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Lot 700
AN INDIAN COMPANY SCHOOL PAINTING, 1790-1800South India, Tanjore, 1790-1800. Gouache, ink, watercolors, and gold color on paper. Finely painted depicting a couple, the man playing a traditional Indian wind instrument and the woman clad in dark blue and red, carrying a basket under her arm. The sky has been painted in the typical manner of the period showing a combination of blue and ash grey sky. With an inscription to the reverse.Condition Good condition with minor wear, touch ups, stains, and soiling. Provenance: Private collection, USA, acquired in the Chicago trade.Dimensions: Sheet size 33.4 x 23 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 407
A fine French bonbonniere, circa 1830, of sarcophagol form in grained green paper and gilt foil raised on four ball feet, the lid with a cut corner rectangular colour print with gouache sky and depicting a shepherdess and a male musician by a rocky outcrop playing a wind instrument. The interior in yellow, the base with a further print set on to a mirror with gilt foil borders and depicting a girl offering milk to a goat in open landscape, 12.5 x 10.2 x 9cms. From a Connoisseur's Collection
Lot 108
A group of three blanc de chine porcelain figures,comprising an 18th-century figure, of a lady, holding a basket, 15cm high, another similar example, of a seated lady holding vines, 12cm high, and a Royal Copenhagen figure, of a seated man playing a wind instrument, printed marks, 14.5cm high (3)Condition ReportLady with a basket) Wear to the foot rim. Chips to the edges of her dress. Losses to the fingers. Marks throughout. Seated lady) The head has been broken and re-glued, with a visible crack to the neck. Chips and wear to the foot rim.Copenhagen figure) No apparent chips or marks.
Lot 39
Ca. 618-907 AD. A hollow molded terracotta figure features a lady kneeling in a graceful posture, wearing a long robe consisting of a cream skirt, red bodice, and a long green shawl. Her face is finely detailed in black pigment, with her lips accentuated in red. Her hair is pulled up to form a topknot, giving her a refined appearance. The lady holds a Sheng instrument in front of her with both hands. The Sheng is a traditional Chinese musical instrument that belongs to the category of reed pipes. It consists of a vertical wind chamber with numerous pipes that produce a variety of tones. This figure is a Mingqi, which is a Chinese term used to refer to objects that were buried with the dead to accompany them to the afterlife. These objects were believed to serve the same function in the afterlife as they did in the earthly realm. The Mingqi were made in large numbers during the Tang Dynasty, and they were highly valued by the people who buried them with their dead. Figures of musicians were placed in the tombs of wealthy individuals to provide them with entertainment in the afterlife. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:215mm / W:110mm ; 905gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.
Lot 538
Ca. 618-907 AD. A terracotta female musician figure playing paixiao - the wind instrument, made of edge-blown bamboo pipes, which are mounted in one row in a flat, wooden handle. The lady is depicted in a kneeling position, wearing a long reddish skirt covering her legs, a cream bodice, and a green shawl thrown over the shoulder. Her hair is neatly combed into a coiffure consisting of a high topknot, and her face is covered with white pigment, on which thin, slightly arched eyebrows and narrow eyes have been outlined in black pigment, and the small mouth has been painted in red pigment. The highest-rated musicians at the Tang court performed seated, while the lower ranks played standing and were also treated less well in other respects. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:220mm / W:95mm ; 970gProvenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Lot 1
Y A VERY FINE PAIR OF REGENCY TWENTY-ONE INCH TERRESTRIAL AND CELESTIAL FLOOR-STANDING LIBRARY GLOBESJ. & W. CARY, LONDON, THE CELESTIAL DATED 1799, THE TERRESTRIAL DATED 1815/1823The terrestrial applied with eighteen hand-coloured engraved split half-gores incorporating circular cartouche 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 to the present time. LONDON: and overlaid Made & Sold by J.& W. Cary, Strand, March 1st. 1815., with further inscription WITH ADDITIONS AND CORRECTIONS TO 1823 beneath, with fully graduated equatorial, ecliptic and four meridians, the Pacific ocean with an analemma, many explorers' tracks and numerous notes and dates, Antarctica with no land shown but Firm Fields and Vast Mountains of Ice 71.10 Highest South Lat of Capt. Cook and other notes, the continents with nation states faintly colour-outlined, showing cities depicted by a small building, towns, rivers, mountains in pictorial relief, marshland, caravan routes and African salt and copper mines, with numerous notes and Canada with no northern coastline; the celestial with conforming roundel inscribed CARY'S, New and Improved, CELESTIAL GLOBE, ON WHICH, Is carefully laid down the whole of the STARS and NEBULÆ, Contained in the ASTRONOMICAL CATALOGUE of the, REVD. Mr. WOLLASTON, F.R.S., Compiled from the Authorities of, FLAMSTEED, DE LA CAILLE, HEVELIUS, MAYER, BRADLEY, HERSCHEL, MASKELYNE &c. With an extensive number from the works of Miss Herschel, The whole adapted to the year 1800, and the, Limits of each Constellation determined, by a boundary line. London: Made & Sold by J.& W. Cary, No. 181 Strand Mar 1 1799, also made up of two sets of eighteen hand-coloured engraved split half-gores laid to the ecliptic poles, the axis through the celestial poles, with fully graduated equatorial, ecliptic with twilight zone and four colures, the constellations depicted by mythical beasts, figures and scientific instruments, with dotted boundaries, the stars shown to nine orders of magnitude with doubles, clusters and nebulæ and labelled with Greek and Roman characters and Arabic numerals denoting their source, with an explanation beneath the cartouche; 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 with compass points and degrees in both directions, Zodiac and calendar scales and wind directions, supported on a fine ebony line-strung satinwood stand with curved line-panelled frieze over three square section tapered legs united by three upward curved stretchers terminating with a baluster-turned upright supporting the globe via a brass clamp engaging with the meridian ring, the lower section with further turned stretchers supporting a glazed paper scale compass printed with elaborate thirty-two point rose within outer scale divided for degrees, over brass cup castors.Each 119cm (47ins) high, 69cm (27ins) diameter overall. Provenance:Purchased from Sally Turner Antiques, Hogarth House, High Street, Wendover, Bucks, 20th July 2002 for £95,000; thence by family descent. 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. Cary's 21-inch globes were the largest and most impressive produced during the George III and Regency period.Condition Report: Both globes are in very fine near retail clean condition. The celestial has some very slight filling and touching-in to address some cracking to the equinoctial affecting around a third of the circumference at that point. Otherwise faults are very much limited to a few very small historic scuff repairs and some very localised staining to the joints between some of the gores. The Terrestrial has a small (15 by 5mm) clean puncture just below Australia and a few very light surface scratching to the Southern regions. There is also a small filled scuff and staining adjacent to the bottom pivot. Sphere otherwise is in very fine condition with only or two small filled blemishes and light overall mottling. The brass fittings appear all-original and are in good condition with slightly mellowed lacquer finish. Both stands are in fine condition. The Horizon papers are in clean condition exhibiting only very minor browning. There are some light shrinkage cracking (from movement within the ring beneath) showing through the papers but no apparent losses or infilling. Both compasses are complete; the paper to the terrestrial has tears and rubbing but no losses, the celestial has losses and touching in to the paper, both have noticeable browning hence are now light beige in colour. The frames are in very good clean condition - the celestial has visible plugged fixings to the outer surfaces of the legs corresponding to the cabriole inner supports and compass stretcher; the terrestrial has similar visible plugs but for only for the compass stretcher. Faults are otherwise limited to light shrinkage and minor restorations to the ebony stringing. Condition Report Disclaimer
Lot 7
A GEORGE III EIGHTEEN-INCH CELESTIAL FLOOR-STANDING LIBRARY GLOBEW. AND T.M. BARDIN, SOLD BY J. AND W. WATKINS, LONDON, CIRCA 1800The 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 oservati,-ons and discoveries by Dr, Maskelyne, Dr. Herschel, The Rev'd. Mt. Wollaston &c &c, and with a further applied label Sold by J. & W. Watkins, Charing Cross London, 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 a later facsimile 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 inlaid with diamond lozenge decoration and terminating with tapered feet.107cm (42ins) high, 61cm (24ins) 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. The partnership between Jeremiah and Walter Watkins is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from 5 Charing Cross, London 1784-98. The business was continued by Jeremiah alone until his death in 1810. The partnership was one of the most prolific retailers of optical, scientific, mathematical and surveying instruments during the closing decade of the 18th century. At this time it was common practice for the vendors of globes to put their own trade label over that of the manufacturer.Condition Report: Globe has been cosmetically restored; has been gently cleaned and coat of fresh varnish applied. Both poles have evidence of slight movement but the globe is secure on its axis. The gores show evidence of historic rubbing and slight wear with a few small losses to the papers in places, slight opening of the joins between the papers, and there is overall greying beneath the relatively fresh varnish. The stand is in good restored condition; the horizon papers are unfortunately photographic replicas. The column has evidence of repaired vertical cracking but is in strong solid structural condition.Please note additional images are available which form an integral part of the condition report. Condition Report Disclaimer
Lot 6
A GEORGE III/REGENCY EIGHTEEN-INCH CELESTIAL FLOOR-STANDING LIBRARY GLOBEW. AND T.M. BARDIN, SOLD BY WILLIAM FRASER, LONDON, EARLY 19th CENTURYThe 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 oservati,-ons and discoveries by Dr, Maskelyne, Dr. Herschel, The Rev'd. Mt. Wollaston &c &c, and with a further applied label Sold by W'M FRAZER, Bond Street LONDON, 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 hand-coloured engraved paper horizon ring with compass points and degrees in both directions, Zodiac labelled in Latin, calendar scales and wind directions, the stand incorporating three down-curved quadrant supports cradling the globe within three 'Gillows' style turned reeded legs united by turned vacant compass stretcher over brass castors.107cm (42ins) high, 61cm (24ins) 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. William Fraser is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from 3 New Bond Street, London 1780-1805.Condition Report: The sphere is generally in good original condition with no noticeable cracks or losses/infilling to the gores. The varnish has patchy blooming to the finish most noticeably to some of the joins between the gores which have moved/opened a little. The finish has browned and is a little mottled but the detail and colouring is still clear. When rotating the globe a slight rattle (from loose material inside) can be heard. The meridian papers have a couple of small triangular losses at the joints between the sections and there is some cracking from the movement of the ring beneath the paper. The stand is structurally sound however there are veneer losses and chips to the circumference; the compass paper and glass is lacking and the disc is cracked. There is no brass lower support for the Meridian ring present. Faults to the stand are otherwise limited to minor age related bumps, scuffs and other very minor blemishes.Please note additional images are available which form an integral part of the condition report. Condition Report Disclaimer
Lot 11
A GEORGE IV TWELVE-INCH CELESTIAL LIBRARY TABLE GLOBEJOHN SMITH FOR RETAIL BY CHARLES SMITH, LONDON, CIRCA 1830The sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating oval panel inscribed A NEW, CELESTIAL GLOBE, COMPILED FROM THE WORKS OF, Wollaston, Flamsted, De la Caille, Havelius, Mayer, Bradley, Herschel, Maskelyne & c., by JOHN SMITH, Globe maker by appointment, TO HIS MOST, GRACIOUS, Majesty, GEORGE IIII, London, Made by J. SMITH, Strand, & Sold by C. SMITH, 172 Strand, the axis through the celestial poles, with fully graduated equatorial and ecliptic and the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown to nine orders of magnitude with clusters and nebulæ, labelled and numbered corresponding to the British Catalogue, the upper pole with brass hour dial and pivoted within brass meridian circle divided for degrees, set within hand-coloured engraved paper horizon ring with compass points and degrees in both directions, Zodiac, calendar scales and wind directions, the tripod stand incorporating four quadrants supporting the meridian ring over reeded squat baluster upright and downcurved supports, with vacant compass stretcher between and terminating with tapered feet.61cm (24ins) high, 44cm (17.25ins) diameter overall. John Smith is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as a globe maker working from 1 Angel Court, Surrey Street, Strand, London 1829-30 then 35 Leicester Square 1830-36. Charles Smith was principally a map publisher who worked from 1799. He was engraver to the Prince of Wales and started producing pocket globes during the Regency period. The business expanded (in competition with the Cary family then Malby) to become one of the leading publishers and retailers of globes during the latter half of the 19th century, mostly under the stewardship of his son who succeeded him in 1845.Condition Report: The globe generally presents as being in sound original unrestored condition with fairy light colouring and reasonably clear well-defined detail. The surface finish is flat and there is noticeable overall foxing most noticeably to the upper hemisphere. The top pivot has a small chip to the surface nearby and the lower has a small adjacent crack; globe is still solidly supported on the pivots. There is some noticeable browning to the joints between the gores which have opened slightly in a few areas. The stand is in good original condition with minimal spotting/discolouration to the horizon papers. There is no brass lower support for the Meridian ring present. The compass is lacking paper and needle and one of the small brackets applied each side of the quadrant supports for the Meridian ring is presently detached.Please note additional images are available which form an integral part of the condition report.Condition Report Disclaimer
Lot 3
A WILLIAM IV FIFTEEN-INCH TERRESTRIAL LIBRARY TABLE GLOBEG. AND J. CARY, LONDON, CIRCA 1832The sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating circular panel inscribed CARY'S, NEW, TERRESTRIAL GLOBE, Drawn from the most recent, GEOGRAPHICAL WORKS, shewing the whole of the New Discoveries, with the, TRACKS of the PRINCIPAL NAVIGATORS, and every improvement in Geography, to the present time., LONDON, London Published by G. & J. CARY, St James's Street, Jan'y 7th, 1832 to North Pacific, with extensively annotated and fully graduated equatorial and the Pacific ocean with an analemma for the TABLE of EQUATION, the oceans with many explorers' tracks and numerous notes and dates, Antarctica with minimal land shown including SOUTH SHETLAND, Powells Group and Sandwich Land, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief, pivoted via the polar axis within brass meridian circle divided for degrees and with brass hour circle to North pole, set within engraved paper horizon ring with compass points and degrees in both directions, Zodiac, calendar scales and wind directions, the stand comprising four mahogany baluster turned supports united by a conforming cross-stretcher.53cm (21ins) high, 51.5cm (20.25ins) diameter overall. 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: Globe is generally in relatively original 'country house' condition. The sphere retains old colouring beneath a coat of relatively recently applied varnish. This recently applied coat of varnish is somewhat unevenly executed with a few light runs and sags. There is some historic damage beneath the varnish mainly old flaking to the original varnish and scuffing the worst of which being three vertical touched-in scratches passing through Europe down into Africa a large patch of previous varnish loss to the centre of Africa and a smaller area of similar damage to North America. There is also some concentric rubbing/scratching adjacent to the Tropic of Cancer and the equator (commensurate with something rubbing between the brass meridian ring and the globe itself whilst the sphere is being rotated. The bottom pole has some cracking, movement and slight losses around the pivot and the top has some slight opening to the gores beneath the hour circle. The meridian ring and hour circle are in good original albeit dirty/discoloured condition and the globe rotates comfortably without rubbing. The brass bottom mount (that locates with and hods the meridian ring steady) The stand is in sound original condition with the horizon papers complete and in comparable condition as the globe and the woodwork with relatively minor age-related bumps, scuffs and wear. Condition Report Disclaimer
Lot 4
A GEORGE IV TWELVE-INCH TERRESTRIAL FLOOR-STANDING LIBRARY GLOBEG. AND J. CARY, LONDON, CIRCA 1828The sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating circular panel inscribed CARY'S, NEW, TERRESTRIAL GLOBE, DELINEATED, From the best Authorities extent;, Exhibiting the late Discoveries towards the, NORTH POLE, and every improvement in Geography, to the present Time., LONDON, Made & Sold by G. & J. CARY, 86 St James's Street, Jan'y 4, 1828 to North Pacific, with extensively annotated and fully graduated equatorial and the Pacific ocean with an analemma for the TABLE of EQUATION, the oceans with many explorers' tracks and numerous notes and dates, Antarctica with no land shown but Jan'y 30th 1774, Firm Fields and Vast Mountains of Ice 71.10 Highest South Lat of Capt. Cook and other notes, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief, 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 with compass points and degrees in both directions, Zodiac, calendar scales and wind directions, in a stand with four down-curved quadrant supports cradling the globe over baluster-turned upright and three outswept supports terminating with acorn feet.88cm (30.5ins) high, 43cm (17ins) diameter overall. 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: Globe is in sound original unrestored condition with no visible losses or infilling to the gores or problematic cracks. The lower pole shows some evidence of slight movement and the joins between the papers have opened-up a little. The sphere retains its original varnish however this is now friable and crazed hence has patchy losses throughout. A section of varnish has been cleaned off (Bay of Bengal); where the original finish is undisturbed the print is clear and colouring discernable albeit beneath the yellowy brown glaze. The stand is in sound original unrestored condition; the Horizon papers are heavily faded with cracks visible at the joints to the wooden frame. The polish is faded/flat.Please note additional images are available which form an integral part of the condition report. Condition Report Disclaimer
Lot 9
AN EARLY VICTORIAN TWELVE-INCH TERRESTRIAL FLOOR-STANDING LIBRARY GLOBEPUBLISHED BY S.S. EDKINS SUCCESSORS TO T.W. BARDIN, SOLD BY J. SOUTER, LONDON, CIRCA 1837The sphere applied with two sets of twelve hand-coloured engraved gores and polar calottes incorporating circular panel inscribed THE, NEW TWELVE-INCH, BRITISH, Terrestrial Globe, REPRESENTING THE, ACCURATE POSITION OF THE PRINCIPAL, KNOWN PLACES OF THE EARTH., FROM THE DISCOVERIES OF, CAPTAIN COOK, AND SUBSEQUENT CIRCUMNAVIGATORS, TO THE PRESENT PERIOD, 1837 over applied curved label J. Souter, School Library, 151 Fleet St. London to North Pacific, with extensively annotated and fully graduated equatorial and the Pacific ocean with THE ANALEMMA for the equation of time, the oceans with many explorers' tracks and numerous notes and dates, Antarctica with no land shown except for Enderby's Land dated 1833, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief, 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 with compass points and degrees in both directions, Zodiac, calendar scales and wind directions, in a stand with four down-curved quadrant supports cradling the globe over vase-turned upright and three outswept supports united by glazed compass stretcher inset with paper printed with elaborate thirty-two point rose within outer scale divided for degrees, terminating with ball feet.88cm (30.5ins) high, 43cm (17ins) diameter overall. The present globe is a known edition by S.S. Edkins (successors to T.W. Bardin). The lower margin of the roundel is applied with Souter's address over the original printed text 'Manufactured by S.S. Edkins Son in Law and Successor to the late T. M. Bardin Salisbury Square London'. 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. J. Souter appears not to be recorded in the usual sources however online sources suggest that they were specialist publishers and retailers of books and maps for educational purposes and were established before 1820.Condition Report: The glove is generally in good original condition with no visible cracks or noticeable losses/infilling to the gores. The gores have noticeable opening between the sections with some noticeable related staining to the edges. Otherwise notable faults are essentially limited to some historic mottling, greying/blooming to the upper surfaces. The current varnish appears relatively recently applied and is quite 'shiny'. Although the standi is contemporary to the globe we cannot offer any assurances that it is original to the globe. The meridian papers are quite light in colour but in sound condition with minor wear and some visible shrinkage to the ring beneath visible through the papers. There is no brass mount for the meridian ring (just a raised slot in the top of the columns) and one foot has a small spliced repair to the tip. The compass appears in good condition although the paper has probably been 'washed'.Please note additional images are available which form an integral part of the condition report. Condition Report Disclaimer
Lot 5
A REGENCY TWELVE-INCH CELESTIAL LIBRARY TABLE GLOBEJ. AND W. CARY, LONDON, CIRCA 1816The sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating rectangular panel inscribed CARY'S, NEW CELESTIAL GLOBE, ON WHICH, are correctly laid down upwards of 3500 stars, Selected from the most accurate observations, and calculated for the Year 1800., With the extent of each Constellation precisely defined, By MR. GILPIN of the ROYAL SOCIETY., Made & Sold by J. & W. Cary, 181 Strand London, Jan'y 1 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 seven orders of magnitude with clusters and nebulæ, the upper pole with brass hour dial and pivoted within brass meridian circle divided for degrees, set within hand-coloured engraved paper horizon ring with compass points and degrees in both directions, Zodiac, calendar scales and wind directions, the stand comprising four ebonised baluster turned supports united by a conforming cross-stretcher fitted with a brass support for the meridian ring.46cm (18ins) high, 44cm (17.25ins) diameter overall. 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: Globe is generally in fine condition having been carefully and skilfully conserved fairly recently (within the last 25 years or so). There is evidence of minor filling and consolidation of light cracking around the bottom pivot and overall light mottling to the surface. The present surface finish is very even with only a few slight historic blemishes evident beneath the varnish; the hand colouring is faded but still eminently visible. The meridian ring, hour circle and other brass fittings are in fine condition. The meridian papers have also been conserved to a high standard hence condition is commensurate with the globe. The stand has a couple of loose joints (glue has dried-out) otherwise is in sound original condition with some age-related bumps and scuffs evident. Condition Report Disclaimer
Lot 859
BECK, ERNST u.a. 19./20. Jhd., Konvolut 6 männliche Bronzefiguren versch. Berufsarten, 1. BECK, ERNST (1879-1941), Musiker mit Blasinstrument auf rechteckiger Plinthe, Bronze, braun patiniert, rückseitig im Guss signiert "E. Beck" und vorne bezeichnet "DORFMUSIKANT", auf grünlichem Steinsockel, H: Figur ca. 14.5 cm, H: gesamt ca. 18.5 cm;2. BECK, ERNST (1879-1941), stehender Arbeiter auf Hacke gestützt, auf Plinthe, Bronze, gold-braun patiniert, im Guss signiert "E. Beck", auf dunklem Marmorsockel, H: Figur ca. 15 cm, H: gesamt ca. 17.3 cm;3. GRAEFNER, LUDWIG (19./20. Jh.), "Der kleine Schuhmacher" auf Plinthe, Bronze, braun patiniert, Plinthe im Guss signiert "Graefner", auf geädertem, dunklem Marmorsockel, H: Figur ca. 16 cm, H: gesamt ca. 21 cm;4. Räuchermann in Form eines Wachmanns, Kopf aufklappbar, Bronze, gold-braun patiniert, auf runder, gestufter Plinthe, H: ca. 20 cm;5. Mann mit zwei Gänsen unter den Armen an einem Baumstumpf gelehnt, Bronze, dunkel patiniert, auf runder, gestufter Plinthe, H: ca. 15.5 cm;6. Landinspektor, bez. in Plinthe: "Onk. Bräsig", Bronze, dunkel patiniert, auf gestuftem Steinsockel, H: Figur ca. 10cm, H: gesamt ca. 14 cm. Je Altersspuren.| BECK, ERNST and others 19th/20thcentury, mixed lot of 6 male bronze figures of different professions,1. BECK, ERNST (1879-1941), musician with wind instrument on a rectangular plinth, bronze, brown patina, signed on the back in the cast "E. Beck" and inscribed "DORFMUSICANT" in the front, on a greenish stone base, H: figure approx. 14.5 cm, H: total approx. 18.5 cm;2. BECK, ERNST (1879-1941), standing worker leaning on a hoe, on a plinth, bronze, golden-brown patina, signed in the cast "E. Beck", on a dark marble base, H: figure approx. 15 cm, H: total approx. 17.3 cm;3. GRAEFNER, LUDWIG (19th/20th century), "The little shoemaker" on a plinth, bronze, brown patina, plinth signed in the cast "Graefner", on a veined, dark marble base, H:figure approx. 16 cm, H: total approx. 21 cm;4. Incense smoker in form of a security guard, head can be opened, bronze, golden brown patina, on a round, stepped plinth, H: approx. 20 cm;5. Man leaning against a stump with two geese under his arms, bronze, dark patina, on a round, stepped plinth, H: approx. 15.5 cm;6. Land inspector, inscribed in plinth: "Onk. Bräsig", bronze, dark patina, on stepped stone base, H: figure approx. 10 cm, H: total approx. 14 cm. Each traces of age.
Lot 130
A BRASS AND WOOD OBOE, HAIDI, 18TH-19TH CENTURY 十八至十九世紀海笛China. The mouthpiece of brass, decorated with two pierced, globular elements between two discs, the lower disc with a lobed rim, the wood handle carved with outward scalloping between the finger holes, and a brass bell. The interior of the brass bell with an illegible mark.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Excellent condition with minor wear, traces of usage and minuscule nicks, the brass bell loose. Nice patina overall.Weight: 112.8 g Dimensions: Length 34.2 cmThe haidi is the smallest and highest-pitched version of the suona, a double reed instrument that was introduced to China around the beginning of the 16th century and takes its name from the Middle Eastern zurna. The player, whose mouth completely covers the small reeds, uses circular breathing (through the nose) to maintain a constant tone. It was first used by the military, but today it is played both in ensemble and as a solo instrument.Literature comparison:Compare a closely related haidi, illustrated in Haags Gemeentemuseum, Musial instruments from the East- and South-East Asian mainland, The Hague, 1989, p. 211, no. 182. Compare also a suona in the collection of The Metropolitan Museum with the accession number 89.4.20.十八至十九世紀海笛中國。由雙簧哨子、蕊子、桿子和銅碗四部分組成。銅碗上有印，但已模糊不清。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。他和他的妻子Irene上世紀六十年代初在倫敦開設了幾家商店。四十多年來，他們一直在向博物館、私人收藏家和音樂家出售古董樂器。他還出版了幾本關於樂器歷史的書籍，包括《新朗威爾索引》，一部音樂管樂器製造商和發明家詞典。品相：狀況極好，有輕微磨損、使用痕跡和微小的刻痕，黃銅哨子鬆動。整體包漿渾厚。 重量：112.8克 尺寸：長34.2厘米 最初的嗩吶是流傳於波斯、阿拉伯一帶的樂器，就連嗩吶這個名稱，也是古代波斯諾Surnā的音譯。嗩吶大約在公元三世紀在中國出現，新疆拜城克孜爾石窟第38窟中的伎樂壁畫已有吹奏嗩吶形象。海笛是嗩吶的最小和最高音調的版本，它最初是在軍隊使用的，但今天它既可以作為合奏樂器演奏，也可以作為獨奏樂器演奏。 文獻比較： 比較非常相近的海笛，見海牙美術館，《Musial instruments from the East- and South-East Asian mainland》，海牙， 1989年，頁211，編號182。比較另一件嗩吶， 收藏於大都會藝術博物館，編號89.4.20。
Lot 265
A BRONZE DRUM, MOKKO, 19TH CENTURYIndonesia, Sunda Islands. Surmounted by a circular tray, the waisted body decorated with floral sprays and tendrils in low relief, four handles attached to the upper half, the base hollow. The drum produces a clear and distinct sound.Provenance: From the collection of Harald Leo Diamond, Vienna. Collection of Tony Bingham, United Kingdom, acquired from the above. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors.Published: A. Janata, Musikinstrumente der Völker: Außeuropäische Musikinstrumente und Schallgeräte, Systematik und Themenbeispiele, Vienna, 1975, pages 26-27, plate 18. Condition: Good condition with expected wear, minor nicks and dents, shallow surface scratches, and few small losses. Good naturally grown patina.Weight: 7.9 kg Dimensions: Height 54.3 cm, Diameter 33.5 cmLiterature comparison:Compare a related Mokko, dated to the 20th century, in the collection of The Metropolitan Museum with the accession number 1990.130.3.
Lot 464
10th-15th century A.D. A bichrome ceramic juglet composed of a bulbous body, flared neck and rim and rounded base; stylised human face and hands to the shoulder and neck, holding and playing what is apparently a wind instrument; facial details highlighted in painted pigmentation, vertical strips around the body; small integral strap handle. 157 grams, 10 cm high (4 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. [No Reserve]
Lot 230
An Addison - Luard Course & Wind Calculator, English, c.1940, engraved ADDISON - LUARD COURSE & WIND CALCULATOR TYPE D, PAT No,S 264755, 273198, BRIT PAT 299138 U.S.A. PAT 1723757, H. HUGHES & SON LTD, LONDON, with AM Air Ministry mark and and Ref. No. 6B/113, (6B denotes air navigational instruments), the body of the computer made of machined aluminum engraved with multiple markings, in fitted wooden case, instrument 28cm diameter
Lot 333
Breitling - A steel 'Co-Pilot' chronograph wristwatch, circa 1969, model number 7650, serial number 1278074, the signed circular 'reverse panda' dial, 36mm diameter, with luminous batons and hands and centre chronograph sweep, subsidiary running seconds register at 9 o'clock, hours at 6 o'clock and 15 minute register at 3 o'clock, signed 17 jewel mechanical crown wind column wheel Venus chronograph movement number 37-16, calibre 178 TJ, with start/stop and reset pushers above and below the liveried crown, case, 42mm, black division 12 bezel, verso screw down, signed and numbered 7650 127804, interior signed, to an aftermarket black nylon NATO style strap with gilt pin buckleProvenance:Formerly the property of a British Olympic marathon runner.The Navitimer, arguably Breitling’s most famous creation, is often described as the ultimate wrist-worn instrument for pilots, enabling them to complete all manner of calculations with its rotating slide-rule. However, pilots also need a robust and functional chronograph to time any event and easily read the time on their wrists while holding the control column.In the early 1950s, and with that in mind, Willy Breitling designed a new chronograph to complement the Navitimer, and chose a name that perfectly reflected the concept - the Co-Pilot. The first Co-Pilot was launched in 1953.In addition to the standard chronograph, the sub-dial at 3 o’clock features a 15 minute counter – the standard time allowed for an aeroplane ground check before take-off.This Breitling Co-Pilot ticks all the boxes for the vintage chronograph collector, including the sought after 'reverse panda' dial (black dial with white sub-dials).Crystal - Complete and secure. Multiple scratches all over, some quite deep, together with some crazing, particularly to the centre area.Dial - Generally in good condition. Some minor staining and deterioration of the lume to the batons and hands, more noticeable under magnification. A very minor mark to the dial at the bottom of the 11 o'clock baton and between the 4 and 5 o'clock batons, both visible under magnification.Case - Generally in good condition with just the usual 'wear and tear' surface scratches. The bezel does not rotate.Movement - Appears to be in full working order, though untested for timekeeping and endurance. The chronograph operates satisfactorily, the pushers work well, and the sweep flies back to 12 o o'clock when reset.
Lot 62
PEINTURE REPRÉSENTANT UNE DAME DE COUR ET SA SERVANTEProbablement dynastie Ming (1368-1644) ou antérieurA PAINTING OF A COURT LADY AND LADY-ATTENDANTProbably Ming Dynasty (1368-1644) or earlierInk and pigment on silk, with apocryphal seal of Song emperor Huizong, reading Neifu tushu zhi yin on the top left, seal of Jin dynasty emperor Zhangzong, reading Mingchang Yulan, collector's seal lower right reading Nanchang wanshi zhencang, framed and glazed. 135cm (53in) long x 56cm (22in) wide. Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present lot depicts an elegant Court lady holding in her hand a sheng or free-reed wind instrument, seated outside beside a gnarled rock issuing peony. Behind her stands an attendant draped in green robes, the relatively large size of the lady indicates her importance compared to the smaller attendant.The Court lady wears an elaborate headdress with seven phoenix, perhaps indicating that this is Bixia Yuanjun, the primordial sovereign of the dawn clouds, or Lady of Mount Tai. In Daoism, she is considered not only the Goddess of Mount Tai, but also of childbirth and destiny. She became an important deity particularly in the north of China during the Ming and Qing dynasties. The detail of the clothes is particularly magnificent. The Lady is clad in gorgeously decorated robes detailed with a Daoist Immortal carrying a staff from which hangs a double-gourd containing an elixir, and facing a crane and tortoise, symbols of longevity. This again would seem to indicate that the figure is a deity or connected to Daoism. In the centre of the painting is a spurious seal reading 'Mingchang Yulan', seal of the Jin emperor Zhangzong (r.1188–1208). Emperor Zhangzong attempted to supersede the former Song emperor Huizong as an art connoisseur and inherited a large collection of art which he inscribed or attached his seal to. See the painting, for example, of 'Lady Guoguo's Spring Outing', attributed to Zhang Xuan, where emperor Zhangzong added the three characters 'Tian shuimo', which actually belonged to Huizong; see Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Another collector's seal on the bottom right reads 'Nanchang wanshi zhencang' which likely belonged to Wan Chengzi 萬承紫(1775-1837). In the upper left is another apocryphal seal reading 'Neifu tushu zhi yin' (內府圖書之印 'Seal for Painting and Calligraphy of the Palace Storehouses'), the seal of Emperor Huizong.Although the painting echoes the work of Tang dynasty painter, Zhou Fang, and his 'Court Ladies Wearing Flowered Headdresses', illustrated in Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, with their large chignons and elaborate headdresses, the style of the painting would suggest a a later date. See for example, related figures of ladies in a Daoist wall painting 'Homage to the Highest Power', originally from the Longmen Monastery in Shanxi Province, c.1300, in the Royal Ontario Museum (acc.no.933.6.3).Cette œuvre dépeint une élégante dame de Cour tenant un sheng (instrument à vent à anches libres), assise à côté d'un rocher tortueux traversé par un arbuste couvert de pivoines. Derrière elle se tient une suivante dans une robe verte, et la plus grande taille de la dame manifeste son importance.La dame de Cour porte une coiffe élaborée à sept phénix, indiquant peut-être qu'il s'agit de Bixia Yuanjun, la souveraine primordiale des nuages de l'aube, appelée aussi Dame du Mont Tai. Dans le taoïsme, elle est non seulement la déesse du Mont Tai, mais aussi celle de l'accouchement et du destin. Elle devint une divinité importante, surtout dans le Nord de la Chine, durant les dynasties Ming et Qing.Le détail des vêtements, en particulier, est magnifique. La dame est habillée de robes superbement décorées, dont une rouge présentant un motif d'immortel taoïste tenant un bâton où est accroché une double-gourde contenant un élixir, et faisant face à une grue et une tortue, des symboles de longévité. Ceci semble encore montrer que ce personnage est une divinité ou est lié au taoïsme.Au centre de la peinture se trouve le sceau apocryphe « Mingchang Yulan », prétendument le sceau de l'empereur Zhangzhong (r. 1188-1208) des Jin. L'empereur Zhangzhong tenta de remplacer l'empereur Huizong des Song comme connaisseur des arts et hérita d'une vaste collection d'art sur laquelle il calligraphia ou apposa son sceau. Voir par exemple la peinture de L'excursion printanière de Dame Guoguo, attribué à Zhang Xuan, sur laquelle l'empereur Zhangzhong a ajouté les trois caractères « Tian shuimo », qui appartenaient en fait à Huizong, cf. Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Il y a autre sceau de collectionneur en bas à droite, « Nanchang wanshi zhencang », probablement celui de Wang Chengzi 萬承紫(1775-1837). En haut à gauche se trouve un autre sceau apocryphe indiquant « Neifu tushu zhi yin » (內府圖書之印), le sceau de l'empereur Huizong.Bien que la peinture évoque le travail du peintre Zhou Fang de la dynastie Tang et ses Dames de la Cour portant des coiffes fleuries illustrées dans Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, avec leurs grands chignons et coiffes élaborées, le style de cette peinture suggèrerait une date plus tardive. Voir par exemple des personnages comparables de dames sur une peinture murale taoïste, Homage to the Highest Power, provenant probablement du monastère de Longmen dans la province du Shaanxi, vers 1300, et conservé au Royal Ontario Museum (acc.no. 933.6.3或明或更早 仕女圖 設色絹本 立軸來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏本拍品描繪一位優雅宮裝仕女，手持竹笙，安坐於牡丹花旁的嶙峋石上。其身後為綠袍侍女。從二人的身量大小區別可見其身分區別。該宮裝仕女頭戴七鳳冠，或表明其為碧霞元君或泰山娘娘之身分。在道教中，她不只被認為是泰山山神，還是主生育的神祇，並在明清時代的華北地區廣受崇拜。本拍品對人物衣飾著墨甚多。主角華麗的衣袍上甚至可見了肩挑懸壺的道教仙人形象，亦有仙鶴壽龜等紋樣，均為長壽之象徵... For further information on this lot please visit Bonhams.com
Lot 255
Ca. 618-907 AD A terracotta female musician figure playing paixiao - the wind instrument, made of edge-blown bamboo pipes, which are mounted in one row in a flat, wooden handle. The lady is depicted in a kneeling position, wearing a long reddish skirt covering her legs, a cream bodice, and a green shawl thrown over the shoulder. Her hair is neatly combed into a coiffure consisting of a high topknot, and her face is covered with white pigment, on which thin, slightly arched eyebrows and narrow eyes have been outlined in black pigment, and the small mouth has been painted in red pigment. The highest-rated musicians at the Tang court performed seated, while the lower ranks played standing and were also treated less well in other respects. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:220mm / W:95mm ; 970g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Lot 273
Ca. 618-907 AD A mold-formed pottery tomb attendant figure in the form of a female musician playing paixiao - the wind instrument, made of edge-blown bamboo pipes, which are mounted in one row in a flat, wooden handle. She is wearing a long robe with upper clothing in orange and her shoulders are covered by a green shawl. She is displaying a harmonic expression; her smiling face with highlighted lips beneath a large hair bun. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:300mm / W:85mm ; 852g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Lot 297
A BRASS AND WOOD OBOE, HAIDI, 18TH-19TH CENTURYChina. The mouthpiece of brass, decorated with two pierced, globular elements between two discs, the lower disc with a lobed rim, the wood handle carved with outward scalloping between the finger holes, and a brass bell. The interior of the brass bell with an illegible mark.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Excellent condition with minor wear, traces of usage and minuscule nicks, the brass bell loose. Nice patina overall.Weight: 112.8 g Dimensions: Length 34.2 cmThe haidi is the smallest and highest-pitched version of the suona, a double reed instrument that was introduced to China around the beginning of the 16th century and takes its name from the Middle Eastern zurna. The player, whose mouth completely covers the small reeds, uses circular breathing (through the nose) to maintain a constant tone. It was first used by the military, but today it is played both in ensemble and as a solo instrument.Literature comparison:Compare a closely related haidi, illustrated in Haags Gemeentemuseum, Musial instruments from the East- and South-East Asian mainland, The Hague, 1989, p. 211, no. 182. Compare also a suona in the collection of The Metropolitan Museum with the accession number 89.4.20.十八至十九世紀海笛中國。由雙簧哨子、蕊子、桿子和銅碗四部分組成。銅碗上有印，但已模糊不清。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。他和他的妻子Irene上世紀六十年代初在倫敦開設了幾家商店。四十多年來，他們一直在向博物館、私人收藏家和音樂家出售古董樂器。他還出版了幾本關於樂器歷史的書籍，包括《新朗威爾索引》，一部音樂管樂器製造商和發明家詞典。品相：狀況極好，有輕微磨損、使用痕跡和微小的刻痕，黃銅哨子鬆動。整體包漿渾厚。 重量：112.8克 尺寸：長34.2厘米 最初的嗩吶是流傳於波斯、阿拉伯一帶的樂器，就連嗩吶這個名稱，也是古代波斯諾Surnā的音譯。嗩吶大約在公元三世紀在中國出現，新疆拜城克孜爾石窟第38窟中的伎樂壁畫已有吹奏嗩吶形象。海笛是嗩吶的最小和最高音調的版本，它最初是在軍隊使用的，但今天它既可以作為合奏樂器演奏，也可以作為獨奏樂器演奏。 文獻比較： 比較非常相近的海笛，見海牙美術館，《Musial instruments from the East- and South-East Asian mainland》，海牙， 1989年，頁211，編號182。比較另一件嗩吶， 收藏於大都會藝術博物館，編號89.4.20。
Lot 549
A SILVER AND STAG ANTLER 'MAKARA' FLUTE, KANGLING, TIBET, 19TH CENTURYThe stag antler trumpet with a silver repousse mouthpiece and bell, the mouth piece decorated with key-fret, acanthus leaf, and petal designs and inset with a coral cabochon. The bell in the form of a fierce makara head with the mouth wide open revealing teeth and tongue, the stag antler further with a small floral fitting inset with a turquoise cabochon.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Excellent condition with minor old wear, few minuscule nicks and dents, occasional light scratches. Solid, naturally grown patina overall.Weight: 173.0 g Dimensions: Length 27.8 cmExpert's note: The kangling, literally meaning 'leg flute', is often seen in Tibetan monastic orchestras and can be made of animal horn or human bone. It is used in various tantric Buddhist rituals, particularly the chöd. Putting a dead being's leg bone to your mouth is an intimate reminder of our own mortality. According to Ivan Vandor, examples made of animal horn are only played during certain Gelugpa rituals. See Ivan Vandor, Bouddisme Tibetan, Les Traditions Musicales, Paris 1976, pages 70-71.The Chöd is a spiritual practice found primarily in the Yundrung Bön tradition as well as in the Nyingma and Kagyu schools of Tibetan Buddhism. Also known as 'cutting through the ego', the practices are based on the Prajnaparamita or 'Perfection of Wisdom' sutras, which expound the emptiness concept of Buddhist philosophy. According to Mahayana Buddhists, emptiness is the ultimate wisdom of understanding that all things lack inherent existence. Chöd combines Prajnaparamita philosophy with specific meditation methods and tantric ritual. The chöd practitioner seeks to tap the power of fear through activities such as rituals set in graveyards, and visualization of offering their bodies in a tantric feast in order to put their understanding of emptiness to the ultimate test.Literature comparison:Compare a related kangling, illustrated in Haags Gemeentemuseum, Musial instruments from the East- and South-East Asian mainland, The Hague, 1989, p. 225, no. 195. Compare a related bone kangling with metal decor, dated to the 19th century, in the collection of The British Museum with the accession number 2016,3040.2.十九世紀西藏銀質骨號（剛令）鹿角小號兩端銀錘鍱，管體上細下粗，略呈彎曲狀，下端喇叭口呈橢圓形。暴飲處鑲嵌圓形珊瑚。鈴鐺形狀為凶猛的摩迦儸頭，嘴巴張開，露出牙齒和舌頭，鹿角帶有小花卉紋，嵌有綠松石與圓形寶石。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。 他和他的妻子Irene上世紀六十年代初在倫敦開設了幾家商店。四十多年來，他們一直在向博物館、私人收藏家和音樂家出售古董樂器。 他還出版了幾本關於樂器歷史的書籍，包括《新朗威爾索引》，一部音樂管樂器製造商和發明家詞典。 品相：狀況良好，有輕微磨損、些微刻痕和凹痕，以及局部劃痕。整體包漿。 重量：173.0克 尺寸：長27.8厘米 專家注釋：剛令，字面意思是“腿笛”，經常出現在西藏寺院管弦樂隊中，可以用動物角或人骨製成。它用於各種密宗佛教儀式，特別是施身法。將死者的腿骨放在嘴邊是對我們自己的死亡的提醒。據Ivan Vandor說，動物角製成的例子只在某些格魯派儀式中出現過。見Ivan Vandor，《Bouddisme Tibetan, Les Traditions Musicales》，巴黎，1976年，頁70-71。 文獻比較： 比較一件相近的剛令，見海牙美術館，《Musial instruments from the East- and South-East Asian mainland》，海牙，1989年，頁225，編號195。比較一件相近的十九世紀鑲嵌金屬骨剛令，收藏於大英博物館，2016,3040.2。
Lot 265
A BRONZE DRUM, HAN DYNASTYChina, 202 BC - 220 AD. The round drum supported on a waisted base, the top and sides finely cast in relief with multiple concentric geometric designs including key-fret, triangles, and beads centered by a star design, with pairs of loop handles to either side. The drum produces a clear and distinct sound.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Good condition commensurate with age showing extensive wear and weathering, some casting flaws, possibly minor old repairs, small losses, nicks, dents, and scratches. Fine, naturally grown patina with Malachite encrustations. All as expected from a bronze drum with an age of roughly two millennia.Weight: 16.4 kg Dimensions: Height 29.4 cm, Diameter 51.5 cm Expert's note: Bronze drums such as the present lot are a percussion instrument used by various ethnic groups from the southwest of China. They were popular in Yunnan, Guizhou, Sichuan and Hunan Provinces, among which Yunnan and Guangxi have the largest numbers recorded. Both provinces share a border with Vietnam, home to the Dong Son culture, which in turn is well-known for its own drums. Applied to sacrifice rituals, the drums were usually used to play music or accompany dance rites. The Yunnan Provincial Museum in Kunming houses an important collection of early bronze drums (Warring States through Western Han period) that were excavated from royal burials at Shizhai Shan and other locations in the vicinity of Lake Dian. This part of Yunnan, whose people and language were not originally Han Chinese, had been ruled by the independent Dian kingdom from about 500 BC. Bronzes from this period through the middle Western Han Dynasty (about 100 BC) are unique to the region, and share many characteristics with bronze artifacts of Southeast Asia. Their decoration was also influenced by artistic styles of the Eurasian steppe. After surrendering to Han Wudi in 109 BC, the Dian kingdom was administered as a frontier commandery of the Han empire. Dian kings were retained as local rulers. From then on, the distinctive Dian regional bronzes became gradually replaced by Han-style bronzes, in the type of cultural assimilation that is called "Sinification" (literally, "becoming Chinese") by Chinese historians.Literature comparison:Compare a closely related but smaller drum in The Complete Collection of Treasures of the Palace Museum, Bronze Articles for Daily Use, Beijing 2007, number 78.漢代青銅鼓 中國，公元前202年至公元220年。圓鼓，由鼓面向下收後，足部外撇，腰部有明顯凸起的弦紋。鼓面有雙圈十二角星紋，外壁飾有雷紋、三角紋、凸起鉚釘等幾何紋飾。兩側各有一對環形把手。該鼓發出的聲音清晰響亮。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。他和其妻子Irene於1960年代初期，在倫敦開設了多間古董樂器行，並出售給博物館、私人收藏家和音樂家，營業40餘年。他也出版了多本關於樂器史的書籍，其中包括《The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors》。 品相：品相良好，與年代相稱的大面積磨損、風化，有些鑄造瑕疵和可能的舊修補，小缺損、刻痕、凹痕和劃痕。良好和自然生長的包漿，帶有孔雀綠色結殼。這些狀況都是在一件兩千年前的青銅鼓上可預期的。 重量：16.4公斤 尺寸：高29.4厘米，直徑51.5厘米 專家注釋：此類型的青銅鼓是中國西南地區各民族使用的一種打擊樂器。它們流行於雲南、貴州、四川和湖南等省，其中雲南和廣西所記錄數量最多。這兩個省都與越南接壤，越南是東山文化的發源地，而東山文化又以鼓而聞名。鼓通常被用於祭祀儀式，演奏音樂或伴舞。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 549
ONE BOX OF ASSORTED MAGNIFYING GLASSES, TELESCOPES AND MICROSCOPE LENSES, to include six magnifying glasses, an assortment of early magnifying glass, three small brass telescopes, a vintage brass anemometer (wind speed instrument), a pair of white metal folding lorgnettes (without glass), a collection of late Victorian brass optical lens cases, engraved with names of Opticians, Collins, J Swift, E Leitz, etc, (1 box)
Lot 1
A PAIR OF REGENCY FIFTEEN-INCH LIBRARY GLOBESJ. and W. CARY, LONDON, 1820The terrestrial sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating circular cartouche inscribed CARY'S, NEW TERRESTRIAL GLOBE, Drawn from the most recent, GEOGRAPHICAL WORKS, shewing the whole of the New Discoveries, with the, TRACKS of the PRINCIPAL NAVIGATORS, and every improvement in Geography, to the present Time., LONDON: London. Published by J. & W. Cary, 181 Strand, Nov'r 24 1820., extensively annotated with fully graduated equatorial calibrated in minutes and degrees, ecliptic and meridians, the Pacific ocean with an analemma TABLE of EQUATION, many explorers' tracks and numerous notes and dates, Antarctica with no land shown but 71.10 the most South'n Latitude of Capt. Cook, Vast Islands and firm fields of ice and other notes, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief; the celestial with rectangular panel inscribed CARY'S, NEW CELESTIAL GLOBE, ON WHICH, are carefully laid down the whole of the, STARS AND NEBULAE, contained in the Catalogues of, Wollaston, Herschel, Bode, Piazzi, Zach & c., Calculated to the Year 1820, Made & Sold by J. & W. Cary 181 Strand London 1818, the axis through the celestial poles, with fully graduated equatorial and ecliptic with twilight zone, the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown to eight orders of magnitude with clusters and nebulæ and labelled; both spheres with engraved brass hour dials to the poles and pivoted within brass meridian circles divided for degrees, the hand-coloured engraved paper horizon rings with compass points and degrees in both directions, pictorial representations of the Zodiac, calendar scales and wind directions; each supported on a mahogany tripod stand incorporating four quadrants supporting meridian ring over baluster upright and downcurved supports terminating with tapered feet fitted with brass castors, (both unrestored with some historic damage).100.5cm (39.5ins) high, 52.5cm (20.75ins) diameter. The celebrated Cary family business of scientific instrument and globe makers was established by John Cary at Johnson's Court, Fleet Street, London in 1782 moving to a new address at 'Corner of Arundel Square', Strand the following year. He was primarily an engraver of maps, charts and globes who moved again in 1783 to 188 Strand. By 1791 he had entered into what appeared to be a relatively casual partnership with his brother, William; this partnership lasted until circa 1816 by which time William and John Cary had moved again to 181 Strand before finally settling in 86 St. James in 1820. The following year he was succeeded by his sons, John (II) and George Cary, who continued from the firm's 181 Strand address until 1851/2 when the business was acquired by Henry Gould.Condition Report: Terrestrial - The sphere is in original unrestored condition with good mellow yellowed finish to the varnish and printing clear. The Atlantic has a bump/bruise approximately 3 inches across which includes a couple of very small losses to the plaster and has three or four cracks radiusing out to around six inches form the centre of the bruise. There is also a concentric scuff towards the South pole. Sphere otherwise is in good condition with damage limited to slight movement/cracking at the top pivot and varnish rubbing/wear. Areas of old vanish rubbing/wear have taken on dark finish hence they exhibit as dark spots/patches, more recent varnish rubbing is noticeable around the equator. The brass ring and hour circles are present and undamaged but have oxidised to a dark chocolate brown colour. The stand is intact with no breaks or losses; a section of the horizon ring is a little loose with an angled crack through Sagittarius and the papers are fairly heavily worn between Aquarius and Gemini. The mahogany base is a little faded/dry in colour.Celestial - In similar condition to the terrestrial with a smaller bump (approx. 3 by 2 inches) to the left of Orion; this bump appears to be very localised with no noticeable more extensive cracking evident. Faults otherwise generally limited to historic varnish rubbing and grime including drip of paint (or something similar) to the upper hemisphere which most likely could be cleaned-off. The stand is in sound condition with overall patchy discolouration and dirt staining to the horizon papers; the ring itself is a loose on its joints but undamaged.Please see/request further images which form part of the condition report.Condition Report Disclaimer
Lot 24
A RARE VICTORIAN MAHOGANY CASED ELECTROMAGNETIC WIND DIRECTION INDICATORALFRED APPS, LONDON, CIRCA 1880The lacquered brass and mahogany mechanism comprising a pair of opposing electromagnetic coil solenoids with pivoted arms acting on ratchets fitted to the same arbor mounted above, shunting it in either a clockwise or anticlockwise direction against a sprung sixteen-toothed wheel to check the increment of each rotation, the 8 inch circular silvered dial inscribed GORDONS, PATENT, APPS, OPTICIAN, 433 STRAND, LONDON within outer track annotated with the sixteen cardinal points of the compass with arrow markers to inner track, with single arrow hand within canted silver surround set behind a fixed glazed cast bezel secured vial screws to the outer flange, the rectangular case with hipped roof superstructure and cushion top moulding over visible screws flanking the dial to front, the left hand side with three brass electrical connection posts and the right with bone plunger for manual adjustment of the dial, the rear with upwards sliding panel, on generous cavetto moulded skirt base.44.5cm (17.5ins) high, 37cm (14.5ins) wide, 28.5cm (11.25ins) deep. Alfred Apps is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as an optician, mathematical and philosophical instrument maker working from '433 West Strand, Near Charing Cross Railway Station, London' 1864 until after 1900. The Science Museum website lists him as working also as an electrical instrument maker who worked until 1911 when the business was succeeded/absorbed by Newton and Company.The present instrument appears to have been designed to work in conjunction with a weathervane fitted with a conforming mechanism designed to transmit electrical pulses as it is rotated by a change in direction of the wind. The three electrical connections would be for a common pole and then for pulses sent to either one of the solenoids for moving the arbor in a clockwise or anti-clockwise direction in an increment equal to a one-sixteenth rotation. From the quality of the construction and finish it is highly likely that the instrument was intended for installation into a wealthy environment, whether it be the boardroom of a maritime transport firm or the hallway of substantial country house. Despite the best efforts of the cataloguer we have been unable to find any further information relating to 'Gordons Patent' design of wind direction apparatus.
Lot 37
A FINE AND RARE GEORGE II WALNUT MERCURY DIAL BAROMETERJOHN HALLIFAX, BARNSLEY, CIRCA 1730The 6 inch engraved brass break-arch dial with radial foliate scroll engraved centre within applied silvered concentric scale calibrated in barometric inches 28-31 divided and labelled in tenths and with additional further scale divided 1-30 over the same range to the outer track, the inner margin with annotations Tempestous, Rain Wind or Snow, Changeable, Fair or Frost, Settle Fair or Frost and Very Dry, with scroll-pierced steel hand and spandrels engraved with leafy sprays within a herringbone border, beneath arch centred with a domed silvered boss signed Jn:o Hallifax, Barnsley, Inv't & Fecit flanked by conforming leafy scroll infill and herringbone surround, the case in the form of a longcase clock with block upstand to the domed caddy surmount standing on cross-grain ogee mouldings over additional plinth to superstructure, with cavetto cornice and triple-line bordered break-arch frieze over the glazed dial aperture secured by screws and applied with slender three-quarter columns to front angles, the sides with conforming quarter columns to the rear, the trunk with concave throat moulding over triple-line edged book-match veneered panel infill around a central circular section fitted with a manual pointer for the engraved brass recording ring with concentric scales matching those of the barometer dial above, the box base with stepped ogee top mouldings over conforming book-match veneered panel to fascia and cavetto over ogee moulded inverted caddy to underside, the rear with slender door revealing mercury syphon tube and pulley mechanism for the dial. 124.5cm (49ins) high, 26cm (10.25ins) wide, 11cm (4.25ins) deep. Provenance: A Descendant of the Spencer Stanhope Family of Cannon Hall, Barnsley. John Hallifax is recorded in Goodison, Nicholas ENGLISH BAROMETERS 1680-1860 as the son of the local vicar, born in Springthorpe, Lincolnshire in 1694. The family name was originally Waterhouse but was changed by his grandfather during the previous century. John Hallifax moved to Barnsley and set up as a clockmaker after his father's death in 1711; he had seven children and was succeeded in his business by his fifth son, Joseph (1728-62), after his death in 1750. In addition to Joseph his fourth son, George, also became a clockmaker in Doncaster, where he later twice served as Mayor of the town. John's third son, Thomas, moved to London and became an eminent banker, he served as Lord Mayor and became a member of Parliament. The regard to which John Hallifax was held is evident in the inscription on his tombstone which reads: 'Whose abilities and virtue few in these times have attained. His art and industry were such as his ingenious inventions will be a lasting monument of his merit -- such as recommended him to the favour and esteem of all good men that knew him'. The current instrument belongs to a small series produced by John Hallifax during the second quarter of the 18th century. The glazed front panel over the dial is designed to be removable to allow adjustment whilst the instrument is being set-up but is then secured by screws to prevent tampering. The recording dial in the trunk allows any changes in the pressure to be observed without having to touch the principal dial. Dial barometers by John Hallifax have traditionally been very highly sought-after with examples residing in some of the most important collections of both clocks and instruments as well as fine furniture and objects. One such example was offered at Christie's London in their sale of the Samuel Messer Collection of English Furniture, Clocks & Barometers 5th December 1991 (lot 12) where it achieved £32,000 hammer. More recently another was sold at Tennants, Leyburn in their Autumn Catalogue Sale 18th November 2010 (lot 1404) for £40,000.Condition Report: The barometer is now fitted with a standard wheel barometer syphon tube which is filled with mercury. The pulley assembly is also that from a standard wheel barometer and there is evidence of a different mechanism being fitted at some point. The dial is in clean condition with good strong engraving showing only very slight wear. The hand is missing its tip.The case is in good original condition but with some historic repairs. The superstructure has historic replacements to the ogee cross-grain mouldings (most noticeably to both sides of the lower tier). The rear of the superstructure shows evidence of re-gluing hence it is likely that the barometer at some point was in fairly tired condition with a few sections missing from the mouldings. The cornice moulding has been replaced to the right-hand side and has had a repair to the front left-hand corner; the frieze above the dial also has some patching to the veneers. The glazed front panel has repaired cracks to the arch section and is a little warped; the securing screws are replacements. The trunk has some historic shrinkage to the figured veneers and some patching-in to the banded borders otherwise is in good condition. The side veneers (to both the hood section and the trunk) are in fine condition. The central recording dial has lost its silvering and the hand is a replacement. The base appears all-original but has been re-glued. The front panel also shows some shrinkage/movement within the stringing towards the margins. The rear door appears original. Faults to the case are otherwise limited to age related bumps, scuffs, shrinkage, wear and a few small additional historic repairs to the mouldings. Condition Report Disclaimer
Lot 61
A MAHOGANY-CASED EIGHT-DAY MARINE CHRONOMETERJOSEPH SEWILL, LIVERPOOL, LATE 19th CENTURYThe circular three columnar pillar single chain fusee movement with crescent shaped spotted backplate enclosing the greatwheel with Harrison's maintaining power and the centre wheel, the remainder of the train contained within a smaller circular three-pillar sub-plate including Earnshaw type spring detent escapement regulated by a split bimetallic balance with cylindrical weights and helical invar or palladium balance spring, with faceted diamond destone and blued steel backcock securing screws, the 4.5 inch circular silvered Roman numeral dial with subsidiary seconds dial numbered 5307 beneath signature JOSEPH SEWILL, 61 CASTLE ST., LIVERPOOL., Maker to the Admiralty and WIND DOWN/UP dial flanked by PRIZE MEDAL AWARDED 1867 and INTERNATIONAL EXHIB. 1862 medallions beneath the X and II numerals respectively, with gold spade hands and secured by a screw-down bezel into a lacquered brass bowl with shuttered winding hole to underside, mounted via gimbals into a mahogany two-tier box with glazed top and vacant name panel recess to front, the sides with lacquered brass recessed carrying handles, (lacking top tier to box).The box 19cm (7.5ins) high, 21.5cm (8.5ins) square. Provenance: Private collection, East Midlands. Joseph Sewill was born in Liverpool in 1816 and started up as a watchmaker, chronometer maker, and nautical instrument maker at 61 South Castle St, Liverpool in about 1848. Latterly Joseph went into partnership with two of his sons and is thought to have retired to London in 1862. His son, John Joshua Sewill (d. 1891) succeeded him and headed the business until his death in 1891, The firm was well regarded and opened branches in London (at 30 Cornhill prior to 1882), Glasgow and Locle (Switzerland). In 1867 a chronometer by Sewill won the Greenwich Trials and they became makers to the Admiralty. In the 1874 Greenwich Trials their chronometers came first and third. They also entered pieces into Kew trials, where a karrusel watch was awarded 81.8 marks in 1900. They won an award for 'services to horology' at the Paris Exhibition of 1862, and later became 'Maker to the Queen of Spain'.Condition Report: Movement is in original working condition retaining original spotted finish to the plates, there is some slight discolouration/tarnishing in places and a few light scratches and wear hence would probably benefit from a light clean. The dial again is in original condition with old silvered finish generally in good condition with light spotting and localised discolouration. There is also some form of number (inventory or similar) mark comprising 12 within a circular panel applied between the II and III numerals - this mark appears to be an old ink rubber stamp. The bowl and bezel are in sound original condition retaining old lacquered finish albeit with heavy tarnishing/discoloration to exterior. The gimbals are complete however one of the threaded pivots (at twelve o'clock) has snapped hence the movement cannot currently suspended within the ring; however the pivot is small and of relatively simple construction hence a clockmaker should be able to turn-up a replacement without a great deal of difficulty.The box is in sound original condition however the top tier is no longer present. The front has a vacant recess suggesting that an inset nameplate has been removed (possibly due to being ivory?); otherwise faults are very much limited to minor bumps, scuffs and other minor blemishes commensurate with age or use. Timepiece has original typsy winding key (worn) but no key for the box. Condition Report Disclaimer
Lot 297
MODERN PAINTINGS AND A PRINT, comprising a coastal landscape signed Rhys B Davies '04, approximate size 34cm x 54cm, portrait of a horse signed Baby Smith 2014, a figure playing a wind instrument surrounded by daisies signed B Jorgensen and a print 'The Surrender of Calais to Richard III in 1347' after Robert Edward Pine, the two unglazed paintings are very dirty
Lot 318
A late 18th/19th century Italian oil painting on board of a man dancing with a bear while a boy plays music on a wind instrument and a monkey in a red jacket sits upon the back of another bear, with buildings beyond, 38cm x 31.5cm dated inscription in pencil verso; along with a 19th century sepia sketch of an Italian scene with ships and buildings, unsigned 16.5cm x 26.5cm mounted in a glazed frame, together with Roland Hilder (1905-1993) Weald of Kent, coloured lithograph with Oast houses, signed and numbered 24/175, 17cm x 30cm in glazed frame, watercolour city river landscape 18cm x 27cm in glazed frame, and a framed collage French print 31cm x 42cm Location:
Lot 330
circa 1940, the signed customised white dial, 42mm diameter, with seconds base indication, signed 16 jewel chronometer rated crown wind movement calibre Eb 18500 with pumpkin shaped winder and contact at 8 o'clock, case, 50mm diameter, verso hinged at 6 o'clock, plain and polished, interior signed and numbered 201765, the cuvette similarly numbered and additionally engraved CHRONOMETRE EBERHARD & CO, presented in a fitted bottle-green and gilt tooled standing caseIn the late 1930s, Jean L'Eplattenier, in La Chaux-de-Fonds, devised a revolutionary instrument to quickly conduct a comparative check on the level of oscillations in a watch movement. Patented in 1940, his invention greatly speeded up the testing of watches and is now considered the forerunner of today's digital chrono comparators.It operated by comparing itself to the watch being tested. Once set up it would 'read' the running data of the test watch and compare it to itself, and, if it showed different values, the test watch would be adjusted accordingly. Depending on the watch to be tested, either the "Coïncidence" model on a 15-second base - as this example - or the "Coïncidence" model on a 30-second base was used.(With grateful thanks to Sabina Ahmetovic at Eberhard & Co. S.A. La Chaux-de-Fonds, for her kind assistance in the research of this lot)
Lot 388
circa 1930, series 1, the unsigned circular cream coloured dial, 32mm diameter, with centre chronograph sweep, subsidiary minutes register at six o'clock and subsidiary hour and minute indicator at 12 o'clock, several timing tracks, unsigned and unnumbered Venus 140 mechanical crown wind movement decorated with 'The Côtes de Genève' and with start/stop/reset mono pusher at 4 o'clock, case, 34mm diameter, yellowed perspex crystal, verso snap on with engraved initials, to an aftermarket brown leather strap with pin buckleThe MultiChron Regulator chronograph was introduced by Gallet in 1929 and was specifically designed for applications that prioritised timing over the time of the day. Featuring a small hours and minutes subdial at 12 o’clock, the rest of the dial was an unobstructed view of the chronograph function with a minute register subdial at 6 o’clock. Soon after its introduction, the Gallet Regulator became the time recording instrument of choice for pilots, doctors, technicians and sports professionals, and was the first official wrist-worn chronograph of the Indianapolis 500 races.Powered by the Venus 140, it was originally produced - as with this example - with a single pusher to start, stop and reset the timer mechanism. The second series, introduced in 1935 with an additional pusher, provided the wearer with the ability to start and pause the timer without fully resetting the timer hands back to zero.Internal company documents from 1929 show that Gallet acquired exclusive control of the calibre 140 movement from the Venus company and supplied "private-labelled" regulator watches to Rolex, Girard Perregaux, Harvard (Goerring), and other Swiss manufacturers. Some were supplied 'pre-labelled' and others - as with this example - were supplied 'sterile' to allow companies to apply their own branding.
Lot 266
Tang Dynasty, 618-907 A.D. A group of two ceramic figures, each modelled as a female musician on horseback, each horse standing on a quadrilateral base with one leg raised, head held low and mouth open, with semi-naturalistic anatomical and facial features, dressed tail and moulded saddle, painted head collars and harnesses; both female figures wearing long dresses, leaning to one side of their mount and playing a wind instrument; extensive remains of painted polychrome pigment. Cf. Shaanxi History Museum, Xi'an, for comparable figures. 8.4 kg total, 40.5-41 cm high (16 - 16 1/8 in). Acquired 1990s-2000. Ex D.N. collection. Accompanied by a positive thermoluminescence test certificate no.CJ42522022 issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11245-189433. [2] [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.
Lot 407
*A CHINESE OBOE (HAIDI), 19TH CENTURY the faux bamboo wooden shaft with oval finger holes, the straight brass bocal with openwork globe elements, a detachable brass bell at the other end, remnants of an old ink inscription inside the bell 34cm long The haidi, also known as 'suona', although the latter often refers to a slightly larger version, is a double reed wind instrument with a sound similar to an oboe. It has ancient origins and is traditionally used in ensembles particularly in northern China. For an example of a haidi and a suona in the Hague Gemeentemuseum, see Paul Wolff, 'A Checklist of Musical Instruments from the East and South-East Asian Mainland', The Hague 1989, pp.210-211. ++Bocal with minor dent otherwise very good
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