We found 354 price guide item(s) matching your search

Old bugle by and stamped A.F. Matthews and an early 20th century antler hunting horn; also various wind instrument sections and parts etc

CARVED ORIENTAL WOODEN WIND INSTRUMENT

A 19TH CENTURY ROSEWOOD IVORY AND BOXWOOD CABRETTE WIND INSTRUMENT BY BLANCUK Ivory Act 2018 Exemption Submission Reference - RYZ3SKPQ

10th-15th century A.D. A bichrome ceramic juglet composed of a bulbous body, flared neck and rim and rounded base; stylised human face and hands to the shoulder and neck, holding and playing what is apparently a wind instrument; facial details highlighted in painted pigmentation, vertical strips around the body; small integral strap handle. 157 grams, 10 cm high (4 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. [No Reserve]

An Addison - Luard Course & Wind Calculator, English, c.1940, engraved ADDISON - LUARD COURSE & WIND CALCULATOR TYPE D, PAT No,S 264755, 273198, BRIT PAT 299138 U.S.A. PAT 1723757, H. HUGHES & SON LTD, LONDON, with AM Air Ministry mark and and Ref. No. 6B/113, (6B denotes air navigational instruments), the body of the computer made of machined aluminum engraved with multiple markings, in fitted wooden case, instrument 28cm diameter

Breitling - A steel 'Co-Pilot' chronograph wristwatch, circa 1969, model number 7650, serial number 1278074, the signed circular 'reverse panda' dial, 36mm diameter, with luminous batons and hands and centre chronograph sweep, subsidiary running seconds register at 9 o'clock, hours at 6 o'clock and 15 minute register at 3 o'clock, signed 17 jewel mechanical crown wind column wheel Venus chronograph movement number 37-16, calibre 178 TJ, with start/stop and reset pushers above and below the liveried crown, case, 42mm, black division 12 bezel, verso screw down, signed and numbered 7650 127804, interior signed, to an aftermarket black nylon NATO style strap with gilt pin buckleProvenance:Formerly the property of a British Olympic marathon runner.The Navitimer, arguably Breitling’s most famous creation, is often described as the ultimate wrist-worn instrument for pilots, enabling them to complete all manner of calculations with its rotating slide-rule. However, pilots also need a robust and functional chronograph to time any event and easily read the time on their wrists while holding the control column.In the early 1950s, and with that in mind, Willy Breitling designed a new chronograph to complement the Navitimer, and chose a name that perfectly reflected the concept - the Co-Pilot. The first Co-Pilot was launched in 1953.In addition to the standard chronograph, the sub-dial at 3 o’clock features a 15 minute counter – the standard time allowed for an aeroplane ground check before take-off.This Breitling Co-Pilot ticks all the boxes for the vintage chronograph collector, including the sought after 'reverse panda' dial (black dial with white sub-dials).Crystal - Complete and secure. Multiple scratches all over, some quite deep, together with some crazing, particularly to the centre area.Dial - Generally in good condition. Some minor staining and deterioration of the lume to the batons and hands, more noticeable under magnification. A very minor mark to the dial at the bottom of the 11 o'clock baton and between the 4 and 5 o'clock batons, both visible under magnification.Case - Generally in good condition with just the usual 'wear and tear' surface scratches. The bezel does not rotate.Movement - Appears to be in full working order, though untested for timekeeping and endurance. The chronograph operates satisfactorily, the pushers work well, and the sweep flies back to 12 o o'clock when reset.

A late 19th c. ebonised Mahogany Plaque or furniture mount very finely carved with a scene of music. The muse reclines next to a harp while two putti serenade her with a violin and a wind instrument, a few points of wear and tear in the raised area, 5 1/4'' high x 10'' wide.

PEINTURE REPRÉSENTANT UNE DAME DE COUR ET SA SERVANTEProbablement dynastie Ming (1368-1644) ou antérieurA PAINTING OF A COURT LADY AND LADY-ATTENDANTProbably Ming Dynasty (1368-1644) or earlierInk and pigment on silk, with apocryphal seal of Song emperor Huizong, reading Neifu tushu zhi yin on the top left, seal of Jin dynasty emperor Zhangzong, reading Mingchang Yulan, collector's seal lower right reading Nanchang wanshi zhencang, framed and glazed. 135cm (53in) long x 56cm (22in) wide. Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present lot depicts an elegant Court lady holding in her hand a sheng or free-reed wind instrument, seated outside beside a gnarled rock issuing peony. Behind her stands an attendant draped in green robes, the relatively large size of the lady indicates her importance compared to the smaller attendant.The Court lady wears an elaborate headdress with seven phoenix, perhaps indicating that this is Bixia Yuanjun, the primordial sovereign of the dawn clouds, or Lady of Mount Tai. In Daoism, she is considered not only the Goddess of Mount Tai, but also of childbirth and destiny. She became an important deity particularly in the north of China during the Ming and Qing dynasties. The detail of the clothes is particularly magnificent. The Lady is clad in gorgeously decorated robes detailed with a Daoist Immortal carrying a staff from which hangs a double-gourd containing an elixir, and facing a crane and tortoise, symbols of longevity. This again would seem to indicate that the figure is a deity or connected to Daoism. In the centre of the painting is a spurious seal reading 'Mingchang Yulan', seal of the Jin emperor Zhangzong (r.1188–1208). Emperor Zhangzong attempted to supersede the former Song emperor Huizong as an art connoisseur and inherited a large collection of art which he inscribed or attached his seal to. See the painting, for example, of 'Lady Guoguo's Spring Outing', attributed to Zhang Xuan, where emperor Zhangzong added the three characters 'Tian shuimo', which actually belonged to Huizong; see Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Another collector's seal on the bottom right reads 'Nanchang wanshi zhencang' which likely belonged to Wan Chengzi 萬承紫(1775-1837). In the upper left is another apocryphal seal reading 'Neifu tushu zhi yin' (內府圖書之印 'Seal for Painting and Calligraphy of the Palace Storehouses'), the seal of Emperor Huizong.Although the painting echoes the work of Tang dynasty painter, Zhou Fang, and his 'Court Ladies Wearing Flowered Headdresses', illustrated in Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, with their large chignons and elaborate headdresses, the style of the painting would suggest a a later date. See for example, related figures of ladies in a Daoist wall painting 'Homage to the Highest Power', originally from the Longmen Monastery in Shanxi Province, c.1300, in the Royal Ontario Museum (acc.no.933.6.3).Cette œuvre dépeint une élégante dame de Cour tenant un sheng (instrument à vent à anches libres), assise à côté d'un rocher tortueux traversé par un arbuste couvert de pivoines. Derrière elle se tient une suivante dans une robe verte, et la plus grande taille de la dame manifeste son importance.La dame de Cour porte une coiffe élaborée à sept phénix, indiquant peut-être qu'il s'agit de Bixia Yuanjun, la souveraine primordiale des nuages de l'aube, appelée aussi Dame du Mont Tai. Dans le taoïsme, elle est non seulement la déesse du Mont Tai, mais aussi celle de l'accouchement et du destin. Elle devint une divinité importante, surtout dans le Nord de la Chine, durant les dynasties Ming et Qing.Le détail des vêtements, en particulier, est magnifique. La dame est habillée de robes superbement décorées, dont une rouge présentant un motif d'immortel taoïste tenant un bâton où est accroché une double-gourde contenant un élixir, et faisant face à une grue et une tortue, des symboles de longévité. Ceci semble encore montrer que ce personnage est une divinité ou est lié au taoïsme.Au centre de la peinture se trouve le sceau apocryphe « Mingchang Yulan », prétendument le sceau de l'empereur Zhangzhong (r. 1188-1208) des Jin. L'empereur Zhangzhong tenta de remplacer l'empereur Huizong des Song comme connaisseur des arts et hérita d'une vaste collection d'art sur laquelle il calligraphia ou apposa son sceau. Voir par exemple la peinture de L'excursion printanière de Dame Guoguo, attribué à Zhang Xuan, sur laquelle l'empereur Zhangzhong a ajouté les trois caractères « Tian shuimo », qui appartenaient en fait à Huizong, cf. Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Il y a autre sceau de collectionneur en bas à droite, « Nanchang wanshi zhencang », probablement celui de Wang Chengzi 萬承紫(1775-1837). En haut à gauche se trouve un autre sceau apocryphe indiquant « Neifu tushu zhi yin » (內府圖書之印), le sceau de l'empereur Huizong.Bien que la peinture évoque le travail du peintre Zhou Fang de la dynastie Tang et ses Dames de la Cour portant des coiffes fleuries illustrées dans Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, avec leurs grands chignons et coiffes élaborées, le style de cette peinture suggèrerait une date plus tardive. Voir par exemple des personnages comparables de dames sur une peinture murale taoïste, Homage to the Highest Power, provenant probablement du monastère de Longmen dans la province du Shaanxi, vers 1300, et conservé au Royal Ontario Museum (acc.no. 933.6.3或明或更早 仕女圖 設色絹本 立軸來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏本拍品描繪一位優雅宮裝仕女，手持竹笙，安坐於牡丹花旁的嶙峋石上。其身後為綠袍侍女。從二人的身量大小區別可見其身分區別。該宮裝仕女頭戴七鳳冠，或表明其為碧霞元君或泰山娘娘之身分。在道教中，她不只被認為是泰山山神，還是主生育的神祇，並在明清時代的華北地區廣受崇拜。本拍品對人物衣飾著墨甚多。主角華麗的衣袍上甚至可見了肩挑懸壺的道教仙人形象，亦有仙鶴壽龜等紋樣，均為長壽之象徵... For further information on this lot please visit Bonhams.com

Ca. 618-907 AD A terracotta female musician figure playing paixiao - the wind instrument, made of edge-blown bamboo pipes, which are mounted in one row in a flat, wooden handle. The lady is depicted in a kneeling position, wearing a long reddish skirt covering her legs, a cream bodice, and a green shawl thrown over the shoulder. Her hair is neatly combed into a coiffure consisting of a high topknot, and her face is covered with white pigment, on which thin, slightly arched eyebrows and narrow eyes have been outlined in black pigment, and the small mouth has been painted in red pigment. The highest-rated musicians at the Tang court performed seated, while the lower ranks played standing and were also treated less well in other respects. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:220mm / W:95mm ; 970g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A mold-formed pottery tomb attendant figure in the form of a female musician playing paixiao - the wind instrument, made of edge-blown bamboo pipes, which are mounted in one row in a flat, wooden handle. She is wearing a long robe with upper clothing in orange and her shoulders are covered by a green shawl. She is displaying a harmonic expression; her smiling face with highlighted lips beneath a large hair bun. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:300mm / W:85mm ; 852g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Lot of antique powder horns. Various. Also as a wind instrument. Dimensions: 20 - 35 cm. In good condition.

A BRASS AND WOOD OBOE, HAIDI, 18TH-19TH CENTURYChina. The mouthpiece of brass, decorated with two pierced, globular elements between two discs, the lower disc with a lobed rim, the wood handle carved with outward scalloping between the finger holes, and a brass bell. The interior of the brass bell with an illegible mark.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Excellent condition with minor wear, traces of usage and minuscule nicks, the brass bell loose. Nice patina overall.Weight: 112.8 g Dimensions: Length 34.2 cmThe haidi is the smallest and highest-pitched version of the suona, a double reed instrument that was introduced to China around the beginning of the 16th century and takes its name from the Middle Eastern zurna. The player, whose mouth completely covers the small reeds, uses circular breathing (through the nose) to maintain a constant tone. It was first used by the military, but today it is played both in ensemble and as a solo instrument.Literature comparison:Compare a closely related haidi, illustrated in Haags Gemeentemuseum, Musial instruments from the East- and South-East Asian mainland, The Hague, 1989, p. 211, no. 182. Compare also a suona in the collection of The Metropolitan Museum with the accession number 89.4.20.十八至十九世紀海笛中國。由雙簧哨子、蕊子、桿子和銅碗四部分組成。銅碗上有印，但已模糊不清。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。他和他的妻子Irene上世紀六十年代初在倫敦開設了幾家商店。四十多年來，他們一直在向博物館、私人收藏家和音樂家出售古董樂器。他還出版了幾本關於樂器歷史的書籍，包括《新朗威爾索引》，一部音樂管樂器製造商和發明家詞典。品相：狀況極好，有輕微磨損、使用痕跡和微小的刻痕，黃銅哨子鬆動。整體包漿渾厚。 重量：112.8克 尺寸：長34.2厘米 最初的嗩吶是流傳於波斯、阿拉伯一帶的樂器，就連嗩吶這個名稱，也是古代波斯諾Surnā的音譯。嗩吶大約在公元三世紀在中國出現，新疆拜城克孜爾石窟第38窟中的伎樂壁畫已有吹奏嗩吶形象。海笛是嗩吶的最小和最高音調的版本，它最初是在軍隊使用的，但今天它既可以作為合奏樂器演奏，也可以作為獨奏樂器演奏。 文獻比較： 比較非常相近的海笛，見海牙美術館，《Musial instruments from the East- and South-East Asian mainland》，海牙， 1989年，頁211，編號182。比較另一件嗩吶， 收藏於大都會藝術博物館，編號89.4.20。

A SILVER AND STAG ANTLER 'MAKARA' FLUTE, KANGLING, TIBET, 19TH CENTURYThe stag antler trumpet with a silver repousse mouthpiece and bell, the mouth piece decorated with key-fret, acanthus leaf, and petal designs and inset with a coral cabochon. The bell in the form of a fierce makara head with the mouth wide open revealing teeth and tongue, the stag antler further with a small floral fitting inset with a turquoise cabochon.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Excellent condition with minor old wear, few minuscule nicks and dents, occasional light scratches. Solid, naturally grown patina overall.Weight: 173.0 g Dimensions: Length 27.8 cmExpert's note: The kangling, literally meaning 'leg flute', is often seen in Tibetan monastic orchestras and can be made of animal horn or human bone. It is used in various tantric Buddhist rituals, particularly the chöd. Putting a dead being's leg bone to your mouth is an intimate reminder of our own mortality. According to Ivan Vandor, examples made of animal horn are only played during certain Gelugpa rituals. See Ivan Vandor, Bouddisme Tibetan, Les Traditions Musicales, Paris 1976, pages 70-71.The Chöd is a spiritual practice found primarily in the Yundrung Bön tradition as well as in the Nyingma and Kagyu schools of Tibetan Buddhism. Also known as 'cutting through the ego', the practices are based on the Prajnaparamita or 'Perfection of Wisdom' sutras, which expound the emptiness concept of Buddhist philosophy. According to Mahayana Buddhists, emptiness is the ultimate wisdom of understanding that all things lack inherent existence. Chöd combines Prajnaparamita philosophy with specific meditation methods and tantric ritual. The chöd practitioner seeks to tap the power of fear through activities such as rituals set in graveyards, and visualization of offering their bodies in a tantric feast in order to put their understanding of emptiness to the ultimate test.Literature comparison:Compare a related kangling, illustrated in Haags Gemeentemuseum, Musial instruments from the East- and South-East Asian mainland, The Hague, 1989, p. 225, no. 195. Compare a related bone kangling with metal decor, dated to the 19th century, in the collection of The British Museum with the accession number 2016,3040.2.十九世紀西藏銀質骨號（剛令）鹿角小號兩端銀錘鍱，管體上細下粗，略呈彎曲狀，下端喇叭口呈橢圓形。暴飲處鑲嵌圓形珊瑚。鈴鐺形狀為凶猛的摩迦儸頭，嘴巴張開，露出牙齒和舌頭，鹿角帶有小花卉紋，嵌有綠松石與圓形寶石。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。 他和他的妻子Irene上世紀六十年代初在倫敦開設了幾家商店。四十多年來，他們一直在向博物館、私人收藏家和音樂家出售古董樂器。 他還出版了幾本關於樂器歷史的書籍，包括《新朗威爾索引》，一部音樂管樂器製造商和發明家詞典。 品相：狀況良好，有輕微磨損、些微刻痕和凹痕，以及局部劃痕。整體包漿。 重量：173.0克 尺寸：長27.8厘米 專家注釋：剛令，字面意思是“腿笛”，經常出現在西藏寺院管弦樂隊中，可以用動物角或人骨製成。它用於各種密宗佛教儀式，特別是施身法。將死者的腿骨放在嘴邊是對我們自己的死亡的提醒。據Ivan Vandor說，動物角製成的例子只在某些格魯派儀式中出現過。見Ivan Vandor，《Bouddisme Tibetan, Les Traditions Musicales》，巴黎，1976年，頁70-71。 文獻比較： 比較一件相近的剛令，見海牙美術館，《Musial instruments from the East- and South-East Asian mainland》，海牙，1989年，頁225，編號195。比較一件相近的十九世紀鑲嵌金屬骨剛令，收藏於大英博物館，2016,3040.2。

A BRONZE DRUM, HAN DYNASTYChina, 202 BC - 220 AD. The round drum supported on a waisted base, the top and sides finely cast in relief with multiple concentric geometric designs including key-fret, triangles, and beads centered by a star design, with pairs of loop handles to either side. The drum produces a clear and distinct sound.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Good condition commensurate with age showing extensive wear and weathering, some casting flaws, possibly minor old repairs, small losses, nicks, dents, and scratches. Fine, naturally grown patina with Malachite encrustations. All as expected from a bronze drum with an age of roughly two millennia.Weight: 16.4 kg Dimensions: Height 29.4 cm, Diameter 51.5 cm Expert's note: Bronze drums such as the present lot are a percussion instrument used by various ethnic groups from the southwest of China. They were popular in Yunnan, Guizhou, Sichuan and Hunan Provinces, among which Yunnan and Guangxi have the largest numbers recorded. Both provinces share a border with Vietnam, home to the Dong Son culture, which in turn is well-known for its own drums. Applied to sacrifice rituals, the drums were usually used to play music or accompany dance rites. The Yunnan Provincial Museum in Kunming houses an important collection of early bronze drums (Warring States through Western Han period) that were excavated from royal burials at Shizhai Shan and other locations in the vicinity of Lake Dian. This part of Yunnan, whose people and language were not originally Han Chinese, had been ruled by the independent Dian kingdom from about 500 BC. Bronzes from this period through the middle Western Han Dynasty (about 100 BC) are unique to the region, and share many characteristics with bronze artifacts of Southeast Asia. Their decoration was also influenced by artistic styles of the Eurasian steppe. After surrendering to Han Wudi in 109 BC, the Dian kingdom was administered as a frontier commandery of the Han empire. Dian kings were retained as local rulers. From then on, the distinctive Dian regional bronzes became gradually replaced by Han-style bronzes, in the type of cultural assimilation that is called "Sinification" (literally, "becoming Chinese") by Chinese historians.Literature comparison:Compare a closely related but smaller drum in The Complete Collection of Treasures of the Palace Museum, Bronze Articles for Daily Use, Beijing 2007, number 78.漢代青銅鼓 中國，公元前202年至公元220年。圓鼓，由鼓面向下收後，足部外撇，腰部有明顯凸起的弦紋。鼓面有雙圈十二角星紋，外壁飾有雷紋、三角紋、凸起鉚釘等幾何紋飾。兩側各有一對環形把手。該鼓發出的聲音清晰響亮。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。他和其妻子Irene於1960年代初期，在倫敦開設了多間古董樂器行，並出售給博物館、私人收藏家和音樂家，營業40餘年。他也出版了多本關於樂器史的書籍，其中包括《The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors》。 品相：品相良好，與年代相稱的大面積磨損、風化，有些鑄造瑕疵和可能的舊修補，小缺損、刻痕、凹痕和劃痕。良好和自然生長的包漿，帶有孔雀綠色結殼。這些狀況都是在一件兩千年前的青銅鼓上可預期的。 重量：16.4公斤 尺寸：高29.4厘米，直徑51.5厘米 專家注釋：此類型的青銅鼓是中國西南地區各民族使用的一種打擊樂器。它們流行於雲南、貴州、四川和湖南等省，其中雲南和廣西所記錄數量最多。這兩個省都與越南接壤，越南是東山文化的發源地，而東山文化又以鼓而聞名。鼓通常被用於祭祀儀式，演奏音樂或伴舞。由於字數限制，完整中文敘述請至www.zacke.at查看。

ONE BOX OF ASSORTED MAGNIFYING GLASSES, TELESCOPES AND MICROSCOPE LENSES, to include six magnifying glasses, an assortment of early magnifying glass, three small brass telescopes, a vintage brass anemometer (wind speed instrument), a pair of white metal folding lorgnettes (without glass), a collection of late Victorian brass optical lens cases, engraved with names of Opticians, Collins, J Swift, E Leitz, etc, (1 box)

A PAIR OF REGENCY FIFTEEN-INCH LIBRARY GLOBESJ. and W. CARY, LONDON, 1820The terrestrial sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating circular cartouche inscribed CARY'S, NEW TERRESTRIAL GLOBE, Drawn from the most recent, GEOGRAPHICAL WORKS, shewing the whole of the New Discoveries, with the, TRACKS of the PRINCIPAL NAVIGATORS, and every improvement in Geography, to the present Time., LONDON: London. Published by J. & W. Cary, 181 Strand, Nov'r 24 1820., extensively annotated with fully graduated equatorial calibrated in minutes and degrees, ecliptic and meridians, the Pacific ocean with an analemma TABLE of EQUATION, many explorers' tracks and numerous notes and dates, Antarctica with no land shown but 71.10 the most South'n Latitude of Capt. Cook, Vast Islands and firm fields of ice and other notes, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief; the celestial with rectangular panel inscribed CARY'S, NEW CELESTIAL GLOBE, ON WHICH, are carefully laid down the whole of the, STARS AND NEBULAE, contained in the Catalogues of, Wollaston, Herschel, Bode, Piazzi, Zach & c., Calculated to the Year 1820, Made & Sold by J. & W. Cary 181 Strand London 1818, the axis through the celestial poles, with fully graduated equatorial and ecliptic with twilight zone, the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown to eight orders of magnitude with clusters and nebulæ and labelled; both spheres with engraved brass hour dials to the poles and pivoted within brass meridian circles divided for degrees, the hand-coloured engraved paper horizon rings with compass points and degrees in both directions, pictorial representations of the Zodiac, calendar scales and wind directions; each supported on a mahogany tripod stand incorporating four quadrants supporting meridian ring over baluster upright and downcurved supports terminating with tapered feet fitted with brass castors, (both unrestored with some historic damage).100.5cm (39.5ins) high, 52.5cm (20.75ins) diameter. The celebrated Cary family business of scientific instrument and globe makers was established by John Cary at Johnson's Court, Fleet Street, London in 1782 moving to a new address at 'Corner of Arundel Square', Strand the following year. He was primarily an engraver of maps, charts and globes who moved again in 1783 to 188 Strand. By 1791 he had entered into what appeared to be a relatively casual partnership with his brother, William; this partnership lasted until circa 1816 by which time William and John Cary had moved again to 181 Strand before finally settling in 86 St. James in 1820. The following year he was succeeded by his sons, John (II) and George Cary, who continued from the firm's 181 Strand address until 1851/2 when the business was acquired by Henry Gould.Condition Report: Terrestrial - The sphere is in original unrestored condition with good mellow yellowed finish to the varnish and printing clear. The Atlantic has a bump/bruise approximately 3 inches across which includes a couple of very small losses to the plaster and has three or four cracks radiusing out to around six inches form the centre of the bruise. There is also a concentric scuff towards the South pole. Sphere otherwise is in good condition with damage limited to slight movement/cracking at the top pivot and varnish rubbing/wear. Areas of old vanish rubbing/wear have taken on dark finish hence they exhibit as dark spots/patches, more recent varnish rubbing is noticeable around the equator. The brass ring and hour circles are present and undamaged but have oxidised to a dark chocolate brown colour. The stand is intact with no breaks or losses; a section of the horizon ring is a little loose with an angled crack through Sagittarius and the papers are fairly heavily worn between Aquarius and Gemini. The mahogany base is a little faded/dry in colour.Celestial - In similar condition to the terrestrial with a smaller bump (approx. 3 by 2 inches) to the left of Orion; this bump appears to be very localised with no noticeable more extensive cracking evident. Faults otherwise generally limited to historic varnish rubbing and grime including drip of paint (or something similar) to the upper hemisphere which most likely could be cleaned-off. The stand is in sound condition with overall patchy discolouration and dirt staining to the horizon papers; the ring itself is a loose on its joints but undamaged.Please see/request further images which form part of the condition report.Condition Report Disclaimer

A RARE VICTORIAN MAHOGANY CASED ELECTROMAGNETIC WIND DIRECTION INDICATORALFRED APPS, LONDON, CIRCA 1880The lacquered brass and mahogany mechanism comprising a pair of opposing electromagnetic coil solenoids with pivoted arms acting on ratchets fitted to the same arbor mounted above, shunting it in either a clockwise or anticlockwise direction against a sprung sixteen-toothed wheel to check the increment of each rotation, the 8 inch circular silvered dial inscribed GORDONS, PATENT, APPS, OPTICIAN, 433 STRAND, LONDON within outer track annotated with the sixteen cardinal points of the compass with arrow markers to inner track, with single arrow hand within canted silver surround set behind a fixed glazed cast bezel secured vial screws to the outer flange, the rectangular case with hipped roof superstructure and cushion top moulding over visible screws flanking the dial to front, the left hand side with three brass electrical connection posts and the right with bone plunger for manual adjustment of the dial, the rear with upwards sliding panel, on generous cavetto moulded skirt base.44.5cm (17.5ins) high, 37cm (14.5ins) wide, 28.5cm (11.25ins) deep. Alfred Apps is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as an optician, mathematical and philosophical instrument maker working from '433 West Strand, Near Charing Cross Railway Station, London' 1864 until after 1900. The Science Museum website lists him as working also as an electrical instrument maker who worked until 1911 when the business was succeeded/absorbed by Newton and Company.The present instrument appears to have been designed to work in conjunction with a weathervane fitted with a conforming mechanism designed to transmit electrical pulses as it is rotated by a change in direction of the wind. The three electrical connections would be for a common pole and then for pulses sent to either one of the solenoids for moving the arbor in a clockwise or anti-clockwise direction in an increment equal to a one-sixteenth rotation. From the quality of the construction and finish it is highly likely that the instrument was intended for installation into a wealthy environment, whether it be the boardroom of a maritime transport firm or the hallway of substantial country house. Despite the best efforts of the cataloguer we have been unable to find any further information relating to 'Gordons Patent' design of wind direction apparatus. 

A FINE AND RARE GEORGE II WALNUT MERCURY DIAL BAROMETERJOHN HALLIFAX, BARNSLEY, CIRCA 1730The 6 inch engraved brass break-arch dial with radial foliate scroll engraved centre within applied silvered concentric scale calibrated in barometric inches 28-31 divided and labelled in tenths and with additional further scale divided 1-30 over the same range to the outer track, the inner margin with annotations Tempestous, Rain Wind or Snow, Changeable, Fair or Frost, Settle Fair or Frost and Very Dry, with scroll-pierced steel hand and spandrels engraved with leafy sprays within a herringbone border, beneath arch centred with a domed silvered boss signed Jn:o Hallifax, Barnsley, Inv't & Fecit flanked by conforming leafy scroll infill and herringbone surround, the case in the form of a longcase clock with block upstand to the domed caddy surmount standing on cross-grain ogee mouldings over additional plinth to superstructure, with cavetto cornice and triple-line bordered break-arch frieze over the glazed dial aperture secured by screws and applied with slender three-quarter columns to front angles, the sides with conforming quarter columns to the rear, the trunk with concave throat moulding over triple-line edged book-match veneered panel infill around a central circular section fitted with a manual pointer for the engraved brass recording ring with concentric scales matching those of the barometer dial above, the box base with stepped ogee top mouldings over conforming book-match veneered panel to fascia and cavetto over ogee moulded inverted caddy to underside, the rear with slender door revealing mercury syphon tube and pulley mechanism for the dial. 124.5cm (49ins) high, 26cm (10.25ins) wide, 11cm (4.25ins) deep. Provenance: A Descendant of the Spencer Stanhope Family of Cannon Hall, Barnsley. John Hallifax is recorded in Goodison, Nicholas ENGLISH BAROMETERS 1680-1860 as the son of the local vicar, born in Springthorpe, Lincolnshire in 1694. The family name was originally Waterhouse but was changed by his grandfather during the previous century. John Hallifax moved to Barnsley and set up as a clockmaker after his father's death in 1711; he had seven children and was succeeded in his business by his fifth son, Joseph (1728-62), after his death in 1750. In addition to Joseph his fourth son, George, also became a clockmaker in Doncaster, where he later twice served as Mayor of the town. John's third son, Thomas, moved to London and became an eminent banker, he served as Lord Mayor and became a member of Parliament. The regard to which John Hallifax was held is evident in the inscription on his tombstone which reads: 'Whose abilities and virtue few in these times have attained. His art and industry were such as his ingenious inventions will be a lasting monument of his merit -- such as recommended him to the favour and esteem of all good men that knew him'. The current instrument belongs to a small series produced by John Hallifax during the second quarter of the 18th century. The glazed front panel over the dial is designed to be removable to allow adjustment whilst the instrument is being set-up but is then secured by screws to prevent tampering. The recording dial in the trunk allows any changes in the pressure to be observed without having to touch the principal dial. Dial barometers by John Hallifax have traditionally been very highly sought-after with examples residing in some of the most important collections of both clocks and instruments as well as fine furniture and objects. One such example was offered at Christie's London in their sale of the Samuel Messer Collection of English Furniture, Clocks & Barometers 5th December 1991 (lot 12) where it achieved £32,000 hammer. More recently another was sold at Tennants, Leyburn in their Autumn Catalogue Sale 18th November 2010 (lot 1404) for £40,000.Condition Report: The barometer is now fitted with a standard wheel barometer syphon tube which is filled with mercury. The pulley assembly is also that from a standard wheel barometer and there is evidence of a different mechanism being fitted at some point. The dial is in clean condition with good strong engraving showing only very slight wear. The hand is missing its tip.The case is in good original condition but with some historic repairs. The superstructure has historic replacements to the ogee cross-grain mouldings (most noticeably to both sides of the lower tier). The rear of the superstructure shows evidence of re-gluing hence it is likely that the barometer at some point was in fairly tired condition with a few sections missing from the mouldings. The cornice moulding has been replaced to the right-hand side and has had a repair to the front left-hand corner; the frieze above the dial also has some patching to the veneers. The glazed front panel has repaired cracks to the arch section and is a little warped; the securing screws are replacements. The trunk has some historic shrinkage to the figured veneers and some patching-in to the banded borders otherwise is in good condition. The side veneers (to both the hood section and the trunk) are in fine condition. The central recording dial has lost its silvering and the hand is a replacement. The base appears all-original but has been re-glued. The front panel also shows some shrinkage/movement within the stringing towards the margins. The rear door appears original. Faults to the case are otherwise limited to age related bumps, scuffs, shrinkage, wear and a few small additional historic repairs to the mouldings. Condition Report Disclaimer

A MAHOGANY-CASED EIGHT-DAY MARINE CHRONOMETERJOSEPH SEWILL, LIVERPOOL, LATE 19th CENTURYThe circular three columnar pillar single chain fusee movement with crescent shaped spotted backplate enclosing the greatwheel with Harrison's maintaining power and the centre wheel, the remainder of the train contained within a smaller circular three-pillar sub-plate including Earnshaw type spring detent escapement regulated by a split bimetallic balance with cylindrical weights and helical invar or palladium balance spring, with faceted diamond destone and blued steel backcock securing screws, the 4.5 inch circular silvered Roman numeral dial with subsidiary seconds dial numbered 5307 beneath signature JOSEPH SEWILL, 61 CASTLE ST., LIVERPOOL., Maker to the Admiralty and WIND DOWN/UP dial flanked by PRIZE MEDAL AWARDED 1867 and INTERNATIONAL EXHIB. 1862 medallions beneath the X and II numerals respectively, with gold spade hands and secured by a screw-down bezel into a lacquered brass bowl with shuttered winding hole to underside, mounted via gimbals into a mahogany two-tier box with glazed top and vacant name panel recess to front, the sides with lacquered brass recessed carrying handles, (lacking top tier to box).The box 19cm (7.5ins) high, 21.5cm (8.5ins) square. Provenance: Private collection, East Midlands. Joseph Sewill was born in Liverpool in 1816 and started up as a watchmaker, chronometer maker, and nautical instrument maker at 61 South Castle St, Liverpool in about 1848. Latterly Joseph went into partnership with two of his sons and is thought to have retired to London in 1862. His son, John Joshua Sewill (d. 1891) succeeded him and headed the business until his death in 1891, The firm was well regarded and opened branches in London (at 30 Cornhill prior to 1882), Glasgow and Locle (Switzerland). In 1867 a chronometer by Sewill won the Greenwich Trials and they became makers to the Admiralty. In the 1874 Greenwich Trials their chronometers came first and third. They also entered pieces into Kew trials, where a karrusel watch was awarded 81.8 marks in 1900. They won an award for 'services to horology' at the Paris Exhibition of 1862, and later became 'Maker to the Queen of Spain'.Condition Report: Movement is in original working condition retaining original spotted finish to the plates, there is some slight discolouration/tarnishing in places and a few light scratches and wear hence would probably benefit from a light clean. The dial again is in original condition with old silvered finish generally in good condition with light spotting and localised discolouration. There is also some form of number (inventory or similar) mark comprising 12 within a circular panel applied between the II and III numerals - this mark appears to be an old ink rubber stamp. The bowl and bezel are in sound original condition retaining old lacquered finish albeit with heavy tarnishing/discoloration to exterior. The gimbals are complete however one of the threaded pivots (at twelve o'clock) has snapped hence the movement cannot currently suspended within the ring; however the pivot is small and of relatively simple construction hence a clockmaker should be able to turn-up a replacement without a great deal of difficulty.The box is in sound original condition however the top tier is no longer present. The front has a vacant recess suggesting that an inset nameplate has been removed (possibly due to being ivory?); otherwise faults are very much limited to minor bumps, scuffs and other minor blemishes commensurate with age or use. Timepiece has original typsy winding key (worn) but no key for the box. Condition Report Disclaimer

MODERN PAINTINGS AND A PRINT, comprising a coastal landscape signed Rhys B Davies '04, approximate size 34cm x 54cm, portrait of a horse signed Baby Smith 2014, a figure playing a wind instrument surrounded by daisies signed B Jorgensen and a print 'The Surrender of Calais to Richard III in 1347' after Robert Edward Pine, the two unglazed paintings are very dirty

A late 18th/19th century Italian oil painting on board of a man dancing with a bear while a boy plays music on a wind instrument and a monkey in a red jacket sits upon the back of another bear, with buildings beyond, 38cm x 31.5cm dated inscription in pencil verso; along with a 19th century sepia sketch of an Italian scene with ships and buildings, unsigned 16.5cm x 26.5cm mounted in a glazed frame, together with Roland Hilder (1905-1993) Weald of Kent, coloured lithograph with Oast houses, signed and numbered 24/175, 17cm x 30cm in glazed frame, watercolour city river landscape 18cm x 27cm in glazed frame, and a framed collage French print 31cm x 42cm Location:

circa 1940, the signed customised white dial, 42mm diameter, with seconds base indication, signed 16 jewel chronometer rated crown wind movement calibre Eb 18500 with pumpkin shaped winder and contact at 8 o'clock, case, 50mm diameter, verso hinged at 6 o'clock, plain and polished, interior signed and numbered 201765, the cuvette similarly numbered and additionally engraved CHRONOMETRE EBERHARD & CO, presented in a fitted bottle-green and gilt tooled standing caseIn the late 1930s, Jean L'Eplattenier, in La Chaux-de-Fonds, devised a revolutionary instrument to quickly conduct a comparative check on the level of oscillations in a watch movement. Patented in 1940, his invention greatly speeded up the testing of watches and is now considered the forerunner of today's digital chrono comparators.It operated by comparing itself to the watch being tested. Once set up it would 'read' the running data of the test watch and compare it to itself, and, if it showed different values, the test watch would be adjusted accordingly. Depending on the watch to be tested, either the "Coïncidence" model on a 15-second base - as this example - or the "Coïncidence" model on a 30-second base was used.(With grateful thanks to Sabina Ahmetovic at Eberhard & Co. S.A. La Chaux-de-Fonds, for her kind assistance in the research of this lot)

circa 1930, series 1, the unsigned circular cream coloured dial, 32mm diameter, with centre chronograph sweep, subsidiary minutes register at six o'clock and subsidiary hour and minute indicator at 12 o'clock, several timing tracks, unsigned and unnumbered Venus 140 mechanical crown wind movement decorated with 'The Côtes de Genève' and with start/stop/reset mono pusher at 4 o'clock, case, 34mm diameter, yellowed perspex crystal, verso snap on with engraved initials, to an aftermarket brown leather strap with pin buckleThe MultiChron Regulator chronograph was introduced by Gallet in 1929 and was specifically designed for applications that prioritised timing over the time of the day. Featuring a small hours and minutes subdial at 12 o’clock, the rest of the dial was an unobstructed view of the chronograph function with a minute register subdial at 6 o’clock. Soon after its introduction, the Gallet Regulator became the time recording instrument of choice for pilots, doctors, technicians and sports professionals, and was the first official wrist-worn chronograph of the Indianapolis 500 races.Powered by the Venus 140, it was originally produced - as with this example - with a single pusher to start, stop and reset the timer mechanism. The second series, introduced in 1935 with an additional pusher, provided the wearer with the ability to start and pause the timer without fully resetting the timer hands back to zero.Internal company documents from 1929 show that Gallet acquired exclusive control of the calibre 140 movement from the Venus company and supplied "private-labelled" regulator watches to Rolex, Girard Perregaux, Harvard (Goerring), and other Swiss manufacturers. Some were supplied 'pre-labelled' and others - as with this example - were supplied 'sterile' to allow companies to apply their own branding.

Earlham Professional Series II Saxophone / Wind Instrument.

MIXED COLLECTABLES GROUP - a Victorian walnut and inlaid lidded box, vintage tin case, treen watch holder with painted detail, OXO tin with Singer sewing machine bits and other contents, 65cms L wooden wind instrument, ETC

A xylophone, a Hohner Melodica alto, A Hohner Melodica sopranos and a wind instrument.

Tang Dynasty, 618-907 A.D. A group of two ceramic figures, each modelled as a female musician on horseback, each horse standing on a quadrilateral base with one leg raised, head held low and mouth open, with semi-naturalistic anatomical and facial features, dressed tail and moulded saddle, painted head collars and harnesses; both female figures wearing long dresses, leaning to one side of their mount and playing a wind instrument; extensive remains of painted polychrome pigment. Cf. Shaanxi History Museum, Xi'an, for comparable figures. 8.4 kg total, 40.5-41 cm high (16 - 16 1/8 in). Acquired 1990s-2000. Ex D.N. collection. Accompanied by a positive thermoluminescence test certificate no.CJ42522022 issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11245-189433. [2] [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.

*A CHINESE OBOE (HAIDI), 19TH CENTURY the faux bamboo wooden shaft with oval finger holes, the straight brass bocal with openwork globe elements, a detachable brass bell at the other end, remnants of an old ink inscription inside the bell 34cm long The haidi, also known as 'suona', although the latter often refers to a slightly larger version, is a double reed wind instrument with a sound similar to an oboe. It has ancient origins and is traditionally used in ensembles particularly in northern China. For an example of a haidi and a suona in the Hague Gemeentemuseum, see Paul Wolff, 'A Checklist of Musical Instruments from the East and South-East Asian Mainland', The Hague 1989, pp.210-211. ++Bocal with minor dent otherwise very good

A Tang Dynasty style pottery statuette of a camel mounted with a bearded musician playing a shawm-like wind instrument, in brown, green and cream glazes, 26cm wide x 33cm high

Didgeridoo, original wind instrument Maori, 137 cm long

Lot with 5 silver miniatures, a miniature with 2 goats fighting, 5x3x1.7cm, a gentleman with hat, 2x2x4cm, a figure making wine, 5.2x3.2x3cm, 835/000, and a rider on horseback with a wind instrument, 4x1x4, 5cm and a weightlifter, ø2.5x3cm. 800/000. in total about 88.5 grams. In good condition

Henri Selmer 'Cigar Cutter' Selmer Super Sax saxophone, manufactured in 1931, serial number 14469, with Selmer mouthpiece, in original hard case. Restored by Cheltenham musical instrument specialist 'Second Wind' around three years ago.

Indian (?) hardwood wind instrument with brass & inlaid decoration - 42cm long

MIXED COLLECTABLES GROUP to include a Crown Ducal pottery planter, wooden and horn wind instrument, poker work lidded box, ETC

Box of various guitar and accordion straps; also some leather wind instrument cases

Small quantity of new and old saxophone mouthpieces and ligatures; also a selection of various flute and other wind instrument accessories etc

AN INTERESTING AMERICAN CAST ALLOY WEATHER FORECASTERIRVINE P. KRICK, PASADENA CA, THIRD QUARTER OF THE 20th CENTURY The metal frame with inset compass next to inscription Weather Guide, METEOLOGICAL STANDARD over seven windows inset with illustrations of differing cloud types with descriptions of each next to aperture annotated with eight compass points for wind direction over knurled turn handle for aligning arrows next to the wind direction for each cloud type, which in-turn reveals weather prediction in an aperture to the top of the instrument, the rear with six further panels with additional examples of the cloud types beneath instructions and inscribed COPYRIGHT 1949 - PAT. PEND, IRVING P. KRICK, PASADENA. CALIFORNIA; together with a circular card forecasting calculator inscribed THE DAILY WEATHER GUIDE, PRODUCED & COPYRIGHT BY, D. & K. BARTLETT, THE LONG RANGE WEATHER EXPERTS to centre and utilising a similar system to predict weather as Irvine Krick's forecaster, (2).The alloy forcaster 27cm (10.625ins) high, 7cm (2.75ins) wide; the card forecaster 22cm (8.75ins) diameter. Provenance: The exhibition collection of Barometer World Museum, Merton, Devon. Irvine P. Krick (1906-1996) was a meteorologist and inventor who provided the forecasts for the Normandy landings in 1944. He was the founding Professor of the Department of Meteorology at California Institute of Technology and was a controversial pioneer of long-term weather forecasting.  

Two cased flutes, two tin whistles, together with various wind instrument component parts

A wooden recorder, stamped Lorelei, sole distributors Dallas, London and another wind instrument in original box, marked Boosey & Hawkes, the instrument with same mark and the number 77 (2)

A Chalumeau wind instrument, a/f cased

Various wind instrument mouthpieces to include bass trombone Vincent Bach Core 1 1/2 GM [6] 

A quantity of wind instrument mouth pieces

A LATE 19TH CENTURY MEISSEN FIGURE GROUP OF A BOY AND A GIRL WITH A GOAT, the boy playing a wind instrument, the girl holding fruit for the goat to eat, on an oval base, underglaze blue crossed sword mark, incised G.93. and impressed 101, height 15cm (Condition report: some losses to the leaves and restoration to goats horns)

A Royal flying Corps Mark 4A Pocket watch the black dial signed for retailer H Williamson, with Arabic numeral hour markers and subsidiary seconds dial, marked Non luminous, 8 days and numbered 3143AC, fitted with a lever wind unsigned movement, the case back numbered 2072101 inside and marked outside with War department broad arrow and a faintly engraved Lawrence 23 27.The need for a reliable cockpit watch resulted in, (Royal Aircraft Factory) Specification No. 68 for the Mark IVA 8-day watch & holder for aeroplanes can be dated towards the end of 1914.Numerous manufacturers supplied Mark watches with unsigned movements to the RFC, retailers like H. Williamson Ltd. Of London or Birch & Gaydon Ltd. of London distributed these anonymous watches. The Smith watch company was a leading provider of Mark IV.A watches and bragged, Because of its splendid time keeping and unfailing accuracy this instrument has gained the reputation of being the most successful watch yet designed for constant use on AircraftCondition Report: Movement winds and functioning correctly at time of inspection but has not been tested for time keepingEwbank's do not guarantee the working order or accuracy of any lots sold.

16th century AD. A circular glass panel with lead-alloy frame, etched image of a feasting scene with a rich merchant and his wife at table with cupbearers and other attendants, musician with a wind instrument, two dogs looking for scraps; a youthful servant to the right addressing a barefoot traveller with a staff; two smaller scenes adjacent depicting the tortures of hell; all in the manner of Albrecht Dürer. 437 grams, 27.5cm (10 3/4"). Ex central London gallery; acquired from Chiswick Auctions, 21 March 2018, lot 13; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10917-181013. [No Reserve] Fine condition.

A mixed lot including a Penta Optics lens with travelling case, a Chinese wind instrument with travelling cas (20cm x 11cm), and Lotus paste pearls (3)

AN EARLY 20TH CENTURY MAHOGANY CASED SCIENTIFIC INSTRUMENT, possibly a metrological wind speed measure, the base incorporating a brass spirit level, possibly incomplete, case measures width 22cm x depth 15.5cm x height including removable lid 5cm

NIVADA GRENCHEN. CHRONOGRAPHE BRACELET EN ACIER MOUVEMENT MECANIQUENIVADA GRENCHEN. A STAINLESS STEEL MANUAL WIND CHRONOGRAPH WRISTWATCHModel: Chronomaster Aviator Sea DiverReference: 85004Date: Circa 1960Movement: 17-jewel Valjoux Cal.92 manual windDial: Black, painted baton hour markers, white outer 1/5th second markers and tachymetre scale, subsidiary dials at 3 and 9 for running seconds and 30 minute recording, luminous filled broad arrow hands, centre chronograph handCase: Brushed and polished round, screw down back, crown flanked by twin pushers, bi-directional bezel with black insert, No.3181Strap/Bracelet: Brown leatherBuckle/Clasp: Stainless steel buckleSigned: Case & dialSize: 38 mmFootnotes:Nivada were founded in the 1920s in Grenchen, Switzerland focusing on instrument watches that were meant for hard use. Nivada were among the first manufacturers to offer water-resistant, automatic movements and to feature a chronograph with additional functions. Nivada like many other brands of the period, sourced parts from external suppliers, including movements by Valjoux.For further information on this lot please visit Bonhams.com

An album of twenty-two paintings of Brahmins, merchants and tradespeople, servants and female and male musicians South India, probably Trichinopoly, early 19th Centurywatercolours on paper, bound but lacking binding, inner margins in yellow, some with floral cornerpieces, identifying inscriptions in Telugu in upper borders and in French in lower borders, numbered in upper corners 225 x 175 mm.Footnotes:The figures are as follows:1. A soldier, armed with sword and shield [inscription illegible].2. Homme qui vuille a la tranquilite dans les villages [perhaps a type of irregular policeman].3. Labourer.4. His wife.5. Berger, porteur de lait, a shepherd carrying milk.6. His wife.7. Brame qui va annoncer la date du jour, on lui donne qq'un [...] tous les mois (with a note, Ceci est intelligible dans l'original).8. His wife: Femme de Brame qui porte de l'eau pour son menage. Elles sont obliges de couper leurs cheveux lorsquelles sont veuves.9. Female musician with a vina (bayadere).10. A female drummer.11. A female musician with castanet-like instruments.12. A female musician with a vina.13. A female musician, using a jar as a percussion instrument.14. A female juggler.15. A female musician playing a wind instrument.16. A male drummer (Musicien pour les mariages, les enterrements, etc.17. A male horn-player (Musicien public).18. A male mendicant musician with a vina.19. Marchand de Sud, Merchant of the south, carrying a parasol.20. His servant, carrying a kettle or lota.21. Caste de Nairs, a Nair man armed with a khatar and carrying a tame bird.22. Vendeur de perles, coraux etc., a seller of pearls, coral etc.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Native bamboo style wind instrument with inlaid detail and a brass top walking cane with internal glass tube (2)

1970s Taragot wind instrument with certificate in three-piece cassette. Dimensions: 47 x 11 x 18 cm. In good condition.

Moshe Maurer (1891-1971) Russia/Ukraine, A portrait of a Jewish man playing a wind instrument at dusk, oil on canvas, signed, 22" x 18", in a maple frame.

Vacheron & Constantin. A keyless wind movement within associated 18K gold and polychrome enamel full hunter pocket watch caseDate: Early 20th CenturyMovement: 21-jewel Swiss lever, cut and compensated bi-metallic balance, 8 adjustments, No.359741Dial: White, black numerals, black outer minute track, subsidiary seconds at 6, gilt spade handsCase: Polished hinged with polychrome enamel decoration to front and back depicting central lake scenes bordered with flora and musical instrument cartouches, No.4182Signed: Movement and cuvette signed Vacheron Constantin, dial signed L Klein London, case stamped HBSize: 48mmFor further information on this lot please visit Bonhams.com

A violin and bow with vintage travelling case (a/f) (violin: 61cm x 21cm) and a wind instrument (lacking mouthpiece) (3)

ASSORTED MILITARIA & TRAVEL INSTRUMENTS comprising WWI Princess Anne brass Christmas tin 1914 (empty), Memento of the Great War grenade ashtray together with a 19th century brass mounted square multi-function travel instrument, engraved 'J. Richardson C. E. Neath', maker 'Hennessy Swansea' in leather case (3) Auctioneer's Note: Hennessey was a noted nautical instrument-maker working from premises at 5 Wind St., Swansea from c.1845-75

Very rare instrument from an Avro Vulcan Bomber C1970.   An original and rare nautical air miles indicator from an Avro Vulcan Bomber C1970. Having manual-wind reset and displaying whole miles and tenths. Measuring 10cm x 14 x 7. A delightful piece of British post-war aeronautical history.Click here for more details and images

A wood netsuke of a Dutchman18th centuryThe curly-haired man stands smiling as he turns to the right, supporting a small child on his back with one hand and holding a tasselled wind instrument with the other, the wood is slightly worn and with a fine patina; unsigned. 8.2cm (3¼in) high.Footnotes:リザーブ設定無し木彫根付　阿蘭陀人　無銘　18世紀For a similar example, see Marie-Thérѐse Coullery and Martin S. Newstead, The Baur Collection, Netsuke, Geneva, 1977, p.187, no.C457.The Edward Wrangham Collection of Japanese Art: Part IV, lot 69.www.bonhams.com/auctions/20493/lot/69/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Wooden Wind Instrument

Unique wooden fairground panel of a girl playing wind instrument. Completely restored with a new back plate. Size: 150 cm (59") high and 120 cm (47") wide. Condition: Very good.

A figure playing a wind instrument, bronze sculpture, French, 19th C. (2nd half), DELOYE - probably Gustave Deloye (1838-1899), Dim. - 69 cm