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Lot 927

SQUARE HARDWOOD COFFEE TABLE (TOP 25 X 25 INCHES)

Lot 1002

SMALL OAK BARLEY TWIST GATELEG TABLE

Lot 1058

CONSERVATORY SUITE INCLUDING STOOL AND TABLE

Lot 561

RONSON WEDGWOOD JASPERWEAR TABLE TOP LIGHTER

Lot 928

FORMICA DRAW LEAF TABLE 40 X 30 inches closed

Lot 1049

RETRO DROPLEAF TABLE AND 4 CHAIR FRAMES

Lot 933

HARTMAN PRESTIGE GARDEN TABLE & 4 CHAIRS

Lot 912

BCE TABLE SPORT FOLDING FOOTBALL TABLE Pitch area 46 x 29 inches ( from pub clearance)

Lot 199

A late George III silver Old English pattern serving spoon London, 1808, together with a collection of George III silver table spoons, various dates and makers, other silver spoons etc, approximately 1105 grams

Lot 206

Assorted silver backed dressing table items including clothes brushes, pin cushions, silver topped bottles. trophy cup etc, weighable silver approximately 300 grams

Lot 239

A pair of Japanese satsuma pottery vases of tapering hexagonal form painted with birds amongst chrysanthemums, with gilt highlights, six character mark to the base, both drilled and previously used as table lamps, 40cm high CONDITION REPORT: Crazed, remnant of glue to the inside of the neck, gilding rubbed in places, shoulders chipped to the corners, surface scratches to the body, in overall used condition

Lot 247

A R Van Ruyckevelt bone china and gilt bronze table centrepiece A109, in the form of a bramble with blackberries and flowers, 38cm long

Lot 356

A 19th century mahogany table top wine bottle cooler of square form, with a hinged lid, D shaped opening and well with tap to the base on square tapering legs, 53.5cm high x 24cm wide

Lot 364

A 19th century satinwood centre table, with a stepped crossbanded oval top above a pair of drawers and opposing dummy drawers on tapering ring turned cylindrical legs with brass cappings and casters, 148cm wide x 63cm deep x 72cm high CONDITION REPORT: Some signs of woodworm to the underside, the top has numerous splits, surface scratches and some losses, overall in used condition

Lot 369

An 18th century style oak refectory table, the rectangular top above a carved frieze on stop fluted tapering legs united by stretchers, 84cm wide x 138cm long

Lot 375

An 18th century ebonised side table, the rectangular planked moulded top above a single drawer on four turned legs united by a flat X stretcher, 81cm wide x 49.5cm deep x 74.5cm high

Lot 378

A 19th century mahogany card table, the rectangular top with rounded corners on square legs, 91.5cm wide

Lot 016

A pair of Crown Devon 'Rouge' dishes, other ornamental chinaware, Shorter and Sons bowl, sundry ornaments and folding table.

Lot 182

A Poole Pottery twin tone coffee service, Scotch decanter sundry glassware, brush set, porcelain and flower encrusted table lamp, pair of brass candlesticks etc.

Lot 310

A 19th century faded mahogany pembroke work table, fitted with single deep drawer and candle slide.

Lot 309

A mahogany pembroke table with inlaid decoration.

Lot 287

Three antique church door locks with keys, also a small brass bell and a brass figure table lamp (5).

Lot 315

A early 20th century mahogany drop flap side table fitted with a single drawer and tray.

Lot 015

An unusual heavy pottery table lamp modelled in the form of a hand possibly Troika.

Lot 170

A three piece silver back dressing table set comprising hand mirror and two brushes.

Lot 213

An Edwardian mahogany and cross banded envelope card table.

Lot 539

A GEORGE III STYLE MAHOGANY AND CROSSBANDED IN SATINWOOD BREAKFAST TABLE, 75 X 158CM

Lot 578

A VICTORIAN MAHOGANY PEMBROKE TABLE, 74CM H X 79CM

Lot 119

A GEORGE V SILVER TABLE LAMP OF VASE SHAPE, WITH ENGINE TURNED BANDS, 22CM H, BIRMINGHAM MARKS RUBBED, PROBABLY 1930, LOADED

Lot 456

A MAHOGANY DRESSING TABLE MIRROR, FIVE WOODEN TRAYS AND TWO WOODEN BOXES

Lot 283

A CONTEMPORARY DESK LAMP, TABLE LAMP AND EPNS GALLERIED TRAY

Lot 522

A VICTORIAN MAHOGANY SIDE TABLE, 76CM H; 51 X 91CM AND AN OAK FOLDING TEA TABLE

Lot 530

MISCELLANEOUS FURNITURE, INCLUDING AN OCTAGONAL EBONISED OCCASIONAL TABLE, OAK TRUNK, ETC

Lot 121

AN EPNS TABLE SERVICE, BEADED OLD ENGLISH PATTERN, IN MAHOGANY CANTEEN, AND ANOTHER OF A DIFFERENT PATTERN

Lot 120A

AN EPNS TABLE SERVICE, KINGS PATTERN IN WALNUT CANTEEN

Lot 567

A VICTORIAN MAHOGANY EXTENDING DINING TABLE WITH TWO LEAVES, 68CM H; 116 W X 225CM (WHEN FULLY EXTENDED)

Lot 521

A MAHOGANY TABLE TOP DISPLAY CABINET, 11CM H; 45 X 91CM

Lot 562

AN EDWARDIAN INLAID MAHOGANY PEMBROKE TABLE ON SQUARE TAPERING LEGS AND BRASS CASTORS, 72CM H X 103CM

Lot 520

PINE FURNITURE, COMPRISING KITCHEN TABLE, 77CM H; 92 X 68CM, THREE CHAIRS AND A STOOL

Lot 542

A VICTORIAN MAHOGANY EXTENDING DINING TABLE ON ELABORATELY CARVED LEGS, WITH THREE LEAVES, 65CM H X 132CM W, 320CM WHEN FULLY EXTENDED

Lot 153

A fine George III brass mounted mahogany table clock, Eardley Norton, London, circa 1790 The substantial five pillar twin fusee bell striking movement with unusual vertical crownwheel deadbeat escapement regulated by lenticular bob pendulum with banking pins and holdfast to the basket of flowers centred foliate scroll engraved backplate, the 7 inch gilt brass break-arch dial with recessed silvered calendar dial to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and fine foliate scroll pierced and chased gilt brass spandrels to angles beneath arch centred with silvered STRIKE/SILENT selection ring flanked by conforming mounts beneath curved silvered signature plate engraved EARDLEY NORTON LONDON to upper margin, the figured mahogany break-arch case with bow-fronted concave pyramid upstand and brass ball finials above brass fillet inset glazed door flanked by brass stop-fluted canted angles, the sides with sculpted hinged brass carrying handles over arched fishscale sound frets, the rear matching the front, on generous cavetto moulded skirt base with brass ogee bracket feet, 55cm (21.5ins) high. Eardley Norton was thought to have been born into a farming family from Rigsby, Lincolnshire, however he was apprenticed as a clockmaker 25 May 1743 to Robert Dawson of Alford. Latterly he moved to London where he is listed as working at 49 St. John’s Street, Clerkenwell between 1760 and 1794. He was member of the Clockmakers’ Company being freed in 1770 and remained a member until his death in 1792. He applied for a patent for a new type of striking mechanism for both clocks and watches on 31 August 1771. Norton enjoyed Royal patronage being perhaps best known for his silver mounted four-dial astronomical clock (made in collaboration with James Ferguson F.R.S.) commissioned by George III for Buckingham House (later Palace) which still remains in the Royal Collection (RCIN 30432). He married Mary Swinnerton of Oswestry and later retired to Stonegrove House (no longer existing), Little Stanmore, Middlesex, in the parish of Whitchurch. On his death, his business was taken over by the partnership of Gravell and Tolkien. He is buried at St. Lawrence's church in Little Stanmore.The current lot has noticeably thick plates, very generous heavy pillars and utilises an unusual form of deadbeat escapement configured with teeth set at ninety degrees to then rim.

Lot 166

A George III red japanned table clock, John Peat, Darlington, late 18th Century Late entry, please see website for full description and images.

Lot 178

ϒ A brass mounted ebony table clock, the movement by Henry Jones, London, circa 1685-90 and later The six latched and finned pillar bell striking movement with verge escapement regulated by short bob pendulum and incomplete pull quarter-repeat mechanism, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Henry Jones, in the Temple to a leafy scroll bordered cartouche to centre, now with a 6.5 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles, now in an ebony veneered case with hinged tied floral bud handle and foliate cast and pierced oval mount to the caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll escutcheons to jambs, the sides with conforming rectangular windows beneath lozenge-shaped sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over squab feet, 30.5cm (12ins) high excluding handle; with a fine 17th century scroll pierced and engraved winding key. Henry Jones is an important maker who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1772. In 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name. The engraving to the backplate of the current lot can be directly compared to a silent-pull quarter repeating timepiece by Henry Jones sold in these rooms on Tuesday 17th March 2015 (lot 88) where it is noted that the design and execution of the engraved decoration could be very closely compared to that of the only known table clock by Peter Knibb which is illustrated in Lee, Ronald A. The Knibb Family, Clockmakers (page 129, plate 139). Lee also illustrates (on the preceding page, plate 138) another closely related backplate for a clock by John Knibb, Oxford and notes that both have internal rack striking, which would suggest that each date from the mid 1680's. ϒ  Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. 

Lot 160

A steel and copper Renaissance style horizontal tambour table timepiece, unsigned, third quarter of the 20th century The circular steel movement with three triangular section column pillars pinned through the backplate, slender fusee, pinned caps to the mainspring barrel and verge escapement regulated by large diameter un-sprung two-arm steel balance, the skeletonised backplate applied with decorative scroll-shaped balance cock, conforming mainspring ratchet set-up spring and a pair of turn latches for securing into the case, the dial with wavy sunburst engraved centre and sculpted steel hand within Roman numeral chapter ring with half-hour markers and touch pieces to outer track, the bezel forming the upper surface of the flange mouldings of the drum-shaped case engraved with panels of foliate scrolls interrupted by oval portrait vignettes of a male and female in Renaissance dress, the lower edge with conforming mouldings integral to the friction-fitting base ring, diameter 10.5cm (4.125ins) diameter approx. The general form and layout of the movement of current lot has its roots in the earliest German portable spring driven 'tambour' timepieces with the earliest documented example signed by Peter Henlein of Nuremburg and bearing a date of 1510 (residing in the collection of the Germanisches Nationalmuseum, Nuremburg). Such movements are naturally inherently simple in their construction and have subtle decorative detailing. The current lot replicates this subtle elegance with features such as the particularly 'skinny' hand-cut fusee cone and large lightweight un-sprung balance retained by a graceful scroll-shaped cock. The movement is also fitted into the case in the same manner as the early German models by sliding it in from beneath (ensuring runners applied to the inside of the case align with slots cut to the edges of the movement plates) before securing via the turn-latches fitted to the backplate.

Lot 175

A fine and potentially historically important George III mahogany striking table regulator, Thomas Mudge and William Dutton, London circa 1770 The nine-pillar twin fusee rack and bell striking movement with plates measuring 9.75 by 6 inches, massive spring barrels, Harrison’s maintaining power to the going train and now with half-deadbeat escapement regulated by half seconds pendulum with cylindrical brass bob, the foliate rococo scroll engraved backplate with arched recess to lower margin and applied with unusual twin scroll-shaped uprights attached via four knopped pillars and connected at the top via a complex bracket with slots cut to take a wide T bar pendulum suspension, the front plate of conforming dimensions inscribed William Dutton & Sons,London over the arched recess to lower margin, the 7.5 inch single sheet silvered brass Roman numeral dial with vacant calendar aperture and signed Tho’s Mudge, Will’m Dutton to centre, with Arabic five minutes to outer track and scroll-pierced blued steel hands, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over glazed circular dial aperture over concave-topped recessed panel to front door, the sides with arched brass trellis sound frets, the rear with further glazed break-arch door set within the frame of the case, on cavetto moulded skirt base with brass squab feet, 38cm (15ins) high excluding handle. Provenance: The property of a private collector; purchased Sotheby’s, London sale of Good Clocks, Watches, Wristwatches, Barometers and Scientific Instruments, Thursday 5th March 1992 (lot 69). Thomas Mudge was born in Exeter, Devon in 1717 and was apprenticed to George Graham before setting himself up in business at 151 Fleet Street, London in 1748. At around the time of the death of his former Master in 1751, Mudge was joined in partnership by a fellow former apprentice of Graham, William Dutton, who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1738 and gaining his freedom of the Clockmakers' Company in 1746.The business subsequently traded from 148 Fleet Street and Mudge, whilst in partnership with Dutton, rapidly acquired a reputation as one of England’s outstanding watchmakers. In around 1755, if not earlier, Mudge invented the detached lever escapement, which he first applied to a clock, but when incorporated into a watch became the greatest single improvement ever applied to them.In 1765 Mudge published the book, Thoughts on the Means of Improving Watches, Particularly those for Use at Sea, and the following year, alongside Dutton, was elevated to Liveryman. In around 1771 Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. The first of these went on trial in 1774 where it performed superbly leading to an award of 500 guineas. Mudge went on to complete two others in 1779 in the continuing attempt to satisfy the increasingly difficult requirements set by the Board of Longitude. They were tested by the Astronomer Royal, Nevil Maskelyne, and declared as being unsatisfactory. There followed a controversy in which it was claimed that Maskelyne had not given them a fair trial. A similar controversy had arisen when John Harrison had been denied the full amount of the 1714 prize by the Board of Longitude. Eventually, in 1792, two years before his death, Mudge was awarded £2,500 by a Committee of the House of Commons who decided for Mudge and against the Board of Longitude, then headed by Sir Joseph Banks.In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew. The work of William Dutton can be characterised by its distinctive originality, high quality and attention to detail which one would come to expect from a clockmaker who, alongside Thomas Mudge, succeeded George Graham who in turn had succeeded Thomas Tompion. The movement of the current lot appears to be a unique product of the Mudge and Dutton partnership. The provision of noticeably large diameter spring barrels coupled with a relatively shallow range of gearing to each of the fusees indicates that constant power delivery throughout the duration of the timepiece was off significant importance. This, together with the incorporation of maintaining power to the going train and delicate wheelwork, suggests that the movement was built with accuracy in mind. The highly unusual frame applied to the rear of the backplate indicates that a heavy pendulum (most likely compensated) was probably employed. In addition to this it has been suggested (by the late Charles Allix and Christopher Greenwood from evidence in the form of spare holes, slots etc. within the armature assembly) that, when first made, the current movement may well have employed a form of detached escapement. This possibility is further supported by the relatively low position of the original pallet arbor (in relation to the current escapewheel) which implies that the escapement itself was of highly unusual design and may well been positioned partly above the plates and connected to the pendulum suspended within the top frame of the armature to the rear of the backplate.The possibility of the current lot being originally made with a form of experimental detached escapement warrants further investigation and, if found to be the case, would identify the present timepiece as an example of significant historical importance. Indeed in the in the context of Mudge’s development of his detached escapement the current lot would sit between his famous balance lever table clock of circa 1760-65 (formerly in the possession of Isambard Kingdom Brunel now in the British Museum no. 1958,1006.2118) and his marine chronometers (the first of which was made in 1774). Furthermore, to the best of the cataloguer’s knowledge, this example would have also been the only clock from the Mudge and Dutton workshops to have been made with a detached escapement for regulation by pendulum. It is perhaps appropriate to mention that the late Charles Allix considered this timepiece to be of substantial historic importance and provided his views in a letter written to the vendor many years ago; regrettably this correspondence has been mislaid. When considering other details it is most probable that the current clock remained in the workshops of William Dutton and his successors for a significant time before essentially being ‘re-purposed’ and sold-on. Later work undertaken in the workshop included creating an arched profile to the lower margin of the plates - to allow the swing of the pendulum bob to be visible through apertures cut to the front of the case (including a fretwork overlaid glazed panel beneath the dial). The front upper margin of this arched cut-out was subsequently signed by William Dutton and Sons so this modification post-dates Mudges partnership in the business. In addition to this the original dial was overlaid with a white enamel dial which required the original dial feet to be shortened (and holes drilled to allow clearance the under dial pivot posts) and finally a relatively standard escapement was fitted. Subsequent to the clocks purchase in 1992 the later enamel dial has been removed and is no longer with the clock and the panel beneath the dial has expertly reinstated with fine figured veneer matching the rest of the case. Without a great deal of further work (mainly to the dial) the current lot could become a very attractive useable clock which, through further investigation, also has the potential to be identified (and subsequently restored) as an important example in the development of precision timekeeping.

Lot 172

A fruitwood table timepiece, Thomas Taylor, Holborn, circa 1710 and later The five finned pillar single fusee movement with fine herringbone bordered asymmetric foliate scroll engraved backplate centred with a conforming oval reserve signed Tho. Taylor, in =Holborn, London, the 7 inch square brass dial now silvered and engraved with Roman numeral hours and Arabic five minutes enclosing later recessed basket of flowers engraved panel and original calendar aperture to centre, with pierced steel hands, the inverted bell-top case with hinged brass handle over cavetto top mouldings and glazed front door, the sides with rectangular windows, the rear with glazed door set within the frame of the case, on cavetto moulded shallow skirt base with moulded squab feet, (movement with losses, dial with alterations) 36cm (13.25ins) high excluding handle. Thomas Taylor junior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 was born in 1668 and apprenticed to his father (of the same name) from 1678 until 1685 when he gained his freedom of the Clockmakers’ Company. In 1697 Taylor signed the Oath of Allegiance and served as a Clockmakers’ Company Assistant from 1701; in 1707 he became a Warden and finally served as Master in 1710. He worked in the parish of St. Andrews, Holborn, London and died in around 1723. The current lot was originally made with ‘silent-pull’ quarter repeat hence would have only sounded the hours and quarters on demand only. Such timepieces were made for use in the bed chamber hence would have most likely been supplied to a particularly wealthy individual who could afford the luxury of having an additional clock for ‘upstairs’ use. The silent-pull mechanism has sadly been removed and the escapement converted from verge with short bob pendulum to anchor escapement with lenticular bob however the fusee, barrel, centre wheel and frame of the movement remains intact with no ‘butchering’ to the plates hence could be fully restored back to its original state by a suitable skilled horologist. In addition to this the dial plate has been ‘updated’ by removing the chapter ring, spandrels and matting to create a ‘single-sheet’ silvered dial which required a new chapter ring to be engraved directly into the plate and holes left over from the previous fittings filled. This modification would have most likely been done during the late 18th century in order to ‘update’ the appearance of the timepiece. The case, which appears original to the movement and dial, is of good quality and exhibits fine proportions and restrained mouldings reminiscent of cases housing movements and dials by leading makers such as George Graham

Lot 185

ϒA Queen Anne ebony table clock, George Etherington, London, circa 1710 The six finned pillar twin fusee bell striking movement with pivoted rise/fall rate adjustment beam to the pendulum suspension and backplate engraved with grotesque ‘Green Man’ mask, baskets of fruit and Ho-Ho bird inhabited symmetrical foliate strapwork around a central herringbone and husk swag bordered reserve signed Geo Etherington, LONDON, the 7.75 by 7 inch rectangular gilt brass dial with herringbone-edged shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced steel hands and gilt winged cherub mask cast spandrels to lower angles, the upper margin with scroll engraved spandrel infill interrupted by subsidiary vestigial alarm setting and regulation dials, each with complex rosette centres, flanking repeat signature Geo Etherington, LONDON, with S/N strike selection switch to upper margin, the ebony and ebonised case with hinged brass carrying handle and brass ball-and-spire finials to the domed caddy superstructure over front door and the sides with small horizontal rectangular scroll-pierced frets over larger conforming panels, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base fitted with brass domed feet, (movement with losses, case with significant replacements to veneers and mouldings and other faults), 39.5cm (15.5ins) high excluding handle. George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the Oath of Allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. ϒ  Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

Lot 180

ϒA fine William III brass mounted ebony table clock with pull-quarter repeat, Brounker Watts, London, circa 1690-95 The six finned pillar twin fusee inside rack bell striking movement with verge escapement regulated by short bob pendulum and pull-quarter repeat on a single smaller bell, the backplate engraved with tulips and symmetrical scrolling foliage around a herringbone bordered lozenge-shaped reserve signed Brounker Watts, Londini Fecit, the 6.5 inch square gilt brass dial with high position calendar aperture and ringed winding holes to the finely matted centre within applied silvered Roman numeral chapter ring with trident half hour markers and Arabic five minutes within the narrow outer track, with sculpted blued steel hands and angles applied with gilt winged cherub head spandrels with engraved repeat signature Broun: Watts London to lower margin opposing N/S strike/silent selection lever to upper margin, the ebony veneered case of Knibb ‘phase III’ type with scroll outline foliate-bud tied hinged gilt brass carrying handle to the domed caddy surmount applied with cast foliate scroll pierced mounts to front and sides flanked by later pineapple finials, over ogee moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll cast gilt escutcheon mounts, the sides with lozenge sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case, on ogee moulded shallow skirt base, 32cm (12.5ins) high excluding handle. Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmakers’ Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company’s Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmakers’ Company in 1711 due to being ‘out of town’. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West. When the current lot compared with examples by Joseph Knibb strong similarities become apparent. In particular the layout and detailing within the movement which, other than the use of standard finned pillars secured by pins and the signature, one could be quite forgiven for mistaking it for an example by Knibb himself. The attention to detail within the mechanism, such as decoratively sculpted scroll feet to the hammer springs/stops, shaped stopwork blocks and deeply domed collets, is particularly noteworthy and demonstrates Watts’s desire to maintain the quality of finish demanded by his master. The dial layout reflects Knibb’s work also with high position calendar aperture although the ringing to the winding holes is a departure by Watts away from Knibb’s preference for plain winding holes. The case is essentially a ‘textbook’ example of Knibb phase III design and can be directly compared to that of a timepiece illustrated in Lee Ronald A. The Knibb Family * Clockmakers on page 87 (plate 84). Notwithstanding this there are a couple of very slight differences; the first is the handle whose distinctive scroll design was actually favoured by Daniel Quare, the second are the door escutcheon mounts which at first glance appear to be of Knibb type however they differ in detail by incorporation twin masks (rather than a single) in each as well as feathered wings within the upper and lower extensions (not present in the typical Knibb castings).The current lot generally presents as a fine honest original example which is fresh to the market having been in the same family for as long as anyone can remember. This coupled with strong connections to one of the most important workshops of the ‘Golden Age’ of English clockmaking renders it worthy of inclusion in the finest of collections. ϒ  Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

Lot 38

A French rhodium or chrome plated brass camera lucida, P. Berville, Paris, circa 1900 With two-draw telescopic arm fitted with universal pivot carrying small glass prism inset into an oxidised carrier incorporating a slot to carry one from a choice of eleven glass lenses/slides present with the lot, the opposing end with thumbscrew clamp for fitting to the edge of a table incorporating lockable pivot for the arm and inscribed CHAMBRE CLAIRE UNIVERSELLE, MODELE DEPOSE, P. BERVILLE - 25 Chausee d’Antin. PARIS, in red velvet lined fabric covered case further stamped with makers name to the inside of the lid, the box 28cm (11ins) wide; with a German stainless and japanned steel planimeter, inscribed Maho No. 60, early 20th century, of Polar type with tracer and arm incorporating Vernier scale within frame incorporating measuring wheel, dial, support wheel and pivot for the pole arm terminating with pinned anchor weight, the pole arm inscribed Maho No. 60, in purple velvet lined fabric covered case, 26cm (10.25ins) wide, (2). The camera lucida allows an artis/draughtsman to trace the form of a three-dimensional object by viewing a reflection of the object via the prism and lens assembly connected to the end of the telescopic arm. The design was patented by William Hyde Wollaston in 1806 although the principals of the instrument had been outlined by Johannes Kepler in his Dioptrice in 1611.The planimeter allows the area of a shape to be measured by tracing around its outline and has historically proven useful in cartography and surveying photography. The polar planimeter was developed in 1854 by The Swiss mathematician Jakob Amsler-Laffon although the design had been pioneered by Johann Martin Hermann in 1814.

Lot 1

A late Victorian 12 inch library table globe, Malby’s published by George Philip and Son, London 1898.The sphere applied with twelve coloured printed gores incorporating trade label MALBY’S, TERRESTRIAL GLOBE, Completed from the latest, & MOST AUTHENTIC SOURCES, including all the recent, Geographical Discoveries, AGENTS, GEORGE PHILIP & SON, MAP & ATLAS PUBLISHERS, 32 Fleet Street, LONDON and dated 1898 to North Pacific and extensively annotated with principal cities, towns, rivers, lakes, mountains and other significant topographical features, the oceans with all significant islands labelled, the West Pacific with AN ANALEMMA of the equation of time, and the Equator and Eliptic lines graduated in minutes, each pole with brass hour ring and pivots for mounting within the brass meridian circle divided for degrees, resting in wooden stand with hand coloured paper horizon ring graduated in degrees in two directions, days-of-the-month and houses of the Zodiac with names and symbols and also displaying compass directions, with explanatory note between March and April including the text Engraved by Cha’s Malby, raised on three reeded turned supports with triform baluster stretcher to support the meridian ring at the base, 46cm, (18ins) high approx. Thomas Malby and Company are recorded in Gloria, Clifton Directory of British Scientific Instrument Makers 1550-1851 as working 1843-50. First as Thomas Malby alone at 22 Houghton Street, Clare Market, London in 1839, then from 3 Houghton Street, Newcastle Street, Strand 1845-48 and finally at 37 Parker Street where the firm became Thomas Malby and Son in 1851. Thomas Malby is perhaps most remembered for producing an impressive 36 inch diameter terrestrial globe based on Addison's 1825 model. Latterly the firm of Thomas Malby and Son aligned themselves as geographical publisher for The Society for the Diffusion of Useful Knowledge (S.D.U.K) and innovated the inclusion of 'magnetic lines of variation' within their terrestrial globes. By 1898 Thomas Malby and Son were trading as ‘Globe and Map Sellers to the Admirality’ from 37 Tithe Queens Street Holborn, London. The Engraver’s signature to the horizon paper relates to Thomas’s brother, Charles Isaac Malby (1816, post 1868), who worked as one of the principal engravers within the firm.

Lot 95

A rare Solari Dator model 5 electric calendar flip/ticket wall timepiece, designed by Gino Valle for Solari di Udine, supplied by Gensign, London, 1960’s The interior with cast alloy dial frame forming the chassis fitted with electrically driven motionwork including complex arrangement of shunts, ratchets, locking levers and drive gears to control the various flip ticket carousels, the principal movement plate with SRC radial flip stamped trademark beneath serial number 50839, the dial composed of three panels with visible white-on black flip ticket digital displays for hours and minutes next to small trade label GENSIGN to top over day of the week to centre and date of the month to the lower panel, the whole behind cushion-shaped plexiglass cover set into a conforming white enamel painted cushion-shaped case with removable back panel incorporating power connector, start/stop switch and applied metal trade label GENSIGN, PROPERTY OF, GENERAL SIGNAL & TIME SYSTEMS LTD., 7 GT. PETER ST., LONDON S.W.1., ABBEY 5588/89, the right hand side also with repeat trade label for Solari, (day of month motionwork and set-up dial lacking), 34.5 (13.5ins) high; 28cm (11ins) wide. Solari di Udine, an offshoot of Ditta Fratelli Solari (Solari Brothers Company), was established by brothers, Fermo and Remigio Solari in Udine, Italy in 1948. It was there that Remigio Solari invented what would come to be called the Solari Board - a mechanical digital display that showed numbers and letters on a rotating flap system. For this innovation the company received the Italian ‘Compasso d'Oro’ (Golden Compass) award for industrial design. These information display systems have become the mainstay of arrival and departure boards displaying arrival and departure times in train and airports world over since the 1950s and 60s, with the first being installed at the Liège-Guillemins Railway Station, Liège, Belgium in 1956. The Solari di Udine range of wall and table timepieces were designed by the highly respected Italian Modernist architect Gino Valle and were most often used in semi-public environments such as banks.

Lot 170

ϒA fine George II gilt brass mounted ebonised quarter-chiming table clock with moonphase, Daniel Torin and Moses Fontaine, London, circa 1745 The substantial eight pillar triple chain fusee movement chiming the quarters on a graduated nest of three bells and striking the hours on a further larger bell, with trip repeat and backplate finely engraved with Ho-Ho bird and lambrequin panel inhabited foliate strapwork centred with Apollo standing with a harp over twin female busts to lower margin, the 8.25 inch wide brass break-arch dial with calendar aperture, false bob aperture and applied oval signature plate engraved Daniel Torin & Moses Fontaine, London No. 475 to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and female bust and scroll cast spandrels to angles beneath arch incorporating rolling moonphase with scroll engraved lunettes and herringbone decorated arch flanked by small panels to shoulders featuring S/N strike selection switch to the right hand side, the inverted bell-top case with brass mouldings and vase finials to superstructure over cavetto top mouldings and break-arch glazed front door with raised brass mouldings to the aperture and upper quadrant frets incorporating scroll cast infill flanked by canted angles applied with grotesque mask strapwork pendant mounts, the sides with hinged brass handles over concave-topped fishscale sound frets, the rear matching the front with the exception of the upper quadrants being glazed, on brass bound cavetto moulded base with generous bracket feet, 61cm (24ins) high. The partnership between Daniel Torin and Moses Fontaine is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from ‘the dial’ at Moorfields circa 1744-61. Literature: The current lot is illustrated in Barder, Richard C.R. The Georgian Bracket Clock on page 119 (Plate II/40). The highly decorative nature of the dial coupled with the beautifully engraved backplate incorporating an allegorical figure is typical of the Huguenot school of London clockmaking which thrived during the latter quarter of the 17th century and the first half of the 18th century. This distinct branch of London clockmaking was established by immigrant makers such as Claude Duchesne who established large workshops employing highly skilled specialist craftsmen many of whom remained anonymous. Clocks made in such workshops are invariably finely made which rich engraving, highly decorative dials and cases and complex movements often musical or incorporating complications. The importance of the Huguenot influence in London clockmaking cannot be underestimated indeed the fact that Claude Duchesne supplied the plates and frame for John Harrison’s first marine timekeeper (H1) is indicative of the esteem to which his workshop was held by his contemporary peers. ϒ  Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. 

Lot 32

Two Victorian mahogany cased sets of portable diamond scales, De Grave, Short and Company, mid 19th century Each with sculpted metal pivoted beam incorporating pointer within the suspension armature over hemispherical brass pans contained within a fitted box incorporating lidded compartment enclosing weights calibrated in carats, the lids applied with a paper labels entitled A table by which may be Calculated the Value of any Weight of Diamonds incorporating BY DE GRAVE, SHORT & COMP’Y., (Late M. De Grave & Sons), continuing with 59. ST. MARTIN LE GRAND, LONDON to the larger of the two, the exteriors with brass tweezers contained within a slot to the lower rear right hand corners, the larger with caddy-moulded lid and canted angles flanking brass plate push button clasp to front 17.5cm (6.75ins) wide; the second with cushion rounded lid and base and brass push-button clasp to front, 14.5cm (5ins) wide; with another Victorian cased set of portable diamond scales, De Grave, Short & Fanner, London, mid 19th century, the form the same as the larger of the first two but incorporating BY DE GRAVE, SHORT & FANNER within the paper label applied to the inside of the lid, 12.5cm (5ins approx.) wide, (3). The De Grave family were well known as scientific instrument makers specialising in weights and measures throughout the 19th century. The first member to set up business was Charles De Grave who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working in St. Martin’s le Grand, London from 1780. The business traded as De Grave, Short and Fanner from 59 St. Martin’s Le Grand 1845-71 and was eventually absorbed by W. and T. Avery and Co. Ltd in the early 20th century.

Lot 91

An unusual ‘ship’s bell’ striking table clock, Mappin and Webb, London, 1982 The eight-day two train movement wound from the rear with trains set between bell-shaped plates united by four double-screwed pillars, the going train with platform lever escapement regulated by sprung bimetallic balance and the strike train with twin hammer ‘ship’s bell’ notation sounding directly onto the heavy glass bell-shaped domed cover, the backplate stamped MAPPIN & WEBB LTD, LONDON over Serial No.069, the front applied with visible strike work and silvered Roman numeral chapter ring with trident half hour markers, Arabic five minutes within the outer track and pierced blue steel trefoil hands, set onto circular brass ropetwist edged moulded mahogany base fitted with a slightly raised glass cover with lattice-cut rim and capped with a brass carrying handle, the interior with brass plate inscribed Maritime England, 1982, 27cm (11.75ins approx.) high. The striking mechanism of the current clock mimics that of a ship’s bell being struck to announce the passing of watches undertaken by the crew on board a vessel. The bell is struck in pairs increasing by one every half hour (hence uneven strike on the half hour) up to eight blows (executed as four pairs). This strike sequence takes four hours to complete hence eight bells occurs at 4am, 8am, 12 noon etc. with each period being the traditional duration of a watch.

Lot 176

A fine and potentially important George III quarter chiming table or mantel clock movement, Justin Vulliamy, London, circa 1770 The substantial but compact circular six pillar triple fusee movement chiming the quarters on six bells configured as two nests of three set behind the plates and sounding the hours on an additional larger bell, the going train now with jewelled English lever escapement set on a gilt platform incorporating rack-arm for regulation, the backplate boldly signed Just: Vulliamy, London towards the lower margin, the 6 inch circular fired white enamel Roman numeral dial with Arabic five minutes beyond the outer minute track, small regulation square above the XII numeral and fine scroll-pierced steel hands set behind crisply moulded hinged gilt brass bezel with convex glass, with original brass cylindrical sleeve dust cover incorporating radial pierced hinged cover to rear, (escapement lacking balance), the movement plates 15cm (6 ins) diameter; the dust cover 12.5cm (5ins) deep. Justin Vulliamy was born in Pay de Vaud, the watchmaking heartland of Switzerland, in 1712. He initially trained and moved to Paris to make watches there, but when George Graham invented the cylinder escapement he came to London (in around 1730), to familiarise himself with it. At this time he met Benjamin Gray, watchmaker to King George II, with whom he was later to form a partnership with at “Ye sign of Ye Sun Diall. In 1746 Vulliamy married Mary Gray, daughter of Benjamin; they subsequently had four children, Jane, Benjamin, Lewis and Mary.Justin Vulliamy was proud of his roots, and took the lead in permanently establishing the Swiss Church in London in 1762. He was President of the Committee of the Church from its foundation till his death. He presented a clock to the original church and this clock is now in the vestibule of the present church in Endell Street, London, where there is also a plaque to the “Memory of its Founder, Francois Justin Vulliamy”.Whilst Vulliamy was in partnership with Gray their work was signed with both names. After the death of Gray in 1764 Vulliamy signed with either his full name or the shortened version ‘Just. Vulliamy’. In around 1780 Justin’s son, Benjamin, joined the his fatrher in partnership and the workshop subsequentlt adopted the practice of signing their work with the family surname ‘Vulliamy’ alone. Justin Vulliamy died in 1797 leaving the business in the hands of his son, Benjamin, who in turn passed it on to his son, Benjamin Lewis, who worked from 52 Pall Mall, served as Warden of the Clockmakers’ Company 1821-5 and was appointed Master five times.All three generations of the Vulliamy clockmaking family benefitted from Royal patronage. Of Justin Vulliamy’s work there are three fine table clocks and a very unusual barometer described in Jagger, Cedric ROYAL CLOCKS pages 88-91. Benjamin’s work in particular is very heavily represented in the Royal collection and include highly decorative sculptural timepieces executed in the Neo-Classical taste created from white marble and Derby biscuit porcelain with the finest cast and chased ormolu mounts by Matthew Boulton (see Jagger, page 117); and importantly in the context of the current lot numerous movements fitted into earlier French cases, (see Jagger, chapter 5). Indeed Benjamin Vulliamy, together with his son Benjamin Lewis, appeared to adopt the practice of replacing the original movements of earlier clocks in the Royal collection with their own; the most famous of which being that of the ‘Castlemaine Tompion’ (see Jagger page 269). The current lot is intriguing in that it is clearly designed to fit compactly within its 6 inch diameter brass sleeve. The most logical reason for this was to allow the clock to be inserted into the aperture of a decorative sculptural clock case (perhaps in a similar manner as a movement installed by Benjamin Vulliamy into a French Louis XV ormolu and bronze case by Osmond illustrated in Jagger, Cedric ROYAL CLOCKS on page 140). When originally made the current movement was almost certainly fitted with a verge pendulum escapement, indeed a filled slot in the base of the sleeve indicates where a pendulum would have passed through to swing within the body of the case below. The current platform escapement is very well executed and could well be of later Vulliamy workmanship. If this is the case then it would suggest that the current lot resided in a household who continually employed the Vulliamy family through subsequent generations. When considering this possibility alongside the overall quality and specification of the current movement, coupled with the probable calibre of the case it was made for, then it would be entirely reasonable to speculate that it may well be the product of Royal patronage.

Lot 182

ϒA rare gilt brass mounted ebony alarm timepiece of month duration with silent-pull quarter-repeat, Thomas Tompion and Edward Banger, London, No. 92 The substantial six finned and latched pillar single fusee movement fully reinstated with large spring barrel and reversed fusee to the five-wheel going train with verge escapement regulated by lenticular bob pendulum with rack-and-pinion pivoted beam regulation to suspension, the quarter repeat mechanism to Tompion’s highly complicated ‘all or nothing’ design sounding on a graduated pair of bells with the larger set between the plates and the smaller above, the alarm mechanism located beneath the larger bell with standing spring barrel and verge hammer assembly, the 8.5 by 7.25 inch backplate with canted upper angles over protruding bell to top left opposing rack box and shaped pivoted arm for the rise/fall pendulum suspension terminating above separate shaped cocks for guiding the suspension spring and for the escapement pallet arbor pivot, the centre with interconnected blue steel repeat levers pivoted via engraved sculpted cocks, the whole engraved by G195 (believed to possibly be Henry Adeane) with fine grotesque mask scrolling foliage within a line-scribed border and centred with an elaborate cartouche signed Tompion & Banger, LONDON over stamped serial number 92 to lower margin, the 8 by 7.25 inch rectangular brass dial with rose engraved silvered alarm setting disc and shaped false bob aperture to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes beyond the minute track, with fine pierced and sculpted blued steel hands and crisp gilt female mask and scroll cast spandrels to lower angles, the upper margin with conforming cast spandrel infill interrupted by subsidiary dummy opposing regulation dials, each with complex rosette centres, flanking repeat signature TOMPION + BANGER, LONDON, with leaf engraved detailing to extreme upper corner, the gilt brass mounted ebony case of ‘phase 2’ type with generous hinged gilt brass tied foliate bud carrying handle to the domed caddy superstructure over bold ogee/ovolo top mouldings and front door incorporating lambrequin mask centred gilt foliate scroll cast lozenge sound fret to the upper rail and scroll-bordered cartouche escutcheon mounts to uprights, the sides with small scroll-pierced lozenge sound frets over rectangular apertures inset with conforming foliate pierced fretwork, the rear with rectangular glazed door set within the frame of the case, on shallow ogee moulded skirt base with squab feet, the sill beneath the front foot stamped 92 towards the left hand side, (movement with reinstated wheel trains and repeat work), 38cm (15ins) high excluding handle; 27.5cm (11.75ins) wide; and 16.5cm (6.5ins) deep. Thomas Tompion has often been referred to as the 'father of English clock and watchmaking'. 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 Clockmaker's 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 mathematicians 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 1701 Thomas Tompion took a former apprentice, Edward Banger, into partnership. Banger was originally apprenticed to Thomas Ashby in 1687 but was transferred over to Tompion and gained his freedom of the Clockmaker's Company in 1695. He was clearly a talented maker (when considering the few examples signed by Banger alone) however a serious problem between him and his former master caused the partnership to come 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. Edward Banger outlived Tompion by six years, his abilities as a highly skilled watchmaker are demonstrated within a fine jewelled movement dating to around 1715 by him illustrated by him in Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 54, Fig. 97. The current lot belongs to a small group of around half a dozen Tompion spring clocks where the movements were held in stock and completed at a later date. Interestingly it would appear that all of these were silent-pull quarter timepieces with serials numbers clustered from 79-117 indicating that they were made 1686-88. The fact that both the dial and movement of the current lot are signed by Tompion and Banger together would suggest a date of finishing shortly after 1701. This date is further supported by the provision of two cocks for the double-engaged repeat levers on the movement backplate, which are believed to have been introduced in around 1698 (see Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS page 165).Silent-pull quarter repeating timepieces were essentially made for use in the bed chamber whilst clocks which incorporated normal striking (as well as a quarter-repeat mechanism) were mainly intended to be brought ‘downstairs’ during the day. Consequently silent-pull timepieces were the preserve of very wealthy clients who could afford separate timepieces for both ‘downstairs’ and ‘upstairs’ use. The current lot also incorporates an alarm mechanism (which appears in only half a dozen quarter-repeating timepieces by Tompion) which, together with a duration of one month, would render it perfect for use in a bedchamber of a palatial property. Incidentally there is only one other silent-pull quarter-repeating alarm table timepiece of one month duration by Tompion known - number 85 which is illustrated in Symonds, R.W. THOMAS TOMPION, His Life and Work on page 145 (Figure 111). Although the current timepiece has undergone highly skilled restoration of the movement (to reinstate it back to its original form) it survives as an extremely interesting example originating from the most important London workshop of the ‘Golden Age’ of English clockmaking. ϒ  Indicates that this lot may be subject to CITES regulations when exported. 

Lot 2

ϒ A German ebony brass and card universal equinoctial sundial, made for George Philip & Son, London and Liverpool, early 20th century.For latitudes 0-76 degrees North with brass ring segment resting within a groove cut into an arc applied with paper latitude scale calibrated in degrees with every ten numbered, across the diameter of the ring is a steel wire gnomon which passes though the centre of the circular hour plate set perpendicular to the brass ring, the plate applied with paper Roman numeral twenty-four hour chapter ring reading I-XII twice with the lower section cut away allowing the hour scale to continue around the inner rim of the aperture, the central infill panel inscribed PHILIPS’ SUN-DIAL, FOR USE IN ALL PARTS OF THE WORLD, LONDON, GEORGE PHILIP & SON., 32 FLEET STREET. E. C.. LIVERPOOL: 45-51, S. CASTLE STREET., MADE IN GERMANY, raised on turned ebony ogee shaped foot over a square base inset with a small glazed compass annotated with an eight-point rose, the card box also forming a plinth onto which the instrument can stand printed with DIRECTIONS FOR USE to interior, the exterior with repeat maker’s title panel, a TABLE, FOR CORRECTING SOLAR TO CIVIL TIME, an image of the sundial, and an advert of PHILIPS’ REVOLVING PLANISPHERE, the box 10cm (4in) square. George Philip and Son opened their London premises at 32 Fleet Street, London, in 1856 from where they sold their geographical and educational publications. They would later also occupy the premises next door at numbers 31 and 30 Fleet Street. In 1859, the company took over an extensive pile known as Caxton Buildings in South John Street, Liverpool, which became the company's headquarters in the city. Through the use of new power-driven printing machinery George Philips and Son became largest publishers of cartography and geographical works in the Country, as well as specialising in producing globes and planispheres for educational use. Over the years George Philips and Son Ltd took over the production lines of other firms including Malby (active 1845-1860), Betts (active 1844-1875), Smith (active 1799-1888) and Johnston (1802-1871); and in 1984 celebrated their 150th year anniversary. The company was sold in 1989 and later became part of the Octopus Publishing Group. ϒ  Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

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