and simple face is detailed with pink and red glass pupil eyes, a pink airbrushed nose and mouth, and clear monofilament whiskers. Steiff introduced woolen miniatures in the early 1930s in part to have a lower priced, collectible, entry level product offering, as well as to make items that would be good to display with other items and in vignettes. This pattern was produced in 4 and 6cm in a series of lifelike color combinations from 1931 through 1943. Rabbit retains his button and his ear tag, which has snapped in half, as his Steiff IDs. SIZE: Overall 2"" t (5cm). PROVENANCE: Chuck & Cathy Steffes Collection. CONDITION: Ear tag broken in two pieces, otherwise very good. 1-13842

STAR - SY4 WOODEN SAILING YACHT c.1960`s (Made in Liverpool - 18"" wood hull with thick metal keel (red/blue) and 18"" wooden mast with twin jibs and main sail (Fair), BING c.1920`s 9"" LAMP STANDARD - cast base with glass lamp (broken.) HORNBY No. 1 `O` TINPLATE LEVEL CROSSING. (Good/box torn) - `O` GAUGE 0-4-0 BLACK LOCO BODY (No. 1 mech and wheels), LMS No. 1 COAL TRUCK. (VG) - `O` CHAD VALLEY STEAM LINE C/w LOCO and 2 x carriages. (Poor, over painted blue ) (8)

Early 20th Century surveyor`s level by J. Halden & Co, Manchester.

A quantity of various items. An interesting collection of card based British military figures slotted into red painted wooden bases. Standing, 9cm and mounted 12cm examples include lancers, fusiliers, infantry in scarlet, riflemen, Scots, Guardsmen, various types. Probably designed to be used as part of a game. 150 plus pieces. Also in lot are three Invicta Figures white metal kits – Marshall Ney and horse. Elite Gendarme and a Mounted French Line Lancer. Plus a Hinchliffe Models mounted English lancer. A nice model fort with 3 turrets with walkways and castellation’s, ramp leading to drawbridge and internal drawbridge leading to a higher level. measuring 63cm over the base by 37cm with a height of the tallest tower of 31cm. Plus a few other items including a tinplate/plastic battery operated Space Ship and a few die-cast aircraft and other vehicles. GC-VGC.

* ALL CREATION REJOICES IN THEE WITH A SILVER-GILT OKLAD MOSCOW, FIRST HALF OF THE 18TH CENTURY 33 by 27 cm. Related literature: For similar works, see Ikony Yaroslavlya XIII – serediny XVII veka, Moscow, 2009, in 2 vol., p. 90, no. 127. A. Rybakov, Vologodskaya icona. Tsentry khudozhestvennoi kultury zemli Vologodskoi XIII–XVIII vekov, Moscow, 1995, no. 154, 156. The icon is an illustration of the opening lines of the troparion of St John of Damascus in honour of the Mother of God: ‘O Thou who art full of grace, the joy of every creature, the host of angels and the race of man. O Holy Temple and Paradise of the Word...’ At the centre of the complex, theologically rich composition is the image of the Mother of God and Child on a throne, surrounded by the glory of heaven, and behind her the angelic host and temple against a background of the Garden of Paradise. In the bottom part of the composition are representations of patriarchs, prophets, apostles, saints, martyrs and holy people. This icon also includes several additional depictions that are rarely encountered. In the middle tier, on the same level as the Mother of God, are portrayals in the archways of King David holding a harp (left) and the Good Thief with a cross (right). We find a similar addition of this composition in an icon of the second quarter of the 17th century from the Yaroslavl Museum of Art and in an icon of the early 18th century, from the Vologda Regional Museum. These two depictions are associated with the Mother of God being compared to a ‘holy temple’ (a similar prophetic symbolism is found in the psalms of David) and as ‘paradise of the word’ (cf. the Good Friday canticle: ‘Thou didst vouchsafe the wise thief, O Lord, to be straightway in paradise’). A further – and this time unique – addition to the composition are the Seven Sleeping Youths of Ephesus. This independent subject replaces the youths (three or one in number) depicted on some other icons, also on the bottom in the centre. Also of interest is the temple, depicted with Baroque architectural features (a building divided into two tiers, the facade with decorative columns, pilasters, cartouches with swags, and cupolas to match ‘Ukrainian Baroque’). The Garden of Paradise is also more specific than had traditionally been the case: not with depictions of abstract flowers, but with trees of precise draughtsmanship, bearing paradisiacal apples. The Garden of Paradise motif is continued in the artistic rendition of the frame which has plant ornamentation in the form of a vine; two of whose branches split from a single stem on the bottom border and climb the side borders to come together again, thus embracing the icon’s whole composition. The icon is notable for the great professional skill of its painting and the bringing together of ancient tradition with certain special, stylistic qualities of the Kremlin Armoury school to provide a splendid example of Muscovite icon painting of the Modern Era.

S.W. Territory This is the first state of this early American produced map. While simply drawn the map includes interesting information including the locations of early settlements, military reservations, and Indian villages. The Mero district is located and divided into three counties: Sumner, Davidson, and Tennassee. Nashville is here called Naskville. Fort Massac is shown on the Ohio River, and there is a note near Knoxville describing the way to Pensacola as being nearly level. The map includes a portion of the adjoining states of Kentucky and Georgia. This is the first state; later states of this map change the title to ""Tennassee."" In 1788 North Carolina established a Superior Court district to serve the Cumberland frontier. The district was named in honor of the Spanish governor of Louisiana, Esteban Rodrigues Miro, who had assisted the Americans during the Revolutionary War. The naming of the new district is credited to James Robertson, who was attempting to soothe tensions between the U.S. and the Spanish colonial government and gain Miro`s assistance in controlling the Creeks and Chickamaugas, and to open the Mississippi River to Cumberland travelers. Robertson and his allies persuaded the North Carolina legislature to name the new district Mero, inadvertently misspelling the name. The first judge of the Mero District Superior Court was John McNairy, and one of his first actions was the appointment of Andrew Jackson as district attorney. The court served Davidson and Sumner Counties, as well as the counties created out of them, until 1809, when the superior courts were abolished. A nice impression issued folding, now flat, with faint offsetting, some of it from an opposing page of text. There are remnants of hinge tape and an ex-library stamp on the verso. 6.1 W x 7.4 H Scott, Joseph 1795

[Lot of 3] England and Wales [and] England [and] Engla Land, Sive ea Britanniae Pars, quae Citra Tuedam Fl. Saxonibus Subjecta Est An interesting lot of nineteenth century maps centered on England and Wales, each complete with towns and cities, political divisions, rivers, and topographical detail.A. England and Wales, by J. Dower, from A New General Atlas of Modern Geography..., circa 1854 (8.7 x 10.2""). Includes two keys, the first showing the markers used to signify railroads and cities by population, the second devoted to the color code used to delineate the various districts and counties. A picture chart running along the bottom of the sheet shows the height of several mountains and towns relative to sea level. Published by Orr & Company. Condition: Original color. (A)B. England, by John Walker, from Walker`s New Atlas, circa 1816 (7.1 x 8.3""). Engraved by Thomson. Condition: Issued folding, now flat. (A)C. Engla Land, Sive ea Britanniae Pars, quae Citra Tuedam Fl. Saxonibus Subjecta Est, by Aaron Arrowsmith, Jr., from Orbis Terrarum Veteribus Noti Descriptio..., dated 1828 (9.7 x 12.3""). Condition: Light offsetting from an opposing page of text, a spot of foxing at left, and marginal soiling. (B+) See description above. 1816-54

Southern Railway oak single fusee oak wall dial clock, the 14" dial inscribed `B.R. (S) 10292.` (ex-Crystal Palace - Low Level Booking Hall, taken into service 22nd/2/1938), signed John Walker 1 South Molton St, London, stamped `10292` to the bezel hinge and case back, the movement back plate stamped 8292; bezel hinge stamped `10292`; pendulum (movement a.f)

A gunners sighting level in leather case marked S K NORRIS & Co G

A 1930`s surveyor or cinema level tripod - can be converted to lampstand/spot light etc

Ch Calon Segur Unknown Vintage (Hankey Bannister & Co) Saint Estephe 1 bt Other Unidentifiable Wines including `Selection Alexis Lichine` 11 bts Above 12 bts Calon Segur - poor label, M/S level.11 missing labels

Berry`s Own Selection Vintage Port 1983 Shipped by Warre & Co 1 bt Gould Campbell Vintage Port 1977 1 bt Sandeman Vintage Port 1960 3 bts Diez Hermanos 30 Year Old Tawny Port Bottled 1966 2 bts Taylor`s Tawny Port (Unknown Age) Missing label 1 50cl bt Taylor`s Vintage Port Unknown Vintage (Possibly 1940s) 1 bt Unknown Fortified Wine (Believed Port) 1 bt Unknown Fortified Wine (Believed Port) Berry Bros 1 bt Unknown Fortified Wine (Believed Port) Saccone & Speed 1 bt Above 12 bts Taylor`s Vintage Port - signs of seepage, M/S level

A Continental Stereo-Converted Mahogany Tailboard Camera, possibly French, with later addition of Meagher maker?s plate, with two unmarked f/8 brass lenses in shutter, body, F-G, replacment glass screen, lenses not set level in panel, lenses, F-G, with Euryscope Superieur f/6 lens, body, F, elements, F-G, and Taylor Taylor & Hobson Cooke Series II f/4.5 8.2in. lens, body, F-G, ding to rim, elements, F, in unmarked case, possibly Sinclair

CASED SURVEYOR`S LEVEL, two draughting sets and painting set (4)

Please note this lot will not available for online bidding. For further information and to bid on this lot please contact Halls Fine Art 01743 450 700 Dirck Van Delen or Dirck Christiaensz Van Delen (Heusen 1605-1671 Arnemuiden) 'Dives and Lazarus', Figures Banqueting at a Dining Table in an Architectural Capriccio, other Figures and Servants nearby with Musicians in a Gallery above, signed with the artists initials and indistinctly dated, possibly 1626, oil on panel, 61.5cm x 73cm We gratefully acknowledge Mr Bernard Vermet's assistance in cataloguing this lot. Mr Vermet is currently writing the catalogue raisonne on the artist. Dirck van Delen was born in 1604 or 1605 in Heusden, Holland. His father was Corstiaen Dircksse from The Hague, who married a local girl, Cornelia Jansdochter. Van Delen's first tutor was thought to be the little known Hendrick Aerts, although another candidate is Jan Steenwijk the younger (c.1580-before 1649), whose influence and that of many of the architectural painters in Antwerp at the time, is very clear on Van Delen's first period The artist seemed to have been largely self-taught, using prints and books as inspiration. He may have been a pupil of Jacob Wijnants (c.1600-1637). Wijnants was a witness at his marriage to Maria van der Gracht, who was the daughter of the burgomaster of Anemuiden. Van Delen succeeded his father-in-law as burgomaster and also served as Consul of Zeeland. From 1718 he became a pupil of Frans Hals (1583-1666) and there are stories of how the painters, Adriaen Brouwer and Dirck van Delen, played practical jokes on their master. Most of the artists pictures from the 1620's feature dark angular Renaissance-style architecture and usually includes a vanishing point exactly in the middle of the work. Rarely would van Delen attempt asymmetrical views in early examples. Views of palaces and church interiors were some of van Delen's favourite subjects. The present work depicts the parable of the rich man and Lazarus, also known as "Dives and Lazarus". It is taken from the Gospel of Luke XVI: 19-31. It is most likely identical to the one sold for 19 guilders to Jonkers at the auction of the collection of the late Mr.D.G.Van der Burge van Kronenburg on 6th September 1824. The entry number 110 reads as follows: "In a beautiful room with a gallery, on which Lazarus seems to be sitting, one sees a distinguished company dining." Bernard Vermet tells us that the painting is one of the earliest known by the artist so far. There are at least three other pictures from later in 1626, A church interior and two Palace exteriors, showing that Van Delen used all three types of common architectural scenes from the very beginning of his career. Vermet goes on to tell us that all four paintings are already highly characteristic of the artist's personal style, with only small deviations, such as, in our case, a colonnade with pillars instead of columns, and a console above the middle of the windows. The Renaissance architecture, with it's dominance of black,red/brown and yellowish marble is imaginary and far too rich and heavy for a realistic interior. The silver glass ball that is hanging from the ceiling-as in Vermeer's "Allegory of Faith" should theoretically show us the distorted image of the painter at work, but this is not as such recognisable. The present work is of great value in that it sheds more light on Van Delen's development as an artist and shows that he made extensive use of sources in a very personal way and never to the extent of mere copying. The first and most important source for the artist was a work of the same subject by Bartholomeus van Bassen (1590-1652) that was auctioned in 1926 in Amsterdam. This is extremely interesting in that our vendor can remember his father purchasing the present work from "Gooden and Fox" of Bury Street, St. James's, London during the 1930's, when it was attributed to Bartholomeus van Bassen. John Quilter of that firm was a cousin of the family, and our vendor has a very clear recollection of the work hanging in his parents home "Bagpath Court" in Gloucestershire, as well as in several other earlier residences. The entire foreground, of our picture, including the dog between the vase and the wine cooler, as well as the table with all it's figures are directly copied from Van Bassen's picture (see accompanying documentation) however the staffage in his work was painted by Esaias van de Velde (1587-1630), who himself based his rich man behind the table on the work of Frans Francken II (1581-1642). This work is not dated, but from around the same time as a painting of the same subject by Van Bassen and Van de Velde that is signed and dated 1624. Both artists occasionally worked together on other versions, one of which can be seen in the Alte Pinakothek in Munich. In our painting the staffage and the figures are entirely painted by Van Delen, hence they are not transparent, do not show architecture underneath, and details like the shining light on the balustrade, were added after the staffage was finished. The couple entering the hall through the doorway on the right, though not too far in style from Van de Velde, is clearly based on a prototype by Dirck Hals and used by Van Delen on a number of occasions. This fact alone - that there are figures based on two different artists in a single painting - proves that neither of these two were involved personally here. Over the years however Van Delen's skills grew to such a level that there is a persistent misunderstanding that Dirck Hals, in the 1620's, and Anthony Palamedesz, in the 1630's, added the staffage to many of Van Delen's pictures.. **For further extensive documentation relating to the artist and his work, please refer to the printed material by Bernard Vermet, displayed in the Saleroom.

REELS & ACCESSORIES (Qty): Abu Ambassadeur 6000 red multiplier reel, fine condition, white handle model, no foot stamp, level wind, c/w maker’s leather case, an Ogden Smith The Zefer 3” alloy dry fly reel, optional check, shaped ivorine handle, various Hardy casts and fly box, in canvas/leather traditional fishing bag.

REEL: Abu Ambassadeur 6000 C black multiplier reel, grooved end plates, 3 screw model, star drag, free spool and level wind, foot stamp 097100, as new, c/w tools and spare spool, in maker’s leather case.

`Marshall and Snelgrove`, three storey doll`s house with hinged front and lift off roof, with an additional detachable level on base, seven rooms. Interior is made of various shops. Includes: supermarket; bakery; florist; music shop; ornament shop; book shop; hair salon. All shops include various furniture and accessories. Dimensions: H 104 cm x W 76 cm x L 61 cm, VG.

DOW`S 1920 VINTAGE PORT, 1 bottle (level base of neck)

A 19th century brass mounted mahogany shipwright`s spirit level with thumbscrew adjustment, 30

-Click here to bid -   1973 Triumph 2000 Dolomite Sprint   Reg. no. XNP 33M Chassis no. VA3019DC Engine no. VA002&&0HE  Triumph Cars always represented good value for money and when introduced to replace the popular Toledo, the Dolomite’s equipment was updated to a level higher than that of its larger siblings. Although the Dolomite proved to be refined and rapid, competitors such as the BMW 2002 had a performance advantage which was costing Triumph dearly, both in terms of sales and prestige. To remedy this, Triumph unveiled the Dolomite Sprint in June 1973, although the launch had been delayed a year. At launch the Sprint was priced at £1,740, which compared extremely well to similar cars from other manufacturers. Prospective buyers would have been hard pressed to justify the extra £1,000 cost of the BMW 2002 which offered similar performance. Motor magazine had this to say: ‘the Sprint must be the answer to many people’s prayer. It is well appointed, compact, yet deceptively roomy. Performance is there in plenty, yet economy is good and the model’s manners quite impeccable…Most important of all, it is a tremendously satisfying car to drive.’ We are told that this car had a full engine rebuild only 10,000 miles or so ago and that it is good in all respects. It is sold with its V5c.  Estimate: ???

An early 19th century banjo barometer by Webber of Falmouth in a mahogany case with boxwood stringing. The top hydrometermain central dial is silvered. The central stem bears a thermometer, a circular concave glass mirror and a spirit level bearing the maker`s name to the bottom.

A Carbutt`s Dry Plate Lantern, Pat. April 25th 1882, F, does not sit level, ex-Christie`s lot 115, 7th Dec 1989

A Sanderson Hand Camera, with J H Dallmeyer No.2 Anastigmat Series II lens, body, F, missing level, lens, F-G, in maker`s case

After L S Lowry. A level crossing, coloured print, 45cm x 55cm and a market scene

A 19thC mahogany wheel barometer by S. Lelli, Newport, Isle of Wight, with hydrometer above Fahrenheit thermometer, star engraved dial above spirit level, 97cm high

ɑ An L S Lowry, the level crossing, limited edition, with Patrick Seale Prints blindstamp and signed in pencil to the margin See illustration Condition report Report by JB Foxing and marks can be observed to the white border of the print, some more noticeable than others. However, it does not appear to have encrouched upon the centre image, there is the possibility of light foxing in the skyline, however it is difficult to tell due to the colouring. Apart from that, the colours are reasonably good and quite distinctive. No tears, rips or fading would appear present Please see illustrations

Hennessy Extra Cognac Released in 1970’s, a very rare old bottle. 1 bottle with original box 70cl / 40% volume, good level

Martell 3 Star Cognac Released in 1930’ to 1940’s, wire capsule, a very rare old bottle, extremely good level. 70cl / 40% volume

A MID 19th CENTURY COMMEMORATIVE PRESS MOULDED GLASS TANKARD, attributed to Sowerby’s Ellison Glass Works of Gateshead, depicting the opening of the High Level Bridge, Newcastle, opened in 1850. 10cm

MOET ET CHANDON 1941 vintage champagne, 1 bottle (sold as a collector`s item - poor level)

** ALFRED EMILE O` HARA COMTE DE NIEUWERKERKE (1811-92) :`MORT DE MONSEIGNEUR LE DUC DE CLARENCE`, A FRENCH BRONZE EQUESTRIAN GROUP, MID-19TH CENTURY brown patinated, depicting two accurately modelled armoured figures on caparisoned horses, the base with neo gothic decoration and lengthy narrative inscriptions on each side, signed `par le Cte E. de Nieuwerkerke`, dated 1838, with foundry inscription `fondu par E. Quesnel. Paris` and `Susse frères éditeurs place de la bourse` 55 cm; 21 ¾ in high, 60 cm; 23 5/8 in wide; 19 cm; 7 ¾ in deep This sculpture shows the encounter between Thomas, 1st Duke of Clarence (Henry V`s brother) and Garin de Fontaine at the battle of Baugé, 22 March 1421 during the 100 Years War. Thomas had not been present at his brother`s famous victory at Agincourt (1415), and it may have been his desire to establish his battle credentials that led him to push on against the Scots fighting with the French despite advice to the contrary. In a rather ironic twist of fate his downfall may have been brought about by the lack of archers in his company compared to the number of Scottish bowmen, although the Scots and French were numerically inferior. As it was, in what was effectively an ill-advised sortie, Clarence and a significant number of his men at arms were killed. The historic accounts are confused, and it is not clear who actually killed Clarence, but as he was Henry V`s Regent at the time, his death was a significant blow to the English. This sculpture is probably the best known work of Alfred-Emilien O`Hara Comte de Nieuwerkerke (1811-1892). Nieuwerkerke, a French sculptor of Dutch descent, enjoyed a high level civil service career in the French Second Empire, until its fall in 1870. Following this he left Paris and moved to Italy, via London, shedding much of his distinguished collections as he went. Much of his arms and armour collection was acquired by Sir Richard Wallace and remains in the Wallace Collection today. A plaster model, perhaps the original and another bronze sculpture of this group are preserved in the Royal Armouries, Leeds (XVII.29).

REEL: Hardy Elarex bait casting multiplying reel, twin black handles, level wind, brake and ratchet controls to backplate, fine condition, c/w spanner, in maker`s original brown fibre box with instructions to underside of lid.

REEL: An ABU Record Super 2500 bait casting multiplier reel, winding plate stamped "Patent", foot stamp "Record Made In Sweden 3075", level wind, on/off ratchet check, black sandwich end plates, light marking, in maker`s original rectangular leather case.

REELS (2): Abu Ambassadeur 6000C black multiplier reel, smooth end plates, foot stamp 740404?, chips to rims, single black handle, operating fine, c/w tools in maker`s leather case and an Abu Garcia Ambassadeur 823 casting reel, level wind, star drag, adjustable brake, good, c/w handbook, in MOB.

REEL: Shimano Calcutta 700 sea multiplier reel, gold anodised finish, power crank handle with star drag, level wind, free spool, positive check, c/w maker`s rod clamp saddle, filled with 30lb line, as new, in cloth bag.

REEL: Abu Ambassadeur 6000 red multiplier reel, 4 screw grooved end plate, free spool and level wind, single white handle, star drag, c/w instructions, tools and oiler, in maker`s leather case.

John Fairbairn Autograph letters signed, 8 items. various letter formats Autograph letters in his own hand and signed, to Benjamin Moodie in Swellendam. John Fairbairn emigrated to South Africa, following his friend Thomas Pringle to the Cape, in 1823. He is remembered today as the father of press freedom in South Africa as well as an educationalist and the founder and first Chairman of the Old Mutual (certain of their premium investments carry his name under the Fairbairn Trust). This collection of letters from his early years at the Cape to his friend Benjamin Moodie then living in Swellendam reflect early concerns with a free press, slavery, the strife with the autocratic Sir Charles Somerset, then governor of the Cape, and the problems of the Settlers. The letters are the originals as written in his own hand and were folded, sealed, and posted. The results of this are clearly visible. A few of the letters are extant as typed copies, probably copied from his own fair copy or letterbook. Some may be the only copies. These items are unique in the true sense of the word. 1. Letter postmarked June 10 1825. 3 sides of writing. Personal health & finance issues, a memorial concerning slavery at the Cape, fixing the rate of the Rixdollar & a petition in the Burgher Senate re same, handling of complaints from the Colony, financial issues & proposed new bank, state of alarm as 50,000 threaten the Frontier, request for articles, comments on various administrative figures, etc. Condition: complete with no major loss. several small holes at folds passing through front to back. Does not impair legibility. 2. Letter postmarked August 26 1825. 3 sides of writing. Problems arising with Greigs type which had been sold to Bridekirk rendering him unable to print and publish, further issues with the legality of printing the paper under the partisan handling of the issue by Lord Charles Somerset`s administration, plans to bring the arbitrary local government to the attention of Parliament in London, to have Lord Charles Somerset impeached or recalled, etc. Condition: bottom edges frittered but not seriously affecting legibility. side 3 has some loss. a 100mm x 30mm loss to text written on outer edge, a hole (the size of a South African R2.00 coin, or a nickel) in the middle of the text, and a comparable area at the bottom edge. 3. Letter postmarked September 9 1825. 2 sides of writing. A list of 27 suggested articles, comments upon the Commissioners, Lord Charles Somerset, Greig`s types. Condition: minor loss to side 3 not affecting any text. 4. Letter dated March 9 1826 (postmark not visible). 3 sides of writing. `Open war` on Greig, Atherstone on confidential footing (with Lord C?), Richard Bourke advises Greig to abide by his prospectus and eschew further open hostility to Somerset, no one will sign address to Lord Charles Somerset who leaves the colony - leaving his children behind to the disgust of the ladies. Condition: 4 areas of small loss to edges and one small hole. the letter fold is torn to about 1/3 of the height from the top. some text is missing but the letter loses little legibility. 5. Letter dated 24 March 1826. (postmark not visible) 3 sides of writing. Issues concerning local banking, comments on Lord Charles Somerset, Pringle to leave in the Lucia, new family [Bourke?] religious and ban Sunday music & dancing, Fairbairn in low spirits, restrictions on internal trade. Condition: Two areas of loss to side 3, a 30mm hole in the middle and a similar area at the edge. the former gives text loss, but the latter does not. 6.Letter dated October 5 1826. (postmark not visible). 3 sides of writing. Stamp to be levied on all newspapers, Stellenbosch recusants threatened with transportation, events onboard the Atlas between Brink & Shaw reported in the British press, letter from depressed Pringle in UK, complaints on the low literary level of current British writings, general dismay at state of world affairs. Condition: minor tear on edge of side 1 not affecting legibility, small loss (the size of a South African R2.00 coin, or a nickel) to the edge of side 3 not seriously affecting legibility. 7. Letter dated September 30 1828. 1 written side of 3. Complaint that the Commissioners failed to institute an enquiry into the conduct of Lord Charles Somerset, ideas of literary property, proposed new periodical. Condition: one small hole in front not affecting legibility. major loss to side 3 but there is no text to be affected there. 8. Letter dated Saturday morning, Grahamstown. 4 sides, incomplete. Not addressed to any one, nor signed, but likely his friend Moodie as usual. This does seem to be in the style of Fairbairn. Probably written at some date before the departure of Lord Charles Somerset, so maybe 1826. At the time of writing he was in the Eastern Cape. Condition: excellent, no loss or damage. As noted, the condition of these items varies. Some of them have pieces missing either from handling over the years or from opening them as were sealed for postage. A full set of scans are available on request for you to evaluate the overall condition of each item. We have transcribed the letters to the best of the ability and scholarship within the time constraints. These are available as pdf files on request. Following a successful bid by a recognised institution such as a university library, we can provide an invoice for payment on provision of an official order for this item. Please make a formal request to us in advance if you wish to do this. An export permit may be required for this item and it is the responsibility of the purchaser to obtain this. Variable. scans available Reserve: $5000 Click here to view further details and to bid

Walter Frederick Osborne RHA ROI (1859-1903) THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898 oil on canvas signed lower left; with inscribed exhibition label on reverse 7.25 by 10.75in., 18.125 by 26.875cm. L The Collection of Sir George F. Brooke, Bart.;Thence by descent to Lady Brooke;with Mealy`s, Castlecomer, May 1991, lot 1028;Private collection `Memorial Exhibition of the works of Walter Osborne`, Royal Hibernian Academy, Winter 1903-04, catalogue no. 145 (Lent by George Brooke, Bart.) Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.144, catalogue no. 498 (listed) Walter Osborne`s passion for painting en plein air is thought to have been the cause of his premature death in an unusually cold April in 1903. He was forty-three and at the height of his artistic powers. The present work, which dates to the most prolific period in his oeuvre, is testament to this passion and captures the rustic charm of a village street in half-light in North County Dublin. The scene is an intimate view of an ordinary street where the everyday humdrum of village life is taking place. Fowl peck at the dirt in the centre of the road by a water pump while a figure with a cart stops and engages with another in a doorway on the left. This scene appears to repeat itself further down the street on the opposite side of the road where hints of figures and animals are suggested. Osborne elevates the routine happenings of village life to the level of the extraordinary by seeing beauty in its simplicity and communicating this to the viewer in an honest vocabulary that draws on the Realist`s in subject, tone and palette and the Impressionist`s in execution and responsiveness to light. Osborne`s brushstrokes are deceptively simple. The fowl in the centre are delivered to the viewer by a mere dab of the paint-brush; a single, fluid and bold movement that is unassumingly brilliant. They lift out of the canvas in delicate impasto that invite the eye into the composition. The flatter façades of the buildings lining the street draw the viewer towards the brightest corner of the street, treating us to insights into village life on route. The glow that radiates from this point touches road and wall until resting back in the foreground in the fowl`s plumage.A charged, powerful and unpretentious painting, The Village Street, Rush & Lusk formed part of a large memorial exhibition held at the RHA, Dublin after Osborne`s death. It was one of 270 paintings and drawings loaned mostly from private collections. The present example was owned at that time by a wine merchant based on Gardiner`s Row, Dublin. 1Footnote:1. Brooke, George F., 1 Gardiner`s Row (wine merchant) [ex Dublin City Directory 1850]

Wouterus Verschuur (Dutch, 1812-1874) A traveller on horseback, meeting country folk gathering winter fuel oil on board, signed lower right and dated 1846 12 x 16in (30½ x 40½cm). * Wouterus Verschuur was born in Amsterdam in 1812, the son of a well-known jeweller and his wife. Verschuur learnt his trade from an early age and received tuition from the well-known and established landscape painters Cornelius Steffelaar (1797-1861) and Pieter Geradus van Os (1776-1839). During his tuition he was encouraged to copy the style of Philips Wouwerman (1619-1668) whose best known subjects were stable scenes and horses in the countryside. Verschuur was regarded as extremely talented at the age of just 15 and exhibited a painting at `The Exhibition of Living Masters` in Amsterdam in 1828. As his work became more and more appreciated, he was regarded as one of the last living Dutch artists who was faithful to the established 17th century Romanticism style of painting. Vershuur`s paintings display a recognisable high level of technical accomplishment and inventive composition. During 1832 and 1833 he won gold medals at the annual exhibition at Felix Meritis. In 1883 he was appointed a member of The Royal Academy in Amsterdam. His reputation began to grow in other European countries and he travelled extensively and exhibited abroad. In 1885 Napolean II purchased one of his paintings at the Exposition Universalle in Paris. He frequently travelled to Germany and Switzerland and during a visit to paint in the town of Vorden in Gelderland during 1874 he became ill, and passed away on July 4th. He left behind approximately only 400 finished works, many of which are held in Museums, Institutions and private collections around the world.

One bottle 1950 Booth`s Finest Dry Gin, 70 proof, level below shoulder, labels soiled

One bottle 1910 Offley`s (level bottom neck), one bottle 1910(?) Sandeman (level mid neck, pale colour, wax seal missing)

Two bottles 1945 Taylor`s (one level lower neck, one below shoulder), one bottle 1964 Taylor`s Crusted, and one bottle 1958 Sandeman (4)