WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE CAT SKETCHES Pencil sketch (3) each 17.5cm x 23cm (7in x 9in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
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GERTRUDE HERMES (BRITISH 1901-1981) FOUR WOOD ENGRAVINGS FOR 'THE NATURAL HISTORY OF SELBOURNE': SWALLOWS; BAT AND SPIDER; TREES; SNAKE AND TORTOISE Wood engravings (4) 22cm x 14.5cm (8.75in x 5.75in); 22cm x 14.5cm (8.75in x 5.75in); 22cm x 14.5cm (8.75in x 5.75in); 19cm x 12.5cm (7.5in x 5in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
WILLIAM MCCANCE (SCOTTISH 1894-1970) TWO NUDE STUDIES Signed and dated 1930 lower right, pencil and charcoal, and an unmounted companion, pencil and charcoal (2) each 51cm x 38cm (20in x 15in) From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
GERTRUDE HERMES (BRITISH 1901-1983) TWO CHRISTMAS CARDS Hand and Aconites, Wood engraving, inscribed inside ‘best love from us 3 to you both. Hope all goes well.' and printed ‘Greetings for Christmas and the New Year from Gertrude Hermes. Change of address: 65 Black Lion Lane, W6’;Heaven and Hell, Wood engraving, with printed message inside ‘All good wishes for Christmas and the New Year, from Dick and Naomi Mitchison. River Court, Hammersmith Hall, London, W.6', further printed with excerpt of The Rebel by Hilaire Belloc (2) the image 13cm x 9.5cm (5in x 3.75in); 13.25cm x 14cm (5.25in x 5.5in), each unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
WILLIAM MCCANCE (SCOTTISH 1894-1970) INITIALS FOR 'THE FABLES OF ESOPE' ‘Series B’, wood engravings, Artist's Proof, numbered 3, 6 and 12/12, signed, inscribed with title and editioned in pencil to lower edge (3); ‘Series C’, wood engraving, Artist's Proof, numbered 12/12, signed, inscribed with title and editioned in pencil to lower edge (1); Further untitled and uneditioned print with initials (1). (5 works total) ‘Series B’ and ‘C’ 26.25cm x 14.5cm (10.5in x 5.75in); untitled print 26cm x 39.5cm (10.25in x 15.5in), all unframed From the Estate of William McCance. Note: These initials were designed and engraved by McCance for the Gregynog Press edition of the Fables of Aesop (1932), which also featured illustrations by Agnes Miller Parker. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
WILLIAM MCCANCE (SCOTTISH 1894-1970) TREES Watercolour and pencil 24cm x 35.5cm (9.5in x 14in) From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
WILLIAM MCCANCE (SCOTTISH 1894-1970) PORTRAIT OF AGNES MILLER PARKER; BLUE NUDE IN AN ORKNEY CHAIR - 1930 Portrait of Agnes Miller Parker, charcoal;Blue Nude in an Orkney Chair, signed and dated lower left, charcoal and blue chalk (2) the sheet 26cm x 25cm (10.25in x 9.75in); 50.5cm x 38cm (20in x 15in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
WILLIAM MCCANCE (SCOTTISH 1894-1970) IMPROVISED SEATED FIGURE - 1955 Monotype, signed with initials in pencil lower left 21cm x 24.5cm (8.25in x 9.75in) From the Estate of William McCance. Exhibited: Reading Museum and Art Gallery, 1960, no.134The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
WILLIAM MCCANCE (SCOTTISH 1894-1970) RECLINING GIANT - 1945 Signed and dated '45 lower right, watercolour wax resist and pencil 27cm x 37.5cm (10.75in x 37.5in) From the Estate of William McCance. Exhibited: Dundee City Art Gallery, cat.no.52; Scottish National Gallery of Modern Art, 1990The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
GERTRUDE HERMES (BRITISH 1901-1983) THE TREE OF LIFE Wood engraving, 23/30, inscribed with title and numbered in pencil to margin image size 26.5cm x 18.5cm (10.5in x 7.25in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
CYNTHIA BURNLEY (BRITISH 1900-1964) CATS AT PLAY Two wood engravings on india paper, mounted together (2) each sheet 22.5cm x 17.5cm (8.75in x 7in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
A George III Mahogany And Brass Bracket Clock With Silvered Dial Engraved with the name George Pyke, London. 26cm wide, 44cm high and 15cm deep. With Key. The Mahogany body has arched fret work panels to each side, with a glazed door to the rear. It is raised on four brass bracket feet, with four brass finials to the top of each corner, a brass handle to the top and a brass framed glass door that covers the the dial. The silvered dial is marked by the hour with Roman numerals and by the minute with Arabic numbers. To the lower centre of the dial is a date marker, above which is engraved 'George Pyke London'. The double fusee movement can be wound using the key at the front of the dial where the key holes are, just below the pendulum viewing slit. The clock strikes on the hour. Son of the 18th century clock maker John Pyke, George Pyke became a famous clockmaker in his own right, becoming clockmaker to His Majesty King George III himself. A famous example of his work lies in Leeds Temple Newsam House, a beautiful musical automaton clock dated 1765, known as 'The George Pyke Clock'. Condition Over all in good antique condition, some signs of light restoration to the body with some minor knocks and scratches in places. The movement works after winding and prompting but would benefit from a professional clean and service.
Two Lladro ceramic seated Degree student figurines, together with a set of Royal Doulton "Brambly Hedge" season plates An early 20th century musical bird cage automaton, clock work movement, 46cm to the top of the cage Condition: One figure has been professionally restored, the head appears to have been off and restored.
Late 19th century coin operated trio of singing birds in cage automaton, probably by J Phalibois, French, the three taxidermy birds with moving heads, beaks and tail feathers synchronized to the birdsong, under a gilt brass cage with one penny coin entry shoot, The gilt canted rectangular base with barbola decoration, H58cmCondition Report:The mechanism in good working order, birds in poor condition
An 'Old Bill' St Dunstan's money box, with a rocking 'Old Bill' head, with two coin slots, 20.5cm wide; a cast iron monkey and lion automaton money box, 23cm high;a Huntley and Palmers biscuit tin22.5cm high;and a West German tinplate friction-powered armoured car, 17.5cm wide (4)Condition ReportAll with wear. Lion and Monkey rusted - mechanism working. St Dunstans box - rusted to the underside, lacking the cover.
A Tete Jumeau bisque head musical automaton doll, possibly Leopold Lambert, with fixed blue paperweight eyes, finely painted lashes and feather brows, closed mouth, pierced ears and wearing a long mousey mohair wig, the doll wears a cream lace gown beneath a red silk jacket and original chemise, she stands atop an integral base, keywind mechanism to base causing the music to play, she moves her head to the right and powders nose, then turns to left to look in mirror, stamped 'Depose [T]ete Jumeau Bte. S.G.D.G. 4' to nape of neckthe doll 36cm tallProvenance:The estate of the late Eve Clarke
Musik-Puppen-Akrobat No. 1 von Vichy, um 1900Mit Kopf aus Gips, Original-Bemalung, feststehenden braunen Glasaugen, Pappmaché-Körper mit beweglichen Schultern und Knien, zehnsproßiger Leiter, Federwerkmotor mit fünf Nocken und Walzenspielwerk mit 4 Melodien (1 Zahn fehlt im Stahlkamm), auf behelfsmäßigem Sockel, Höhe der Figur 46 cm, gesamt mit Leiter 88 cm in gestreckter Position. - Die Figur ist so konzipiert, daß sie einen Handstand auf der schwankenden Leiter macht, die rechte Hand in die Luft hebt und beifallheischend aufblickt. Dieses Exemplar wird in unrestauriertem Zustand angeboten. Es gibt instabile Schäden an der Stirn und im Nackenbereich, und der Figur fehlt die linke Hand. Der Motor (ungetestet) und das Musikwerk sind lose. Die Hebel für die Figur wurden abgetrennt und es fehlen der Hebel für die Leiter, die Stopp-Start-Stange und die Gestänge. - Literatur: Michael Start, "Secrets of Automata" (2023), S. 138-141. - Ein seltener Automat, der eine einfühlsame Restaurierung verdient. Start Price: EUR 1200 Zustand: (5/5)Equilibrist No. 1 Automaton by Vichy, c. 1900With plaster-composition head, original paint, fixed brown glass eyes, papier-mâché body with articulated shoulders and knees, ten-runged ladder, going-barrel motor with five cams and four-air cartel cylinder musical movement (comb missing one tooth), on makeshift replacement base, figure 18 in. (46 cm), in upright position 34 ¾ in. (88 cm). - Note: The figure is designed to perform a handstand on the swaying ladder, lift his right hand in the air and look up for applause. This example is offered in unrestored condition. There are unstable losses to the forehead and the nape of the neck and the figure is missing his left hand. The motor (untested) and the musical movement are loose. The levers for the figure have been disconnected and the lever for the ladder, the stop / start rod and the linkages are missing. - Literature: For an analysis of Vichy’s equilibrist, see Michael Start, "Secrets of Automata" (2023), pp. 138-141. - A scarce automaton, worthy of sympathetic restoration. Start Price: EUR 1200 Condition: (5/5)
Seltener Puppenautomat Clown mit Besen von Leopold Lambert, um 1890Mit leicht gewölbtem Rücken, Kopf aus Pappmaché, beweglichen Augenlidern und herausschnellender Zunge, Stirn, Wangen und Kinn mit Spielkartensymbolen bemalt, einen Besen und eine Schleife haltend, auf samtbezogenem Sockel, der einen Motor mit vier Nocken, fünf Hebeln und einem Walzenspielwerk für 2 Melodien enthält, in komödiantischer Mohairperücke und zweifarbigem Satinkostüm mit gemalter Partitur auf der Brust und Notenapplikationen auf dem rechten Bein, Höhe 61 cm bis zur Haarspitze, mit Messingschlüssel "LB" und Lambert-Stopp/Start-Hebel, funktionstüchtig, Oberfläche von Gesicht und Händen restauriert, Kopfdrehung stockend, Zungenbewegung inaktiv. - Clowns, die Instrumente aus ungewöhnlichen und wenig geeigneten Gegenständen wie Dominosteinen, Bettwärmern oder Bratpfannen spielen, waren ein beliebtes Motiv bei den Automatenbauern des 19. Jahrhunderts. Hier spielt ein Clown einen viersaitigen Besen, als wäre er ein Kontrabaß. Der Clown dreht und neigt den Kopf, blinzelt und streckt dem Publikum die Zunge entgegen, während er das Instrument mit zwei Bewegungen der rechten Hand zupft und mit der linken über die Saiten streicht. - Im Lambert-Katalog als "Clown Musicien" aufgeführt, kennen wir nur eine Handvoll Exemplare dieses Automaten. Das hier angebotene Modell wurde von David Secrett und Margaret Glover liebevoll restauriert. - Literatur: Christian Bailly, "Automata, the Golden Age ", S. 190, 350.Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 3700 Zustand: (2/3)Rare Clown with Broom Automaton by Leopold Lambert, c. 1890With lightly arched back, papier-mâché head, articulated eyelids and darting tongue, his forehead, cheeks and chin painted with card suits, holding a stringed broom and a bow, on velvet-covered base containing going-barrel motor with four cams, five levers and two-tune cylinder musical movement, in theatrical mohair wig and two-toned satin costume with painted musical score on the chest and note appliques on the right leg, ht. 24 in. (61 cm) to tip of hair, with brass "LB" key and Lambert stop/start lever, working, surface of face and hands restored, head turn sticking, tongue movement inactive. - Note: Clowns playing instruments made from unusual and impractical objects like dominoes, bed-warmers and frying pans were a popular subject amongst 19th century automata makers. Here a clown plays a four-stringed broom as though it were a double bass. He turns and inclines his head, blinks and sticks his tongue out at the audience as he bows the instrument with two movements of his right hand and strokes the strings with his left. - Listed in the Lambert catalog as "Clown Musicien", we know of only a handful examples of this piece. The model offered here has been sympathetically restored by David Secrett and Margaret Glover. - Literature: Christian Bailly, "Automata, the Golden Age", pp. 190, 350.Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 3700 Condition: (2/3)
Französischer Singvogelautomat, um 1920Vermutlich Bontems, mit Federwerkmotor, Balgen und Pfeife, Vogel mit beweglichem Kopf, Schnabel und Schwanz, in Messingkäfig auf geprägtem Messingsockel mit Stempel auf der Unterseite: "Made in France", Gesamthöhe 51 cm, funktioniert, mit Schlüssel, erneuerter Samtbezug, Federkleid bzw. Vogel ergänzt.Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 1600 Zustand: (2-/2-)Singing Bird in Cage Automaton, 20th CenturyProbably Bontems, with going-barrel movement, whistle and bellows controlling bird with articulated head, beak and tail, in domed brass case with repousse base, the underside stamped "Made in France", height: 20 in. (51 cm), with key, working condition, new velvet covering, bird re-feathered / replaced.Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 1600 Condition: (2-/2-)
Mechanischer Elefant von Roullet et Decamps, um 1900Mit Leder überzogener Korpus aus Papiermaché, bemalt, ohne Stoßzähne, mit Glasaugen, roter Wolldecke, beweglichen Beine und beweglichem Rüssel, Starthebel an der rechten Seite, Federwerkantrieb. Der Elefant läuft leicht stapfend nach vorne. Höhe 24 cm, Länge 34 cm. Ein Automat, welcher schon von Jean Roullet modelliert und produziert wurde, in gut funktionierendem Zustand.Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 900 Zustand: (3/2)Walking Elephant Automaton by Roullet et Decamps, c. 1900With painted leather-covered papier-mâché body, glass eyes, red wool blanket, articulated legs and trunk, stop/start lever and open-spring motor in the body that causes the elephant to walk forwards, ht. 9 1/2 in. x lg. 13 1/3 in, missing tusks, in good working condition. - An automaton elephant first modeled and produced under Jean Roullet.Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 900 Condition: (3/2)
Automat von Frank Nelson "Königin Victoria" oder "Viktorianische Flatulenz", 1988Geschnitzte und bemalte Figurengruppe aus Holz unter Glaskuppel, die die britische Monarchin, ihren Lakaien und einen Skye Terrier darstellt, auf rundem, samtbezogenem Sockel mit Lautsprechergitter aus Messing, bemalter Holzsockel mit humoristischen Drucken und gravierter Plakette: "Frank Nelson, 1988, Queen Victoria", münzbetriebener Elektromotor (für englische Währung), der zwei hölzerne Nocken für die Bewegungen und ein gezahntes intermittierendes Rad aus Gummi für die Geräuscheffekte betätigt, Höhe des Sockels bis Oberkante Kuppel 36 cm, insgesamt 69 cm, funktionstüchtiger Zustand, mit europäischem Stecker, eine Sicherheitsüberprüfung der elektrischen Komponenten wird dringend empfohlen. Im Lieferumfang enthalten ist eine gerahmte Arbeitszeichnung von Nelson, die auf der Rückseite beschriftet ist: "Early Sketch for ‘Victorian Flatulence’ Automata, 1988". - Bei Einwurf einer Münze ertönt eine überraschende Geräuschkulisse unter dem Thron, der Hund hebt ein Ohr, während die Königin die Augen mit dem Ausdruck des Mißfallens öffnet und (per Sprechblase) "Stop that James!" anstimmt, worauf der Lakai (per zweiter Sprechblase) antwortet: "Yes Ma'am, what way did it go?". - Referenzen: Frank Nelson, "Rude Mechanicals, a Moving Experience": https://www.youtube.com/watch?v=dVLrzu95IaI. Nelson erzählt, wie Königin Victoria "in der Öffentlichkeit ein sehr unhöfliches Geräusch gemacht" habe und versucht hätte, ihrem Diener die Schuld zu geben.Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 900 Zustand: (3/-)Queen Victoria or "Victorian Flatulence" Automaton by Frank Nelson, 1988Carved and painted wood vignette under glass dome, depicting the British monarch, her footman and a Skye Terrier, on circular velvet-covered base with brass speaker grill, painted wood pedestal decorated with humorous prints and plaque engraved: "Frank Nelson, 1988, Queen Victoria", the coin-operated electric motor (for English currency) operating two wood cams for the movements and a serrated rubber intermittent wheel for the sound effects, ht. base to top of dome 14 in. (36 cm), total 27 in. (69 cm), working condition, with European plug, a safety check of electrical components strongly recommended. Included is a framed working drawing by Nelson, inscribed on the reverse: "Early Sketch for ‘Victorian Flatulence’ Automata, 1988". - Note: Upon insertion of a coin, a surprising series of sounds issues from beneath the throne, the dog raises an ear as the Queen opens her eyes with displeasure and intones (via speech bubble) "Stop that James!", to which the footman replies (via a second speech bubble) "Yes Ma’am, which way did it go"? - References: Frank Nelson, "Rude Mechanicals, a Moving Experience", please see: https://www.youtube.com/watch?v=dVLrzu95IaI. - Nelson recounts how Queen Victoria is said to have "made a very rude noise in public and tried to blame her servant".Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 900 Condition: (3/-)
FORBIDDEN PLANETTitle Lobby Card (11" x 14")Very Fine MGM, 1956This is a superb example of the iconic title card. The borders showcase small airbrush spots, alongside meticulous corrections of a small tear in the upper border and the right border. The card displays exceptionally well, thanks to its vivid colors.One of the most beloved sci-fi classics of all time, Forbidden Planet features terrific performances by Walter Pidgeon, Anne Francis, and Leslie Nielsen. Based on Shakespeare's The Tempest, this 1950s science fiction gem is highly regarded for its outstanding special effects, groundbreaking electronic soundtrack, and first-rate cast and production values. Perhaps most notably, the film introduced cinema enthusiasts to Robby the Robot, arguably the most famous automaton ever to appear on the silver screen.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
Early 20th century caged two bird automaton, in the manner of Reuge of Switzerland, the domed brass cage enclosing birds perching upon foliage, the red bird, with articulated neck, beak and tail, the yellow bird beak and tail only, both moving but currently silent, the key-wound mechanism unmarked, 23.5cm excluding loop handle
Late George III oak-cased 8-day longcase clock with automaton, the two-piece silvered dial with Roman hours and Arabic minutes framing subsidiary seconds dial and terrestrial calendar crescent, an engraved tall-masted ship and coastal cottage, the spandrels engraved with putti emblematic of the Four Seasons, the arch signed "Harry Mogg Wincanton" with engraved silvered rocking chariot automaton before a printed arched backdrop ('Wisdom delivers Don Quixote from the madness'), the movement with four knopped pillars striking on a bell, the case with moulded arched dentil cornice, ball and eagle finials and turned columns with brass capitals, the ogee-arched long trunk door on conforming base and bracket feet, 216cm high (sold with two weights, pendulum and key)Bellchambers, J. K., Somerset Clockmakers, 1968, p. 75 under Wincanton entries records "Moggs [not Mogg], Harry"1820 ca." , although this clock would appear in all areas to predate this.
A FINE GEORGE III BRASS MOUNTED EBONISED FOUR-TUNE MUSICAL TABLE/BRACKET CLOCK WITH AUTOMATONSAMUEL TOULMIN, LONDON, CIRCA 1775The substantial five pillar trip fusee movement now with anchor escapement regulated by lenticular bob pendulum, the music train playing a choice of four tunes via a 3.5 inch transverse cylinder and fifteen hammers on a graduated nest of ten bells on the hour followed by the strike train counting the hours on a further larger bell, the backplate finely engraved with an extensive asymmetric rococo cartouche signed Samuel Toulmin, Strand, London to centre beneath an offset standing Ho-Ho bird, the 8.75 inch brass break arch dial with applied silvered curved signature plate engraved Samuel Toulmin, Strand, London to the matted centre within silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, the spandrel areas decorated with unusual relief polychrome floral spray infill and the lower right-hand margin with tune selection slide labelled 1-4, the arch with recessed polychrome painted scene of a hunt passing before a windmill with vanes turning and figures on horseback parading from left to right across the lower margin whilst the music plays, three of the background figures with unusual speech bubbles exclamating 'Hark forward' and two other indistinct phrases, the ebonised bell-top case applied with generous rococo scroll cast mount to the concave section of the upstand and five gilt brass flambeau urn finials, over double cavetto top mouldings and hinged front incorporating brass fillet-edged glazed dial aperture and rococo scroll cast upper quadrant frets flanked by gilt moulded inserts to angles, the sides with rectangular scroll pierced sound frets interrupted by generous hinged gilt brass carrying handles, the rear with break-arch glazed rectangular door applied with raised mouldings around the aperture and with upper quadrant frets, flanked by conforming inset brass mouldings to the rear angles, on cavetto moulded skirt base with moulded gilt brass squab feet.63cm (24.75ins) high including top finial, 32.5cm (12.75ins) wide, 20cm (8ins) deep. Provenance:From a Private Collection. Samuel Toulmin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Strand, London circa 1757-83. He was a fine maker who seemed to specialise in musical and automaton clocks with several examples known including a clock with scene of couple paying tennis to the arch. A longcase clock with rare Battersea enamel dial signed for him was sold at Christies, London IMPORTANT CLOCKS, MARINE CHRONOMETERS & BAROMETERS 12th December 2001 (lot 167) for £7,990. The raised polychrome floral decoration to the spandrel areas of the dial of the present clock is very unusual, and engraving to the backplate is beautifully executed in a highly individual style. These details, coupled with the very rare (if not unique) inclusion of 'speech bubbles' within the hunting scene to the arch, result in a clock full of character and individuality befitting of the work of a fine and innovative clockmaker. Condition Report: Movement is in clean fully working condition, The escapement has been converted from verge to anchor escapement however the original backcock and apron have been retained (just moved downwards by around 2.5cm). Otherwise movement appears to be in original condition with no other visible evidence of alteration or notable replacements. The music train runs well providing fairly strong even pace to the melodies although some of the hammers may benefit from slight adjustment. The automaton appears original and is operational. One of the figures (probably a pair of hounds) is missing from the procession otherwise figures are intact with minor to moderate wear losses to the original finishes. The sails of the windmill have been repainted otherwise the scene is in very good original condition with only very minor wear/losses. The rest of the dial is in good original condition with overall light oxidation to the brass and silvered surfaces giving resulting in a fairly pleasing mellow patina. The unusual relief decoration to the spandrels appears to be composed from gesso heightened with oil paints - and is in good original unrestored condition but with rubbing to high spots and the only notable loss being a flowerhead within the upper right-hand decoration. The tune selection lever is operational.The case is in generally in very good original condition. The mask bordering the dial (behind the front door) has some patch slip repairs to the veneer overlap and the front door lock is inoperative. Otherwise faults are overall very much limited to minor are related shrinkage, bumps, scuffs and other blemishes commensurate with use. The mounts are somewhat muted/tarnished and the ebonised finish has rubbing to the edges. The frets are generally in very good condition with only one or two very small losses; the silk backing for each is however heavily degraded.Clock is complete with pendulum, winder and two case keys. Condition Report Disclaimer
A GERMAN BLACK FOREST CARVED WALNUT 'TRUMPETER' MANTEL CLOCKGORDIAN HETTICH SOHN, FURTWANGEN, LATE 19th CENTURYThe twin going barrel four pillar movement with skeletonised plates and anchor escapement regulated by a shaped-bob pendulum, with external countwheel for announcing every hour on two trumpets via two crank driven bellows fitted above the plates, whilst repeatedly revealing a polychrome figure of a trumpet player from behind the pair of doors beneath the dial as well as sounding on a coiled gong, the backplate stamped G.H.S. beneath number 42, the case with three spire-turned finials to the cavetto moulded break-arch superstructure inset with strapwork motif to tympanum flanked by applied blocks, over ogee cornice, corbel frieze and concentric turned wooden dial applied with ivorine Gothic Roman numerals and with scroll-pierced bone hands, the front also with drapery swag decoration and arched aperture applied with two doors revealing the trumpeter figure to apron within scroll pierced infill beneath the dial, flanked by full-height split pilasters with knopped shafts, the sides with silk-panelled doors and the rear with lift out panel applied with the hour gong to inside surface, the base with arched recesses beneath stepped ogee mouldings applied with silvered plaque engraved Carlisle Working Mens Club. BILLIARD HANDICAP 1898, FIRST PRIZE, WON BY, ROBERT STUBBS to front; together with a rare original trade catalogue CATALOG DER, UHRENFABRIK, von, GORDIAN HETTICH SOHN, FURTWANGEN... circa 1900, fully illustrated and with price list, softbound, (2). The clock 72cm (28.25ins) high, 32cm (12.5ins) wide, 19cm (7.5ins) wide. Provenance:From the private collection of a professional sportsman and commentator. Gordian Hettich was born in Furtwangen, Germany, in 1825 and set-up business as a clock and watchmaker in 1836. Gordian's son, Hermann, subsequently joined the business and is believed to have succeeded him prior to 1881, when the firm was exhibited in the Melbourne International Exhibition as 'Gordian Hettich Sohn'. They were awarded third class for cuckoo and trumpeter clocks and music boxes in that exhibition. In 1909 the firm was acquired by a Max Roder and continued trading until 1920. Condition Report: Condition overviewMovement is complete and in full working condition however a precautional gentle clean/service is probably advisable if intending to put into long-term service. The pipes sound and the automaton functions; the figure has been restored. The case is in very good original condition with only very minor age-related blemishes.Clock is complete with a pendulum and a winding key. Condition Report Disclaimer
A FINE BLACK FOREST CARVED LIMEWOOD SPRING-DRIVEN CUCKOO WALL CLOCKALEXANDER FLEIG, TRIBERG, LATE 19th CENTURYThe twin going barrel four pillar movement with skeletonised plates and anchor escapement regulated by a carved wood shaped-bob pendulum, the backplate with second overlaid pierced plate to take the rear pivots plus set-up ratchets for the spring barrels over stamped signature A. FLEIG to lower margin, with external countwheel for announcing the two-note call for every hour via a pair of crank-driven bellows fitted above the plates, whilst repeatedly revealing a polychrome automaton figure of a cuckoo from behind a pair of hinged doors positioned above the dial who opens his beak and flaps his wings as well as sounding on a coiled gong, the case of gabled form applied with finely executed oak-leaf carved crest centred with a stag's head with inlaid glass eyes hung with two crossed-over percussion lock hunting guns, over aperture for the cuckoo set amongst further oak leaves and circular bugle-type hunting horn centred with the rosette decorated concentric turned wooden dial, applied with ivorine Gothic Roman numerals and with scroll-pierced bone hands, flanked by impressive carved hung rabbit and pheasant game over further tied leafy branches incorporating a hunting pouch applied with a further small game bird to apron, the sides with small opening hatches and the rear with lift-out panel applied with a gong to the interior; together with a copy of Miller, Justin J. Rare and Unusual Black Forest Clocks Schiffer Limited, Atglen PA 2012, dj, (2).137cm (54ins) high, 77cm (30.5ins) wide, 48cm (19ins) deep. Provenance:From the private collection of a professional sportsman and commentator. Despite the high quality nature of his work, very little is known about Alexander Fleig of Triberg. Trade directories indicate that his workshop was established in 1869 and was still active in 1906. He exhibited at the Commercial Exhibition in Villingen in 1876, and it is generally believed that he probably collaborated with other makers. Condition Report: The movement is in clean working condition, both springs seem strong and will wind fully. The cuckoo automaton is complete with wire operating detents/levers all present however the action appears a little limited suggesting some adjustment is required in order to maximise the action. The bellows have been re-conditioned hence provide good strong notes to the call. The dial is in fine condition as is the case with the only notable observation being some very well executed restoration to the stag antlers. The rear has some scuffing around the original hanging hole (removable back panel has been re-polished) the present hanging eye is probably a later addition. The carving is generally in very fine condition with faults very much limited to a few very slight historic bumps to the extremities; there is no visible worm damage or noticeable splitting.Generally a fine example apparently having been relatively recently serviced/cosmetically restored and only really requiring slight adjustment to the automaton. A pendulum with conforming carved wood bob and a winding key are present with the clock. Condition Report Disclaimer
A CONTINENTAL SILVERED METAL AND ENAMEL FIGURAL MUSICAL AUTOMATON TABLE VESTA GROUPUNSIGNED, FRENCH OR SWISS, CIRCA 1900With musical movement playing two melodies in succession via a 1.25 inch pinned cylinder on a 30 tooth comb, set on a brass bed stamped 1128 and with wooden pulley line take-off to drive the automaton together with a wire start/stop plunger, set within a circular moulded ebonised plinth surmounted by a silvered white metal figure of a clown holding a stick perched with two lovebirds over a barrel, together with a drum and a figure of a dancing dog holding a ring with two further lovebirds in his mouth who rotates whilst the music is playing, in the foreground is an enamel-lidded vesta box decorated with a portrait of an 18th century style female, opening the lid activates the plunger for the music and automata, the underside of the base with indistinct oval paper label, on brass ball feet.21cm (8.25ins) high, 16.5cm (6.5ins) diameter. Provenance: From a Private Collection.
A FINE AND VERY RARE FRENCH EMPIRE BRASS INLAID MAHOGANY MANTEL CLOCK WITH MECHANICAL ORRERYUNSIGNED, ATTRIBUTED TO THE WORKSHOP, OF ANTIDE JANVIER, PARIS, CIRCA 1810The clock with four pillar twin going barrel movement of at least eight-day duration incorporating anchor escapement regulated by lenticular bob pendulum with knife-edge suspension and outside countwheel striking sounding the hours and a single blow at the half hours on a bell mounted behind the movement, the 4.75 inch slightly convex white enamel Roman numeral dial with Arabic fifteen minutes within the outer minute track and pierced and chased gilt brass hands, set behind a hinged engine-milled convex glazed bezel, the mahogany case of four-glass type with brass edged platform upstand supporting the orrery/tellurian mechanism over scroll dentil cornice and brass ogee fillet mounded glazed front aperture interrupted by the clock dial and bezel and with brass diamond lozenge motif to the upper rail, the sides with conforming glazed panels and lozenge inlay and the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base, the orrery/tellurian set on a rectangular brass plate with vertical take-off from behind the clock dial driving a gear train to advance the hands on two small silvered subsidiary dials set towards the front margin, with the first labelled SOIR/MATIN and annotated with Arabic twenty-four hour chapters and the second with days-of-the-week in French, with further cocked wheelwork to drive the principal elements of the rotating orrery assembly above, comprising a gilt sphere representing the sun with two small satellites labelled Mercure and Venus over geared train to drive their motion as well as for the tellurian, the latter constructed with a 0.875 inch terrestrial globe applied with 12 hand coloured paper gores annotated with principal land masses and oceans annotated in French and Paris marked with a raised brass pin, rotating on an inclined axis within a gilt brass meridian ring and with geared orbiting lunar satellite revolving to provide moonphase indication over a silvered ring inscribed route de la lune par courier, 29 jours 12 heures 44 minutes and labelled Noeud (for node) twice at opposing ends of one of the crossings, the whole orrery/tellurian assembly rotating annually around the central solar axis and fitted with a pin pointer to the end opposing the tellurian for reading against a silvered calendar scale, annotated with the months of the year in French and divided for each day, with Janvier also including an aperture to show the year labelled 18, the front of the brass base mounting plate with small square to manually advance the mechanism. 52.5cm (20.75ins) high, 22.5cm (8.75ins) wide, 16cm (6.25ins) deep. The form, specification and layout of the orrery and tellurian assembly of the current lot can be closely compared to that of a 'heliocentric planetarium' signed 'Janvier au Louvre' which was sold at Christies, King Street, London sale of Important Clocks, Marine Chronometers and Watches 12th June 1996 (lot 269) for £28,750. Another very closely related mechanical orrery, this time surmounting a mantel-type timepiece, was also sold at Christies, King Street sale of IMPORTANT CLOCKS, INCLUDING A FINE COLLECTION OF INDUSTRIAL, AUTOMATON AND ASTRONOMICAL CLOCKS Wednesday 4th July 2007 (lot 122) for £28,000 hammer. Although this second example was signed 'Baltazar Pere' the form of the timepiece (simple rectangular form incorporating recumbent sphinxes) was that of an Antide Janvier 'audience clock'. In addition to these timepieces, distinctive elements, such as the inclusion of Mercury and Venus alongside the tellurian, can also be observed in Janvier's 'pendule a sphere' now residing in the collection of the Conservatoire National des Arts et Metiers, Paris. Antide Janvier was born in Brive, near St. Claude in the Jura mountains in 1751. His father was a clockmaker who, after observing Antide's natural talent, sent him to study under the Abbe Tournier at Saint-Claude at the age of thirteen. Two years later he started working on his first 'sphere movement' which he then presented to the Academie des Science in Besancon where he received a lot of praise and a certificate for his work. By 1770 Antide Janvier was in the service of Monsieur Devanne as an apprentice clockmaker where he made another orrery, this time out of boxwood. A third, smaller scale example was then produced which Janvier took with him on a journey to Paris no doubt to seek employment and make his name. Although Janvier was fortunate enough to receive an audience with Louis XV, his temperament was not well received and he returned to Verdun without the fame and patronage which he so desired.Having subsequently married and settled in Verdun as a clockmaker, Antide Janvier came to the attention of Monsieur de Lalande, professor of Astronomy at the College de France. Indeed, it is when Monsieur Lalande had seen a pair of Janvier's 'sphere mouvantes' (one heliocentric and the other geocentric) at a gilder's workshop in Paris, that he decided to call-on Janvier for re-introduction to the Royal Court. King Louis XVI was suitably impressed by Janvier's work and immediately purchased a pair of miniature orreries and placed them in his study at Versailles (the whereabouts of these orreries is now unknown).Due to his association with the Royal Court, after the French Revolution, Antide Janvier was imprisoned for a short while and subsequently fell on hard times. His wife died in 1792 and he latterly sold stock and designs to Abraham-Louis Breguet to raise funds. Despite this Janvier continued to produce clocks during the Consulat and Empire periods, most notably his 'audience timepieces' and regulators. He also went onto collaborate with Raingo to create a mechanical orrery timepiece of differing design to the present lot.On the restoration of the monarchy and accession of Louis Philippe in 1726 Antide Janvier was awarded a modest pension but died in relative poverty and obscurity in 1835. When considering the difficulties faced by Janvier post revolution, it is highly probable that he supplied other more 'acceptable' makers with timepieces etc. for them to sell-on. This would appear to be the case with the example signed 'Baltazar Pere' (mentioned above) and is most likely the underlying reason why the present lot is apparently unsigned. Condition Report: FOR CONDITION REPORT PLEASE CONTACT DEPARTMENT.A further note on attribution - the attribution stated in the description is based on the evidence outlined in the footnotes. Although provided with a good degree of confidence the attribution is stated in an 'opinion only' basis hence no guarantees can be applied. Condition Report Disclaimer
A RARE FRENCH LARGE FOUR-DIAL NOVELTY AUTOMATON LIGHTHOUSE TIMEPIECE WITH BAROMETER AND THERMOMETERSPOSSIBLY BY ANDRE ROMAIN GUILMET, PARIS, RETAILED BY F. GUILLEBOT, BORDEAUX, LATE 19th CENTURYThe timepiece with circular eight-day movement with platform cylinder escapement regulated by sprung monometallic balance vertically planted on the backplate stamped V.R., BREVETE PARIS over serial number 2524, the 2.25 inch circular dial with gilt centre inscribed F. GUILLEBOT, 52 COURS DE L'INTENDANCE, BORDEAUX within silvered Roman numeral chapter ring with blued steel spade hands set behind hinged cast gilt brass bevel-glazed bezel with canted insert to interior, mounted within a nickel-plated cylinder in a cruciform arrangement with a pair of conforming curved mercury tube CENTIGRADE and REAUMUR scale thermometers to the sides and a BAROMETRE ANEROIDE to rear, similarly signed for the retailer's to centre within silvered scale calibrated in mm hg 690-800 numbered for every ten and with the usual observations in French, with blued steel pointer and recording hand to glass matching those for the paired thermometers, the nickel-finish cylinder assembly forming the lantern of the lighthouse capped with a gilt cupola engraved with brick courses and with finely executed weather-vane, slowly revolving via a separate going-barrel driven movement set within the base of the lighthouse structure, the tower formed as a tapered column with gilt balustrade gallery supported on corbels over brick-coarse engraved shaft applied with staggered gilt arched windows, over moulded foot incorporating hinged door to reveal the winding square for the automaton movement, on rounded circular base set on a Belge noir marble plinth.62cm (24.5ins) high, 23cm (9ins) diameter at the base. Andre Romain Guilmet was born on the 10th of December 1827 in La Ferte-Gaucher, France. He was a credited as a watchmaker and inventor who specialised in producing novelty and mystery clocks for which he applied for a number of patents for designs. Amongst his other Patents was that for a bicycle where the driving chain was set below the seat. He is best known for his 'mysterieuse' figural clock with glass pendulum, this takes the form of a woman holding pendulum in her outstretched hand and arm over a marble base containing the clock below. The pendulum is impulsed by the mechanism underneath her that moves the figure imperceptibly from side to side. Guilmet's industrial series of clocks, which includes the current lot, features automated clocks in the form of windmills, lighthouses, automobiles, boats, steam hammers, boilers, etc.The present lot possibly belongs to Guilmet's 'marine series' and would appear to be a particularly rare larger variant of his lighthouse timepiece, with the other smaller variant having small exposed vertical tube thermometers to the sides of the lantern (rather than the glazed dials of the current timepiece). Condition Report: Clock movement is reasonably clean and is in working condition however a precautionary gentle clean/service is advised if intending to put into long term service. The barometer responds to change in pressure (has been 'bag tested') hence is also in working condition. Both thermometers are intact and in working condition. All four dials are in good original condition but with some slight mellowing to the gilt and silvered finishes. The bezels (rings bordering the dial glasses) have wear/rubbing to the gilt finishes and the nickel-plated finish to the lantern section has some noticeable patchy degradation/spotting to the surface. The rest of the case is in very good condition with good strong gilding exhibiting minimal wear/oxidation and the dark patination with only a few minor age-related scratches mostly near the winding hole for the rotating mechanism; the rotating mechanism/movement is in working order. The block marble plinth has one noticeable shallow edge chip and a couple of smaller ones that can only be detected on closer examination.AMMENDMENT 09/09/2024 - the rotation mechanism driving the 'lantern' section of the lighthouse is a little lazy in its action and prone to stopping hence probably requires a service.Timepiece is complete with two winding keys. Condition Report Disclaimer
Y A RARE SWISS TULIP WOOD BANDED ROSEWOOD 'BELLS-IN-SIGHT' MUSIC BOX WITH DANCING FIGURES THE TUNE SHEET INSCRIBED FOR PICARD-LION, GENEVA, CIRCA 1890Playing a choice of eight tunes via a 6 inch pinned cylinder on a 43 tooth comb, with additional accompaniment on three bells with 'butterfly' hammers and with pair of small bisque-headed dolls in elaborate dress bobbing and spinning whilst the mechanism is in play, the cylinder mounted into a silver-painted steel bed with ratchet-crank wound going barrel and tune number notification scale to the left opposing wheel train incorporating governor and activation of the various functions controlled by the selection levers to the right hand side, beneath a hinged glazed dust cover flanked by CHANGE/REPEAT and STOP/PLAY levers to the right opposing an integral crank winder, the inside of the lid pasted with a large tune sheet titled Bells in Sight over a list of eight tunes including Ting-a-ling-ting-tay, Daisy Bell and Marguerite of Monte Carlo, the lower edge of the sheet inscribed Lith. Picard-Lion. Geneve, DEPOSE, the exterior with musical trophy transfer within boxwood line-strung borders, angled tulipwood banding and ogee edge mouldings to top, over conforming veneers to front and grained sides and back, on block feet.23cm (9ins) high, 49cm (19.25ins) wide, 28cm (11ins) wide. Provenance:The Leonard Fuller Collection. Condition Report: Mechanism is complete and is in reasonably clean working condition with no visible losses to the tips of the teeth. The selection levers also appear to be operating as they should as well as the automaton features. The left-hand barrel pivot block is stamped 5 2 over 4 8. Both the dancing dolls appear to be in fine condition. The tine sheet is intact but with overall light patchy browning. The veneer applied to the inside surface of the lid has a few small edge chips to each side. The front has a small loss to the crossbanding at the lower edge and some noticeable scratching. The lid has wear/degradation to the polish and losses to the transfer as well as overall wear/rubbing but otherwise appears free from significant faults other than slight veneer rippling. Graining to the sides and rear has wear/scuffing; generally the case would benefit from some light cosmetic restoration.Box does not have key for the lock. Condition Report Disclaimer
Ulysse Nardin. A fine and rare 18K rose gold automatic striking wristwatch with onyx dialModel: HourstrikerReference: 6106-130Date: Purchased 22nd May 2015Movement: 21-jewel Cal.UN-454326 automatic, 22K gold rotorDial: Onyx, applied gilt Arabic numeral hour markers, raised dot outer minute divisions, strike on/off indication, gilt automaton depicting two tigers fighting, gilt leaf handsCase: Polished round, exhibition back secured by 6 screws, strike button at 4, strike on/off button at 2, No.19Strap/Bracelet: Blue Ulysse Nardin alligator leatherBuckle/Clasp: Signed 18K rose gold double folding claspSigned: Case, dial & movementSize: 43mm Accompaniments: Ulysse Nardin box, outer card, international warranty, purchase invoice, warranty, original lapis lazuli dial, crown and hands, brochures, swing tagFootnotes:Ulysse Nardin were founded in 1846 in Le Locle, Switzerland and become known for manufacturing highly accurate marine chronometers and timepieces, winning numerous awards along the way.The Hourstriker model is inspired by watchmaking of the past and allows the user to hear the time as well as see it. The automatic movement (calibre UN-454326) comprises a mechanism that automatically strikes the hours and half hours while the engraved automaton on the dial moves. The strike can also be activated on request while pressing the pusher at 4 or fully deactivated by simply pressing the pusher at 2.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A George III mahogany longcase clock, by Richard Biggs Rumsey (Romsey), with two train movement with ship automaton to arch with subsidiary seconds dial and date aperture. Dial width 30 cm, case height 221 cm. CONDITION REPORT: The case is in generally very good condition and does not really require any work. There are some traces of what appears to be long gone woodworm to the arch behind the blind fretwork which in our opinion is not problematic. There are minor veneer stress fractures but no real case issues. We have the key to the trunk door lock which does operate. The pine backboards are original and again have very minor traces of old long-gone woodworm. The movement winds on both trains and is currently ticking away operating the ship automaton in the arch. The movement strikes when advanced and the calendar dial seems to work also. The seat board is old and the cheeks have not been built up.
A mahogany longcase clock, first quarter 20th century, with eight-day chiming movement striking on an arrangement of tubular gongs, the 13inch Roman numeral dial with moon phase automaton, the mahogany case with scrolled and basketwork to the hood, the trunk with astragal glazed door and flanking canted columns 247cm high overall
AN EDWARDIAN GOLD PLATED TOP WIND EROTIC AUTOMATON HUNTER POCKET WATCH, the white enamel dial with black Roman numerals enclosing subsidiary seconds dial, with a stamped copper couple keeping the seconds, plain bar lever movement, with hinged cuvee, in a plain case (Est. plus 24% premium inc. VAT)Condition Report: Appears to be in working order, loop very rubbed, scratch to cover, otherwise generally good. Dial 4cms, case 5cms
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