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Lot 178
A fine and impressive Louis XVI style ormolu figural mantel clock with centre seconds and concentric calendar The movement by Pierre-Honoré-César Pons and bearing signatures for Ferdinand Berthoud, Paris, circa 1830 The circular four pillar two train outside countwheel bell striking movement with the pillars pinned at the rear, the five-wheel going train with fine pinwheel deadbeat escapement positioned to the centre of the backplate with depth adjustment to the pallets, fine beat screw to crutch and regulated by half seconds disc-bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with Pons, MEDAILLE D’OR, 1827 roundel over engraved initials B Y and stamped number 1 9, the lower edge also boldly engraved in a downward curve Ferdinand, Berthoud AParis and the left hand edge further stamped 200, the 7.5 inch circular convex enamel dial polychrome painted in the manner of Coteau inscribed Ferdinand Berthoud, AParis to centre within concentric red Arabic numerals for date of the month within chapter ring with vertical Arabic numerals and gilt fleur-de-lys half hour markers, the outer track annotated with the months of the year and their length in French within concentric band polychrome painted with oval panels representing the signs of the Zodiac with fine gilt foliate decoration between, with steel centre seconds hand, scroll-pierced gilt minute and hour hands and snakehead/tail hands for the calendar, set behind a hinged convex glazed gilt brass bezel cast with guilloche scroll decoration to surround, the fine substantial sculpted ormolu case cast with cherubs and lovebirds within billowing clouds enveloping the dial draped with floral sprays and with bows, quivers and trumpets applied around the swept panelled foot, the D-ended plinth base inset with crisply cast basket of flowers centred foliate scroll infill to the oxidised ground apron panel flanked by floral festoon swags to the conforming curved end sections, on six cast toupe feet, 66cm (26ins) high. Provenance: Brocket Hall, Hertfordshire Pierre-Honoré-César Pons was born in Paris in 1773 and after studying with the Jesuits in the rue Mouffetard he went to train under the eminent clockmaker Antide Janvier. Unfortunately the unrest of the French Revolutionary period disrupted his training but he was recommended by Janvier to the prestigious Lepaute family who took him on in 1798. Pons completed his training under the Lepautes and developed an interest in precision horology; in 1803 he opened his own workshop rue de la Huchette, near the Place Saint-Michel. In order to satisfy the financial demands of running a workshop, whilst taking time to work on the development of precision horology, Pons acted as supplier of movements to many the eminent horologists of the period such as Berthoud, Breguet and Lepine. During this time he developed several escapements and created improved wheel-cutting and pinion polishing machines. With the encouragement of Ferdinand Berthoud in 1804 Pons presented his ‘Observations sur l’échappement libre’ to the Academy of Sciences where it was praised by the jury and the Academy congratulated him.Around this time the French clockmaking town of Saint-Nicholas d’Aliermont was in crisis due to the collapse of the industry. Napoleon’s minister responsible for Fine Arts, Industry and Commerce, the Count de Champagny, ordered the Académie des Sciences to find someone suitable to turn the industry around. Honoré Pons was approached as he had the necessary skills and had developed the tools and practices most appropriate for the task. After a period of reluctance he accepted on the basis that the state will pay him a generous amount for his machines as long as they were installed and used in the Saint Nicholas workshops. By 1808 Pons was producing fine quality ‘blanc-roulants’ for an affordable price which received high praise from makers such as Breguet and recognition by the Academie in their report to Napoleon Bonaparte.Over the following decades Honoré Pons expanded the Saint Nicholas operations and became a principal supplied of movements to the Parisian clockmaking trade from his premises in Paris’s rue de la Barillerie on the île de la Cité. In 1827 he was awarded a gold medal and in 1839 was awarded the Croix de la Légion d’Honneur by King Louis Philippe. In 1846, at the end of an illustrious career, pons sold his firm to Borromée Délépine and retired, living in an elegant Parisian mansion at 20, rue Cassette. The movement of current lot is a faithful and beautifully made clock made in homage to one of Honoré Pons mentors, Ferdinand Berthoud. It is interesting to note that a second clock of exactly the same appearance is in in the collection of the Chateau de Compeigne; it is not known whether this other example also has a movement by Pons or an original mechanism by Berthould. The case of the current lot is beautifully cast and hand finished in bronze doré with visible evidence of hand tooling and burnishing commensurate with the finest products of the Louis XVI period. From this it is perhaps appropriate to speculate that the present clock falls into one of two camps. The first is that the case is a contemporary ‘twin’ of the example in the Chateau de Compeigne but now houses a re-made movement by Pons signed in a similar manner as the original. The second is that entire clock was made in around 1830 as either a very expensive commission or as a ‘tour de force’ to demonstrate that Parisian clockmaking trade were still able to produce examples equal (or better) than those made before the revolution.
Lot 97
Ï’ A silver cased verge pocket watch The movement signed for Henry Hindley, York, circa 1750 The gilt full plate fusee movement with four square section baluster pillars, scroll-pierced fusee stop-iron block and verge escapement regulated by sprung three-arm steel monometallic balance set beneath fine grotesque mask and foliate scroll engraved and pierced balance cock with faceted diamond endstone and conforming applied infill plate around the silvered regulation disc opposing engraved signature H. Hindley. York 842, with gilt dust cap similarly signed and later circular white enamel Roman numeral dial with gilt spade hands, now in a silver case with suspension post fitted with hinged loop, indistinct marks probably for London 1827, the backplate 3.5cm (1.25ins) dialmeter; the case 4.3cm (1.75ins) diameter, and an Anglo-Indian ivory mounted tortoiseshell display case, Vizagapatam, India, mid to late 19th century, the sandalwood interior with hinged watch-holder faced with fine foliate scroll engraved ivory and with pivoted strut to rear, the exterior modelled as a domed casket applied with figural engraved fretwork oval panel between entwined scroll decorated studded straps within ropetwist border applied with further smaller angle straps to lid, the front sides and rear with further fretwork panels and straps, on small reeded silver coloured metal feet, 11.5cm (4.5ins) long, (2). Henry Hindley was born in Great Harwood, near Blackburn, Lancashire 1699, little is known about his early life, however by the mid 1720s he was making clocks in Wigan where he repaired the church clock in 1726. Hindley moved with his young family (including his son, Joseph born 1728) to the prosperous city of York where, after making clocks for the Mansion House and Guildhall, he gained his Freedom of the city in 1732. Hindley s talents were such that he equipped his workshop with tools of his own design including an important dividing and wheel cutting engine, a screw cutting lathe and a fusee engine. As well as domestic clocks Hindley received commissions for several turret clocks including York Minster and supplied a range of scientific instruments including two important equatorial telescopes for the Duke of Norfolk and William Constable. By the 1760 s Hindley s health had deteriorated to the extent that an ever increasing proportion of the business was handled by his son Joseph. Henry died in 1771 with his son and successor Joseph unfortunately dying just three years later in 1774, before he had had the opportunity to stamp his own mark on the family firm. Hindley s work demonstrates a highly inventive exacting approach with each clock perhaps varying in some way to its predecessor ensuring constant refinement in design and layout. The quality of the finish of his work is generally exceptional being comparable to the very best London makers of the period which is why many collectors refer to Hindley as the Tompion of the North. The highly decorative and finely executed watch case included in the current lot is a fine example from the Indian Vizagapatam workshops made for the British market during the time of Colonial rule. Stylistically the pierced panels and simulated strap decoration applied to the current lot would date it most likely to the third quarter of the 19th century as earlier pieces tended to be entirely veneered in ivory and often engraved with Neo-Classical motifs. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 91
Verstegan (Richard). A Restitution of Decayed Intelligence: in Antiquities. Concerning the most Noble and Renowned English Nation, 1st edition, Antwerp: Robert Bruney, 1605, pp. [26] 338 [13], signatures [pi]1 [dagger]-3[dagger]4 A-2V4 (-2V3:) 2X-4 (2X3 missigned 2V3), [pi]1=full-page engraved arms of Verstegan (possibly bound originally as 2V3), [dagger]1=title-page in red and black with engraved vignette, 10 engravings in text, moderate browning, headlines and pagination generally shaved, [pi]1, [dagger]1 and 2X4 all trimmed and mounted, [dagger]2 fore margin extended at the same date, staining to [dagger]3 and 2A2-3, all edges gilt, c.1700 blue-green goatskin, twin morocco labels to spine, compartments gilt in saltire pattern incorporating acorn and seed-head tools, broad floral rolls gilt to sides, 4to (17 x 11.8 cm) (Qty: 1)NOTESProvenance: 1) 'J. R. Middlemore' (early-18th-century engraved bookplate with motto 'Medio tuissimus ibis'); the Middlemore family lived at Somerby Hall, Grantham. 2) 'Henry Moyley, Grays Inn' (later ownership inscription to front free endpaper). ESTC S116255; STC21361. 'A seminal work of Anglo-Saxon scholarship' (ODNB), also noted for containing the first version of the Pied Piper of Hamelin story in English.
Lot 41A
CONTENTS OF TACK ROOM: to include various items - Garden Implements, a Stigi Strimmer; a Black & Decker Leaf Blower a Flora Best Shredder; a Croquet Set; a Knife Cleaner; and other Garden Tools; together with a quantity of Magazines. S.N.S.R., w.a.f. - Please Note; This lot does not include Fitted Cooker.THIS LOT TO BE REMOVED AT PURCHASER'S OWN RISK & EXPENSE NOTE: CROQUET SET HAS BEEN WITHDRAWN FROM THIS LOT.
Lot 481
A late George III Rosewood box line inlaid satinwood banded dressing table, the double rising top over a fitted interior with a mirror, over a false frieze drawer and long fitted drawer below, raised on square tapered legs and brass castors, 63 cm x 51 cm x 84 cm (closed)Please see the additional images. Generally in good condition. Internal split to the wood on one top, scratches and chips consistent with age and usage. Hairline cracks along back and one side. No obvious repairs, wood worm or heat damage. Mirror not cracked, all component lids and handles present, along with some beauty tools.
Lot 696
An apple box used by Industrial Light & Magic at its San Rafael, California facility. Apple boxes are commonly used on film sets as tools for propping up or supporting items. This piece is a plywood block that is painted grey and whire and features the stencilled words "ILM STAGE" in white on both the top and one side panel. The box exhibits visible wear from production use and age, with paint flaking, wood chips and several holes throughout. Dimensions: 51 cm x 30.5 cm x 10.25 cm (20" x 12" x 4")£400-600 Ω
Lot 321
A Mendl's cake box from Wes Anderson's Academy Award-winning comedy The Grand Budapest Hotel. The renowned patisserie boxes made appearances throughout the film, notably as a method of smuggling tools to the imprisoned Gustave (Ralph Fiennes) to aid his escape. Constructed from thick card, the box is laminated pink with the shop's name printed on five sides in red ink and the address underneath. The box is held together with a length of blue cotton tied in a bow on top. It has only very minor wear from production use. Dimensions: 13 cm x 13 cm x 13 cm (5 1/4" x 5 1/4" x 5 1/4")£800-1200 M
Lot 82
A set of Hill Valley 2015 Public Works coveralls from Robert Zemeckis' 1989 sci-fi adventure sequel Back to the Future Part II. Concerned citizens of Hill Valley 2015, including Public Works employees in coveralls, stared at the shattered windows of the Hill Valley Courthouse Mall, which Griff Tannen's (Thomas F. Wilson) gang crashed through only moments before. The button-up white cotton coveralls feature an elastic waist, chest and leg pockets, and leg loops for hanging tools. On each chest pocket is a sewn-on strip of shiny red metal mesh. On the back of the coveralls is a stylised red logo reading "HILL VALLEY DEPARTMENT OF PUBLIC WORKS". Handwritten inside are "57" and "36F". The coveralls exhibit signs of wear and aging, including a subtle yellowing to the once-white fabric, some loose threads, and a few small stains.£1000-1500 Ω
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