Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory, the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.
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Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm. Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him. Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil. While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood. The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity. A true example of love is the pelican that restores its young with its own blood. Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love).
A Jaeger-le-Coultre model 528 Atmos clock - the glazed gilt-brass case with canted corners and inset spirit level to base, the circular white chapter ring with gilt batons and Arabic numerals at the quarters, the movement wound by atmospherics, stamped 'Le Coultre Atmos 415069', 9¼ inch (23.7 cm) high, horse racing prize plaque to front of base, inscribed 'Divine King - The Johnnie Walker Handicap Stakes - 3.35 pm Friday 9th May, 1975 - Lingfield Park', with instruction book.
A mixed lot to include a J. Rabone and Sons vintage spirit level (Glass has broke on right hand side). Eight 2004 England Football Club coins. A boxed H and M Victor Transformer Rectifier Unit, 2 x football programmes, and similar. Items appear mostly good with some boxes and card having storage wear. (This does not constitute a guarantee) (M)
The remaining tools, stock items and sundries at the workshop - Nothing relating to Lots 1-14 to be included but comprises of Makita Router, Makita sander, Draper belt sander, Titan grinder, large quantity of clamps, small compressor, Erbauer biscuit jointer in box, Bosch GBH 2-26 drill, Makita buffer, two Einhell cordless drills, Black and Decker cordless drill, Spirit level, quantity of screws, drill bits, Pneumatic nail gun attachments, Triton spindle sander, various locks and components, planes, part clamps, paste, polish, two aluminium ladders. All parts in used condition. CONDITION REPORT: This is a large lot but would fit in a small transit van. The stock is not boxed, buyers must remove all parts of this lot. It would fit into approximately 20 large plastic storage crates. Please refer to important saleroom information regarding the location of the items and collection details. This sale is off-site and collection is from NE29.
19TH C. MAHOGANY BANJO BAROMETER. L.Casartelli (Liverpool), swan neck pediment with brass finial, tapering mahogany case, silvered dials, nicely engraved main dial, 100cms (h)NB Ivory licence ERFQNKPZ.Provenance: private collection CardiffComments: untested, very good cosmetic condition, the spirit level, glass and frame are loose but appear to be undamaged
Astronomical Transit Instrument, Schmalcalder, London, English, c. 1840, signed in script along the vernier arm ‘Schmalcalder 82 Strand, London’, standing on a delicate brass frame with fine height adjustment via geared wheel, tall uprights with lamp mounts (lamp missing) to both sides, telescope with a 6inch scale with 2 vernier scales, clamp with fine screw adjustment, spirit level, telescope with 90degree eyepiece with cross hairs in place, rack and pinion focus, achromatic cell to front behind lens cap, telescope length 60cm, with original spirit level with engraved scales to read the bubble position, height 48cm, width 34cm, circle 14cm, telescope focuses, lenses dusty, image inverted
A late Victorian Scottish rosewood spirit level, by A Mathieson & Son Glasgow & Edinburgh, c.1890, the rosewood frame mounted with brass, and with two spirit levels together with maker's name and 'Warranted 46D proved tubes' engraved in the brass, 35.5 x 3.3 x 7.5cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
Thomas Harris & Son: a George III mahogany wheel barometer, c.1830, with 12" dial, cross banded with boxwood edge and line inlay, brass urn finial with a swan neck pediment, above a hydrometer, thermometer and a small convex mirror, large silvered dial, and a spirit level at the base engraved 'T Harris & Son London', 35.5 x 6.3 x 126cms high.Notes: Thomas Harris & Son were opticians to the Royal family and had branches across London from 1806 to after 1900. They occupied the premises at 52 Great Russell Street (opposite the British Museum) between 1817-1887. PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
Late Victorian five glass mercury barometer - in a mahogany case with a swans necked pediment and finial , with an 8" register , hygrometer, spirit thermometer, butlers mirror, spirit level, and bone recording button, brass cast bezel and convex glass, brass recording hand and steel indicating hand, tube intact with mercury and counterweights.
A REGENCY MAHOGANY WHEEL BAROMETERBY DIXEY, LONDON, EARLY 19TH CENTURYwith a 12 inch silvered dial, an arched thermometer compartment and with a white enamel clock with Roman numerals, the base with a signature panel with spirit level signed 'Dixey, London', the case inlaid with boxwood stringing and with bone handle adjuster and rondels115.3cm highProvenanceThe contents of The Grange, Wendover.
A Bowman 0 Gauge live steam No 265 Tank Locomotive, a twin-oscillating-cylinder non-reversing 2-2-0 in LMS crimson as No. 265 with fluted connecting rods, complete with original burner, replacement safety valve, water and spirit level plugs in original wooden box, F, substantial scorching to boiler and tank sides, rear drop-link missing from coupler, box P-F, lid detached
Three Mamod and two Meccano live steam Stationary Engines and accessories (qty), three Mamod SE1 engines, two of which have exhaust regulators and large safety valves, both lack level plugs and burners, the third a later example is complete; with two 1960s/70s Meccano steam engines, both complete except burners, some surface rusting to boiler cowls, two Mamod workshop tools, lineshaft supports, a large spirit tank with valve, a small upright stationary engine, oil can, bottle of steam oil, non-asbestos wick material, funnels, spring drive belts and other related items, engines mostly F other items F-G (qty)
movement calibre 540, the 4 3/4" skeletonised dial above a balance wheel and spirit level base, stamped serial number 632441, within an ebonised case, with original paperwork, height 23cm, width 20cm. *CR Working condition unknown. Light scratches to front panel of glass, lettering partially worn on front of case.
A large collection of cufflinks including novelty hot and cold tap cufflinks, a pair of spirit level cufflinks, a pair of silver hippo cufflinks, a silver pair of circular carnelian cufflinks with T bar attachment, nine black silver plated shirt studs, a bi coloured tie clip amongst othersCondition Report: Silver gross weight 25 grams
Launched in 1998, the Arnage was manufactured in Crewe from 1998 to 2009 with its Rolls-Royce sibling, the Silver Seraph, introduced in the Spring of 1998. They were the first entirely new designs for the two marques since 1980 when the Silver Spirit and Mulsanne models were introduced. The new Arnage (Green Label) was to be powered by a BMW V8 engine with Cosworth-engineered, twin-turbo chargers and the Seraph was to employ a BMW V12 engine. The Arnage Red Label was launched in October 1999 with the engine reverting back to Bentley power using the traditional V8 engine and a displacement of 6750cc. As part of the modification process, both Red and Green Label cars benefitted from expanded leg room in the cabin, stiffer bodyshells and larger wheels and brakes. The Red Label models were replaced in 2002 by the Arnage R.Originally registered on 26th October 2010, this Bentley Arnage Red Label is finished in the delightful colour combination of Royal blue with cream leather interior with navy blue piping, the ultimate colour combination. To be expected of such a prestige marque, the level of equipment in this Arnage R includes electric memory seats, air conditioning, satellite navigation and cruise control. The service booklet shows 10 entries, the most recent in August of this year. The Arnage R with the Rolls-Royce 6750cc V8 engine is a superb vehicle to drive with seemingly endless power, with ample leather and walnut wood which contribute to making the passenger area a great place to be. Supplied with a V5C registration document together with a current MoT test certificate and full book pack. A great luxury tourer which oozes opulence but has terrific performance to match. Presented in stunning condition and we are informed drives fantastically. King Charles would be very comfortable in the rear of this vehicle as it still looks as elegant today as it did when first launched. Consigned by Mathew Priddy Fully loaded red label recently servicedOpulence in ubundance in perfect colour combination
Hasselblad 500 C/M mit 2,8/80 mm und ZubehörHasselblad, Schweden. 1) 500 C/M Nr. RS1240709 mit Planar 2,8/80 mm Nr. 5655890, Glas unter Punktlicht sauber, A12-Magazin Nr. UT507998, TTL-Prismensucher (läuft, Genauigkeit ungeprüft) und ansteckbare Wasserwaage. - Dabei: Lichtschacht in Schwarz und starrer Lichtschachtsucher. (3/3) - Und: 2) Hasselblad Blitzgriff 45169, der zur V-Serie oder zur 503/CW-503/CX passt, neuwertig. (2/3) Start Price: EUR 400 Zustand: ()Hasselblad 500 C/M with 2.8/80 mm and AccessoriesHasselblad, Sweden. 1) 500 C/M no. RS1240709 with Planar 2.8/80 mm no. 5655890, A12 magazine no. UT507998, TTL prism viewfinder (working, accuracy untested) and attachable spirit level, optics clean under point light. - In addition: Light shaft (black) and rigid light shaft viewfinder. (3/3) - And: 2) Hasselblad flash grip 45169 for V-Series or 503/CW-503/CX, near-mint. (2/3) Start Price: EUR 400 Condition: ()
3D World TL 120-1, um 2006Hang Shou 3D World Photographic Equipment Co., China. Für 56 x 57 mm auf 120er- Film, Star 2,8/80 mm Nr. TL2-5600174, TL2-5600101 und TL2-5600116, 7-linsige Konstruktion für randscharfe Bilder, Glas unter Punktlicht sauber, Suchermattscheibe mit Schnittbildindikator und Wasserwaage, Verschluß B, 1-1/500 läuft, sehr weiche, verwacklungsfreie Auslösung, LED-Anzeige leuchtet auf, mit abnehmbarem Prismensucher (Befestigung zu schwach konstruiert) und Original-"3 D World"-Trageriemen. - Die "Hasselblad" unter den 6x6-Stereokameras. Funktionstüchtige Kamera für anspruchsvolle Anwender, mit Gebrauchsspuren. Start Price: EUR 1200 Zustand: (3-/2-)3D World TL 120-1, c. 2006Hang Shou 3D World Photographic Equipment Co., China. For 56 x 57 mm on 120 rollfilm, with Star 2.8/80 mm No. TL2-5600174, TL2-5600101 and TL2-5600116 lenses, seven-lens construction for sharp-edged images, viewfinder screen with split image indicator and spirit level, shutter B, 1-1/500, removable prism viewfinder (attachment of fragile construction) and original 3D-World carrying strap, optics clean under point light, very smooth shake-free release, LED display lights up, shutter working, signs of wear. The "Hasselblad" of 6 x 6 stereo cameras. Start Price: EUR 1200 Condition: (3-/2-)
Phonograph "Puck", um 1900Deutschland, für 2-Minuten-Walzen, gußeiserner Sockel in Lyra-Form, ausgestattet mit einer Wasserwaage und einer einstellbaren Nivellierschraube am hinteren Fuß, Aluminium-Trichter, Schalldose, Federwerkmotor mit Schlüsselaufzug, Kraftübertragung mit einer Schnurschleife auf den Zylinder, gut funktionierender Zustand. Start Price: EUR 240 Zustand: (3/2-3)Puck Phonograph, c. 1900Germany, for 2-minute cylinders, with cast-iron lyre-shaped base, equipped with a spirit level and an adjustable leveling screw on the back foot, aluminum horn, soundbox, key-wind spring motor with cord transmission to mandrel, good working condition. Start Price: EUR 240 Condition: (3/2-3)
AN AUSTRIAN OXIDISED BRASS THEODOLITENEUHOFER AND SOHN, VIENNA, EARLY 20th CENTURYThe telescope with rack and pinion focus adjustment and fitted with a spirit level to top, mounted via a horizontal pivot terminating with a spoked vertical circle incorporating fine silver Vernier scale to circumference with pivoted scale magnification glass to one end opposing fine screw angle adjustment bar to the other, onto a pierced U-shaped frame and rotating table incorporating X and Y orientated spirit levels, Vernier sector with pivoted magnifier, and rotation locking clamp with fine thread adjustment and signed NEUHOFER & SOHN, VIENNA beneath serial number 7135 to the arm, the fixed base with silvered ring calibrated in degrees of rotation divided for half degree increments to the circumference, the whole raised on squat column upright issuing triform radial supports with screw feet, in original wooden box with some accessories and pasted factory calibration label to the inside of the door.The instrument 20.25cm (8ins) high, the tube 16.5cm (6.5ins) long with focus closed; the box 30cm (11.75ins) high, 20.25cm (8ins) wide, 22cm (8.75ins) deep. The firm of Neuhofer and Sohn was established when Carl Neuhofer joined his father, Joseph, as a partner in the business previously known as 'Optisches Institut Carl Cross and Comp.' trading from 8 Kohlmarket, Vienna. The business became particularly well known for their optical and surveying instruments and continued trading up until around 1940.
A FINE VIENNESE LACQUERED BRASS CAMPAIGN THEODOLITE CHR. AND G. STARKE, VIENNA, MID 19th CENTURYThe single short draw focusing telescope inscribed K. K. polytechn. Institut in Wien. Chr. & G. Starke to one side held within oxidised brass frame supporting a spirit level to top and with micrometer screw elevation adjustment to eyepiece end, fitted via a rotating joint onto a horizontal degree circle with fine silver scale and Vernier applied to an arm screwed to the telescope frame, the base with ball and socket sleeve joint for mounting on a tripod, in unusual tooled and textured paper covered 'admiral's hat' shaped carrying case finished to resemble leather and with moulded fabric lined interior incorporating a small selection of accessories; with a wooden tripod, 19th century, incorporating oxidised brass knuckles and threaded instrument mounting socket, (2).The case 12cm (4.75ins) high, case 18.5cm (7.25ins) wide; 11.5cm (4.5ins) deep; the tripod 84cm (33ins) long closed. The current lot was presumably made by Georg Christoph Starke (1794-1865) in partnership with his son, Gustave (1832-1917) suggesting that it was made in around 1850.
A DUTCH INLAID MAHOGANY MERCURY CONTRA-BAROMETER ANTONIO PEIA, AMSTERDAM, CIRCA 1800The two-section urn surmount-outlined pewter scales with husk swag decorated oval signature cartouche engraved BAROMETER, THERMOMETER, en CONTRALEUR, door Ant, Peia, te Amsterdam, above applied spirit Fahrenheit and Reaumur scale spirit thermometer to the left hand scale, the centre tube flanked by compressed scales for both English and French barometric inches at the top and the right hand main scale annotated with additional amplified English barometric inches incorporating the Dutch `36` scale calibrated 20-0-16 with the 0 representing the mean pressure at sea level in The Netherlands, the case with parquetry banded open triangular pediment and later vase finial above chevron banded frieze panel and glazed front door with conforming inlay to surround, the base with three bell-shaped caps to the recessed waist above cistern box faced with chevron banding above an inlaid conch shell cartouche, over two vase shaped pendant finials.120cm (47.25ins) high, 28cm (11ins) wide, 10cm (4ins) deep. Provenance: From a Private Collection. Antonio Maria Carlo Abindio Peia was born in Como, Italy in 1769. He worked in Amsterdam from 1790 first 'In the Gravenstraat above the Spekslager' then, from 1797, at the St. Nicolaasstraat; before finally moving to Wijdsteeg 4 in 1820 - where he presumably worked until his death in 1845.
Y A VICTORIAN ROSEWOOD MERCURY WHEEL BAROMETERLONG AND SANDERSON, WIGTON, THIRD QUARTER OF THE 19th CENTURYThe 9.5 inch circular basket of flowers a rococo cartouche centred circular silvered register divided for barometric inches and with the usual observations, with pierced steel pointer and recording hand set behind convex glazed brass bezel, the case with hygrometer to swan neck pediment over applied bowfronted Fahrenheit scale mercury thermometer to the tapered trunk, the squared-off base with recording hand setting square over rectangular spirit level signed LONG & SANDERSON, WIGTON.105cm (41.5ins) high, 29cm (11.5ins) wide. Provenance:The Leonard Fuller Collection.
AN EARLY VICTORIAN LACQUERED BRASS THEODOLITETROUGHTON AND SIMMS, LONDON, CIRCA 1840The telescope with rack and pinion focus adjustment and fitted with spirit level to top, mounted within a frame positioned between two A-frame uprights incorporating a half circle adjusted for inclination via a rack and pinion and inset with silvered scale reading against a Vernier fixed at the base of one of the uprights, set on a circular brass revolving table applied with a glazed compass divided for degrees and labelled with eight cardinal points to centre as well as X and Y orientated spirit levels, the table signed Troughton & Simms, LONDON over a silvered Vernier sector with another to the opposing side for reading against the fixed canted silver ring to the circumference of the base calibrated for degrees of rotation divided for half degree increments, fitted with clamp and fine screw rotation adjustment over a column upright with elaborate triple-screw adjustable mount with threaded socket to underside, in original mahogany box with an additional eyepiece tube and a brass plumb weight.The instrument 22.5cm (8.75ins) high minimum, the tube 26cm (10.25ins) long with focus closed; the box 15cm (6ins) high, 29cm (11.5ins) wide, 22.5cm (8.75ins) deep. The partnership between Edward Troughton and William Simms is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as formed in 1826 and operating primarily from addresses in Fleet Street, London. Edward died in 1835 followed by William in 1860; the business was subsequently continued by their successors until 1922 when the name was changed to Cooke, Troughton and Simms.
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