A PAIR OF GEORGE IV 12-INCH LIBRARY TABLE GLOBES BY J. AND W. CARY, LONDON, THE TERRESTRIAL PUBLISHED 1826 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, DELINEATED, From the best Authorities extant:, Exhibiting the late Discoveries towards the, NORTH POLE, and every improvement in Geography, to the present Time., LONDON: London. Made & Sold by J. & W. Cary, Strand, Jan'y 4 1826., extensively annotated with fully graduated equatorial calibrated in minutes and degrees, ecliptic and meridians, the Pacific ocean with an analemma of the 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 panel inscribed CARY'S, NEW CELESTIAL GLOBE, ON WHICH, are currently laid down upwards of 3500 stars, Selected from the moft accurate observations, and calculated for the year 1800, with the extent of each constellation precisely delinat., By NR. GILPIN of the ROYAL SOCIETY., Made & Sold by J. & W. Cary, Strand... (date indistinct but probably Jan. 1st 1816), with fully graduated equatorial and ecliptic with twilight zone, the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown in seven 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, annotations for the Zodiac, calendar scales and wind directions; each supported on mahogany tripod stand incorporating quadrants supporting the horizon ring, over ringed baluster upright and downcurved supports fitted with compass stretchers and terminating with brass cup castors each 69cm high, 43cm diameterThe 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. John and William Cary first introduced their 12 inch table globes on 1798 with the terrestrial periodically updated up until at least 1829.An almost identical pair by Cary sold Christies 7th April 2021, lot 96 $17,500. Condition Report: Terestrial - sphere is intact and apparently free of significant impacts or cracks. There is a slight glancing blow to the surface in the Caribbean and an old filled puncture near the Azores. A large section of the varnish has been carefully removed from the Pacific ocean revealing faded surface. The gores have noticeable openings where they meet most noticeably at the top pivot. Faults are otherwise limited to surface varnish loss, scuffs, fading and varnish browning. The sphere turns within the brass ring with nothing loose inside. The brass fittings are complete but in heavily tarnished condition. The horizon ring has a triangular scarf timber repair replacing a small section of the paper and there is general wear/losses and cracking to the papers. The underside of the ring shows evidence of it being broken and glued back together in two places. The stand is basically in sound original condition. The quadrants are missing three (of their eight) 'ears' where the join with the horizon ring. The compass is missing its needle and the paper is heavily browned/torn. The compass housing also has a crack to the circumference. Faults to the stand are otherwise limited to age related bumps, scuffs and wear.Celestial - Sphere has three significant filled impacts, there is also a puncture and the polar pivot areas have losses/distortion to surface. Otherwise faults are generally limited to bumps, scuffs and other age-related blemishes as well as browning to the varnish. The sphere will turn without rattles however it is no longer central within the brass ring so is prone to rubbing the horizon. The horizon ring is in similar condition to that of the terrestrial but with touched-in triangular patch (rather than veneer). The underside of the ring shows evidence of it being broken and glued back together in one place. The stand is missing five ears and two of the quadrants have been broken and glued near the junction with the upright. The compass is in similar condition as is the rest of the stand as the terrestrial.DUE TO THE NATURE OF THE CONDITION OF THESE GLOBES THIS REPORT CANNOT BE SEEN AS FULLY DEFINITIVE. PLEASE SEE ADDITIONAL DETAIL IMAGES AVAILABLE ON REQUEST WHICH FORM AN INTEGRAL PART OF THIS CONDITION REPORT. Condition Report Disclaimer
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A Two-day Marine Chronometer, maker John Fletcher, London, formerly in use aboard U.S.S North Star, serial number 1751, the blue-steeled vernier movement with 4 inch silvered dial signed as per title, Roman numerals subsidiary seconds and wind down dials contained within a lacquered bowl gimballed mount together with tipsy key in a three-tier brass bound case with ivorine plaque 'U.S.S North Star', retailer's labels for NorthWest Instrument Co. Seattle numbered 1251, the case 19 cm x 18.5cm x 18.5cm.
SAND GEORGE: (1804-1876) French novelist. A very fine A.L.S., G Sand, four pages, 8vo, Palaiseau, 30th November (1866), to [Gustave Flaubert] (´mon camarade´), in French. The novelist writes, in full, ´´There would be a good deal to say on all that, my comrade. My Cascaret, that is to say, the fiance in question, keeps himself for his fiancee. She said to him, “Let us wait till you have accomplished certain definite work,” and he works. She said to him, “Let us keep ourselves pure for each other,” and he keeps himself pure. It is not that he is choked by Catholic spiritualism; but he has a high ideal of love, and why counsel him to go and lose it when his conscience and his honour depend on keeping it? There is an equilibrium which Nature, our ruler, herself puts in our instincts, and she sets the limit to our appetites. Great natures are not the most robust. We are not developed in all our senses by a very logical education. We are compressed in every way, and we thrust out our roots and branches when and how we can. Great artists are often weak also, and many are impotent. Some too strong in desire are quickly exhausted. In general I think that we have too intense joys and sorrows, we who work with our brains. The labourer who works his land and his wife hard by day and night is not a forceful nature. His brain is very feeble. You say to develop one’s self in every direction? Come, not all at the same time, not without rest. Those who brag of that, are bluffing a bit, or if they do everything, do everything ill. If love for them is a little bread-and-butter and art a little pot-boiler, all right; but if their pleasure is great, verging on the infinite, and their work eager, verging on enthusiasm, they do not alternate these as in sleeping and waking. As for me, I don’t believe in these Don Juans who are Byrons at the same time. Don Juan did not make poems and Byron made, so they say, very poor love. He must have had sometimes—one can count such emotions in one’s life—a complete ecstasy of heart, mind and senses. He knew enough about them to be one of the poets of love. Nothing else is necessary for the instrument of our vibration. The continual wind of little appetites breaks them. Try some day to write a novel in which the artist (the real artist) is the hero, you will see what great, but delicate and restrained, vigour is in it, how he will see everything with an attentive eye, curious and tranquil, and how his infatuations with the things he examines and delves into, will be rare and serious. You will see also how he fears himself, how he knows that he can not surrender himself without exhaustion, and how a profound modesty in regard to the treasures of his soul prevents him from scattering and wasting them. The artist is such a fine type to do, that I have never dared really to do him. I do not consider myself worthy to touch that beautiful and very complicated figure; that is aiming too high for a mere woman. But if it could certainly tempt you some day, it would be worth while. Where is the model? I don’t know, I have never really known any one who did not show some blemish in the sunlight, I mean some side where the artist verged on the Philistine. Perhaps you have not that blemish; you ought to paint yourself. As for me I have it. I love classifications, I verge on the pedagogue. I love to sew and to care for children, I verge on the servant. I am easily distracted and verge on the idiot. And then I should not like perfection; I feel it but I shouldn’t know how to show it. But one could give him some faults in his nature. What ones? We shall hunt for them some day. That is not really what you are working on now and I ought not to distract you from it. Be less cruel to yourself. Go ahead and when the afflatus shall have produced everything you must elevate the general tone and cut out what ought not to come down front stage. Can’t that be done? It seems to me that it can. What you do appears so easy, so abundant! It is a perpetual overflow, I do not understand your anguish. Good night, dear brother, my love to all yours. I have returned to my solitude at Palaiseau, I love it. I leave it for Paris, Monday. I embrace you warmly. Good luck to your work´. A letter of wonderful content and excellent association. A couple of small, light stains, and a small area of paper loss affecting a few words of text, otherwise about VGGustave Flaubert (1821-1880) French novelist and a close friend of Sand despite their differences in temperament and aesthetic preference.Sand had dedicated her novel Le Dernier Amour to Flaubert in 1866, the same year as the present letter. The ´Cascaret´ whom Sand refers to at the beginning of the present letter is understood to be her adopted son, Francis Laur (1844-1934), an inventor, industrialist and politician.
1st millennium B.C. Hollow-formed D-section figure of two musicians standing side-by-side in floor-length robes, one with a wind instrument held to her lips and the other with a pouch, perhaps a version of the Roman tibia utricularis. 98 grams, 10 cm (4 in.). Acquired on the German art market, 1989-1995. with The Museum Gallery, 19 Bury Place, London, WC1, UK, 1998-2003. Property of a London based academic, 2003-present. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.
AFTER CLAUDE MICHEL, CALLED CLODION (1738-1814), A TERRACOTTA GROUP OF A SATYR With the Satyr/faun possibly representative of Pan, playing a wind instrument with two infant satyrs playing below, signed to cast Clodion 42cm high, 30cm wide Literature: Anne L Poulet and others, Clodion 1738-1814, Louvre Museum 1992, no. 78 "Satyre jouant de la flute avec deux satyres enfants dansant", 1783 For a comparable example of this model, please see Sotheby's New York, European works of Art, 28th November 1980, lot 220. Additionally please see Bonhams London, Important Design, 25th April 2018, lot 76. Condition Report: With some- wear, marks, knocks and scratches as per age, handling, use, and cleaning notably visible to extremities of the whole with small losses to hair, edges of base, repair to his left hoof and small chips. The whole dirty with remnants of wax (?) and engrained dirt to surface. Although the whole fluoresces under UV this would seem to be surface dirt- not signs of restoration. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
A BRASS BUGLE, CHATTISGARH, EASTERN INDIA, 19TH CENTURY of tapered crescent shaped form, with beaded and ropework decoration in relief, the mouthpiece at the top near the narrow end, mounted, 40cm long For a near identical instrument in the Victoria and Albert Museum, London, see inv. no. IS.233-1950 Slightly worn, mostly good
German porcelain blanc de chine figure in 18th Century dress and standing by a stump on a rococo plinth base, H.24.5cm; pair of Meissen style figures, H.11.5cm, (both a/f); Naples group with a male and female playing a wind instrument with a lamb, other porcelain group; 9 Staffordshire fairings, spill vases, other figures, and a small quantity of Goss and other crested ware, etc., (many a/f). (a lot)
Exceptionnel compas en ivoire et ébène, à deux ventaux ouvrants et tons dorés, signé 'M Le Bovrgeoys a Lisieux', daté 1595An exceptional, historically important, French diptych dial signed 'M Le Bovrgeoys a Lisieux' and dated '1595' in Ivory, dark hardwood, gilt-brass volvelle and fittings, the inscriptions and numerals in red, black and goldThe dial composed of two hinged wooden leaves together along one of the shorter ends, the outer face of one leaf (Ia) is veneered with two thin sheets of ivory and a joining strip, and the instrument can be held closed by four gilt-brass clasps Side IaThe upper two thirds are filled by a circular diagram containing in the upper semi-circle the names of the twelve months and within this two semi-circles giving the hour and minute of daybreak, labelled as 'Poinct dv iovr' and crepuscule, 'Iour failli' (nightfall); the volvelle also carries the names of eighteen places:Canarie, Lisbonne, Le baldolir[?], la Rochelle, Paris, Saxe, Romme, Cracouie, Macedonne, Troye, Rodes, Ephese,Anthioche, Babilonne, Margano, Malacha, Le Chaire [Cairo], ThebetThe purpose of this is to give the local time in the places named as a function of the time where the dial is in use. There is as well a table of the 'Latitvdes des villes' given in degrees and minutes for fifty-six towns and regions mainly in Europe, North Africa and the Near East. The upper corners are adorned with partly draped female figures emblematic of astronomy, one holding a ring dial, the other an astrolabe schematically represented. Side IbThe upper half of the leaf carries a concentric zodiacal calendar marking the correspondence of the zodiacal signs with the months of the Gregorian calendar written in gold on a brown ground contained within an applied ivory border with stiff leaf decoration. Within the calendar is a concentric ring of ivory carrying a scale for the days of the month written anti-clockwise and a double hour scale.Side IIaThe top half of the leaf contains a recessed compass with thirty-two wind names written in gold on a sky-blue ground. The date of construction of the dial 1595 is written in the empty space between IIII and VIII, and the compass is surrounded by formal symmetrical foliate decoration. Beneath the compass is a pin-gnomon dial drawn for 'Hevres antiqves ov jvdaiques (unequal hours) which cross a set of lines for the equal hours. Beneath the diagram are the four terms 'Prime, Tierce, Sixte, Nonne' and the inscription 'les quatre parties du jour artificiel', that is the four principal divisions of the Christian day. 20cm wide, 12.5cm deep, 2.5cm high (7 1/2in wide, 4 1/2in deep, 0 1/2in high) Footnotes:ProvenancePrivate European CollectionLiteratureGeorges Huard, 'Thomas Piquot et les portraits de Marin Bourgeoys', Aréthuse, 1927.Eric Mercier & Paul Gagnaire, 'Le Cadran de Ruzé de Beaulieu', Cadran Info (Société Astronomique de France) hors série, 2016, 32-53.Eric Mercier et Paul Gagnaire, 'Sur le 'Petit Traité de l(')analem(m)e vertical' de M. Le Bourgeoys (1599)', Cadran Info (Société Astronomique de France) N° 34, 2016, 55-68.Denis Beaudouin †, Paolo Brenni †, Frédéric Soulu & Anthony Turner, A Bio-bibliographical Dictionary of precision Instrument-makers and related craftsmen in France & Switzerland, 1430-1960 = https://bibnum.explore.psl.eu/admin/item/A remarkably large, very early, and complex French diptych dial which predates an unsigned dial of similar layout and complexity although very slightly smaller, and confirms the hypotheses of Mercier & Gagnaire about it. These two dials predate such other dated French diptych dials as are currently known and are distinct from these, which were probably made in Paris, in style and complexity. There are however some similarities, especially in the painted lettering and decoration between the two groups, suggesting that the instruments designed by Bourgeois may have been made for him by Paris tabletiers.Marin Le Bourgeois (c.1560-1634) was a painter and sculptor, born into an artisan family of locksmiths, crossbow-makers and clock-makers. His talent in painting early caught the attention of François de Bourbon, duc de Montpensier, governor of Normandy. In 1591 he was appointed his regular painter before, in 1594, receiving the charge of Valet-de-Chambre and painter to the king, an appointment that he retained for the rest of his life. Among his protectors was Martin Ruzé, seigneur de Bealieu (1527-1613), secretary of state and Grand master of the Mines of France. Bourgeois presented a number of his works to Ruzé, including a surviving ivory diptych dial carrying Ruzé's ams, dated 1598. The following year he presented him with a sun-dial 'table' which he described in a surviving manuscript. Between 1600 and 1604 Bourgeois installed a complex hydraulic system in the château of Outrelaise at Gouvix which incorporated automaton figures of birds that sang and drank. In 1608 he was among the first group of artists to receive a lodging in the Louvre, although he seems to have continued to live in Lisieux. Married to Florence Lefebvre, they had one daughter, Antoinette (d.1640). Although Bourgeois probably died in Paris, he was buried in the church of St Germain in Lisieux.Bourgeois was a multi-talented craftsman similar in profile to other Renaissance 'Artist-engineers'. David Rivault, sieur de Fleurance described him in his Les Clemens de l'artillerie (Paris 1608, Bk vi, pp. 4-5), as 'a man of the rarest judgement in all kinds of inventions, of the most cunning imagination, and the most subtle hand for manipulating the tool of whatever art, to be found in Europe'. Bourgeois was equally an excellent painter, a rare sculptor, musician, and astronomer, able to manipulate iron and brass more delicately than any artist knows how. From his hand, the king has a polished steel plate where His Majesty is represented to the life without engraving, casting or paint, only by fire which this subtle craftsman placed there weaker or stronger in different parts, according as the figure there needed to be light, brown or obscure. For Henry IV, Bourgeois created a celestial globe that showed the movements of the Sun, the Moon and the stars.We would like to thank Anthony Turner for his assistance in cataloguing this lot.This lot is accompanied by a CIC.This lot is subject to CITES regulations. It is the buyer's responsibility to investigate such regulations and to obtain any necessary import or export certificates for export outside the European Union. Please contact the department for further details.Ce lot est soumis aux restrictions de la CITES. En cas d'exportation hors de l'Union Européenne, des formalités devront être réalisées et seront sous la responsabilité de l'acheteur. Veuillez contacter le département pour plus de détails.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
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
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
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