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STUDIO POTTERY. A GLAZED STONEWARE MODEL OF A COTTAGE WITH GARDENER, ON ROUND BASE, 20CM H, C1980, AN UNUSUAL STONEWARE MODEL OF A STEAM LOCOMOTIVE IN BLACK AND TENMOKU GLAZES, 18CM H, INDISTINCTLY MARKED, C1975, A CHARLES D. FOSTER HAND BUILT STONEWARE MODEL OF A GREENHOUSE, 20CM H, IMPRESSED MARK, DATED 1979, A PAINTED AND LUSTRED EARTHENWARE GROUP OF PUNCH AND JUDY, 17CM H, LATE 20TH C, TWO HAND BUILT STONEWARE FIGURES OF A KING AND BISHOP, 33CM H AND SMALLER, C1970 / 80 AND A PAULA HUMPHRIS HAND BUILT AND PAINTED EARTHENWARE FIGURE OF A KNIGHT ON HORSEBACK, 27CM H, IMPRESSED MARKS, LATE 20TH C
A fine French Empire ormolu figural mantel clock ‘Hercules’ Gentilhomme, Paris, early 19th century The eight-day circular two train countwheel bell striking movement with anchor escapement regulated by a disc bob pendulum with silk suspension, the circular white enamel Roman numeral dial signed Gentilhomme, Palais Royal a Paris to centre and with steel moon hands within a fine milled gilt bezel, the case cast as the bearded Hercules standing draped in the Nemean lion skin resting his right hand on a substantial wooden club and supporting his left elbow on a tree stump housing the movement and dial whilst holding forward the golden apple of the Hesperides, The plinth base applied with mount cast as a trophy incorporating mask centred lion skin, bow and quiver flanked by canted angles decorated with snake entwined arrows and with laurel wreaths to sides, the lower edge with simple gilt skirt over substantial cast lions paw feet, 48cm (19ins) high. Gentilhomme is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Paris circa 1810/25 whilst Tardy in DICTIONBAIRE DES HORLOGERS FRANCAIS lists them as working from Galerie de Pierre circa 1810-20. An almost identical clock can be seen in Niehuser, Elke French Bronze clocks on page 64 and a similar model in Ottomeyer, Hans and Peter Proschel, Peter Vergoldete Bronzen on page399.
A fine George II lacquered brass, shagreen, and lignum vitae Culpeper double-reflecting compound microscope Edmund Culpeper, London, circa 1730 With sliding brass shutter to eyepiece threaded into ogee shaped moulded lignum vitae top section above gilt-tooled green vellum covered draw-tube with inked focus staging lines sliding into a brass and lignum collared green rayskin outer tube and fitted with long tapered brass tube objective lens to lower section, the whole raised on three fine baluster turned supports with circular stage fitted with a slider clamp to central oculus and pivoted light condenser lens, the lower section with three further taller brass canted baluster supports over circular ogee moulded base fitted with pivoted concave mirror to the concentric ring decorated top surface, in original oak pyramidal box with an apron drawer containing frog plate, two additional objectives, five bone sliders and canister for glasses and brass wire retainers, a circular glass fish plate engraved with three concentric lines and signed Culpeper Fecit within brass outer rim and other items, the interior back panel applied with crossed daggers and instrument trade label inscribed E. Culpeper Sculp. London to lower left, (eyepiece holder incomplete, box lacking most of its mouldings and door lock) the instrument 36cm (14.25ins) high closed; the box 44.5cm (17.5ins) high excluding later ring handle. Edmund Culpeper is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working 1700-37. He adopted the Crossed Daggers motif of his former master Walter Hayes to whom he was apprenticed in 1684. In 1706 Culpeper took over Hayes' shop located at ‘The Crossed Daggers’ in Moorfields London, later moving to the ‘Black & White House’ in Middle Moorfields in 1731 and finally ‘Under the Piazza’ at the Royal Exchange, London, where he is believed to have remained until his death in around 1740. The Culpeper trade card shows instruments made by his firm, these included surveying devices, quadrants, sundials, globes, and optical instruments such as the screw-barrel microscope and spectacles. Culpeper invented the tripod compound microscope sometime between 1725 and 1730, and made at least five major modifications in the years before his death. All models consisted essentially of two platforms, each supported by three turned brass pillars, with one set of pillars alternating in position with the other. The first model had platforms of wood. All later models, including the current lot, had brass platforms. Attached to the upper platform is a tube covered in stained shagreen. The microscope body draw tube, made from vellum covered cardboard, fits within the outer support tube. Focussing is accomplished by pushing the body tube up or down, with the position being maintained by friction between the vellum covering of the draw-tube and the inner surface of the support tube. There are also inked lines drawn on the body tube corresponding to the parfocal position of different objectives. The current instrument has survived in fine original unrestored condition having been in the same family ownership for as long as anyone can remember. It also retains almost all of its accessories which include a glass fishplate scratch-engraved with Culpeper’s signature.
A rare rose-gilt brass 'Atmos' timepiece Jaeger-LeCoultre for Türler, model 519, late 1940’s The single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended at the base of the movement and numbered 23719 to suspension platform, the circular rose-gilt on cream baton numeral chapter ring with Arabic quarters and inscribed TURLER to the bezel at six o’clock, the rectangular glazed case with canted angles to the lift-off ‘bell jar’ cover over conforming plinth base incorporating bubble level within inscribed border ATMOS, JAEGER LECOULTRE, FAB. SUISSE, SWISS MADE to the engine-turned interior, with balance locking lever to front and adjustable feet to underside, 23.5cm (9.25ins) high. According to John Hubby of the NAWCC Jaeger-LeCoultre sold Atmos clocks with the Türler name inscribed on the bezel or imprinted on the dial from circa 1935 to 1955. There however appears to be no other evidence of a commercial arrangement Jaeger LeCoultre and the watchmaking firm Türler.
A Naval brass and black japanned Waymouth-Cooke pattern sextant-type rangefinder Thomas Cooke and Sons, London and York, circa 1915 The sight with eyepiece focus adjustment opposing twin prism assembly within the casing at the objective end adjusted by rotating the vertical concentric scale applied to the side of the instrument calibrated for height in feet to outer ring and range in yards to inner, the centre inscribed T. COOKE & SONS LTD LONDON & YORK, WAYMOUTH-COOKE NAVAL RANGE FINDER PAT. No. 1599/1914 around a knurled adjustment collar to centre, in mahogany box with neck strap and support rod, the box 28.5 (11.25ins) wide. The firm of Thomas Cooke and Sons was established in York by Thomas Cooke in 1837 where he built a factory at Bishophill in 1855. Thomas died in 1868 and was succeeded by his sons. At the outbreak of the First World War the Bishophill factory was redeveloped to cope with the growing demand for defence products.Vickers Ltd acquired control of the firm in 1915 and oversaw its expansion until they merged with Troughton & Simms of London, in 1922 becoming Cooke, Troughton & Sims.The first model of this sextant type stadimeter was developed during WWI (around 1914). The MkII came into production around 1917 and had a shortest focussing distance of 22 feet.
An Aynsley Wild Tudor pattern pedestal bowl; a Royal Worcester Silver Jubilee pattern cake plate; Royal Crown Derby Posies pattern trinket dishes; a USSR model of a seated elderly lady; Aynsley Royal Family commemorative plates; Staffordshire teacups and saucers; a Dresden inkwell; glassware; etc

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625820 Los(e)/Seite