A VICTORIAN MAHOGANY CASED STORM GLASST.W. WATSON, LONDON, CIRCA 1880The shallow arch white-opaque glass panel applied with a central cylindrical glass cannister filled with fluid, the upper margin inscribed T.W. WATSON, 4. PALL MALL, London over Storm, Glass and two columns of various INDICATIONS titled FOR FINE WEATHER opposing FOR RAIN, then HIGH WINDS, OR STORM and finally additional appearances for various polar currents to lower section, the bottom margin inscribed REGISTERED, 351867 set with a shallow-arched cross-grain moulded mahogany surround.52cm (20.5ins) high, 20.5cm (8ins) wide. Provenance:The Dr. Castle Collection of barometers and other weather instruments. Purchased at Dickens Fine Art Auctioneers, Middle Claydon, sale of the THE RICHARD COOKSON COLLECTION 20th April 2008 (lot 78) for £440 hammer. Thomas William Watson is recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1660-1900 as an optical, philosophical and mathematical instrument maker working from 4 Pall Mall, London 1878-84. The origins of this type of Storm Glass are unknown with Admiral Fitzroy in his 1863 publication The Weather Book noting that 'the inventor is now uncertain; but they were sold on old London Bridge, at the sign of the Goat and Compasses'. He studied them as curiosities and suggested that they served to indicate what he termed 'electrical tension' in the wind, hence were potentially useful as meteorological instruments. Edwin Banfield in BAROMETERS, Stick or Cistern Tube adds that such instruments are really an irregular form of thermometric barometer, and goes on to list the recipe for the contents of the tube which contains water, alcohol, ammonium chloride, potassium nitrate and camphor. The solution, once prepared, would then exhibit changes in the form of cloudiness, crystal formation etc. signifying atmospheric conditions as per the indications listed on the panel. Condition Report: Tube is filled with fluid. The glass panel has an edge chip at the centre of the lower margin otherwise is in fine condition with overall light wear to the annotations only. The case is in fine original condition with faults limited to slight shrinkage and other age-related blemishes; the rear panel has replacement securing screws. Condition Report Disclaimer
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A pair of antique German bisque figurines featuring a young girl playing a wind instrument and a boy dressed in a winter coat and hat. The girl wears a white bonnet with a blue ribbon, a yellow cape, and a polka-dotted dress, while the boy is dressed in a lilac coat with white fur trim, blue pants, and yellow boots, holding a striped muffler. The figurines exhibit finely detailed hand-painted features and period attire, characteristic of late 19th to early 20th-century German bisque porcelain. Marked on the underside with impressed and handwritten numbers. Tallest figurine: 8.25"H.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
An Addison - Luard Course & Wind Calculator,English, c.1920, engraved 'H. HUGHES & SON Ltd LONDON No.228' and above 'THE ADDISON-LAUD COURSE & WIND CALCULATOR, 7 - INCH AIR TYPE B, PAT. No, 253758 BRIT. PAT. 299138, U.S.A. PAT. 1723757' constructed of aluminium with 2 rotating arms, steel linkage, and engraved for WIND, WIND SPEED, AIR SPEED & COURSE, in original fitted pine case with original instructions and advertisement case 20cm wideThe Addison-Luard Course & Wind Calculator 7-Inch Air Type "B" – A Revolutionary Navigational AidAmong the many ingenious devices developed for navigational calculations in the early 20th century, the Addison-Luard Course & Wind Calculator 7-Inch Air Type "B" stands as a testament to British ingenuity. Patented in the 1920s and produced by the instrument makers H. Hughes & Son Ltd., London, this device provided a rapid and reliable method for determining the impact of wind on an aircraft’s trajectory. Housed in a pine box with a hinged lid and a clasp, the instrument comprises an aluminium disc with degree increments and compass directions, complemented by a mechanical assembly of rulers and a steel concertina linkage.During the interwar period, advances in aviation and maritime navigation necessitated the development of precise, efficient methods for calculating course adjustments due to external winds. The Addison-Luard Calculator was designed to perform these calculations mechanically, eliminating the need for laborious plotting on paper. This was particularly useful in aviation, where rapid and accurate computations were essential for maintaining course and ensuring safety.The device was engineered to solve velocity triangles—graphical representations of the relationships between an object’s motion, the influence of wind, and the resulting drift. By setting the known variables—such as an aircraft’s intended course and speed, and the wind’s speed and direction—the calculator mechanically determined the resultant ground speed and true heading, streamlining complex navigational equations.The Addison-Luard Calculator operates through a mechanical linkage system, integrating three key components:Primary Arm (Course and Speed): The user sets the intended direction of travel and the velocity of the aircraft or vessel using the first arm.Secondary Arm (Wind or Current Data): The second arm is adjusted to reflect the direction and speed of the wind.Resultant Arm (True Heading and Ground Speed): Through the linkage system, the third arm automatically adjusts to display the resultant trajectory and speed, allowing the operator to correct the course accordingly.Unlike traditional manual plotting methods, this mechanical system ensured rapid computation, reducing the risk of human error and improving navigational efficiency.The Addison-Luard Course & Wind Calculator found widespread use among aviators, submariners, and surface vessel navigators, particularly before the widespread adoption of electronic navigation aids. In aviation, pilots relied on it to compensate for crosswinds during flight planning and in real-time adjustments, ensuring accurate arrival at their destinations.
Paolo Soleri, Italian/American, (1919-2013) for Arcosanti, United States. 'Ring a Bell for a Cause', 'The Spirit of the Cause Bell'. Each link represents an issue of either national or global concern. A cast bronze wind chime / Arcosanti stamp to bell bottom. Four prong bell dinger, casting of musician playing string instrument. Together with original paperwork. Height 65cm, width 15cm, depth 13.5cm. In good condition, chime is complete and in it's natural patina. It is starting to develop some verdigris. Soleri’s architectural design studio and nonprofit foundation "Cosanti," was a reaction and criticism of the culture of consumerism he witnessed taking hold in the world. Taking the Italian words "cosa" and "anti," meaning "against things."In 1970, The Cosanti Foundation began construction of a prototype arcology city (a term coming from the blending of architecture and ecology). This city in the Arizona desert would be named Arcosanti. Built on sustainable architecture, the artisans of this city are famous for their wind chimes and bells.
A PAIR OF REGENCY EIGHTEEN-INCH LIBRARY GLOBES BY J. AND W. CARY, LONDON, PUBLISHED 1816 Each sphere applied with two sets of twelve hand-coloured engraved split half-gores, the terrestrial incorporating circular printed panel inscribed CARY'S, NEW TERRESTRIAL GLOBE, EXHIBITING, The Tracks and Discoveries made by, CAPTAIN COOK:, Also those of CAPTAIN VANCOUVER on the, NORTH WEST COAST OF AMERICA, And M. DE LA PEROUSE, on the COAST of TARTARY, TOGETHER, With every other Improvement collected from Various navigators and Travellers, to the present Time., LONDON: London. Made & Sold by J. & W. Cary, Strand, March 1st 1816., extensively annotated with fully graduated equatorial calibrated in minutes and degrees, ecliptic and meridians, the Pacific ocean with an analemma TABLE of EQUATION, many explorers' tracks and numerous notes and dates, Antarctica with no land shown, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief; the celestial with printed oval panel inscribed CARY'S, NEW CELESTIAL GLOBE, on which are laid down, THE WHOLE of the, STARS AND NEBULAE &c., Contained in the Astronomical Works of the, REV'D F. WOLLASTON F.R.S., De la Caille, Herschel, Hevelius, Mayer, Flamsteed, Bradley &c., Made & Sold by J. & W. Cary, Strand, March 1st 1816., the axis through the celestial poles, with fully graduated equatorial and ecliptic with twilight zone, the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown to nine orders of magnitude with clusters and nebulæ and labelled; both spheres with engraved brass hour dials to the poles and pivoted within brass meridian circles divided for degrees, the hand-coloured engraved paper horizon rings with compass points and degrees in both directions, pictorial representations of the Zodiac, calendar scales and wind directions; each supported on an oak and elm tripod stand incorporating four quadrants supporting meridian ring over baluster upright and downcurved supports terminating with tapered feet fitted with brass castors 112cm high, 63cm wide Provenance: The Guy Reed Will Trust, Copgrove Hall, Yorkshire The celebrated Cary family business of scientific instrument and globe makers was established by John Cary at Johnson's Court, Fleet Street, London in 1782 moving to a new address at 'Corner of Arundel Square', Strand the following year. He was primarily an engraver of maps, charts and globes who moved again in 1783 to 188 Strand. By 1791 he had entered into what appeared to be a relatively casual partnership with his brother, William; this partnership lasted until circa 1816 by which time William and John Cary had moved again to 181 Strand before finally settling in 86 St. James in 1820. The following year he was succeeded by his sons, John (II) and George Cary, who continued from the firm's 181 Strand address until 1851/2 when the business was acquired by Henry Gould. Condition Report: Terrestrial - The sphere generally has very good surface and colouring however has a strike/scuff approximately 25cm long in the North Pacific - this has caused a crack and some deformation as well as some varnish loss and the surface beneath now taking on a much darker tone. The Indian Ocean also has a Z-shaped scratch approximately 15cm high which has also taken on a dark colour. Faults to the sphere are otherwise generally limited to light varnish blemishes and relatively light scratching which are mostly visible due to taking on a dark colour (grime build-up). The Southern polar region has some light foxing and there are some loose pieces internally causing a slight rattle when the globe is turned. Celestial - The sphere has good surface and colouring. There is some noticeable concentric scuffing/losses to the varnish approximately 5cm below the equator line otherwise noticeable faults appear to be limited to minor historic varnish scuffs and scratches. As with the terrestrial there is some loose material causing a slight 'rattle' when the sphere is turned.Both spheres are mounted securely on their pivots and turn and turn feely; the brass fittings have overall discolouration/tarnishing but are in good original condition. The horizon papers are generally in very good original condition; the celestial has an angled shrinkage crack otherwise faults are limited to minor historic rubbing and wear. The stands are both in sound original condition with no visible breaks or noticeable repairs and damage generally limited to a few bumps and scuffs. Both are missing several of the small curved brackets fitted at the junction between the horizon ring and quadrant supports. Both also have evidence (sockets to the back of each foot) indicating that compass stretches were fitted at some point. Condition Report Disclaimer
A JAPANESE GILT-BRONZE APSARA, PROBABLY KAMAKURA PERIOD, 13TH CENTURY cast in the Chinese Tang dynasty style, the heavenly maiden depicted in full flight, wearing a long flowing robe and scarf billowing around the shoulders, playing a musical wind instrument, traces of gilding, mounted on a wood stand, the figure 15cm wideFootnote: For a similar bronze, see The Museum of East Asian Art, Bath, item ref:BATEA:1044.
Unique wind musical instrument with horn end and piano keys. Exterior plastic case colored in green. Hohner Melodica Soprano Germany backstamp. This item has its original plastic handled case: 13.5"L x 2"W x 2.5"H. Issued: c. 1960Dimensions: 13"L x 2.5"W x 1.5"HManufacturer: HohnerCountry of Origin: GermanyCondition: Age related wear. Functionality not guaranteed.
2004 Porsche Boxster 2.7 Roadster 5 Speed Manual Petrol. Registration number: BX04 UZA. Mileage: 51,720.High specification face lift model. Finished in stunning special order Cobalt blue metallic with a contrasting Metropole blue electric convertible roof. Graphite grey full leather interior with crest embossed headrests. 17inch Boxster S 2 alloy wheels. Special order seat belts in Maritime blue. Rear centre console painted in Cobalt blue. Aluminum coloured instrument. Wind deflector. Automatic air conditioning with climate control. Rear parking sensors. Heated wing and rear glass window. Trip computer system. Electric widows and mirrors. Electric folding roof. Upgraded Kenwood blue tooth DAB stereo system. CD Storage. Remote central locking. Alarm and imobiliser system. 2 x Keys. Clearly well looked after with no expense spared. Full Porsche main dealer service history which includes eight service stamps in the service book. Folder file including original purchase invoice, service receipts of all the work that has been carried out since new including last the service bill costing £3,211.56. Recently new matching Pilot sport tyres all round within the last 1,000 miles.Long MOT until 21st of July 2025 with no advisory information. One of the best examples we have seen with genuine low mileage and only 2 previous owners for new. As expected being a well looked after low mileage example the condition is flawless inside and out and really does need to be seen to be appreciated. Please note that buyers premium is 10% plus VAT (total 12% inc VAT) on all cars and motorbikes, subject to a minimum of £150 plus VAT. Please be aware that all lots are sold as seen and without any warranty implied or given. You must satisfy your knowledge as to a vehicles description and condition before you decide to bid. We recommend that you inspect the lot in person during the general viewing days held prior to the auction day on the 2nd of October. If you are unable to attend one of the viewing days, Ewbanks can arrange for an individual telephone/walk round video call appointment with a car expert. Please refer to the terms and conditions. Viewing days: Saturday 21st of September: 10am - 2pm, Monday 23rd of September: 9am - 5pm, Tuesday 24th of September: 9am-7pm. Wednesday 25th of September : 9am-5pm, Thursday 26th of September: 9am-5pm, Friday 27th of September : 9am-5pm, Monday 30th of September: 9am - 5pm, Tuesday 1st of October: 9am-5pm. Morning of the Auction on Friday 2nd of October.
Y A SWISS TULIPWOOD BANDED BURR WALNUT 'BELLS IN SIGHT' MUSIC BOXFABRIQUE DE GENEVE FOR RETAIL BY J.R. LAFLEUR AND SON, LONDON, CIRCA 1880Playing a choice of eight airs including Le Talisman and Giroffe, Giroffe via a 12.5 inch pinned cylinder on an 84 tooth comb, accompanied by a line of 9 engine-turned graduated bells set behind the gilt painted steel bed incorporating large ratchet-crank wound going barrel to the left opposing governor, start/stop and tune selection mechanisms to the right, set beneath hinged glazed cover with start/stop and change/repeat selection lever to the right and crank wind handle stamped with serial number 22520 to the left, the lid with tune sheet listing the eight-airs in ink within decorative foliate scroll printed surround incorporating text FABRIQUE DE GENEVE to upper margin and applied with pasted retailers label FROM J. R. LAFLEUR & SON, Music Publishers and Instrument Makers, No. 15 GREEN STREET, LEICESTER SQUARE, W.C., LONDON to lower margin, the exterior of the box veneered with book-matched burr walnut veneers within tulip wood banded borders to the ebonised ogee-edged lid, the front and sides with conforming veneers and the rear also finished in walnut but without the banding, on ebonised squab feet.26cm (10ins) high, 58cm (22.75ins) wide, 30.5cm (12ins) deep. J.R. Lafleur and Son were founded in 1861 as musical instruments makers and publishers of music. The were based at Green Street, Leicester Square, London 1862-1911 before moving to 147 Wardour Street in 1912. Lafleur and Son were bought-out by Boosey and Hawkes in 1917 but still continued trading in their name until at least 1931. Condition Report: Mechanism is in relatively clean condition with overall slight oxidation/mellowing to the brass. The comb appears free from damage and it will play with good positive action and clear sound. The bell hammers appear complete and undamaged but are very 'lazy' in their action so are prone to sticking - this is probably due to gummed-up oil rather than being indicative of damage/losses. The operating levers function as they should, the panel around the levers is a little loose and there are no labels denoting their function present. The internal cabinet fittings are present and have probably been re-ebonised. The tune sheet is intact but with some overall browning/staining and has evidence of a pasted label being removed from just beneath the upper margin. The lock to the box is lacking its tongue (previously fitted to the lid) hence is inoperative. Externally the box is in sound original condition with faults limited to slight bumps, scuffs and historic small localised filling within the burrs of the veneers. Condition Report Disclaimer
AN UNUSUAL ITALIAN INTERVAL TIMER WITH CHRONOMETER-TYPE SPRING DETENT ESCAPEMENTOFFICIANA GALILEO, FLORENCE, CIRCA 1900The substantial rectangular four double-screwed square section pillar movement with plates measuring 5 by 4.5 inches, enclosing a large diameter going barrel fitted with stopwork to the rear of the greatwheel driving a three-wheel train pivoted between the plates, the third wheel rotating once a minute fitted with a pin-wheel with alternating lengths of pins set at five-second intervals, presumably to allow stop/release of the movement for either five or ten second increments as well as continuous running governed by a sprung pump detent operated via a shaped cam by a lever positioned to the right of the movement, the opposite end of the third wheel arbor fitted with a contrate wheel for the horizontal spring detent 'chronometer-type' escapement planted on top of the movement and regulated by a helical sprung three-arm brass balance, the backplate stamped with oval OFFICINA GALILEO, FIRENZE trademark over No. 202 towards the lower margin, the 3 inch circular slightly convex white enamel Roman numeral dial inscribed OFFICINA GALILEO, FIRENZE to centre and with subsidiary seconds interrupting the XII numeral, with blued moon hands within plain brass bezel incorporating winding square with direction of wind arrow to lower margin, the lower edge of the frontplate stamped 5008 and right hand side of the mechanism fitted with a small bell (purpose unknown), the movement set on a circular brass plate raised on four cylindrical supports over a conforming larger plate secured at the centre to allow rotation of the timepiece on a circular ebonised wood plinth, cut with a channel to take the glass dome towards the outer edge and with small bun feet to underside.The timepiece 23.5cm (9.25ins) high, 15cm (6ins) round at the base; the dome cover and stand 20cm (8ins) diameter, 34cm 13.5ins) high. Officina Galileo was established in 1863/4 by the astronomer Giovanni Battista Donati, the instrument maker Giuseppe Poggiali and the engineer/entrepreneur Angelo Vegni. The business was established to manufacture and supply optical and physics instruments. During the late 1860's the firm was based at the mechanical workshop of the Regio Istituto Tecnico, in Via San Gallo, Florence, before moving to the suburban quarter of the Cure in around 1870 coming under the management of Innocenzo Golarelli shorty after. During this time the business branched into telegraphic apparatus and electrical horology with the items stamped 'Officina Gallileo'. Although recognition for the quality of their products was forthcoming the business struggled commercially, requiring repeated subsidies from the Instituto Agrario Vegni who eventually acquired the firm in 1883. At the end of the 19th century expansion and modernisation of the factory took place under the direction of Giulio Martinez, but due to technical and financial difficulties the business was liquidated in 1906 - only to be reborn as with new owners and strong financial backers as 'Officine Gallileo' later the following year. The business continued under this new guise but through successive owners well into the 20th century, before becoming part of the Finmeccanica Group by the 1980's. Condition Report: Movement appears complete and all-original and is in relatively clean (albeit the brass slightly oxidised) condition. The train is providing motive power to the escapement but it will not currently beat as it should - there is no visible evidence of damage or loss hence it is most likely that adjustment is required. The stop/start lever system is intact and operational. The bell appears to be an addition and apparently serves no purpose - the bell stand is currently broken at the point the bell, is attached (failed historic solder repair). The timepiece can either operate as some form of interval timer (see description) or to tell the time. The duration has not been tested but the train would suggest that it is fairly short - probably 1 to 2 days. The dial has a very light short hairline crack to the centre otherwise is in fine condition. The wooden base has wear/rubbing to the finish otherwise is in good original condition. The glass dome has a section approx. 3cm high by 2cm wide chipped out of the lower edge otherwise is in good condition.Timepiece has a winding key. Condition Report Disclaimer
A FINE PAIR OF EARLY VICTORIAN 20 INCH FLOOR-STANDING LIBRARY GLOBESNEWTON AND SONS, LONDON, THE TERRESTRIAL PUBLISHED 1832, THE CELESTIAL 1841The terrestrial applied with twelve hand-coloured engraved split half-gores incorporating printed label NEWTON'S, New and Improved TERRESTRIAL GLOBE Accurately delineated, from the observations of the most esteemed, NAVIGATORS and TRAVELLERS, To the present time, over banner printed Sold by Grundy. MANCHESTER, then London, Published 1st February 1832 to the north Pacific, with fully graduated equatorial, and ecliptic divided for minutes, the Pacific ocean with AN IMPROVED, ANELEMMA, SHEWING, THE SUN'S Declination and, place in the Zodiac, for every Day in the Year, many explorers' tracks and numerous notes and dates including all three of Captain Cook's voyages, Antarctica with no land shown but with most southerly point annotated for Cook Jan 17. 1773, Many Isles & Firm Fields of Ice, the continents with nation states faintly colour-outlined, showing cities depicted by a small building, towns, rivers, mountains in pictorial relief, marshland, caravan routes, with numerous notes, Canada with northern coastline completed with the uppermost latitude annotated Explored by Capt'n W. Parry in 1819 & 1820; the celestial with printed panel inscribed NEWTON'S, New and, Improved, CELESTIAL GLOBE, on which all the Stars, Nebulae and Clusters contained in, the extensive Catalogue of the late, F. WOLLASTON. FRS., are accurately laid down their Right Ascensions & Declinations, having been recalculated for the Year 1830 by W. Newton, Manufactured by NEWTON & SON, 66 Chancery Lane, LONDON, over further indistinct text annotations London,... 2nd Feb 1841, ENGRAVED BY T. STARLN..., also made up of two sets of twelve hand-coloured engraved split half-gores laid to the ecliptic poles, the axis through the celestial poles, with fully graduated equatorial and ecliptic, the constellations depicted by mythical beasts, figures and scientific instruments, with delineated boundaries, the stars shown to eight orders of magnitude with doubles, clusters and nebulæ and labelled with Greek and Roman characters and Arabic numerals denoting their source; each sphere pivoted via the polar axis within brass meridian circle divided for degrees and with brass hour circle to North pole, set within hand-coloured engraved paper horizon ring (one a photographic facsimile) with compass points and degrees in both directions, Zodiac and calendar scales, equinoxes, and wind directions, the centre band annotated with the SUN'S APPARENT PATH including pictorial representation of the celestial track, the stands each with four down-curved quadrant supports cradling the globe over squat spiral-turned upright and three S-scroll outswept supports with compass stretcher between, incorporating printed paper rose inscribed NEWTON & SON, Chancery Lane, London to centre, the legs also applied with disc rosettes to returns and terminating with brass castors.112cm (44ins) high, 69cm (27ins) diameter overall. CATALOGUE UPDATE 10/09/2024 - PLEASE NOTE THAT THERE ARE SOME VERY SLIGHT DETAIL DIFFERENCES BETWEEN THE STANDS - Further images available on request. The highly regarded Newton family of globe makers was established by John Newton who initially trained under Thomas Bateman before setting-up business at 128 Chancery Lane, London in 1783. He moved to 97 Chancery Lane in 1803 and then again to number 66 in 1817, where he entered into partnership with his son, William, the following year. The engineer Miles Berry joined the business in 1831 forming the partnership 'Newton, Son and Berry' which lasted until 1841, when the firm passed to the ownership of William Newton's eldest son, William Edward Newton (1818-1879).John Clowes Grundy is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as a Mathematical instrument, barometer and looking glass maker working from 4 Exchange Street, Manchester 1834-48. Condition Report: Terrestrial - sphere is in very good original condition with no discernible problematic cracks, dents/bruises or significant losses to the gores. The pivots are sound. The surface appears original and unrestored; there is some slight opening to the joints between the gores. There is some concentric scuffing around the equator (from rubbing against the horizon ring) and light but noticeable 'scribble' type scratches to the Pacific. Faults to the sphere is otherwise essentially limited to historic rubbing, some degradation to the varnish, a few scuffs and other age-related blemishes.Celestial - sphere is in sound original condition again with no discernible cracks, dents/bruises or significant losses to the gores. The pivots are sound. The surface appears original and unrestored however there is overall thinness to the varnish, crazing and wear most noticeable to the joints between the gores (especially at the equator). The gores generally show some opening between the joints again most noticeably ate the equator. The sphere also has noticeable and relatively extensive concentric rubbing to the circumference mainly to the third beneath the equator and towards the Northern pole area. Faults to the sphere are otherwise limited to general age-related wear and discolouration. The brass meridian ring for each globe is in good albeit tarnished condition.Stands - One has original horizon papers with some small losses to the papers and overall browning however there are no discernible problematic cracks or losses to the ring. The other has a photographic copy of the first set of papers which are a little lighter in colour and a little rippled. There are a couple of small veneer chips/losses to the to the edge veneers of the Horizon ring and one of the compass glasses is missing. Both paper compass scales have some dust staining/spotting otherwise are in good original condition; one of the compass stretchers is a little loose but appears free from visible damage. Stands are otherwise in very good original condition with faults otherwise very much limited to minor age-related bumps, scuffs and other age-related blemishes.This condition report should be read in conjunction with the additional condition images available on request from the department as these images form a constituent part of the condition report. Condition Report Disclaimer
A COLLECTION OF STAR WARS FIGURES, SETS AND MODELS, to include figures a GMFGI 77 Darth Vader, missing lightsabre, paint to cape, a GMFGI 77 Stormtrooper, LFL 80 FX-7, LFL 80 Han Solo Hoth outfit, LFL 80 Lando Calrissian with painted eyes and teeth, no cape, LFL 82 Zuckuss, LFL 81 4-Lom, LFL 82 Admiral Ackbar, three LFL 83 Biker scout figures, LFL 83 Gamorrean Guard, LFL 83 General Madine, LFL 83 Princess Leia Organa Boushh outfit without accessories, LFL 83 Ree-Yees, LFL 83 Squid Head, LFL 83 Weequay, LFL 83 8D8, LFL 84 B-Wing Pilot, LFL 84 The Emperor, LFL 83 Nikto, LFL 84 Rancor Keeper, mostly all without accessories, certainly no weapons, also included is an LFL 83 Sy Snootles and the Rebo Band featuring three figures Sy Snootles, Max Rebo and Droopy McCool, and piano, no mic or wind instrument, also included is a 1982 Kenner Vehicle Maintenance Engergizer, broken to the base and missing pipes and accessories, and a 1979 CPG Kenner Millennium, missing cannon mount, radar shield, some stickers overall, cockpit loose, missing training ball, inside floor and blue seat, all models and figures in a worn condition with missing parts
A GEORGE III 18 INCH CELESTIAL FLOOR-STANDING LIBRARY GLOBE W. AND T.M. BARDIN, LONDON, CIRCA 1800 The sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating oval panel inscribed To the Rev., NEVIL MASKELYNE D.D. F.R.S., Astronomer Royal, This New British Celestial Globe, Containing the Positions of nearly 6000 Stars. Clusters, Nebulae, Planetary, Nebulae & c. Correctly computed & laid down for the year 1800; from the latest observatons and discoveries by Dr, Maskelyne, Dr. Herschel, The Rev'd. Mt. Wollaston &c &c., Respectfully Dedicated, by his most obedient h'ble Servants, W. & T.M. Bardin, with fully graduated equatorial and ecliptic with twilight zone, the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown to nine orders of magnitude with clusters and nebulæ, pivoted via the polar axis within brass meridian circle divided for degrees, set within printed paper horizon ring with compass points and degrees in both directions, Zodiac labelled in Latin, calendar scales and wind directions, in a stand with four down-curved quadrant supports cradling the globe baluster and ring-turned upright and three outswept supports each terminating with tapered feet and brass castors 106cm high, 61cm diameter overall William Bardin (1783-98) was a freeman of the Leatherseller's Company who starting making globes in around 1780. His first globes were 9 and 12 inch diameter published in collaboration with Gabriel Wright on 1st January 1782. Wright was a mathematical instrument maker who had previously worked for Benjamin Martin who, in turn, had acquired the plates of Senex's celebrated globes from James Ferguson. William's son, Thomas Marriott, is recorded in Clifton, Gloria Directory of Scientific Instrument Makers 1550-1851 as a globe maker apprenticed to his father, in 1783 with whom he went into partnership in 1790. Bardin and Son initially worked from 4 Hind Court, Fleet Street, London before moving to 16 Salisbury Square in 1975. William Bardin died in 1795 leaving the business in the hands of Thomas Marriott. The firm was taken-on by Thomas's daughter, Elizabeth Marriott, after his death in 1820 and then by her husband, S.S. Edkins. on their marriage in 1832. They took a son into partnership in 1848 and the business continued until shortly after S.S. Edkins's death in 1853. Condition Report: Globe is generally in original unrestored condition retaining original/old surfaces however has overall age-related faults. The most significant of these is a crack which traverses around approximately 40% of the sphere along the horizon; this crack shows some slight movement and losses. Other areas around the horizon also exhibits concentric rubbing/scuffing where the globe has rubbed against the horizon. There is another historic concentric scratch further up the sphere and some historic opening to some of the joints between the gores. Otherwise notable faults to the sphere are mostly limited to varnish losses, scuffing and other age-related bumps, scuffs and blemishes. The brass ring is in good original condition and the pivots appear sound; the lower carrier (applied to the top of the baluster upright of the stand) has a later insert onto which the ring rests. The Horizon ring is intact but has losses/flaking to the varnish and a flake to the paper at Pisces.The stand is in sound original condition; all but two of the small brackets applied to the underside of the horizon ring (to brace the joint for the quadrant-shaped supports) have been replaced. One castor has been reset and is now a little loose/misaligned. The finish is a little flat but stand appears free from breaks and/or repairs.Please see additional images which supplement this condition report. Condition Report Disclaimer
A mid-20th century marine chronometer, the eight day chain fusee movement with maintaining power and bimetallic balance, the backplate signed 'Made by Thomas Mercer St. Albans England', the 5-inch silvered dial with black Roman hour numerals and subsidiary state of wind and seconds dials, inscribed 'Kelvin & Wilfred O. White Co. Boston & New York', housed in a lacquered brass bowl hung in gimbals, the brass bound walnut two tier case with glazed hinged lid, applied with 'Southwest Instrument Company, San Pedro, California' labels to front and case interior, height 20.9cm (lacking top tier of case), together with a 'Mercer Chronometers' book by Tony Mercer.
NO RESERVETHREE JAPANESE KO KUTANI-STYLE DISHES EDO PERIOD, 17TH CENTURY One leaf-shaped, decorated with two deer and two clusters of diaper, the base with a fuku mark; another, of circular form, painted with two figures on a boat passing under a willow tree within a border of karakusa, also with a fuku mark; the third, of circular form with a barbed rim, decorated with a beribboned leaf and a shō (wind instrument) within a border of panels with precious objects and floral sprays, all three with paper labels for the Lawrence Collection; 15.7cm, 15.3cm and 15cm respectively. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: Henry Lawrence (1925-2016) and thence by descent; the leaf-shaped dish purchased from Sotheby’s, 30th November 1990; the dish with the boating scene purchased from Dreweatts; and the dish with the shō purchased from Christie’s South Kensington, 20th March 1992.
A fine example of Fleetwood's impressive 40-foot, 'LE' with full-wall slide outs, an excellent specification and an interesting provenance. According to its builders, Fleetwood Motorhomes of Indiana, 'The Revolution LE is so much more than a wildly luxurious coach – it’s a high-water mark in your life. It’s a bold sign of success, independence and innovative style. There’s simply no other coach that can match its potent combination of knock-out good looks, masterful technology and tactile opulence. As a Revolution LE owner, you’ll enjoy the freedom to travel as the wind blows, and the means to get there in extravagant comfort. In other words, you don’t just own the road… you conquer it with cachet'.This 40' Revolution LE dates originally from 2007 and is finished in silver with Onyx Aero graphics. According to our vendor, who purchased it in 2007, it was used during the filming of a number of 'Blockbuster' films prior to becoming part of the 'F1 travelling circus' for the use of two English drivers. Powered by an 8.9-litre Cummins V10 diesel and has covered around 58,000 miles although very lightly used recently.Specification below:Tilt Steering WheelDual dash fans. Wood draws in dash. Lighted instrument panelKenwood radio with Satnav. Overhead TVSolar and privacy shadesPowered driver and passenger seats. Power passenger seat footrest12V outlets, USB Ccargers. Fire extinguisherKitchenDouble bowl sink with power tapSolid surface counter tops. Solid surfaces backsplashThree-burner cooker. Solid surface cooker top (cover)Microwave (convection)Four-door, gas/electric fridge with ice makerBedroomWardrobe with automatic lightsBed comforter with pillowsTVCarpeted floorSolar/privacy shadesBathroomMedicine cabinetSkylight in shower with sliding doorMoulded fibreglass one-piece showerSolid-surface vanity topSpecification Make: FLEETWOOD Model: REVOLUTION Year: 2007 Chassis Number: 4VZBR1D9X8C062740 Registration Number: BIG 6333 Transmission: Automatic Drive Side: Left-hand Drive Odometer Reading: 58000 Miles Make: LHDClick here for more details and images
One of just 88 S2.2s produced, on offer from 40 years long term ownership, a previous Concours d'Elegance winner and remaining in outstanding condition. In the early 1970s, the recently appointed Tony Rudd came up with two major ideas, codenamed Project M50 and Project M70, the former becoming the 1974 Lotus Elite and the latter, the Esprit.The S1 Esprit was released in 1976 following halts in production and design, with Colin Chapman being underwhelmed by the model version’s wind-tunnel performance. The S2 launched in 1978 and the incredibly rare S2.2 was released in May 1980 as a ‘stop gap’ car, to bridge the 13-month void between the S2 and S3. As part of the advertising and marketing program, the S2 was launched featuring the infamous shot of its creator, Colin Chapman, perched on a Championship Gold S2 Esprit in front of his JPS logo'd Cessna Chancellor executive twin. It's the kind of image that only the 1970s could pull off with any degree of normality.External differences from the S1 included new intake and cooling ducts behind the rear quarter windows, 15" Speedline alloy wheels, tail lights from the Rover SD1 and an integrated front spoiler. Not known for their practicality, more helpful changes were made including relocating the battery to the rear of the car, adding an access door to the engine cover, installing wider seats and replacing the Veglia instrument cluster with individual Smiths.The only major differences between the S2 and the S2.2 was a 2.2-litre Type 912 engine and the all-important galvanised chassis. Power output stayed the same at 160bhp but torque rose from 140lb/ft to 160lb/ft. Realistic Lotus claims indicate 0-60mph in around seven seconds and an 80-100mph time in fifth gear that was effectively halved.Leaving the Hethel factory in February of 1980, this S2.2 is offered by its third owner from new, who purchased the car from Bell & Colville in Surrey on 1st December 1984 with a recorded 21,00 miles. That’s some 40-years of single ownership, one of the longest we’ve seen! They had always wanted an Esprit and this happened to be the right car, at the right time, in the right place. Unfortunately, due to a growing family and the associated commitments, the car was put into dry storage in 1992 and remained there until recently, when it was subject to a full engine-out overhaul and rebuild by marque specialists, Maidstone Sports Cars, completed in December 2023.The S2.2 presents in wonderfully wholesome and original condition and is finished in its distinctive colours of Lotus Yellow with a green suede interior - it is fabulously 1980s. As a member of Club Lotus for many years, the car has attended shows across the country, with placings and a win at Donnington in 1989. The history file makes for lovely reading, including the purchase invoice from Bell & Colville, its original and fully stamped service book, (most recent in 2023), heaps of old MOTs, invoices for maintenance and the original owners handbook.A fabulous example of the incredibly rare S2.2, with warranted low mileage and a recent refresh, there is very little not to love about this wonderful little Lotus.Specification Make: LOTUS Model: ESPRIT S2.2 Year: 1980 Chassis Number: SCCCB12A4AHD10871 Registration Number: PMJ 166W Transmission: Manual Engine Number: CC912800117869 Drive Side: Right-hand Drive Odometer Reading: 41564 Miles Make: RHD Interior Colour: BlackClick here for more details and images
A GILT BRASS ANEROID POCKET WEATHER FORETELLER BOROMETER OR 'WEATHER WATCH'NEGRETTI AND ZAMBRA, LONDON, EARLY 20th CENTURYThe 2 inch circular silvered register calibrated in barometric inches to the circumference around an inner ring adjustable for DIRECTION OF WIND via the knurled bezel against annotations provided as compass bearings as well as DEAD CALM, the central disc rotated via a knurled crown within the suspension loop for lining-up the blued steel pointer against a scale with corrections for altitude, pierced with three sectors annotated FALL, STEADY and RISE revealing letter codes to the fixed plate behind, inscribed PATENT 6276/15 and signed NEGRETTI & ZAMBRA, the cylindrical case with altimeter scale to circumference to allow calibration of the instrument for a given altitude by turning the rear bezel align a pointer engraved into the rim, the rear cover is annotated with twenty-six sectors describing a weather forecast beside a letter of the alphabet which appear within the relevant sector to the centre of the register; with green-velvet lined maroon Morocco leather covered protective case fitted with ivorine repeat sector scale to the inside of the lid.The instrument 5.4cm (2.125ins) diameter, 2.3cm (0.625ins) deep; the outer case 6.5cm (2.25ins) diameter. The firm of Negretti & Zambra are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as being established in 1850 when a partnership between Enrico Negretti and Joseph Warren Zambra was formed. The firm became one of the most prolific makers of scientific instruments and continued trading well into the 20th century. This design of pocket barometer incorporates Negretti & Zambra's Weather Forecaster (patented in 1915) which was developed using actual weather conditions over a ten year period. By setting the wind direction and lining up the central disc against the steel pointer on the dial, as well as allowing the correction for altitude (by rotating the rear cover so that the arrow lines up with the correct level on the scale engraved on the side of the case), the weather can be forecast by reading the letter that appears within the appropriate sector in the centre of the dial taking into account whether the pressure has been rising, falling or remaining steady and the season (summer or winter). Another example is Illustrated in Banfield, Edwin BAROMETERS Aneroid and Barographs on page 87, with a full description of its operation on page 89. Condition Report: Instrument is in working condition (will respond to change in pressure with a 'bag test'). It is currently reading on the high side so will require calibrating. The mechanical setting adjustments (bezel, rear cover and crown) are fully operational. he dial has some slight mellowing to the silvering but is free form visible defects. Case is almost pristine with minimal wear to the gilding. The protective case is also in very fine condition.Condition Report Disclaimer
A RARE LACQUERED BRASS TABLE WEATHER FORECASTING CALCULATORNEGRETTI AND ZAMBRA, LONDON, CIRCA 1915Formed as three discs, the outer calibrated in inches for the barometer reading to the top edge and for wind direction to the lower edge, the middle ring is inscribed STEADY, RISING and FALLING incorporating selections for SUMMER or WINTER for lining up with the wind direction scale, the centre with instructions for use, sector revealing appropriate weather forecast and inscribed NEGRETTI & ZAMBRA, LONDON, PATENT, 6276, 1915, the rear a graduated pair of twin knurled discs for adjusting the scales set beneath an bridge to centre and stamped 25 twice to rim; in original velvet lined canvas wallet type case with folded instruction pamphlet.The instrument 12cm (4.5ins) diameter. The firm of Negretti & Zambra are recorded in Banfield, BAROMETER MAKERS AND RETAILERS 1660-1900 as being established in 1850 when a partnership between Enrico Negretti and Joseph Warren Zambra was formed. The firm became one of the most prolific makers of scientific instruments and continued trading well into the 20th century. An example this type of weather forecasting calculator is illustrated in Banfield, Edwin BAROMETERS Aneroid and Barographs on page 81 and is fully described on page 82. The design was patented by Negretti and Zambra in 1915 using actual weather observations over a ten year period and was said to be 80% accurate by the manufacturers. The present example utilises knurled discs set beneath a bridge to the rear to adjust the scales rather than the usual simple tab thumb pieces seen on other examples. This detail, together with the stamped number 25 to the rim, would suggest that it is a particularly early example (number 25) utilising a relatively complicated system for adjustment (from a production point of view) which was subsequently simplified for later models.
A SWISS TULIPWOOD BANDED BURR WALNUT 'BELLS IN SIGHT' MUSIC BOXFABRIQUE DE GENEVE FOR RETAIL BY J.R. LAFLEUR AND SON, LONDON, CIRCA 1880Playing a choice of eight airs including Le Talisman and Giroffe, Giroffe via a 12.5 inch pinned cylinder on an 84 tooth comb, accompanied by a line of 9 engine-turned graduated bells set behind the gilt painted steel bed incorporating large ratchet-crank wound going barrel to the left opposing governor, start/stop and tune selection mechanisms to the right, set beneath hinged glazed cover with start/stop and change/repeat selection lever to the right and crank wind handle stamped with serial number 22520 to the left, the lid with tune sheet listing the eight-airs in ink within decorative foliate scroll printed surround incorporating text FABRIQUE DE GENEVE to upper margin and applied with pasted retailers label FROM J. R. LAFLEUR & SON, Music Publishers and Instrument Makers, No. 15 GREEN STREET, LEICESTER SQUARE, W.C., LONDON to lower margin, the exterior of the box veneered with book-matched burr walnut veneers within tulip wood banded borders to the ebonised ogee-edged lid, the front and sides with conforming veneers and the rear also finished in walnut but without the banding, on ebonised squab feet.26cm (10ins) high, 58cm (22.75ins) wide, 30.5cm (12ins) deep. J.R. Lafleur and Son were founded in 1861 as musical instruments makers and publishers of music. The were based at Green Street, Leicester Square, London 1862-1911 before moving to 147 Wardour Street in 1912. Lafleur and Son were bought-out by Boosey and Hawkes in 1917 but still continued trading in their name until at least 1931.
Henri Giffard Engineer invented steam injector original glass lantern slides of his invention - great piece of airship history. Baptiste Jules Henri Jacques Giffard (8 February 1825-14 April 1882) was a French engineer. In 1852 he invented the steam injector and the powered Giffard dirigible airship. Career: Giffard was born in Paris in 1825. He invented the injector and the Giffard dirigible, an airship powered with a steam engine and weighing over 180 kg (400 lb). It was the world's first passenger-carrying airship (then known as a dirigible, from French). Both practical and steerable, the hydrogen-filled airship was equipped with a 3 hp steam engine that drove a propeller. The engine was fitted with a downward-pointing funnel. The exhaust steam was mixed in with the combustion gases and it was hoped by these means to stop sparks rising up to the gas bag; he also installed a vertical rudder. On 24 September 1852, Giffard made the first powered and controlled flight travelling 27 km from Paris to Elancourt. The wind was too strong to allow him to make way against it, so he was unable to return to the start. However, he was able to make turns and circles, proving that a powered airship could be steered and controlled. Giffard was granted a patent for the injector on 8 May 1858. Unusually, he had thoroughly worked out the theory of this invention before making any experimental instrument, having explained the idea in 1850. Others had worked on using jets, particularly Eugene Bourdon who patented a very similar device in 1857. In 1863, he was appointed a Chevalier of the Legion d'Honneur. Death and Commemoration. In response to his declining eyesight, Giffard committed suicide in 1882, leaving his estate to the nation for humanitarian and scientific purposes
Glossy figural dressed in purple robe, wearing his crown and playing a wind instrument, worldwide limited edition 159 of 500 and Sister Mary Barbara DB334, sitting wearing her habit at the writing desk. Royal Doulton backstamp. Largest piece: 3.5"L x 3"W x 5.5"H Issued: 2005, 2008Edition Number: 159 of 500 Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
AN UNUSUAL TSUISHU HAKO NETSUKE WITH KARAKO MUSICIANSUnsignedJapan, 18th century, Edo period (1615-1868)The hako (box) netsuke of quatrefoil shape, consisting of two parts, worked in tsuishu (carved red lacquer), the front depicting a drumming karako, the horizon showing rocks issuing leaves, a pavilion and the moon, all against a finely incised asanoha ground. The reverse is similarly decorated with a karako playing a Chinese wind instrument below a towering pine tree. The sides are decorated with reishi clouds, further asanoha and various plants. Central himotoshi to the back, the looped cord attachment with kiku mount inside. The interior lacquered in black.LENGTH 3.6 cmCondition: Very good condition, some very minor chips and wear to edges. The interior with some wear and minor losses.Provenance: Ex-collection Raymond Bushell, sold at Sotheby's, Japanese and Korean Works of Art, 21 March 2001, New York, lot 145.
A POLYCHROME STUCCO FRESCO FRAGMENT DEPICTING TWO CELESTIAL MUSICIANS, YUAN TO MING DYNASTYChina, 13th-16th century. Finely painted in polychrome pigments with details picked out in gesso relief. The two figures standing amid billowing clouds, one holding the pipe of her sheng to her lips while the other beats her hand drum behind, both bedecked in elaborate robes of red, green, pale blue, and pink which flow elegantly in the wind. Their hair is neatly arranged in a high bun with beautiful tiaras crafted in the same style as the ornate necklaces they wear.Provenance: Belgian trade.Condition: Good condition, commensurate with age. Old wear and expected age cracks, some soiling, few minor losses, and possibly ancient touchups. The frame with some wear, nicks, and scratches. Presenting very well overall.Dimensions: Image size 46.7 x 76.8 cm. Size incl. frame 54.2 x 84.2 cmWith a wood frame.The style of the present fresco is inspired by the late Tang dynasty temple painting style. This is evident in the treatment of the roundness of the 'melon-seed'-shaped faces and the swirling scarves, giving a dynamism to the work, which was popular amongst builders and decorators of Buddhist temples of the time and continued throughout the Song, Yuan and Ming dynasties.The sheng is a Chinese mouth-blown polyphonic reed instrument consisting of vertical pipes. It is one of the oldest Chinese instruments, with images of the instrument dating back to 1100 BC. Some examples of the instrument are dated as far back as the Han dynasty. It is one of the main instruments in kunqu and some other forms of Chinese opera. Ancient instruments like the sheng with gourd wind chambers, varying numbers of pipes, or with bamboo or metal reeds have been discovered in archaeological finds at the tomb of the Marquis Yi of Zeng (c. 433 BC) in present-day Hubei province, and the Han tombs at Mawangdui (c. 2nd century BC) in Hunan province.Auction result comparison: Type: Related Auction: Bonhams New York, 15 March 2021, lot 175 Price: USD 10,837 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: Celestial musician fresco, Yuan/Ming dynasty Expert remark: Compare the related figures similarly robed holding their instruments. Note the size (45 x 54.6 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2019, lot 693 Price: USD 18,750 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A polychrome stucco fresco fragment, Yuan/Ming dynasty Expert remark: Compare the closely related technique with similar elaborate headdresses gilded and picked out in gesso relief and the manner of painting with similar serene expressions and flowing robes. Note the near-identical size (77 x 55 cm).
Stravinsky (Igor, 1882-1971). Russian composer. Autograph Musical Quotation Signed, ’Igor Stravinsky’, Paris, 2 February 1936, being 3 bars on two staves, of the solo piano part from the third movement of his Concerto for Piano and Wind Instruments, signed with place and date below, black ink on cream paper, minor creasing and a few light marks, 100 x 160 mmQTY: (1)NOTE:Stravinsky’s Concerto for Piano and Wind Instruments was written in 1923/24 and revised in 1950. The concerto was to prove one of Stravinsky’s most important works of the 1920s, by virtue of the fact that he played it almost everywhere he went. It therefore became the one genuinely modern score of his that was widely known in that decade. The music is notated on staves drawn by Stravinsky on a blank sheet. For this purpose, the composer used ‘a certain instrument with little wheels invented by him for drawing the stave lines’ (C. F. Ramuz, Souvenirs sur I. Stravinsky, 1946, p. 77).
On offer from the Barton J Hubert No Reserve Collection - with the hammer price (plus Buyers Premium) going to the Kids Club Kampala Charity; a simply stunning Collector-quality Series 1 with just under 1,900 miles from new. Purity is a fragile and vulnerable thing and in August 1996, the revolutionary new Lotus Elise seemed to ooze purity from every extruded anodised aluminium and epoxy resin crevice, with nothing superfluous subtracting from the essence of this truly minimalist, focused little sports car. Although 'beautiful to behold' it certainly was, the time-honoured relationship between 'form and function' was clearly evident in the way it went and handled, with its lightweight chassis-tub at 731kg failing to daunt the enthusiasm of the mid-mounted, 1.8-litre K-series engine and its 118bhp was enough for a 0-60mph time in the low sixes, allied to decent torque in the higher ratios. Clothed in two-piece 'clamshell' fibreglass bodywork, the featherweight two-door also featured all round double-wishbone, independent coil-over suspension, rack and pinion steering, four-wheel ventilated disc brakes and a 5-speed gearbox.Designer Julian Thomson and engineer Richard Rackham were keen to create a car with something of a motorcycle's feel and they undoubtedly succeeded; as is evident as much in the aluminium-and-rubber interior and neat little Stack instrument panel, as in the car's dynamic intimacy with the road, the wind and the weather. The Elise was a reaction to the corpulent world of leather, luxury and levers becoming increasingly evident in Lotus road cars, and was an attempt to recreate Colin Chapman’s early principles before he abandoned them in a move upmarket.Introduced at the 1995 Frankfurt Motor Show, just over 10,600 S1 Elises were built before the arrival of the S2 in 2001. It’s a testimony to the concept that, almost 27 years on from launch, the original 118bhp S1 still delivers. As with other great drivers' cars such as the E30 M3 and the original Elan, all things feel in balance – power, grip, handling and mass, making for a uniquely satisfying experience. The Series 2 naturally benefitted from further years of development, however the more demure Series 1 still defines the breed.The car presented here is a 1997 Lotus Elise S1 which was supplied new by long-established Lotus dealers Bell & Colvill to Robert ‘Robs’ Lamplough, the well-known 1960s racing driver and prominent member of the BRDC. Remarkably, it has covered just 1,900 miles from new, supported by its incredible condition and its detailed history file. This is a 'museum-quality' modern-classic, but it has been used and exercised sparingly, ensuring its fitness. Coincidentally, our very own ambassador, Harry Metcalfe, drove this actual car in October 2022, saying 'Nothing to see here, just an 1,800 miles from new 1996 Lotus Elise I was in today. Felt so light on its feet (K-Series was the perfect engine for the Elise) and steering was a reminder of how good a no-power assist rack can be. Pretty car too.'This little Lotus presents superbly in Racing Green Metallic with Magnolia hide, and is fitted with a 'Momo' steering wheel, built in driving lights and Perspex headlamp covers. It is the 911th example produced and is equipped with a number of features unique to the early cars, including the lightweight Metal Matrix Composite (MMC) brakes and aluminium engine cover that helped towards achieving the headline-grabbing target weight of just 690kg.The accompanying history file includes it's original purchase invoice and previous service invoices (including from the supplying dealer). As good as you'd ever find.This fabulous Lotus is very generously being offered for sale with the hammer price figure realised (plus, the IA sellers commission) being donated to Birmingham-based charity Kids Club Kampala - a children’s charity with a Christian ethos working in Uganda, East Africa. Their mission is to support vulnerable kids in the slums of Kampala, the capital of Uganda, by providing for both their immediate needs and strengthening their futures by feeding, protecting, educating and skilling. Their projects are a lifeline to vulnerable children, and they are currently supporting over 300,000 individuals across 12 communities in Uganda.Specification Make: LOTUS Model: ELISE SERIES 1 Year: 1997 Chassis Number: SCC111YN1VHA10911 Registration Number: P516 FPM Transmission: Manual Engine Number: 18K4FJ31481945 Odometer Reading: 1900 Miles Make: Interior Colour: Magnolia Click here for more details and images
A RARE 'CRANE-CRY AUTUMN MOON' STYLE LACQUERED 'HUNDRED-PATCH' GUQINMing DynastySuperbly constructed with the top section made of patches of wutong wood cut hexagonally imitating Buddhist patchwork vestments, the lower section of zimu, the flat elongated body with waisted bulbous central section, the top with thirteen inlaid mother-of-pearl studs (hui), seven strings threaded through tasseled wood pegs (qinzhen) running over the top and tied to either of the two button-like 'goose-feet' (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi), with a seal, and the smaller 'phoenix pond' (fengzhao), all covered in mottled red and black lacquer, metal case and packets of strings. 122.5cm (48 1/4in) long. (3).Footnotes:明 鶴鳴秋月式百衲琴Provenance: Cecilia Lindqvist (1932-2021), Stockholm, acquired in Beijing in 1962Published and Illustrated: C.Lindqvist, Qin, Beijing, 2017, p.33來源：林西莉（1932-2021），斯德哥爾摩，在1962年獲得於北京著錄：林西莉，《古琴》，北京，2017年，第33頁Cecilia Lindqvist was a famous Swedish sinologist and musician of the guqin. She was born in Lund, Sweden, in 1932, and had long held a fascination with China and its ancient history. She first visited China when she was 28 with letters of recommendation including one from the King of Sweden. It was there that she learnt to play the guqin in 'Beijing Guqin Research Association' (北京古琴研究會) under the tutelage of Wang Di. She wrote in the preface to her book Qin:In the early spring of 1961 I saw a Chinese qin at close quarters for the first time. It was lying in front of me on a wooden table in a bare classroom at the University of Peking. Seven strings of tightly twisted silk stretched over a sound box made of black lacquered wood. After a certain amount of difficulty I had managed to get hold of a Chinese student who had promised to try to teach me the basics of playing the qin, and we were due to have our first lesson. He had brought his instrument with him. It dated from the Ming dynasty (1368-1644), and had been passed down through his family since that time.When I touched one of the strings, the tone that was released made the whole room vibrate. It was as clear as silver, but remarkably it also had a kind of metallic dullness, as if the instrument were made not of wood, but of bronze. During the years which followed it was precisely the tone of the instrument that captivated me the most, from the finest bell-like tones or fanyin, 'the floating sounds' as they are called in Chinese – delicate as the sound of the tiny temple bells right on the edge of the roof timbers when the wind gently stirs them – to the vibrating depths of the thick bass strings.The present lot was given to her by the 'Beijing Guqin Research Association' as a gift, which was of great significance to her career as a musician and sinologist. In her own words, 'this qin, and the people that I met in the Beijing Guqin Research Association are the important reasons why I write this book (Qin)'. She included the present lot in her monograph on qin as an example of the 'hundred-patch' qin (百衲琴) that is made of many hexagonal wutong wood sections and requires a high level of adhesive technique to enable an impeccable sound. See Cecilia Lindqvist, Qin, Beijing, 2017, pp.30-33. Apart from the rare 'hundred-patch' construction, its rare shape is known as 'Crane-cry Autumn Moon' (鶴鳴秋月), as it was said to resemble a crane with its wings tucked and standing upright. Compare with a related 'crane-cry Autumn Moon' style guqin, Ming dynasty, in the Hunan Provincial Museum, cited in 'Hunan sheng bowuguan guancang guqin zhi kaobian yu yanjiu (zai xu), Hunan sheng bowuguan guankan, 4, 2007, pp.424-428. See a 'Confucius-style' huanghuali and zitan 'hundred-patch' guqin, Ming dynasty, which was sold at Bonhams Hong Kong, 1 December 2020, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A POLYCHROME STUCCO FRESCO FRAGMENT DEPICTING A CELESTIAL MAIDEN, YUAN TO MING DYNASTYChina, 13th-16th century. Finely painted in polychrome pigments with details picked out in gesso relief. Depicting a celestial maiden standing in front of a daybed decorated with floral and scroll designs, holding a sheng in front of her, dressed in flowing robes and billowing scarves of red, pale blue, ochre, and white, the head gently tilted downward, her face painted with delicate features, the hair tied into a high chignon with a fine ornament.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.8.3. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition, commensurate with age. Old wear and expected age cracks, minor losses and touch-ups. The frame with some wear, nicks, and scratches. Presenting very well overall.Dimensions: Image size 82.1 x 45.4 cm. Size incl. frame 90 x 53.8 cm With a wood frame.The style of the present fresco is inspired by the late Tang dynasty temple painting style. This is evident in the treatment of the roundness of the 'melon-seed'-shaped faces and the swirling scarves, giving a dynamism to the work, which was popular amongst builders and decorators of Buddhist temples of the time and continued throughout the Song, Yuan and Ming dynasties.The sheng is a Chinese mouth-blown polyphonic reed instrument consisting of vertical pipes. It is one of the oldest Chinese instruments, with images of the instrument dating back to 1100 BC. Some examples of the instrument are dated as far back as the Han dynasty. It is one of the main instruments in kunqu and some other forms of Chinese opera. Ancient instruments like the sheng with gourd wind chambers, varying numbers of pipes, or with bamboo or metal reeds have been discovered in archaeological finds at the tomb of the Marquis Yi of Zeng (c. 433 BC) in present-day Hubei province, and the Han tombs at Mawangdui (c. 2nd century BC) in Hunan province.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 11 September 2019, lot 816Price: USD 37,500 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A polychrome stucco fresco fragment, Yuan / Ming dynastyExpert remark: Compare the related figural motif and size (77.5 x 45.5 cm) 元至明灰泥彩繪神女壁畫中國，十三至十六世紀。彩繪神女，細節以石膏浮雕呈現。描繪一位仙女站在花卉紋床榻前，手持笙，身著飄逸的長袍，紅、淡藍、赭色、白色的絲巾飄揚，頭微微下低，精緻的五官，頭髮紮成高髻，飾有精美的髮飾。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號M.8.3。 品相：狀況良好，有磨損和年代裂縫、輕微缺損和修補。外框有一些磨損、刻痕和劃痕。 尺寸：畫面82.1 x 45.4 厘米，含框90 x 53.8 厘米 木框。拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月11日，lot 816 價格：USD 37,500（相當於今日EUR 40,500） 描述：元 / 明灰泥彩繪天女圖壁畫殘部 專家評論：比較相近的人物主題和尺寸 (77.5 x 45.5 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
John Anster Fitzgerald (British, 1819-1906)The birth of a fairy signed with monogram (lower left)watercolour and bodycolour40 x 29.6cm (15 3/4 x 11 5/8in).Footnotes:ProvenancePrivate collection, UK.John Anster Fitzgerald, or 'Fairy Fitzgerald' as he became known, is one of the most celebrated exponents of Fairy Painting which captured the imagination of the Victorian public and continues to delight collectors today. Born in London in 1823, there were few signs in Fitzgerald's youth to indicate that he would go onto to become a prolific exhibitor at the Royal Academy and at the British Institution. Having had little or no formal training he first exhibited at the Royal Academy in 1845 at the age of twenty-two, and would continue to do so regularly until 1881, his final exhibit coming in 1902 after a long hiatus. Fitzgerald lived his whole life in a London where the public imagination was becoming increasingly gripped by ideas of the supernatural and the occult. The interest pervaded all parts of the arts, literature, opera, ballet and of course painting. The uniquely British tradition of fairy painting had begun in the late eighteenth century with artists such as William Blake and Henry Fuseli who imaginatively illustrated the work of Shakespeare, particularly his more fanciful plays, A Midsummer Night's Dream and The Tempest. This peculiarly Victorian contribution to the Romantic movement reached its height in the 1850s and 60s but while artists such as Sir Joseph Noel Paton continued to use literature as their source of inspiration, Fitzgerald did not limit himself in this way. Many of his works are the products of a fertile imagination in which he created his own fairy kingdom. Whether these scenes were induced by drug fuelled dreams is a matter of debate, opium was the recreational drug of the artistic and poetic and many great Victorian works of literature were produced under its influence. It is also likely that Fitzgerald was aware of and influenced by the works of Hieronymous Bosch whose prints were widely available in the mid nineteenth century and collected by artists. Fitzgerald was also a devotee of the stage, and from all these influences a colourful character is built up and the vibrancy of his art can come as no surprise. Indeed Harry Furniss, in his memoir My Bohemian Days (1919), writes of Fitzgerald: 'his life was one long Midsummer Night's Dream.'In the present lot the excitement and chaos so often seen in Fitzgerald's larger fairy paintings is centred around a new-born fairy emerging from a flower of pure white. She comes into the fairy domain shimmering and lighting the scene from the centre. The introduction of limelight into London's theatres in the mid-nineteenth century was well known to Fitzgerald, and we see its influence here. Gathered around to bear witness are all the denizens of the fairy world, rendered in Fitzgerald's exquisite and vibrant colours. The close relationship between the fairies and the natural world is clear as birds of all type perch and hover to catch a glimpse. In the foreground two larger birds carry sprites away to spread the news, one blowing a small wind instrument fashioned out of a pink petal. To the left of centre, a pair of large diaphanous wings are opened seemingly to shade our human eyes from the pure iridescent light of the new-born fairy, lest we be dazzled. All the characters are however apparently unaware of our intrusion, their focus is on the momentous event alone, and we are left with the impression of having been fortunate to have been a witness.For further information on this lot please visit Bonhams.com
Music. Concertos ... Compos'd by Mr. John Stanley, n.d. & Concertos ... Composed by Charles Avison, Newcastle, 1758. Two well worn quarto vols.; also L. G. Langwill, An Index of Musical Wind-Instrument Makers, orig. green cloth in d.w., Edinburgh, 1960. (3). Additional photographs of Avison's concertos uploaded.
A VICTORIAN TWELVE-INCH TERRESTRIAL FLOOR-STANDING LIBRARY GLOBEUNLABELLED BUT ALMOST CERTAINLY BY THOMAS MALBY AND SON, LONDON, THIRD QUARTER OF THE 19th CENTURYThe sphere applied with twelve hand-coloured engraved gores and polar calottes extensively annotated with nation states, extensively labelled principal cities, mountain ranges in pictorial relief, major rivers and other topographical features, the oceans labelled and annotated with islands and archipelagos, Antarctica incomplete and labelled THE SUPPOSED ANTARCTIC CONTINENT, with fully graduated Equatorial calibrated in minutes and conforming ecliptic, now with later carefully drawn lines possibly indicating lines of varying intensity of the Earth's magnetic field, with brass hour circles to both poles and pivoted through their axis within a brass meridian circle divided for degrees, set within a hand coloured paper horizon ring with compass points and degrees in both directions, Zodiac, calendar scales and wind directions, between March and April are explanatory notes and text Engraved by Cha's Malby, the stand with four down-curved quadrant supports cradling the globe over an acanthus carved baluster upright issuing three leaf-carved down-curved scroll supports terminating with brass castors, (the sphere with some historic damage and repair).86.5cm (34ins) high; 42.5cm (16.75ins) diameter overall. Thomas Malby and Company are recorded in Gloria, Clifton Directory of British Scientific Instrument Makers 1550-1851 as working 1843-50. First as Thomas Malby alone at 22 Houghton Street, Clare Market, London in 1839, then from 3 Houghton Street, Newcastle Street, Strand 1845-48 and finally at 37 Parker Street where the firm became Thomas Malby and Son in 1851. Thomas Malby is perhaps most remembered for producing an impressive 36 inch diameter terrestrial globe based on Addison's 1825 model. Latterly the firm of Thomas Malby and Son aligned themselves as geographical publisher for The Society for the Diffusion of Useful Knowledge (S.D.U.K) and innovated the inclusion of 'magnetic lines of variation' within their terrestrial globes. By 1898 Thomas Malby and Son were trading as 'Globe and Map Sellers to the Admiralty' from 37 Tithe Queens Street Holborn, London. The Engraver's signature to the horizon paper relates to Thomas's brother, Charles Isaac Malby (1816 to post 1868), who worked as one of the principal engravers within the firm. The hand-drawn lines to the present globe would appear to represent variations in the Earth's magnetic field. This may be of some relevance with regards to Thomas Malby and Son's collaboration with The Society for the Diffusion of Useful Knowledge and the development of the inclusion on 'magnetic lines of variation' within the annotations of their terrestrial globes.
Mathey-Tissot, Neuchâtel - A Royal Navy Hydrographic Service 'H S3' deck watch, circa 1940, the white dial, signed E.M.T. (for Edmond Mathey-Tissot) 1507 with pheon mark, 54mm diameter, with black Roman numerals, blued spade and whip hands, centre sweep and outer seconds track with Arabic indicators, unsigned and unnumbered fully jewelled mechanical crown wind movement with onion shaped winder, case, 62mm diameter with milled bezel, verso screw down, engraved H.S. 3 with pheon mark, presented in the original wooden fitted case, the hinged cover with glazed aperture, lined in green felt, with paper issue card within a brass frame attached to the interior Deck watches such as this example were produced by Emile Matthey Tissot, using a movement from H. Golay. Initially housed in wooden cases and issued for use during World War II, many were subsequently used by the Pakistan Navy and others, including this example, were sent to the Chronometer section of the Admiralty (Hydrographic Office) at Herstmonceux Castle in Sussex. Thin paper cards were designed to slide into a brass frame inside the box, and these recorded the date when the instrument was last issued from the Department responsible for servicing them. The chronometer section officially closed in 1985.Crystal - Complete and in good condition.Dial - In good condition with no obvious sign of deterioration or cracking.Movement - In working order but has not been tested for timekeeping or endurance. Crown winds, engages and disengages as it should and the hands move freely in both directions.Case - In good condition with one or two very minor surface scratches. Verso and bezel both screw and unscrew satisfactorily.Box - In generally good condition with just one or two very minor scuffs. Hinge and catch both in good order. Green felt underneath a bit threadbare and with one or two holes.
Jimi Hendrix, born James Marshall Hendrix on November 27, 1942, was an American rock guitarist, singer, and songwriter. He is widely regarded as one of the most influential guitarists in the history of rock music. Here's an overview of Jimi Hendrix and his musical legacy:Early Life: Jimi Hendrix was born in Seattle, Washington. He began playing the guitar at a young age and showed great talent and passion for music. In his early years, he played in various bands and honed his skills as a guitarist.Rise to Fame: Hendrix gained recognition in the mid-1960s after moving to London and forming the Jimi Hendrix Experience with bassist Noel Redding and drummer Mitch Mitchell. They released their debut album, "Are You Experienced," in 1967, which showcased Hendrix's innovative guitar playing and songwriting. The album's success propelled Hendrix to international fame.Musical Style and Innovations: Hendrix's guitar playing was characterized by his virtuosic skill, innovative use of amplification and effects, and his ability to push the boundaries of what was possible on the instrument. He incorporated elements of blues, rock, funk, and psychedelia into his music, creating a unique and groundbreaking sound. Hendrix's performances were known for their energy, showmanship, and improvisational nature.Notable Songs and Albums: Some of Hendrix's most famous songs include "Purple Haze," "Hey Joe," "The Wind Cries Mary," "All Along the Watchtower," and "Voodoo Child (Slight Return)." His albums, including "Axis: Bold as Love" and "Electric Ladyland," are considered landmarks in rock music.Impact and Legacy: Jimi Hendrix's impact on music and popular culture cannot be overstated. He revolutionized the way the guitar was played, expanding its possibilities and inspiring countless guitarists in the decades that followed. His innovative approach to songwriting and production also left a lasting impact on the rock genre.Tragic Death: Sadly, Jimi Hendrix's life and career were cut short when he died on September 18, 1970, at the age of 27. His death was ruled asphyxia caused by a barbiturate overdose. Despite his short career, Hendrix's influence and legacy continue to resonate with music lovers worldwide.Posthumous Releases and Recognition: Several posthumous albums have been released featuring previously unreleased material and live recordings, keeping Hendrix's music alive for new generations. He has received numerous accolades, including inductions into the Rock and Roll Hall of Fame and the UK Music Hall of Fame.Jimi Hendrix's unique style, innovative guitar playing, and captivating stage presence have solidified his status as an iconic figure in music history. His impact on the guitar and rock music as a whole remains immeasurable, making him a timeless and legendary musician.Measures 48 x 36.
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