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Lot 54
Peter Monamy (London 1681-1749)The venerable HMS Eagle making ready to sail from her offshore anchorage, probably at the Nore oil on canvas83 x 122.5cm (32 11/16 x 48 1/4in).Footnotes:ProvenanceAdmiral Sir John Peter Lorne Reid GCB CVO (1903-1973), Bolton.Private collection, UK.Whilst not a retrospective in the accepted sense, this work depicts an elderly 3rd rate, a vessel seemingly from an earlier age, past her prime and in her twilight years. The overly high stern, in conjunction with the elegant side windows of her stern galleries, are both features more typical of the ships-of-war dating to the reign of Charles II and the navy of Samuel Pepys during his hugely influential tenure as Chief Secretary to the Admiralty. Notwithstanding her outward appearance however, the vessel is clearly flying the new 'Red Ensign' introduced into the fleet after the Act of Union with Scotland in 1707 and which alone confirms her longevity. Almost certainly one of Pepys's celebrated 'Thirty Ship Programme' of 1677, a surprisingly large number of those ships (built between 1678 and 1680) were still in service in 1707, although by then all of them would have been altered, repaired or, in some cases, completely rebuilt to reflect the continual ravages of the sea, battle damage or to incorporate periodic changes in armament. As the largest 'class' within the 1677 Programme, the twenty 3rd rates - of which Eagle was one - have since been described by some naval historians as 'the best-looking sailing ships ever completed', but attempting to name a specific vessel within the twenty is complicated by the fact that 'the individual ship design was in each case left to the builder.'It is usual to identify these majestic ships by a careful study of their highly ornate stern carvings which usually include either royal ciphers, regal initials, or other similarly characteristic details. Unfortunately, this handsome bow view robs us of those clues although the distinctive side panes of the stern gallery windows shown here are strikingly similar to those featured on the splendid but short-lived Coronation, a large 2nd rate launched at Portsmouth in 1685. It is interesting to speculate therefore that this vessel might also be a Portsmouth-built ship which narrows the field considerably and offers up two possibilities, namely the Eagle and the Expedition. Of the two, the more likely candidate is the Eagle which, having been repaired and reconditioned at Chatham in 1699-1700, then served with distinction during the War of the Spanish Succession, mostly in the Mediterranean, and was part of Sir George Rooke's fleet which famously took Gibraltar in 1704. By 1707, Eagle was in Sir Cloudesley Shovell's squadron in the Mediterranean which, whilst returning home for the winter, was wrecked on the Isles of Scilly on 22nd October that year due to faulty navigation. This error resulted in one of the most spectacular disasters in the long history of the Royal Navy and this painting may well be a memorial to the loss of a fine old ship and all those who perished in her.Peter Monamy was born in London in 1681, the youngest son of a Guernsey man. Throughout his career he was heavily influenced by the works of Willem van de Velde, the Younger and other North European, Dutch and French masters. Monamy was himself a collector of Van de Velde's drawings and these influenced his development as a maritime painter resulting in numerous commissions from mercantile and naval patrons, including the famous Channel Island's naval families, the Durrels and the Saumarezs. In 1726, he was elected a Liveryman of the Company of Painter-Stainers, to which he presented a very large painting of the 'Royal Sovereign at anchor' which still remains in their collection. Although his paintings usually depict actual ships, they rarely record specific events as, up until 1739, his career coincided with a long period of peace. From the 1730s until his death, Monamy was at the centre of London's artistic life and was a friend and companion of Hogarth, sometimes collaborating with the celebrated younger artist. Despite his many commissions however, he was never particularly prosperous and also painted decorative pictures specifically for commercial galleries and dealersFor further information on this lot please visit Bonhams.com
Lot 14
Registration No: LWT 406HChassis No: BA96JR73548MOT: ExemptFinished in Blue Mink metallicAn ideal candidate for circuit racing, hillclimb or touring eventsBuilt into its current high specification in Oregon, USA during 2002The Cortina was Ford's mass-market compact car and sold extremely well. It was produced in five generations, the Mk. I through to the Mk. V although officially the last one was called the Cortina 80. With variants of the Cortina reaching sales of over one million, each successive model proved more popular than its predecessor. Such was its fame in the UK, that the Poet Laureate at the time, Sir John Betjeman, included it in one of his poems: ‘I am a young executive. No cuffs than mine are cleaner; I have a Slimline briefcase and I use the firm's Cortina.’ In response to the huge success of the Mini, Ford responded not with a small car but with a larger family offering which they could sell in large numbers. The result was the Cortina; a distinctively styled car aimed at buyers of the Morris Oxford and Vauxhall Victor, launched on 20th September 1962. With eye-catching modern styling, it was originally branded as the Consul Cortina until a modest facelift in 1964, after which, it was sold simply as the Cortina but with four trim levels; Standard, Deluxe, Super and GT.Starting life as a June 1969 Dagenham-built Ford Cortina 1500 GT, this car was built into its current configuration in Oregon, USA during 2002. Starting with an "immaculate, rust-free, undamaged bodyshell", it was first taken to the track by its builder and the current vendor - a well respected engine builder on both sides of the pond. Currently fitted with a 'fresh' all-steel, FIA-legal Lotus Twin-Cam of 1598cc with twin 45 DCOE carbs, putting out an estimated 168bhp, this professionally-built and extremely well-specified competition car is offered with a pre-sale estimate that’s a fraction of the build cost.The paint is an unusual choice for a Lotus Cortina - Blue Mink Metallic, but perhaps more importantly, the panels onto which it’s applied are remarkably straight and show no signs of filler or corrosion (meaning an easy conversion to a fast-road showcar is certainly an option for the purchaser). The windows are polycarbonate, with a sliding panel in the driver’s side and also pull-out vents in the rear screen to encourage a bit of through-flow on hot days. The door mirrors are lightweight plastic items and there is a battery cut-off switch on the car’s right-rear hip. The car is de-bumpered and the original fuel-filler in the rear panel has been welded up and skilfully blended into the surrounding bodywork (the only touch of filler on the car apparently) leaving the filler for the fuel cell in the boot. The front screen is still glass and the car rides on 6x13 Compomotive Minilite-style wheels and road legal tyres.At the back, there’s a small racing battery in the right side-well of the boot and a large long-distance fuel cell in the centre. Fuel is moved via a Facet-type electronic pump mounted to an inner wheel arch and there are also steel reinforcing plates for the axle-locating links and the Panhard rod. It’s remarkable to see factory spotwelds and seam sealer under the paint - the shell has survived amazingly well. The cabin is not as ruthlessly stripped as some tin-top racers and all the better for it, with custom-made door cards, an intact full-width dash and period-looking sports steering wheel. The twin racing seats (currently fixed, not sliding) are FIA-approved, but the harnesses will need replacing with in-date items. Peer under the steering column and you’ll find an ingenious braking bias bar. It works with a pair of master cylinders he’s installed, one for the front brakes and one for the back, and so can be tweaked quite easily between outings until you hit perfection.There is a Safety Devices half-cage installed; this will need to be upgraded to a full cage for British and European circuit events but the front half remains available from Safety Devices and the existing rear half already has brackets to accept it. There’s a fire extinguisher fixed to the cage behind the drivers seat - once again, depending on the type of competition, the next owner may need to replace it with one that’s plumbed to a nozzle in the engine bay.Starting and running well during our recent photography session, 'LWT 406H' bursts into life almost immediately with a loud, rapid crackle to be expected from a race-specification engine. There’s only one small silencer in the side-exit exhaust system which may require further baffling to ensure the car complys with some strict UK circuit noise tests.The engine is built to a high no expense spared specification with a forged crankshaft and conrods, forged aluminium pistons and large valves, plus full race cams. The eye-catching BRM cam cover is one of a short run that our vendor had cast from the original pattern; the engine bay also housing a strut brace and a large alloy radiator / oil cooler (originally to cope with Californian heat). The gearbox is a Ford Type 9 five-speed with Quaife internals and the suspension has been substantially altered to race standard. At the front, stiffer springs and damping, a 1-in anti-roll bar on alloy mounts and adjustable track control arms. At the rear, the axle location is controlled by a pair of rose-jointed links going back to mountings on the boot floor and by a Panhard rod, set up to lower the rear axle’s roll centre. There are custom-made leaf springs. The car runs a plated limited-slip differential and at the front, vented disc brakes. The original invoice from 2002 detailing the build specification is in the file (from our vendor to the original customer), along with a couple of other invoices paid by the first owner and communication between him and the FIA enquiring about technical points. There’s also the car’s logbook from the Society of Vintage Racing Enthusiasts (SOVREN) in America detailing the car’s chassis number, the inspector’s comments and a couple of ‘OK to race’ sign-offs from April and May 2002.This 'Super Saloon' offers a very realistic and potentially competitive entry into Historic Motor Sport, but would also be equally at home for fast-road use and touring.For more information, please contact:Adam Sykes07429600332adam.sykes@handh.co.uk
Lot 169
A FRENCH LOUIS PHILIPPE PORCELAIN INSET ORMOLU MANTEL CLOCKThe dial signed for André with movement stamped for S.G. Huller, Paris, circa 1845The circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension and stamped S.G. HULLER, A, PARIS to the upper left hand margin of the backplate, the circular white enamel dial signed ANDRÉ A PARIS to centre within blue Roman numeral chapter ring incorporating foliate gilt painted cartouche divisions, with blued steel spade hands within a gilt fluted concave bezel, the rococo case with bold leafy finial over strapwork scroll cast surround to the dial and generous foliate rocaille bordered swollen apron panel inset with a porcelain plaque finely polychrome painted with a floral still life, the sides with integral cast large scale foliage around blind-hatched infill, on generous scroll cast feet incorporating further hatched panel infill and palmette to apron between.39.5cm (15.5ins) high, 25cm (9.75ins) wide, 12.5cm (5ins) deep. Provenance: The Selwyn Demmy Collection.Condition Report: Movement appears complete and original with no visible evidence of alteration or significant replacements. Although the movement is in working condition the mechanism is somewhat dirty/neglected hence a clean/service is required. The dial has some slight chipping to each of the winding holes otherwise appears to be in good original condition. The case is in fine original condition with strong gilding with very little wear and only a few minor patches of discolouration. The porcelain panel appears free from damage or visible restoration. The case back panle is lacking two (of its four) decorative securing screws.Clock is complete with pendulum and a winding key. Condition Report Disclaimer
Lot 11
A VICTORIAN BRASS BOX SEXTANT PRESENTED TO GENTLEMAN CADET A. JOPP OF THE EAST INDIA COMPANYElliott, London, circa 1857circular top plate with screw for rack and pinion index mirror adjustment against a fine inset silver Vernier scale with magnification arm and signature Elliott, 268 High Holborn, London to outer margin, the circumference with sliding shutter for the pin hole sight, the instrument enclosed by a bayonet secured canister-shaped cover, the original blue velvet lined cylindrical red morocco covered box with brass presentation plaque to top finely engraved with the text Presented at the Public Examination, on the 12th June 1857., to Gentleman Cadet Keith A. Jopp., by the Hon'ble Court of Directors, of the East India Company, as a mark of the Courts approbation, of his attainments in Military Surveying, while at the Military College. Diameter of instrument 8cm (3.125ins); diameter of box 9cm (3.5ins). The current lot is almost certainly by the partnership of the brothers Frederick Henry and Charles Edward Elliott Elliott who are recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as continuing the family business after the death of their father in 1853. The life of Keith Alexander Jopp has been extensively researched by the vendor; a file including scans of original period photographs is included with the lot. Keith Jopp was born in July 1838 at Ooctacamund, Southern India. His father was a Major in the Bombay Engineers of the East India Army. Keith attended Cheltenham College and was nominated to attend the East India Military Training College at Addiscombe. In 1858 Keith Jopp entered into Sappers and Miners of the Bombay Engineers as an Ensign elevating to 2nd Lieutenant by the time he arrived at the HQ of the Bomaby Engineers in Poona, India in May 1859. By December 1969 he had reached rank of 2nd Captain of the Royal Engineers (the Bombay Engineers had been renamed a few years prior) but was on furlough in England. In 1872 he returned to Bombay but was back again in England before the year was out to marry Mary Egerton Smith with whom he had two daughters Leila in 1873 (who sadly died in infancy) and Clara the following year.In April 1874 Jopp was promoted to the rank of Major and was back in Bombay by the end of the year. Over the next decade he travelled back and forth between England and Bombay however in 1879 his wife Mary sadly died in Kensington which led to a period of special compassionate leave. In November 1884 Keith Jopp was furloughed again but was back in Bombay in December the following year having been promoted the Lieutenant Colonel, Royal Engineers. He was by this time Deputy Consulting Engineer, 1st Grade in the Public Works Department at Madras and by time of his retirement in 1891 he had been further promoted to rank of Colonel. In the 1901 census Keith Jopp was recorded as a retired Colonel residing at 69 Eaton Rose, Ealing; by 1911 he had moved to Atheldane, Westgate-on-Sea, Kent and his death was recorded at Thanet in spring 1920. Condition Report: Instrument appears complete and is in working condition albeit with some noticeable wear and light bumps, scuffs etc. The mirror has some noticeable degradation of the silvering to the margins, the Vernier scale has only light rubbing/wear but is still legible when viewed through the magnification lens. The cover is in good condition. The outer case has survived in good original condition although the hinge has been re-attached to the base section. The instrument is a very snug fit and the outer leather covering has some light bumps, scuffs etc. Condition Report Disclaimer
Lot 213
A FINE QUEEN ANNE/GEORGE I 'TORTOISESHELL' JAPANNED EIGHT-DAY QUARTER CHIMING LONGCASE CLOCKJohn Faver, London, circa 1715The substantial six pillar triple train bell striking movement with plates measuring 8.75 by 7.25 inches, anchor escapement regulated by seconds pendulum and chiming the quarters on a nest of six graduated bells, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the finely matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll-pierced steel hands and fine mask and scroll cast spandrels to angles beneath arch centred with a convex boss signed John Faver, Gerrat Street, London within herringbone border over Strike/Silent selection switch flanked by conforming cornucopia and scroll cast mounts, the simulated tortoiseshell japanned case with gilt landscape painted domed caddy surmounted box upstand, architectural cornice and floral spray decorated upper quadrants above the glazed hood door with alternating gilt floral and trellis band decoration and applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with floral trail painted throat over rectangular door decorated in raised silver highlighted gilt with a stylised oriental garden trellis landscape populated by an equestrian hunting party under a solar disc, the surround with trellis banded panels alternating with foliate trails and landscape infill, the sides with birds in flight over large leafy sprays, the plinth base decorated with floral still life within conforming trellis panel border over double skirt.257cm (101ins) high, 51cm (20ins) wide, 25.5cm (10ins) deep. A John Faver is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London before 1759. Baillie suggests that 'Faver' maybe an anglicisation of the French name 'Fauvre' and that John Faver may well be connected to Henry Fauvre. Loomes in Volume 2 further notes a date of 1741; it is likely that John Faver had Huguenot roots and was a fine maker with two watches in the collection of the Fitzwilliam museum. The combination of quarter chiming movement and highly decorative, finely proportioned tortoiseshell japanned case results in the present clock being a particularly impressive example which would have been the height of fashion during the second decade of the 18th century.Condition Report: Movement is complete and appears all original with no visible evidence of alteration or significant replacements. Although the going and strike trains are operational the quarter train requires adjustment and the movement is generally in slightly dirty neglected condition hence requires a gentle clean/service before putting into service. The silvering to the chapter ring, seconds ring, calendar ring and signature boss has been cleaned-off at some point otherwise dial is in good original albeit discoloured/dirty condition and retains its original hands. The movement retains its original seatboard which rests directly onto the side uprights of the trunk (cheeks) with no evidence of alteration hence we are of the opinion that the movement and dial are original to the case. The dial however does sit a little low in the dial aperture - this is due to the seatboard sagging due to the substantial weight of the three weights.The case is generally in very good condition with no structural issues or evidence of alteration/significant replacements and would in essence appear to be very well preserved. The decoration is correctly executed using appropriate pigments and gilding and has genuine age hence may well be original; however the lack of overall fading, rubbing, wear and build up of grime on the surface gives a fairly 'fresh' appearance which would lead some to suggest that the case may well have been faithfully redecorated perhaps in the early 20th century. There is/are general losses, cracking and flaking to the finish which on the whole is fairly minor however the trunk door has some localised retouching mainly to the raised areas of gilt just above and to the right of the lenticle and also to the figures beneath. This small amount of touching in appears to have been done a while ago which would support the view that the rest of the decoration has significant age. The panel that forms the vertical face of the box upstand of the hood superstructure appears to be a replacement (the original may well have been fretwork); the quadrants flanking the arch also appear to be replacements most likely also replacing fretwork. These two areas have been decorated to match the rest of the case however on close examination the decoration differs a little in the pigments and gilding. The capitals to the rear quarter columns of the hood appear to be replacements and are not of the quality of those of the front three-quarter columns.The clock has pendulum, three brass cased weights but not case key or winder. The trunk door is currently locked.Condition Report Disclaimer
Lot 549
MUHAMMAD ALI; a framed and glazed montage of Muhammad Ali 'Cassius Clay' including an autographed 'Life' magazine from March 6th 1964, a photograph of Ali in a knock-out fight with Sonny Liston, with a certificate of authenticity, 40 x 51cm. CONDITION REPORT Please note that the original signature of Muhammad Ali has faded with time, as has the colour of the front of the Life magazine. The imprint of the signature can still be seen.
Lot 619
Four bound volumes of 'Country Life' magazine, 1911-1913. CONDITION REPORT All covers with some damage, the undated volume is torn to the top of the spine , water damage to the front cover bottom right, spine is loose, the 1912-13 is the same but the spine is in worse condition although it is still bound together, the 1912 edition has tears to the top and some marks to the covers but is bound, the 1911 issue no large tears but with scuffs and water damage etc, all volumes have foxing.
Lot 151
Emillio Greco, Still life of flowers in a vase and fruit on a ledge, oil on canvas, signed lower right, 102 x 76cm Condition Report: Good condition overall, with few areas of visible damage, except minor marks and surface scratches, as well as a clearly visible mark to the top left of the canvas and another slightly to the right of this.
Lot 178
Collection of prints and pictures, to include a chalk and pencil portrait of a young lady, 24 x 18cm, printed engraving portrait of Lieutenant General Talmash, hand-coloured print of a viaduct, print of an Elizabethan lady, still life watercolour on board, signed Bob Eckersley, a watercolour of a seascape, signed Ariel Madden and dated 1995, a print of a leaf, signed Anne Ravenscroft, and an embroidered picture after Lowry (8)
Lot 195
Collection of prints, pictures and photographs, to include M Howard, Still life of flowers, oil on board, signed and dated 1989, 60 x 50cm, botanical print, 44 x 38cm, a hand-coloured engraved map of Yorkshire by J Cary, 22 x 26.5cm, a vintage photograph of a high street, 43.5 x 54cm, pastel of a rural street, signed John Lewis and dated 1935, 26 x 22cm, a map of Sussex, print of a bridge at Rydal, print of Henry VIII, coloured engraving of children playing boules, engraving of buildings of Horse Guards, London, hand-coloured engraving of mountainous landscape, print of girl with goats and ducks, a vintage photograph of a gentleman and a vintage photograph of a school football team (14)
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