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![[ Woodworking / Tools ] "Planecraft, Hand Planing by Modern Methods", Sheffield, C & J Hampton Ltd, 1934, 135 pp](https://cdn.globalauctionplatform.com/76c43efd-41c8-4fe8-8b21-ae9900ee8651/95c7b85f-c698-4c12-8f2a-ae9b012aac3a/468x382.jpg)
Lot 118
1960's 18 carat gold Rolex oyster perpetual superlative chronometer, champagne dial with gilt batons, automatic movement with original black leather strap and gold buckle No1002/741360, purchased 8th August 1964, original box and guarantee and papersCONDITION REPORTThe Rolex movement is in good working order, the gilt hands, hour batons are very good, some discoloration to the dial, numerous light abrasions across the dial cover, winder working order and crown screw down good. Gold case has light abrasions and the back engraved A MacDonald. Black leather strap heavy wear. Unfortunately we can't show the workings as we do not possess the correct tools to remove the back. Purchased 8th August 1964.
Lot 119
Gents Rolex Oyster perpetual Datejust superlative chronometer wristwatch, silvered dial with hour batons, date aperture on stainless steel strap, serial number 3599886, with box and papers, and original receipt, dated 1979.CONDITION REPORTThe Rolex movement is in good working order, the dial, hands and gilt batons are all very good, there are heavy abrasions across the dial and date cover, winder and screw down crown mechanism are all good. Bezel is good, watch case and strap have light wear and tear with surface abrasions. The watch had a complete over hall by Rolex 19th January 2006, unfortunately we do not possess the correct tools to remove the back and show the workings and check the serial numbers
Lot 121
Gents Rolex Oyster perpetual air king stainless steel precision wristwatch, champagne dial with hour markers, on a stainless steel bracelet strapCONDITION REPORTThe Rolex movement is in good working order, the dial, hands and hour batons are very good. There are heavy abrasions across the dial cover, stainless steel case and strap are in good condition with abrasions, wear and tear, winder working and crown screw down good. Unfortunately we don't possess the right tools to open the back and show the workings and check serial numbers.
Lot 122
Gents Rolex Oyster perpetual Datejust superlative chronometer wristwatch, champagne dial with baton hour makers with date aperture on stainless steel bracelet strap, serial number 16013, with box and papers.CONDITION REPORTThe Rolex movement is in good working order, dial, hands, date aperture are all very good, winder and screw crown are all good. Some light abrasions to the quartz dial cover, bezel, watch case and strap have light wear and tear with light abrasions, No.9008949, not sure of age, possibly 1986/87. Unfortunately we do not possess the right tools to remove the back to show the workings and check the serial numbers
Lot 332
Friedrich Mauthe, Schwenningen, Germany, a late 19th century Vienna style walnut and ebonised Vienna wall clock, white enamel two part 6" dial, the signed movement numbered 14693, striking on a gong, architectural case, pendulum, key, 97cm.Friedrich Mauthe (1822-1884). Started out as a supplier for watchmakers' tools. In 1860 he founded his own company, in 1876 his sons Christiaan and Jacob joined the company. Established in 1886 a factory for clock springs, and in 1899 founded the factory for clock cases. By 1900 there were 1000 workers.
Lot 2585
An old engineer's cabinet contianing engineering tools, COLLECT ONLY.Tongue along bottom of front cover damaged but cover still clips in place. No damage to the box. All drawers open, some contain old engineering tools, box condition expected with age. Missing handles off the top. 45.5cm x 20cm x Height 34cm.
Lot 152
HENRY LIVERSEEGE (BRITISH 1803-1832) THE COBBLER OR THE WEEKLY REGISTEROil on canvasSigned and dated 1830 (lower centre)20.7 x 25.7cm (8 x 10 in.)Exhibited:British Institution 1830 - a larger versionEngraved:W.GillerHenry Liverseege's exhibited first at the Royal Manchester Institution, but by 1828 was exhibiting both at the Society of British Artists in London and at the Royal Academy, where he is said to have been greatly encouraged by Sir Thomas Lawrence. A few portraits are recorded, but genre scenes, both contemporary and historical, seem to have been his subjects of choice. His work found its way into a number of notable collections, including that of The Dukes of Devonshire at Chatsworth. In his obituaries he was described as "The English Wilkie", comparing him to the great Scottish genre painter Sir David Wilkie.In this present painting Liverseege puts forward as a mildly humorous but perspicacious genre scene. He shows us a cobbler surrounded by the tools of his trade, his shutter open for business. He is seen straining his eyes to get to grips with the famous weekly publication of the time The Political Register. The Weekly Register as it was commonly known was a political publication published by the redoubtable William Cobbett (1763-1835), journalist and pamphleteer, best remembered today for his Rural Rides. It appeared almost every week from 1802 until Cobbett's death in 1835. Liverseege's picture must have hit a popular note at the time as we are here dealing with a slightly smaller version of the one he exhibited in the British Institution in 1830.
Lot 281
Boy Birdsnesting, 1927signed 'E.Ravilious' (lower right)wood engraving, unframed16 x 25cm (sheet)A prodigiously talented watercolourist, designer and lithographer, Eric Ravilious is perhaps most celebrated for his remarkable wood engravings and is credited as one of the most critical figures in the revival of the medium during the 1920s.The popularity of wood engraving has waxed and waned since its inception in 1768 by British naturalist and illustrator, Thomas Bewick. Using tools traditionally used for metal engraving, Bewick’s wood engravings were admired for their extraordinary precision and meticulous detail. Widely used as a method of mass-producing images during the 19th century, by the end of the century, however, the practice of wood engraving was becoming supplanted by the more efficient and less labour-intensive process of photography.The resurgence of wood engraving was initiated in the 1920s with the foundation of the Society of Wood Engravers by artists including Gwen Raverat, Eric Gill, Lucien Pissarro, Robert Gibbings, Clifford Webb and Noel Rooke. In 1926, Ravilious received his first major wood engraving commission - a series of vignettes, marginalia and illustrations for Martin Armstrong’s Desert. On the strength of this project, Ravilious gained the attention of Robert Gibbings who recommended him for membership to the Society of Wood Engravers and invited him to illustrate the Golden Cockerel Press publication, Ballad Upon a Wedding, by John Suckling. Following this, Ravilious was once again commissioned by Gibbings to illustrate Nicholas Breton’s The twelve months (sic) in 1927. Between 1929 and 1935 Ravilious would contribute to four further Cockerel publications: The Atrocities of the Pirates, Consequences, The Hansom Cab and the Pigeons and Twelfth Night. Ravilious continued to work primarily in wood engraving until the late 1930s, before abandoning the practice in favour of watercolour painting.As demonstrated by the present lots, Ravilious’ wood engravings are as much valued for their technical dexterity as they are for their wonderfully imaginative and deftly observed compositions. The present lot is an alternative version of a plate illustrating April in The Twelve Moneths (sic) commissioned by Robert Gibbings for the Golden Cockerel PressLengths of adhesive tape attached to the top, left and right hand edges, where the sheet has previously been attached to the mount. The top and right hand edges fairly irregular, the top edge with some losses and creases. There is a network of creases along the right hand edge and a large, but fairly shallow, dogear crease at the lower right corner. There is a similar crease at the top left corner, a smaller, but deeper dogear at the top right corner, and some other light handling creases throughout. The margins display some scattered foxing and overall age toning. The image is mostly clean, though there are some navy blue marks to the boy's shorts, face and the branch nearest to his right hand
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