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Lot 462
A Jesse Ramsden Brass Theodolite, English, Late 18th century,signed Ramsden, London, E.R, the telescope with rack-and-pinion focusing, supported by two brackets above, half-circle of degrees, above circular platform with 360-degree silver scale and vernier, two bubble levels mounted at right angles, magnetic compass, staff-head mount with four levelling screws, in fitted mahogany case, together with folding tripod, the instrument 13 1/2in (34cm) high Footnotes:Jesse Ramsden (1735-c.1800) was a leading figure in the design and production of mathematical instrument makers, since starting his London business in 1762. His Theodolite design was used on numerous high precision surveys from 1784, and contributed to his election to the Royal Society in 1786. In addition to Theodolites, Ramsden built balances, barometers, sextants, and other precision instruments. Ramsden had William Cary as an apprentice, before Cary went into the globe making business with his brother John Cary, the workshop situated further along the Strand from Ramsden's.For further information on this lot please visit Bonhams.com
Lot 465
A Troughton & Simms Brass Theodolite, English, Mid-19th century,signed TROUGHTON & SIMMS LONDON, the telescope with rack-and-pinion focusing, mounted on two brackets above half-circle of degrees, with silver scale and vernier, on staff-head mount with compass, two bubble levels mounted at right angles, and 360-degree silver scale with vernier, on four level screws, in original fitted case, together with folding tripod, the instrument 11in (28cm) high Footnotes:The firm Troughton & Simms was established in 1826, when the renowned instrument maker Edward Troughton (1753-1835) partnered with William Simms (1793-1860). The business continued to produce precise surveying and navigational instruments throughout the 19th century, including telescopes, Theodolites, and surveyor's levels.For further information on this lot please visit Bonhams.com
Lot 669
LATE 19TH/EARLY 20TH CENTURY BRASS THEODOLITE, BY ADIE OF EDINBURGH,numbered 152025 and 2520, silvered measurement and compass dials, 22cm high in fitted mahogany caseThe image viewed through the scope is so poor that it is hard to say for certain whether erect or inverted. No additional pieces in box.
Lot 88
GI Joe - Action Man - Palitoy - Hasbro - Others - Four GI Joe / Action Man modern boxes each containing a quantity of loose mainly Action Man and GI Joe weapons and accessories. Equipment included in the boxes includes Action Man Engineers Surveyor theodolite with tripod; 81mm Mortar; M16; Browning machine gun; radios, map canister; flag; jungle knife and similar. Boxes have some storage related wear appearing Good overall and DO NOT CONTAIN FIGURES. Items within boxes show play and age ear, generally ranging Fair Plus - Very Good and are unchecked for completeness. Kit bags are filled with packaging only and do not contain accessories (4) (This does not constitute a guarantee)Condition Report - The MP radio featured in this lot does NOT posses any makers marks. It is blank to the rear - please refer to photograph showing comparison with normal field radio.
Lot 57
A good late 18th century mahogany quarter chiming longcase clockJames Allen, LondonThe pagoda top with ball and spire finials sitting on ribbed mouldings, the centre with shaped apron over silk backed sound frets mounted on brass stop-fluted Doric columns over a long door with flame veneer flanked by matching quarter columns on a doubled stepped plinth with applied moulded panel. The 12 inch arched brass dial with strike/silent over a Roman and Arabic chapter ring and scroll spandrels framing the matted centre with recessed seconds and applied arched signature riband. The movement with heavy plates united by five large knopped pillars, the going train with anchor escapement, the original pendulum with brass strip and lenticular bob suspended from a substantial back cock on the backplate, striking the hours on a bell and chiming the quarters on eight bells and hammers. Together with three brass-cased weights 2.55m (8ft 5ins) high. Footnotes:James Allan, also spelt Allen, was born in Forres, Scotland likely around 1739. He seems to have been initially apprenticed to a blacksmith in Forres, and after completing his apprenticeship he moved to London. By chance, he shared a house with a sextant maker, and apparently Allan would assist the sextant maker in the evenings. Allan must have preferred instrument making to blacksmithing, as by 1786 he was making Borda circles, likely with Jesse Ramsden, whom he appears to have remained close to throughout his life. In 1790, he was listed as working at 76 New Gravel Lane, before moving to 12 Blewit's Buildings, Fetter Lane around 1800, where he would remain for the rest of his career. In 1809, he is listed in the trade directories at this address as a 'divider of mathematical instruments'. In 1816, he published his own method for making highly accurate screws and was subsequently awarded a silver medal for his screw making, by the Society for the Encouragement of Arts, Manufacturers and Commerce. This same organisation gave him several awards throughout the years: two gold medals, one for his self-correcting dividing engine (1810) and another for a theodolite of his own manufacture (1815), as well as another silver medal for a new Reflecting Repeating circle (1811). On 3 February 1820, he received another award, of £100, this time from the Board of Longitude for his 'Self-Correcting Dividing Engine' used for the manufacturing of theodolites, sextants, etc. This engine is now in the Science Museum in London. It seems that shortly after this he moved back to Forres, where he died a year later, on 7 September 1821, his obituary being published in the Inverness Courier. James Allan would later be mentioned by Thomas Reid, in his Treatise on Clock and Watch Making: Theoretical and Practical, as a late watchmaker of London and a 'master in the art of dividing mathematical and astronomical instruments'.One of his sons, also James, served an apprenticeship to the well-known instrument maker Charles Fairbone, then worked in Ramsden's shop between 1813-1816, before transferring to Matthew Berge's shop located at 196 Piccadilly. In 1819, he and Nathaniel Worthington, a former apprentice to both Berge and Allan (Snr.) inherited the business on Berge's death, setting up the partnership of Worthington and Allan. Interestingly, James Allan, of 196 Piccadilly, was enrolled at the London Mechanics Institute between June 1825 to March 1826. The partnership between Worthington and Allan continued until 1835, after which point Worthington assumed full control, until his death in 1851. Whether Allan died in 1835, or the partners simply had a falling out, remains unknown.Another son, John, seems to have worked with his father between 1790-1794, before he established himself as a marine instrument maker in Baltimore, having left the UK in 1807. His adverts boasted that all the instruments were made using his father's improved dividing engine.Reid, T (1832) Treatise on Clock and Watch Making: Theoretical and Practical. Philadelphia: Carey & Lea.McConnell, A. (2016) Jesse Ramsden (1735–1800): London's Leading Scientific Instrument Maker. Abingdon-on-Thames: Routledge.de Clercq, P. R. (1985) 'Nineteenth-Century Scientific Instruments and their Makers: Papers presented' Fourth Scientific Instrument Symposium. October 1984.The British Antique Dealers' Association (2022). Worthington & Allan-London. Available at: https://www.bada.org/object/worthington-allan-london-outstanding-flat-wall-bow-front-mahogany-stick-barometer-circa-1820Public Ledger and Daily Advertiser. Friday 25 February 1820Inverness Courier.Thursday 13 September 1821Grace's Guide (2020) James Allan (London). Available at: https://www.gracesguide.co.uk/James_Allan_(London)#cite_note-3 This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 7
An interesting mixed collectors lot. This lot contains a number of miscellaneous items. Items to include: 1) Telescope A A Radar M K 1 OS 1884 GA - Reg No. C874, 2) Ross Projection Lens D.P.L No. 181973 F6 1/2 IN, 3) Vickers - Armstrong Ltd - London - 1939 - No. 621 telescope bearing No. 8 MKI, 4) Hilger & Watts Surveyor's Precision Dumpy Theodolite, 5) Carl Zeiss Jena rotating lenses (32 x) (52 x) (72 x) and tube fitting, 6) telescope elbow M34 No. 22 Perfex Copr 1943 - R J D Power 4 Field 11 degrees, 7) Tel Sights No. 41 MK2 S O.S 8.22 G.A Be Ltd Reg NO. 30549, 8) Carl Zeiss Jena Nr3321 W f.129cm and others.
Lot 6
William Kentridge (born 1955)Colonial Landscape - Waterfall, 1995-1996 signed 'KENTRIDGE' (lower right)charcoal and pastel on paper 122 x 160cm (48 1/16 x 63in).Footnotes:ProvenanceGoodman Gallery, Johannesburg, South Africa;Private Collection, London;Acquired from the above by the current owner.ExhibitedRome, Cittá/ Natura: mostra internazionale di Arte Contemporanea' , 21 April - 23 June, 1997.LiteratureCarolyn Christov-Bakargiev, William Kentridge, (Brussels: Société des Expositions du Palais des Beaux-Arts de Bruxelles, 1998), p. 182 (illustrated)William Kentridge, 1997, CD-ROM, (Johannesburg: David Krut Publishing, reproduced along with various images of drawings and graphics)The present lot is one of several drawings created by William Kentridge between 1995-1996 for his Colonial Landscape series. The series came after the theatre production, Faustus in Africa (1994), where Kentridge looked at depictions of Southern African landscapes in the era of colonisation. For example, the 1891 publication Africa and Its Exploration: As Told by its Explorers by Mungo Park, David Livingstone and others featured several engravings of idealistic scenes in Southern Africa. The engravings were produced and translated by professional engravers in London and were also reproduced in The Illustrated London News. The studies of Victoria Falls by Thomas Baines (1820-1875) are arguably comparable to Kentridge's Waterfalls from his Colonial Landscape series. In the early 1860s Baines produced a handful of sketches and oil paintings from his expedition along the Zambezi to Victoria Falls. These images were romanticised and idealistic visions of the Southern African landscape, that can be argued as often disguising the exploitative nature and brutality behind colonial rule.The imagery referred to here has undergone manifold technical steps in its production from sketch to engraving, all under the colonial, romanticised gaze encompassed by its creators. Parallel to this, the images circulated in Great Britain but were also redistributed back to Southern Africa. Kentridge has admitted to being fascinated with this geographic migration of colonial imagery, stating 'I was interested partly in the translations, the temporal and geographic dislocations that happen...'. Thus, the Colonial Landscape series became much more than a simple critique of colonialism. The works in this series were all created on high-quality, handmade Korean paper with deckled edges at the upper and lower margins. It's rare to find a part of the paper that hasn't been worked in with charcoal, which typifies the dense style that bleeds across the entire sheet and masterfully utilises the qualities of the charcoal, including the smudging and erasure that are evident so often in his work.'But if there hadn't been that first almost sensual pleasure in what it is to be working with that charcoal dust, that you can put into the spew of a waterfall, and the way lines in an engraving or in a drawing are like the lines of the sediment of a rock, and the way the rock meets the idea of a drawing or a graphic mark halfway, and the way the erasure works and a lot of other things – and, yes, obviously it relates to colonial images of Africa, but it's also a treat. A form in which I could let myself draw the beautiful, big landscapes, rather than the bleak, flat Highveld landscape.'Within this landscape Kentridge includes a large, red circle with associated red marks which dominate the page and forces the viewers gaze inwards. 'The new red marks are both beacons erected in the landscape and the surveyor's theodolite markings of the image in the viewfinder'. Kentridge has even stated that these red marks are 'bruising on the landscape', conjuring notions of conflict within a sublime landscape. Kentridge also puts his own stamp on the landscape by using motifs that he repeats throughout his oeuvre such as a megaphone and pylon that are all visible on the horizon. BibliographyMargaret K. Koerner, William Kentridge: Smoke, Ashes, Fable (Brussels: Mercatorfonds, 2017) p.44Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna , (London: Thames and Hudson, 2013), p.92Kate McCrickard, William Kentridge: WK, (London: Tate Publishing, 2012), pp. 22-23This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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2335 item(s)/page