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Lot 1109
An extensive collection of magazines, periodicals and auction catalogues of railway and bus interest including,The Railway Constructor, The Model Railway News, Model Railways, Railway Modeller, Steam World, and Buses, many bound 1930's and later, together with a quantity of railway modelling accessories, kits and tools, die-cast and plastic scale model buses, many mint and boxed, and an OO gauge model track section with naturalistic decoration and trackside buildings, fitted for electricity, in a lidded wooden case, length 244 cm, (a lot), sold not subject to return.
Lot 750
A rare and interesting George IV Britannia standard snuff box, of plain reeded oblong form, the lower inscribed 'W H Smith from his friend Vincent Ambler 1879', the gilt interior inscribed 'The produce of Hudgill Burn Lead Mine' . 3.25in (8.2cm) long, 3.25oz. Literature Luddington, J: Starting to Collect Silver, pp 147-149. "In The Connoisseur of August, 1975, I described my discovery of what might be the rarest of all nineteenth century hallmarks. On a vinaigrette made by Thomas Shaw, with the normal Birmingham assay marks for 1823, there was an oval shield enclosing the figure of Britannia, denoting the higher standard of silver. (The Assay Master at Birmingham was unaware that such a mark had been struck in Georgian times but, during an unsuccessful search through the archives and vaults of the Assay Office for this very punch, another similar Britannia mark, which had been used in the year 1844-6, was discovered.) Proudly engraved within the lid of this vinaigrette and carefully unimpinged upon by hallmarks, there were the words 'The Producers of Hudgill Burn Lead Mine' and as this as my clue I decided, if possible, to discover the history of my box, hoping the there was a romantic story attached to it. In the south of England, no one had heard of Hudgill Burn for it is a very tiny stream, even in the spates of spring, but after a comprehensive search in a nineteenth century edition of 'Bartholomew's Citizens' Atlas' of those districts in which lead had been mined in the past, I spotted the name of a hamlet called Leadgate, situated a few miles south west of Alston in Cumbria. The location and history of the mine were well known to the Abbot Hall Museum, Kendal, for the opening and closing of the Hudgill Burn mine and made significant social impact over the surrounding countryside. The locals seemed gratified to see and handle the little vinaigrette and I felt that by right it should belong to Alston. Everyone confirmed that the opening of the mine in 1814 was extremely fortuitous as the worthy brothers, John and Jacob Wilson, who were financing the project, had decided at long last that they could afford no further expenses in search of lead and had reluctantly given notice to their workers. But these resolute men, the ancestors of some of the present inhabitants of the town and neighbouring district, had faith and they greatly respected the Wilson bothers, who lived at the Manor House (now the hospitable Hillcrest Hotel) situated almost at the foot of the hill. The men elected to work on without wages until their candles were exhausted. Literally at the last moment, on their thirteenth day underground without pay, they struck a massive vein of lead. The joyous workers downed tools, and, descending the cobbled streets of Alston in high spirits, announced their find by hurling a brick of lead through the front window of the Wilsons' home. In 1821, alone, some eight thousand pounds worth of silver was extracted from the lead and this was sent to be refined at Nenthill, some two miles from the mine"
Lot 1121
A mixed lot comprising: four various Watch Keys and tools including a white metal Universal Key with ring suspension, together with an “Illinois Watch Case Company, Elgin, USA” case tool, with a plated blade and keywind and bow suspension, a hard stone set nickel watch key and another example, various dates and makers, (4)
Lot 329
[CLOCKS/HOROLOGY] CRAY (t.) Horological Cutting Engines, 1700-1900, 8vo, illus., clo., PRESENTATION COPY to Bill Galbraith, 3rd impr., Florida, 1970; SMITH (A.) & WYKE (J. of Liverpool). A Catalogue of Tools for Watch and Clock Makers, obl., 4to., illus., clo., Winterthur Museum, Ist Edn., 1978 (2).
![COACHING & TOLL ROADS. – A very rare George II toll pass. [Great Britain:] 1744. A folding dark-brown calf and paper pass (6](http://lot-images.atgmedia.com/SR/10123/2746386/3108-62-10123_468x382.jpg)
Lot 3108
COACHING & TOLL ROADS. – A very rare George II toll pass. [Great Britain:] 1744. A folding dark-brown calf and paper pass (69 x 54mm.) The left inner cover with applied paper label with 19 lines of letterpress text beneath the letterpress heading ‘Gate-Keepers Orders’ with manuscript signature at foot ‘Tho: Ripley’, the right inner cover with gilt tooled border incorporating ‘The Kings Private Roads’, ‘G II R’, ‘MDCCXLIV’ and ‘No 1020’ all surrounding a central area blocked in blind with an official stamp. The outer covers with borders decorated in single fillet and dog-tooth roll tools, contained within original black shagreen two-part slip-case, lined in red velvet. Provenance: the Tyrwhitt Drake family and thence by descent.
Lot 65
A collection of approximately 140 cabinet maker's woodworking tools, early 19th century, the handles stamped ‘J. Lincoln’, including an ebonised mahogany table cabinet containing approximately 104 chisels, many with maker's stamps to the blade including, Thornhill Brothers, W. Hatton, J.B Addis & Son, Frost Norwich, Sharp, S.J Addis Jun, Ward, J.H Sargent, Hatten & Beddall, E. Herring, together with approximately 30 woodworking tools including planes, clamp and brace, many stamped ‘GRIFFITHS, NORWICH’, and other examples stamped A.T CHAMBERLAIN, WATERLOO RD, LONDON, STOKOE, R.HARDY, HULL, some contained in an oak and brass bound chest stamped ‘W.Wheaton’, 28cm high, 43cm wide, 28cm deep Provenance: James Lincoln was head wood carver at Rattee & Kent of Cambridge. Many of these tools were used during his lifetime for restoration work at many noted Castles, Cathedrals and Churches and colleges throughout the United Kingdom including Arundel Castle, Westminster Abbey and the building of the Roman Catholic Ch rch in Cambridge
Lot 286
Clarke, James Stanier & McArthur, John The life of Admiral Lord Nelson, K.B. from his lordship’s manuscripts. London: by T. Bensley for T. Caddel & W. Davies, 1809. First edition, 2 volumes, large 4to., with an engraved frontispiece to volume 1 and 16 other engraved plates, 4 vignettes, with a double page pedigree of the Nelson family, facsims. in the text, contemporary diced Russia, gilt borders of Greek key pattern and palmettes, repeated in smaller tools to form an inner panel, a.e.g., rebacked, edges rubbed, some very slight internal spotting. [2].
Lot 354
Arman, bronze with gold patina, sculptured dissected Violin in perspex box Signed edition 134/ 150 ( Edition number partly obscured by mount) foundry mark A .Valsuani perdue, Armand Pierre Fernandez, (born in France1928 died 2005), is one of the most important international object artists and a co-founder and member of the Nouveau Réalisme. He studied at the Ecole Nationale des Arts Décoratifs in Nice from 1946 to 1949 and then continued his studies for two years at the Ecole du Louvre in Paris. An acquaintance with Yves Klein led to the idea of organising joint happenings and events, which the two artists realised in 1953. Armand's neo-dadaist 'Cachets' (stamp prints) of 1955, and later the 'Allures' (prints made with objects dipped into paint) and the 'Coupés' (cut-up objects) followed by the 'Colères' (objects which were smashed and then mounted) were still influenced by Kurt Schwitters. When the last letter of his name was accidentally forgotten on a catalogue cover in 1958, he decided to adopt this spelling of his name. In 1957, Arman became interested in common objects as works of art. First he did what came to be called his "allures d"objet" (object impressions) where he w uld dip an object into paint and press it on canvas; thereby leaving the object's shadow or impression. Then he figured the object itself was worth paying attention to and he started to "treat" them in his own way. Arman's way of treating objects is very special: his intention is to remove the material function of an object so that as a work of art its only possible function is to "feed the mind" and not serve a material purpose anymore. What better way could he find to achieve that result than by breaking, slicing or even burning objects such as a violin, telephone, typewriter or even a whole car. He also makes objects useless by accumulating them (2,000 wrist watches in a plexiglass box are fun to watch but not very functional unless you like to "pick your time") The artist discovered his famous 'Poubelles', Plexiglas cases with rubbish cast in resin, at the beginning of the 1960s. From the 'Poubelles' Arman developed the so-called 'Accumulations', a number of the same objects assembled in show cases. These arrangements consist mainly of objects of every-day life, with which the artist ironically questions the one-sided waste character of mass products. He taught at the University of California until 1968. From 1975 onwards Arman spent seven years working on a monumental sculpture made of 60 cars which he called 'Long Term Parking'. From the mid-1960s Arman made numerous visits to New York, and he soon came to regard the USA as his second home, taking American citizenship in 1972. The stocks of new objects that he discovered there directed him towards new and more abstract accumulations. These culminated in 1967–8 in the Renault Accumulations (e.g. Renault Accumulation No. 106, 1967; see 1986 exh. cat., p. 221), highly sculptural works made from separate pieces suppl ed by the Renault car factory, and in large-scale commissioned monuments such as Long Term Parking (h. 18 m, 1982–3; Jouy-en-Josas, Fond. Cartier Mus.), a gigantic tower consisting of 60 cars embedded in concrete. In his later work he also recast some of his earlier Rages and Combustions in bronze, and in another series, Armed Objects, he used concrete as a base in which to fix the object, somewhat in the way he had previously used transparent plastic. He broadened his imagery to include tools while remaining faithful above all to objects symbolizing the excesses of the consumer society. Arman was also an avid collector of objects, artefacts and works of art, including watches, radios, cars, European pistols, African carved sculpture (especially Kota guardian figures) and Japanese armour Awards: Officier de la Légion d'Honneur, Grand Prix Marzotto, Commandeur des Arts et Lettres, Officier de l'Ordre National du Merite, Member of the Academia Brera. Provenance; Purchased from Windsor and Eton Fine Arts Co. Ltd. 12/12/1979 and now consigned by the purchaser h: 28.50 x w: 17.50 x d: 6 in.
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82067 item(s)/page