3rd November 2015 catalogue

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Charles Miller Ltd

Charles Miller Ltd

Maritime and Scientific Models, Instruments & Art London Tuesday 3rd November 2015

6 Imperial Studios, 3/11 Imperial Road, London, SW6 2AG Tel: +44 (0) 207 806 5530 • Fax: +44 (0) 207 806 5531 • Email: enquiries@charlesmillerltd.com

London Tuesday 3rd November 2015

Charles Miller Ltd

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Auction Enquiries and Information Tel: +44 (0) 207 806 5530 Fax: +44 (0) 207 806 5531 Email: enquiries@charlesmillerltd.com

Sale Number: 016 Code name: ENCOUNTER Enquiries Charles Miller Sara Sturgess

Catalogue £18 plus postage

Online Catalogues and bidding www.charlesmillerltd.com

Historical Consultant Michael Naxton Charles Miller Ltd 6 imperial Studios, 3/11 imperial Road LONDON SW6 2AG

This catalogue is available to download with the Auction Net App available free from the App Store Listen to the Auction Live: +44(0)20 7806 5535

Important Information for Buyers All Lots are offered subject to Charles Miller Ltd.’s Conditions of Business and to reserves. The Conditions of Business for Buyers are published at the end of the catalogue.

Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”.

A Buyer’s Premium of 20% is applicable to all lots in this sale. Excepting lots sold under Temporary Import Rules which are marked with the symbol ‡ (see below), the Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Lots offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all buyers.

Sale venue: 25 Blythe Road, London W14 0PD

Lots marked with the symbol ‡ have been imported from outside the European Union (EU) to be sold at auction under Temporary Import Rules. When released to buyers within the EU, including the UK, the buyer will become the importer and must pay VAT at the rate of 5% on the hammer price. The Buyer’s Premium will be subject to the standard VAT rate at 20%.

Buyers outside the EU will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request.

Absentee/Telephone Bidding

Charles Miller Ltd. will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition in the saleroom.) This service is offered free of charge.

Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven working days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept major credit cards (regrettably we are unable to accept American Express), for which a surcharge will be made of 4% of the transaction total. There is no charge for payments made by UK debit cards.

International debit cards are subject to 4% surcharge. Payments over £2,000 must be made by bank transfer; cash payments above £6,000 will not be accepted without prior arrangement.

Charles Miller Ltd. can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and will assist in the application for any export licences which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements.

For lots imported from outside the EU, the following VAT symbols are used:‡

For items over 100 years old: import VAT of 5% payable on whole hammer price, less premium (a further 20% is payable on the premium.)

Ω

For items under 100 years old: import VAT of 20% payable on whole hammer price, less premium (a further 20% is payable on the premium.)

†

For lots sold from within the EU, if the client is VAT registered and not using the Auctioneers’ Special Scheme, full VAT at 20% is levied on the hammer price

and premium. cover: lot 127 back cover: lot 106

Part view & Post sale collection: 6 Imperial Studios, London SW6 2AG

Please complete, sign and return the form on page 127. If you wish to bid by telephone this is strictly by availability and must be booked by 12pm on Monday 2nd November.

Payment

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)

Electronic transfers may be sent directly to our Bank (please add any additional bank charges ensuring we receive the full receipted amount):

If a lot is affected by this right it will be identified with the symbol δ next to the lot number. The buyer agrees to pay to Charles Miller an amount equal to the resale royalty and we will pay such amount to the artist’s collecting agent. Resale royalty applies where the hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:

HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG

Royalty For the portion of the Hammer Price (in Euro) 4.00% 3.00% 1.00% 0.50% 0.25%

up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000 in excess of 500,000

invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Since 1st January 2012 Droit de Suite extends to the estates of artists deceased for up to 70 years

Account Name: Charles Miller Ltd Account Number: 01754750 Sort Code: 40-19-04 IBAN Number: GB47MIDL40190401754750 BIC.: MIDLGB2128K Swift Code: MIDLGB22

Storage On receipt of cleared funds, lots can be collected from Charles Miller Ltd.’s premises at 6 Imperial Studios, 3/11 Imperial Road, London SW6 2AG. Please note that collection is BY APPOINTMENT on +44 (0) 207 806 5530. All lots should be cleared within a month of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

Post Sale Collection If a lot is robust enough to be posted at the buyer’s risk, we will do our best to oblige for a modest admin charge. We are not professional packers and will only use what second-hand materials are to hand and cannot accept responsibility for lots which are lost or damaged in transit. We strongly suggest that complex/fragile/large lots are referred to a shipper for quotation purposes before the sale - please ask for details.

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Charles Miller Ltd Maritime and Scientific Models, Instruments & Art TO BE SOLD BY AUCTION AT 25 Blythe Road, London, W14 0PD

Tuesday 3rd November 2015 at 11am, precisely

POST SALE COLLECTION Important Notice: Lots not collected by 5pm on day of sale will be available on Wednesday 4th November after 2pm from: Charles Miller Ltd, 6 Imperial Studios, 3/11 Imperial Road, London, SW6 2AG

Public Exhibition Sunday 1st November

12pm-4pm

Monday 2nd November

10am -5pm

Tuesday 3rd November (Limited View Only)

10am-11am

Order of Sale Pictures Naval Fittings & Collectables Instruments Models

This auction is conducted by Charles Miller Ltd in accordance with our Conditions of Business printed in the back of this catalogue.

1-47 50-93 95-135 138-262 265-305

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Explanation of Cataloguing Practice Pictures A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist.

“Builder’s/Prisoner-of-War-Style…”

In our opinion a modern model which is built closely conforming to the typical types of examples found within the genre.

In other cases, the following expressions with the following meanings are used:

“Restored…”

In our opinion an original model which has been to a lesser or greater extent restored in some or all areas.

The condition report may attempt to detail more precisely which areas these are.

“Attributed to…”

In our opinion probably a work by the artist in whole or in part.

“Studio of…”

“Workshop of…”

In our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Circle of…”

In our opinion a work of the period of the artist and showing his influence.

“Follower of…”

In our opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of…”

In our opinion a work executed in the artist’s style but of a later date.

“After…”

In our opinion a copy (of any date) of a work of the artist.

“Signed…”

“Dated…”

“Inscribed…”

In our opinion the work has been signed/dated/inscribed by the artist. The addition of a question mark (?) adds an element of doubt.

“With signature…”

“With date…”

“With inscription…”

In our opinion the signature/date/inscription/stamp is by a hand other than that of the artist.

Models “Builder’s model…”

In our opinion a model produced in the workshops of the yard.

“Boardroom model…”

A model which has been produced under contract by a professional modelling firm for the yard.

Catalogue produced by Pardy & Son (Printers) Ltd

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“Restored overall…”

In our opinion a model or object which has been restored in every context, including fixings and mounts.

Model Scales Where possible indications are given of model scales, in some instances these are provided by individual modellers, or worked out from measurements.

Measurements These are provided in order of Height x Width x Depth, unless otherwise stated. Where it is not possible to separate the model from the case, overall measurements are taken from the widest point of each surface.

Condition Condition may be mentioned in italics within brackets at the end of a description; detailed condition reports may be had from CM Ltd. prior to sale and are for reference only. Clients should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them. All statements provided by Charles Miller Ltd. are honestly given, however our staff are not trained conservators or restorers and accordingly any statement given will not be exhaustive. Ø PROPERTY INCORPORATING MATERIALS FROM ENDANGERED SPECIES (CITES) Lots which will require CITES licences are denoted by the symbol Ø An export licence issued by the Department of the Environment will be required for the export of any item made of or incorporating (irrespective of percentage) animal material such as ivory, whalebone, tortoiseshell, rhinoceros horn, rosewood and lignum vitæ etc., and this may take up to eight weeks to obtain. Clients are advised to check with the regulating body in the country of importation regarding any possible restrictions on the importation of items within this category – some countries have an absolute ban on the importation of certain materials. For example, the United States Government has banned the import of ivory into the USA and generally prohibits the importation of articles containing species that it has designated endangered or threatened if those articles are less than 100 years of age.

Lots which are affected by Artist Resale are denoted by the symbol δ. See the inside cover for more information.

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Pictures

Lot 45 (Detail)

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MARITIME PAINTING & ART various standard reference works and catalogues raisonnés, including: Archibald’s Dictionary of Sea Painters, 2nd edition, 1989; Arnold Wilson, Dictionary of British Marine Painters, 1970; L.G.G. Ramsey, Montague Dawson, 1st edition, 1967; Alex. A. Hurst, Thomas Somerscales, 1988; K.S. Fischer & Alex. A. Hurst, Anton Otto Fischer, Marine Artist, 1977; Roger Finch, The Pierhead Painters, Naïve Ship-Portrait Painters, 1750-1950, 1983; Davidson & Tibbles, Fifty Ship Paintings by Francis Hustwick, 1999; Peter Neill, Maritime America, Art & Artifacts from America’s Great Nautical Collections, 1988; and other volumes (2), all excellent condition, mostly with dust jackets, a useful lot for the enthusiast (10) This lot will be available for viewing at Imperial Road £150-200 2.

N.R. OMELL’S ANNUAL MARINE PICTURE CATALOGUES a series from 1974-2009 (17), all different; together with miscellaneous maritime auction catalogues from Christie’s, 19882012 (8) and Sotheby’s, 1991-2008 (13); Bonhams Traditional River Craft (at Henley) catalogues (5) and four Christie’s South Kensington catalogues of Shipping Posters, no duplicates, all excellent condition (47) This lot will be available for viewing at Imperial Road £80-120 3.

BONHAMS (LONDON) MARITIME CATALOGUES a rare lengthy run of Bonhams (London) Maritime catalogues, August 1993-2013 inclusive, including the July 2005 Trafalgar Bicentenary sale; together with others similar for January 1990, August 1989, October 2014 and April 2015, all as issued, with official price lists, a fine archive source (60) This lot will be available for viewing at Imperial Road £250-300 4.

CHRISTIE’S (LONDON) MARITIME CATALOGUES a near complete run of Christie’s (London) Maritime catalogues, 1991-2010, lacking only the October 2005 Trafalgar Bicentenary sale and that for November 2006; and one from Christie’s Amsterdam (September 2000), all as issued, mostly with official pricelists, a fine archive source (43) This lot will be available for viewing at Imperial Road £200-250

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CHRISTIE’S (NEW YORK) MARITIME CATALOGUES a complete run of Christie’s (New York) Maritime catalogues, 20032009 inclusive; together with two similar Marine catalogues by Bonhams America, all as issued, some with official price lists, a good archive source (19) This lot will be available for viewing at Imperial Road £80-120 6.

SOTHEBY’S (LONDON) MARITIME CATALOGUES A near complete run of Sotheby’s (London) Maritime catalogues (20), 1991-2008 (lacking only May 1992), including the October 2005 Trafalgar Bicentenary sale; together with a miscellaneous but useful selection of other London Maritime catalogues (30), from Bonhams, 1997-2013 (16) and Christie’s, 1998-2012 (14), no duplicates, many with printed pricelists, all excellent condition, a very good lot for the researcher (50) This lot will be available for viewing at Imperial Road £150-200 7.

ATTRIBUTED TO THOMAS SEWELL ROBBINS (BRITISH, 1810-1880) A fishing boat with yachts racing beyond Watercolour heightened with white 11½ x 15¼in. (29 x 38.5cm) £200-400 8.

BRITISH SCHOOL, 19TH-CENTURY Two Views of the Harbour at Greenock Watercolour heightened with white Initialled and inscribed ‘CPP June 14.1875’ (lower left); and ‘CPP 1875’ (lower right) 12 x 18¼in. (30.5 x 46.5cm.)

(2, a pair) £300-500

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9.

JOHN THOMAS SERRES (BRITISH, 1759-1825) The Harbour at Weymouth Pen, ink and watercolour Signed and dated ‘J.T. Serres 1805’ (lower right on gunwale of rowing boat) inscribed with title Weymouth upper left on ship’s stern.

17½ x 22in. (44.5 x 56cm.) £2000-3000

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10.

CIRCLE OF NICHOLAS MATTHEW CONDY (BRITISH, 1815-1861) A yacht, probably of the Royal Thames Yacht Club, in the Thames Estuary with Channel packet beyond Oil on canvas 14 x 18in. (35.5 x 46cm.) £250-350

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ENGLISH SCHOOL, 19TH-CENTURY A three-masted brig being escorted by a paddle tug at dusk Oil on canvas Bears signature and date ‘C Dixon / 1886’ (lower right) 30 x 20in. (76.5 x 51cm.)

Provenance: Christie’s South Kensington British and Continental Pictures, 8th March 2006, lot 1106. £200-300

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12. δ PHILIP MARCHINGTON (BRITISH, 1934-) The Pacific Steam Navigation Company steam Paddle Ship ‘Santiago’ in a swell Oil on canvas Signed ‘Philip Marchington’ (lower left) 28 x 40in. (71 x 101.5cm.) £400-600

13.

LOOS FAMILY OF ANTWERP (BELGIUM, 19TH-CENTURY) The S.S. ‘De Ruyter’ in US coastal waters, circa 1875 Oil on canvas 24 x 29in. (61 x 73.5cm.) £400-500

14 14 CHARLES TAYLOR (BRITISH, FL. 1836-1871) A paddle steamer in a stiff breeze Watercolour heightened with white Signed 'Char Taylor' (lower left) 15 x 28½in. (38 x 72.5cm.) £300-500

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CHARLES EDWARD DIXON (BRITISH, 1872-1934) The Thames at Greenwich, 1897 Watercolour Signed, dated and inscribed ‘Charles Dixon. 97 Greenwich’ (lower left) 10½ x 29½in. (27 x 75cm.)

16.

CHARLES EDWARD DIXON (BRITISH, 1872-1934) A view of a busy New York Harbor with the Statue of Liberty beyond Watercolour Signed, dated and inscribed ‘Charles Dixon 99 / - Langham Sketch -’ (lower right) 10 x 21¾in. (25.5 x 55.5cm.)

Provenance: With Oliver Swann Galleries, London label to verso.

21 x 40in. £3000-5000

Provenance: With Oliver Swann Galleries, London label to verso. £2000-3000

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JOSEPH MALLORD WILLIAM TURNER (BRITISH, 1775-1851) North Foreland Lighthouse, Kent, circa 1793-1795 Wash over pencil on wove paper Old label to reverse inscribed ‘Formerly the property of J.L. Roget (from Mr. Vaughn’s collection)’ 10 x 7½in. (25.5 x 19cm.)

Turner, a frequent visitor to the Kentish coast, produced several washes of local scenes in the mid-1790s. For other examples from the series see Sotheby’s, British Picture Sale, 22nd March 2005, lot 94: A boat anchored in a harbour; Christie’s London, British Art on Paper, Thursday, June 9, 2005, lot 32: A boatbuilder’s yard, Dover; Sotheby’s, The British Sale, March 22, 2000, lot 119: Boats in the harbour at Dover.

£4000-6000

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ATTRIBUTED TO CHARLES TAYLOR (BRITISH, FL. 1836-1871) A schooner rigged yacht of the Royal Yacht Squadron sailing off Cowes Watercolour with scratching out 7 x 21in. (18 x 53.5cm.) £200-300 19. δ M. AUBERT (FRENCH, 20TH-CENTURY) A schooner rigged yacht under full sail Watercolour heightened with white over French passage planning chart for the Petites Antilles circa 1934 Signed and dated ‘M Aubert MCMLXXXIII’ 11½ x 18in. (29 x 46cm.) £200-400

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20.

WILLIAM LIONEL WYLLIE (BRITISH, 1851-1931) A pair of sketches for the launching of a lifeboat Pencil 7½ x 4¾in. (19 x 12cm.)

Provenance: Trade labels for Colin Denny Limited; and the Warehouse Gallery, London attributing these sketches from a sketch portfolio.

(2, a pair) £250-350

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CHARLES EDWARD DIXON (BRITISH, 1872-1934) The Royal Yacht ‘Britannia’ racing at the Rothesay Regatta; ‘Zenita’ Wins the King’s Cup; the Royal Yacht [‘Victoria & Albert III’] at Rothesay; and the Fleet at the tail of the Bank Grisaille and watercolour The lower three graphics signed ‘Charles Dixon’ (lower left), dated 1920 (lower left) and initialled ‘CD’ (top left) 17½ x 29in. (44.5 x 73.5cm.)

22. δ GEORGE HENRY DOWNING (BRITISH, 1878-1940) Portsmouth Harbour viewed from a yacht builder’s yard Watercolour Signed in ink and inscribed in pencil ‘Geo. H. Downing / The Harbour Portsmouth’ (lower left) 9¾ x 13¾in. (25 x 35cm.) £300-500

Provenance: N.R. Omell: Marine Paintings of the 18th, 19th and 20th Centuries, 1986, item no. 35. £2500-4000

23.

CHARLOTTE LANGTON (BRITISH, D. CIRCA 1845) A View of Cowes Castle, circa 1825 Watercolour 7½ x 12in. (19 x 30.5cm.)

Provenance: From an album with Abbott and Holder Ltd private collection. £400-800

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CHARLES EDWARD DIXON (BRITISH, 1872-1934) J-Class yachts racing off Cowes Watercolour heightened with white Signed ‘Charles Dixon 1920’ (lower left) 8 x 17½in. (20 x 44.5cm.) £1500-2000

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25. δ ARTHUR BRISCOE (BRITISH, 1873-1943) The Royal Yacht ‘Britannia’ racing off Cowes Watercolour Signed ‘A. Briscoe .33’ (lower right) 6½ x 9½in. (16.5 x 24cm.)

Provenance: With the Trion Galleries, London. £600-800

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26. δ NEVILLE SOTHEBY PITCHER (BRITISH, 1889-1959) His Majesty’s Yacht ‘Britannia’ racing at Cowes, 1913 Watercolour heightened with white Signed ‘N. Sotheby Pitcher’ and inscribed as per title (lower right) 20 x 15in. (51 x 38cm.) £800-1200

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CHARLES EDWARD DIXON (BRITISH, 1872-1934) Beginning of the Cowes Week, August 6th 1904 Watercolour heightened with white Signed ‘Charles Dixon’ (lower left); with artist’s title to old label on verso 12½ x 17½in. (32 x 44.5cm.) £2000-3000

28.

EDWARD OGILVIE (BRITISH, FL. 1870-1900) The Austro-Hungarian Imperial and Royal Yacht Squadron yacht ‘Rovenska’ bearing the Commodore’s pennant and passing the Royal Yacht Squadron, Cowes, circa 1892 Watercolour heightened with white Signed ‘E. Ogilvie’ (lower right) 8 x 14½in. (20 x 37cm.)

The short-lived Austro-Hungarian Imperial and Royal Yacht Squadron was co-founded in 1891 by H.I. & R.H. The Archduke Carl Stephen of Austria (1860-1933). An enthusiastic yachtsman, he also served as its first Commodore, being succeeded by the ill-fated Archduke Franz Ferdinand (18751914). Basing their own pennants closely on those of the Royal Yacht Squadron’s, the Archduke owned several yachts over the years, but in 1892 he had three yachts comprising the two two-ton sloops Rovenska (ex-Riduna) and Adamkula, and the steam yacht Ossero, all of which were registered to the port of Lussingrande, now part of Western Croatia. Of the two sloops, the Rovenska had been provided with a new suit of sails by Lapthorn & Ratsey in 1892. In addition, he was also made a member of the Yacht Racing Association that year and it would be plausible to suggest this picture was painted to commemorate the new Imperial Yacht Squadron’s first appearance at Cowes, sporting new English sails and with the Squadron’s signal mast dressed overall in welcome.

£600-800

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29 29. δ GUY L’HOSTIS (FRENCH, 1945-) The ‘Xamura 40’ Passing the Needles Watercolour Signed ‘G L’Hostis’ (lower left) 15½ x 22in. (39.5 x 56cm.) £300-500

30 30. δ FRANK HENRY MASON (BRITISH, 1876-1965) ‘Britannia’ sailing off Cowes with naval escorts Watercolour heightened with white Signed ‘Frank. H. Mason’ (lower left) and inscribed ‘Cowes, Aug 4.21’ with naval ship’s names along lower border reading ‘Resolution’; ‘Utah.USA’; ‘Terpsichore’; ‘Cariad’; and ‘HM Escort TBD’ (H.M.S. Tartar G43).

15¼ x 23in. (38.5 x 58.35cm.)

Provenance: The Boardroom, Balfour Darwins Steel, Sheffield. £2000-3000

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WILLIAM FREDERICK MITCHELL (BRITISH, 1845-1914) The Royal Yacht ‘Victoria & Albert III’ with H.M. King Edward VII aboard Watercolour heightened with white Signed ‘W. Fred Mitchell / Jan 1903’ (lower right) and numbered 2120 (lower left) 10½ x 13¾in. (25 x 35cm.) £1000-1500

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32. δ CHARLES EDDOWES TURNER (BRITISH, 1883-1965) H.M.S. ‘Sheffield’ Watercolour heightened with white Signed ‘C.E. Turner’ (lower left) 16 x 23in. (40.5 x 58.5cm.)

Provenance: The Boardroom, Balfour Darwins Steel, Sheffield. £400-600

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33. δ AFTER SIR MUIRHEAD BONE (SCOTTISH, 1876-1953) The fo’castle of H.M.S. ‘Resolution’, viewed from the bridge, with the ‘Royal Sovereign’ beyond Folio print Signed in pencil ‘Muirhead Bone’ and blind stamped ‘MB’ (lower right) Pl. 15 x 11in. (38 x 28cm.) £100-400

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34. δ JAMES D. LISHMAN (BRITISH, 20TH-CENTURY) S.S. ‘Discovery’ viewed from the Embankment with Waterloo beyond, circa 1950 Oil on canvas Signed ‘James Lishman’ (lower right); with gallery labels and inscriptions to reverse including artist’s title: Early Morning / Thames Embankment / London 20 x 30in. (51 x 76cm.) £200-400

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35 35.

GIACOMO D’ESPOSITO (ITALIAN, 19TH-20TH-CENTURY) The training ship H.M.S. ‘Cruiser’ under sail Oil on board Signed ‘D’Esposito 1890’ (lower left) 14 x 20½in. (35.5 x 52cm.)

A Second Class steam screw sloop, Cruiser was launched 1852 and completed the next year; A veteran of the Crimean War, her engines were removed in 1872 (hence the lack of any funnel in this picture) and she became a sail training ship. Often seen in the Mediterranean, she was renamed Lark in 1893 and broken up at Malta in 1912.

£300-500

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36.

WILLIAM MACKENZIE THOMSON (BRITISH, FL. 1870-1892) The Guion Line armed merchant cruiser ‘Alaska’ under way, circa 1885 Watercolour heightened with white Signed ‘W.M.Thomson / New Brompton’ (lower left) 11 x 17in. (28 x 34cm.)

An express steamer for the short-lived but famous Guion Line (later absorbed into Canadian Pacific), Alaska held the prestigious ‘Blue Riband’ between 1881 and 1884. She, along with her sister ship Arizona, were the first ships to be listed as Armed Merchant Cruisers - although neither in fact ever carried guns, W.M. Thomson’s picture provides a glimpse of how they might have looked.

£200-400 37.

ENGLISH SCHOOL, 19TH-CENTURY The masted turret-deck battleship H.M.S. ‘Inflexible’ under sail and steam, circa 1881 Initialled and inscribed in pencil ‘SD May / 81’ (lower right) Watercolour heightened with white 11½ x 17½in. (29 x 43cm.) £150-250

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38.

ANTHONY BRANDRETT (BRITISH, 20TH-CENTURY) The Boston Tea Party — first light 17th December, 1773 (The Morning After) Oil on canvas Signed ‘Anthony Brandrett’ (lower left) 28 x 46in. (71 x 117cm.)

This interesting picture represents the culmination of several years’ research, and a further two years on the easel before the artist was satisfied it represented an accurate account of this seminal event in American history. Typically the only images seen are the same few period engravings, often themselves done several years later, and often copying each other (together with their attendant inaccuracies) suggesting few, if any quality depictions survive. What is not generally recalled by artists is the inconvenient fact that the actual “Tea Party” - where the Sons of Liberty, some dressed as native Indians, ditched the cargoes of tea into the sea - took place at night making it much harder for artists to represent the scene.

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Using maps and period references, the waterfront, or more specifically the long-lost Griffins Wharf, has been re-constructed as accurately as possible; as has the disposition of the three East India Company ships at the centre of the action - the Dartmouth, the Eleanor, and the Beaver. The men who met on the evening of the 16th December initially did so in the Faneuil Hall (the white building on the left in the painting). That however proved too small and so they transferred to the Old South Meeting House (seen here with a steeple on the right). News of the infamous Tea Act (and the implied right for the UK government to tax the Colonies) had reached them whilst the ships were in transit and so allowed time to consider a response. Numbering up to 130, the chairman (Samuel Adams) lost control of the meeting and the men, intent on taking direct action, spent three hours tipping some 342 cases of tea over the sides of the ships. This picture shows jubilant crowds assembling early in the morning with some pushing floating tea chests under the water. The British repercussions were swift and draconian and lead directly to the War of Independence in 1776.

£10000-15000

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39 39. δ TIMOTHY THOMPSON (BRITISH, B.1951) English and Dutch warships off the Dutch Coast Oil on canvas Signed ‘Tim Thompson’ (lower left) 20 x 30in. (51 x 76cm.)

Provenance: Christies’s South Kensington, Maritime Paintings Sale, 30st May 1991, Lot 115. £1000-1500 40. δ 41.

JAMES HARDY (BRITISH, 20TH-CENTURY) JAMES MILLER HUGGINS (BRITISH, FL. 1836-1849) A squadron of the Red whaling in the Arctic A frigate of the Royal Navy sailing off a headland with lighthouse Oil on canvas Watercolour Signed ‘JAMES HARDY’ (lower right) Signed ‘JM Huggins’ (lower right) 30 x 50in. (76 x 127cm.)

8 x 10in. (20 x 25.5cm.) £250-350 Provenance: Christie’s South Kensington, British & Continental Pictures, 19th July 2006, lot 2123. £500-700

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42.

ATTRIBUTED TO JOHN THOMAS SERRES (BRITISH, 1759-1825) San Sebastian, northern Spain, from the north-west, with Mount Urgell in the distance.

Pencil, pen and ink, and watercolour 8 x 21¾in. (20.5 x 55.5cm.) £1000-1500

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43.

JOHN CLEVELEY THE YOUNGER (BRITISH, 1747-1786) A British frigate and other shipping off the coast of Tenerife Pen, ink and watercolour Signed ‘J.Cleveley’ (lower left) and inscribed ‘Tenerife’ on mount 7½ x 10¼in. (19 x 26.4cm.) £500-800

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44. δ FRANK WATSON WOOD (BRITISH, 1862-1953) Training Ships at Gosport Watercolour heightened with white Signed ‘Frank Wood 1912’ (lower right); oringal gallery label for Harris & Sons, Plymouth no. 8224 and dated 23rd August 1912 9 x 21½in. (23 x 55cm.) £1000-1500

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45.

GEORGE STAINTON (BRITISH, 1838-1900) Prison hulks lying off Portsmouth Oil on canvas Signed ‘G. Stainton 1880’ (lower right) with artist’s title on verso inscribed ‘Morning / G. S.’ 9¼ x 12in. (23.5 x 30.5cm.) £600-800

45

46.

ALBERT HERBERT (BRITISH, 19TH-CENTURY) Prison hulks lying off Portsmouth with fishing boat in foreground Watercolour Signed ‘A Herbert / 43’ (lower left) 6¾ x 9¾in. (17 x 25cm.)

Provenance: Fine Art Society London Ltd 1963 label to verso. £400-600

46

47.

WILLIAM LIONEL WYLLIE (BRITISH, 1851-1931) H.M.S. ‘Victory’ at Portsmouth Watercolour Signed ‘WL Wyllie’ (lower left); label to reverse inscribed This watercolour is inscribed on the reverse ‘H.M.S. Victory Saluting an Argentine Cruiser’ 8 x 12½in. (20 x 32cm.) £600-800 48-49 No Lots

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Naval

Lot 53 (Detail)

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50

50 A SUBSTANTIAL OAK FRAME SECTION FROM H.M.S. VICTORY IN SERVICE CIRCA 1765-1922 with carpenters rase marks inscribed along one side reading No.39 rr x 1814x X [or] VIIII / I\, with three large iron and alloy pins extruding from the obverse with a single pin on the reverse (old wear, marks, holes etc., rase mark partially rubbed) — 6 x 76 x 13in.

(15 x 193 x 33cm.)

Provenance: H.M.S. Victory, removed between 1922 and 1959; sold to Victory Ltd in 2000 and Victory Oak Ltd, 2006.

Literature: McGowan, A: H.M.S. VICTORY / Her Construction and Restoration, Caxton Editions, 1999, p.93.

A ‘rase mark’, made using a special rase knife, is a Timber Master’s method of instructing the carpenters as to the location of beams that needed to be removed or repaired in refits, thus a ship could generate huge numbers which needed to be put back in the right place. This beam is thought to have come from deep within the main body of the ship from the upper deck area have been decoded “Beam Number 39 (Richard Mosebury) 1814 9 [or] 13 feet above [replaced]”, indicating that it was the thirty-ninth beam (in a location known only to the Timber Master), and was originally either nine or thirteen feet in length - the confusion being caused by the ‘X’ being either the Roman numeral for ‘10’, or a cancelled ‘1’. The Timber Master responsible was Richard Mosebury - there being no Timber Master using the initials ‘rr’, it is likely these copy marks were made by an illiterate carpenter. Although this repair took place in 1814, the beam has several witness marks suggesting it’s much older and likely to have formed part of the original build.

This lot will be available for viewing at Imperial Road £10000-15000

50 (Detail)

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51 51.

AN OAK KNEE SUPPORT FROM H.M.S. VICTORY, IN SERVICE CIRCA 1765-1922 the shaped knee with remnant rase marks inscribed [N]o 1792 x 1815 (old pin holes and cut marks, wear, rase marks partially missing, evidence of old worm damage), approximately — 10 x 35 x 15in. (25.5 x 89 x 38cm.)

Provenance: H.M.S. Victory, removed between 1922 and 1959; sold to Victory Ltd in 2000 and Victory Oak Ltd, 2006.

Literature: McGowan, A: H.M.S. VICTORY / Her Construction and Restoration, Caxton Editions, 1999, p.132.

This beam once formed part of the rider frame assembly and was one of a pair of beams which supported the main knee in the lower hull. The rase marks are hard to determine partly because the lower half of the latter number is missing, it having been carried over on to a sister timber which is long gone, but continuing the straight-line lettering, it is possible

to accurately complete them. Whilst the exact location is now lost to history - Timber Masters not recording their numbering systems for posterity - it is thought this one came from the environs of the orlop deck.

The beam has witness marks that show it was part of Victory’s original construction in 1765; foremost amongst these is the damage caused by using iron pins - normal before copper sheathing was introduced but phased out as refits allowed thereafter. The problem had been recognised in 1768, but it was only in 1783 that the Admiralty actually issued an order to replace iron bolts with copper. The Victory was copper sheathed in 1780 but it was not until her Great Repair of 1800-1803 when approximately 88% of her was replaced that the problem was finally resolved with these deeply embedded sections. In addition, as Victory was nearing completion in 1765, the War with France came to an end and so the rush to complete her was no longer pressing. Laid up in ordinary for several years, there is still evidence of the white wash and green paint used then as a preservative prior to her being fitted for service.

This lot will be available for viewing at Imperial Road £10000-15000

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52 52.

A RARE BOOKCASE/DISPLAY CABINET MADE FROM FOUDROYANT OAK AND COPPER BY GOODALL, LAMB & HEIGHWAY, CIRCA 1899 modelled as a ship’s stern and quarter lights with copper strap hinges and banner inscribed 1798 FOUDROYANT 1801, carved wreaths and rope border, rudder head and securing chains, copper maker’s provenance label secured within — 40 x 64 x 19in. (101.5 x 162.5 x 48cm.)

Item no.36 in Goodall’s catalogue is described as Wall Cabinet in ‘Foudroyant’ oak, with finely-modelled copper enrichments, &c. Suggested by the stern of the ‘Foudroyant’. £60. 0s 0d. Originally there would have been a shaped taffrail with lamps and a profile of Nelson in copper.

£4000-6000 53.

A PORTABLE WRITING BOX MADE FROM THE TIMBER OF THE ‘FIGHTING’ TÉMÉRAIRE, CIRCA 1840 with fitted compartments and lower paper drawer with inset handle, the lid with period paper provenance label stating the timber is from the riding bits —3¼ x 9¼ x 7¼in. (8.2 x 23.5 x 18.5cm.)

Téméraire (1798-1838) - originally known to her crew as the ‘Saucy Téméraire’ - achieved her greatest fame and praise at the Battle of Trafalgar. It was this battle which substituted ‘Saucy’ to The ‘Fighting Téméraire’: Second in the line after Victory, she fired a broadside upon the French 74-gun Redoutable which was in combat with Victory, checking a boarding attempt which the French were about to make. In response the top-men on Redoutable flung grenades and fire balls on Téméraire until her deck and stern were ablaze. Whilst an apparent cripple, a second enemy vessel, the French 80-gun Fougueux came to the starboard side determined to board her. The broadside Téméraire unleashed at less than 50 yards flung the French assault into confusion and, in the chaos, she crashed into Téméraire, was lashed fast and 28 men leapt aboard: within ten minutes British colours were hoisted.

Subsequent famous images of Téméraire lashed on either side with her prize and Victory’s prize set her firmly in the nation’s affections, but perhaps the most famous picture associated with her is Turner’s affectionate yet wistful canvas which depicts her under the tow of a smoking steam tug, out dated and on her way to the Beatson’s breakers yard where much of her timber was sold for building work, and small souvenirs such as this box. £1000-1500

53

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55

54.

A FOUDROYANT TIMBER HALL CHAIR, CIRCA 1898 the shaped back carved with life buoy with banner inscribed Foudroyant and the date ‘1798-1897’ above, the reverse of the backrest inscribed ‘Vere’, foliate etching to seat and turned legs joined by an H-stretcher, — 37½in. (95cm.) high £400-600 55.

A GOLD MOUNTED SNUFF BOX MADE FROM THE TIMBER OF H.M.S. VICTORY, EARLY 19TH-CENTURY the lid with profile of Nelson formed of Tassie’s compound with disc inside inscribed ‘From / Lt GENERAL HAY, / to his Friend / A. LEITH ESQr. / of / Freefield’ with further roundel on underside inscribed ‘Form’d / from a Splinter / H.B.M.S. / Victory / Commanded by / LORD NELSON. / Trafalgar / Octr. 21. 1805’ — 3in.

(7.5cm) wide £1800-2500

54

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56

57

56.

‘H.M.S. VICTORY: BUILDING, RESTORATION & REPAIR’

by Arthur Bugler for H.M.S.O. London 1966, 382 pages with detailed technical diagrams, photographs and descriptions, bound in blue cloth boards with wrapper; together with a complete set of accompanying plans contained in blue cloth box with wrapper, both contained in original card outer case with H.M.S.O. label, boxed measurement — 11½ x 9¼in. (29 x 23.5cm.)

(2) £100-150

57.

DEATH OF NELSON, 21st OCTOBER 1805 a rare and early Osborne plaque depicting the death of Nelson in the cockpit of H.M.S. Victory, handmade in plaster, finished with wax and then hand-painted in shades of brown, marked AO (for Arthur Osborne), 19 x 24in. (48 x 61cm.), as made and attractively mounted in a deep, glazed frame case for display Osborne plaques were produced in Faversham, Kent, from 1899-1965.

The business was founded by Arthur Osborne and all plaques were marked ‘AO’ until his death in 1943. There are considerable colour variations but those which were predominantly painted in brown all predate 1930. The plaques invariably depict well-known buildings, historical events or famous personalities. The usual size is normally in the region of 6 x 9in but are often even smaller. No example depicting any subject of a size comparable to the one offered here has been discovered by the cataloguer, and it seems very likely that it was a special commission for the Trafalgar centenary celebrations in 1905.

£400-600

58 (obv)

58.

NELSON TESTIMONIAL MEDAL, 1844 in white metal by E. Avern, bust of Nelson left within garter bearing ENGLAND EXPECTS.. etc, rev., Trafalgar Square and Nelson’s Column; inscribed TO COMMEMORATE THE OPENING OF THE NELSON TESTIMONIAL TRAFALGAR SQUE - 21 OCTOBER 1844 — 2½in. (6.1cm.)

Hardy, T.A., Remember Nelson, Spink, 2005, p.61, no. 97.

Testimonial Medals such as this were presented to 357 Greenwich Pensioners who had served at one of Nelson’s four major actions, those of St. Vincent (39), Nile (35), Copenhagen (45) and Trafalgar (238), together with a gratuity of ten shillings, at a ceremony held at the Royal Greenwich Hospital on 2nd April 1845. The awards were funded by the Testimonial Committee of the parishioners of St. Martin-inthe-Fields. For more details see Captain Douglas-Morris: Naval Medals, 1793-1856, pp. 49-53. He knew of fewer than ten surviving medals, one of which was paired with an NGS medal.

£500-700

58 (rev)

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59 (Part)

59 (Part)

59.

DEATH OF NELSON, BRONZE MEDAL BY THOMAS WEBB, 1805 after John Flaxman, bare head of Nelson left, rev., Bellona stepping across waves towards war galleys — 2¼in. (5.5cm.) diam; together with another similar.

(2)

61

Hardy, T.A., Remember Nelson, Spink, 2005, p.40, no. 63.

£300-400 60.

A COMMEMORATIVE SILVER VESTA CASE, CIRCA 1886 decorated in scrollwork overall with applied enamel portrait of Lord Nelson to front, hallmarked for Howard James, Birmingham, 1885-6 — 2¼in. (5.7cm.) high £100-150 61.

‘ORAZIO NELSON’ possibly after Carmelus Argento, circa 1800, printed on laid paper with inscription Conto Ammiraglio della Scquadra Blu / e Cave: del Insigne del Bagno, plate — 11½ x 7in. (29 x 18cm.) £30-50

62.

COOK, CAPTAIN JAMES: THE JOURNALS four vols, plans and charts. Cambridge, University Press, 1955-67.

With seven off-prints edited by J.C. Beaglehole; Skelton and others, Charts & Views Drawn by Cook and his Officers, folding charts, a few missing, in blue portfolio with ties, Ibid 1955; Beaglehole, J.C., The Life of Captain James Cook, a few portraits.

London, The Hakluyt Society, 1974.

(13) £100-150

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63.

BLIGH, WILLIAM: ‘CAPITAINENS VID ENGELSKE AMMIRALITETET WILIAM BLIGH’S RESA I SÖDERHAFVET ÅREN 1788, 1789, 1790.

HANS HALF-ARIGE VISTANDE PÅ ON Ö-TAHEITI’ original stiff wrappers, uncut, book plate of S.J. Walters. 8vo, Nyköpimg, J.P. Hammarin, 1795.

First Swedish edition of Bligh’s epic journey from Tahiti to Timor. £400-600

63 (Part)

64.

THE SPITHEAD MUTINY, 1797: AN INFORMANTS LETTER TO LORD HOWE a manuscript letter tightly written over four sides of a single folded sheet of laid paper watermarked for Cortlis & Sons / 1796 and addressed to an un-named retired Lord who was reporting to the King and giving background intelligence and “news” as heard on the street including details of the ring leader, Richard Parker, and the main causes for their grievances The itch of news my Lord is the general disease of the Town. I can not say I am possessed with it not further than a wish I have to collect something worth sending to your Lordship... Was your Lordship in active Life I would not presume to Obtrude on your thoughts but I have an excuse in wishing a moment of amusement in your retirement. signed and dated V.V. June 8th 97 — 9 x 15in. (23 x 38cm.) open The identity of the recipient is almost certainly Lord Howe - only recently retired, he was rowed from ship to ship and settled the mutiny before it spread out of control and whom the press reported was to have an audience with the King. The sender - ‘V.V.’ - remains a mystery and seems to have been a self-appointed spy, able to circulate around the taverns and streets without notice.

£200-400

64

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65

65.

AFTER LEMUEL FRANCIS ABBOTT (BRITISH, 1760-1803) Nelson - A Gridded Study Watercolour and pencil on card, bears inscription Robert Southey 27 July 1830 (lower left folded corner on reverse), mounted as an oval with manuscript provenance labels for Leggatt Brothers to reverse 9 x 7½in. (23 x 19cm.) unmounted

66. Ø ENGLISH SCHOOL, CIRCA 1845 Admiral James Saumarez (1757-1836) Oil on ivory Monogrammed and dated ‘SS 1845’ (lower left) 6 x 4in. (15 x 10cm.) £400-600

Provenance: Sotheby’s Marine Picture & Nautical Works of Art Sale, 3rd May, 1995, lot 1.

Literature: Walker, R: The Nelson Portraits, Royal Naval Museum, 1998, p.31 & 206; Slope, N: Nelson’s Chelengk, Nelson Society Dispatch, Vol II part 9 Winter 2014, p.535-549.

The label from Leggatt Brothers is dated 9th November 1906 and reads: Dear Sir, We beg to inform you that we purchased the sketch of Lord Nelson from a Mr Heath, who informed us that it was given by Southey to Mr. Deputy Heath, of the Bassishaw Ward of the City ‘ Yours respectfully..

Bassishaw Ward is the smallest of the twenty-five wards who provides an Alderman to their Court at Guildhall. The second label attributes Southey’s ownership until 1830 and states that it was used as a frontispiece in his Life of Nelson - in fact, it was the head study by Simon de Koster which was used.

£300-400

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67.

A SET OF FIVE MARQUETRY PANELS FROM THE ROYAL YACHT ROYAL CHARLOTTE, EX-ROYAL CAROLINE, CIRCA 1750 walnut with ink lined satinwood inlay depicting scenes from Homer’s Illiad, framed within feigned oak leaf ovals, one inscribed on the reverse Taken from the Royal Yacht of George 3rd. Presented to Mr. B. Tuckness of Deptford Dockyard during that Kings Reign with other similar inlaid pictures representing combats in the Trojan War — one of [a] of a series of illustrations from Homers Illiad ‘ , another with applied manscript provenance, two now cut down — 14 x 11in. (35.5 x 28cm.) and 8½ x 7in. (21.5 x 18cm.) mounted on gilt supports for wall hanging.

(5) Provenance: Bartholomew Tuckness; Charlotte Tuckness (wife of Charles Tuckness) to Rev. J. Salwey, Broxbourne, April 1892; US Private Collection.

Bartholomew Tuckness (1750-1822) was a joiner located in King Street, Deptford, who founded the firm of Tuckness & Huntley. It seems he was employed by the yard before founding his firm and retained strong connections, the Royal Charlotte being broken up at Deptford in 1820 having been laid up since 1804.

Royal Caroline, principal yacht to King George II and named in honour of his wife Caroline (of Ansbach), was built at Deptford by Mr. J. Allin in 1749. Designed as a sixth-rate mounting 10-3pdrs. and 8-pdr. swivel guns, she was measured at 232 tons burden with a 90 foot gundeck and a 24 foot beam. The largest royal yacht to date and the only such vessel to

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exceed 200 tons until Royal Sovereign was launched in 1804, she was one of the most sumptuous and expensively decorated vessels ever constructed. Whilst the Admiralty had ordered her, they had not budgeted for her and the niggling correspondence that ensued throws interesting light onto the lavish decor - nearly £1200 for carvings with 120,000 sheets of gold leaf costing a further £1521; £200 for curtains and silks; £18 for the stern lantern and numerous other expenses. A note sent by a carpenter called John Bladwell, sent to George Jackson of the Navy Office from March 1750 may mention, in part at least, the lot offered here: Sir I was favour’d with yours[.] the hanging for his Majesty’s Room is gone Down and the other 21 Panels will all be finished Satterday [sic] Morning without fail. At that time a typical seaman received £12 per annum and her full ship rig required a crew of 70 men to handle. George II’s frequent visits to Hanover meant that she was in constant use ferrying him to and from the continent and she remained a firm favourite with the King until his death in 1760. When the new King, George III, chose Princess Charlotte of Mecklenburg to be his Queen, Royal Caroline was renamed Royal Charlotte in her honour and was the obvious vessel to convey the new bride to England. After the Princess Augusta was launched in 1771, Royal Charlotte lost her place as the most favoured royal yacht but continued in service. The Napoleonic Wars curtailed her use however and other than carrying the King on the occasional holiday trip to Weymouth between 1801-04, she was mostly laid up at Deptford and finally broken up there in 1820 where presumably a quantity of her fittings were sold off - it’s no surprise an established supplier such as Mr Tuckness was able to acquire these very rare souvenirs which give a small hint of the quality alluded to in the Admiralty correspondence.

£3000-4000

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68 (Part) 68.

A RARE CRIMEAN WAR RUSSIAN NAVAL ENSIGN AND SWALLOW-TAILED ANSWERING PENNANT, CIRCA 1855 both comprising hand-stitched bunting panels of edged blue and white with canvas sleeves, the upper hem of the ensign bearing a sewn panel reading This Russian Ensign and Ansg. Pendant [sic] was taken from one of their boats at Sebastopol, by Mr. W.H. Cruys, CBM of H.M.S. Albion on the 9th (altered by hand to the 10th) Sept. 1855, the larger — 33 x 49in. (84 x 125cm.)

(2)

At 3,111 tons, H.M.S. Albion was the largest 2-decker sailing ship built for the Royal Navy and the only example of her type designed by the controversial Sir William Symonds. Laid down at Plymouth in 1839 and launched in September 1842, she served first in the Channel Fleet (from 1843-48) and thereafter in the Mediterranean from 1849. One of the last sailing ships to see significant action, she was so badly damaged at the first bombardment of Sebastopol (17th October 1854) during the Crimean War that she had to be towed out of the line of battle and taken to Malta for repairs, returning to the Black Sea the next year. Although converted to screw propulsion in 1860-61, she never put to sea as a steam ship and was broken up as obsolete in 1884.

£400-600

68 (Detail)

69 69.

A MARINE-THEMED MARQUETRY ESCRITOIRE, CIRCA 1850 the lid depicting the fleet departing Spithead bound for the Baltic on 11th March 1854, the interior with tooled leather writing slope, typical fittings and accessories — 6½ x 17 x 10¼in. (16 x 43 x 26cm.) £250-400 70-71 No Lots additional images online at www.charlesmillerltd.com

68 (Part)

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73.

A CAST BRASS TOMPION FROM THE ARMOURED CRUISER H.M.S. COCHRANE [1905] depicting the family crest of the Cochrane family, with threaded barrel mounts behind, — 10in. (25.5cm.) diam One of four Warrior Class ships ordered in 1903-4, they displaced some 13,500 tons, but were effectively obsolete after the 1906 introduction of Dreadnought. Cochrane was never-the-less assigned to the Grand Fleet in 1914 and served at Jutland - albeit without firing a shot. On 14th November 1918 she was stranded in the Mersey whilst under pilot and broke her back.

£250-350 74.

AN INTERESTING INCLINOMETER APPARENTLY PRESENTED TO ADMIRAL LORD CHARLES BERESFORD, CIRCA 1900 unsigned, with 6½in. brass dial engraved with a depiction of the 2nd Class cruiser Undaunted, the Royal Arms allied to the Royal House of Denmark, flanked by Britannia and a Lion Rampant, the indicator needle counter balance monogrammed ‘CPB’, set within rope-bordered frame with securing lugs — 14in. (35.5cm.) diameter

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72.

AN HISTORICALLY INTERESTING STANDISH, CARVED FROM TIMBER RECOVERED FROM THE WRECK OF H.M.S. LUTINE the central inkwell with cover supported by three dolphins within circular dish with foliate border, the inkwell with white metal plaque engraved THIS INKSTAND / is made of the / RUDDER of LUTINE Frigate wrecked off the island of Vlieland Octr. 9 1799 / The Rudder was recovered in 1859 / after being submerged 60 years, flanked by two carved sets of arms for the City of London — 7 x 10½in. (18 x 26.8cm.)

The Lutine, a prize taken in 1793, was a 5th rate of 32-guns. She was wrecked on a bank near Vlieland, Holland in 1799 with a vast fortune in gold aboard. Much of this was subsequently recovered over a period of years, along with artefacts including her famous bell, which now hangs at Lloyds of London and is rung every time a ship insured by them founders.

Admiral Lord Charles Poer Beresford (1846-1919) was a colourful and highly popular Admiral with the British public who affectionately called him ‘Charlie B’. He won their devotion early on in the Egyptian campaign of 1882 when, in Command of the Condor he took his ship inshore to bombard the batteries with great effect. The flagships signal “Well Done Condor” reverberated around the fleet and sealed Beresford’s reputation.

The latter part of his career however was spent in a bitter feud with Sir John (‘Jackie’) Fisher whose modernising reforms were to become essential in World War One and who prevented Beresford from attaining the rank First Sea Lord. He commanded H.M.S. Undaunted from her launch in 1889 until 1893 and it seems likely that this inclinometer was presented to him by his old messmates as an in-joke in 1907 when he took command of the Channel Fleet where he “lived with great style” aboard the Flagship H.M.S. King Edward VII - using patriotic symbols including those of the King with whom he had dramatically fallen out with in 1891 over an affair with the Countess of Warwick.

£400-600

£700-900

73

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75 75.Ø A PAIR OF TURNED IVORY SPEAKING TUBE TERMINALS, BY TRADITION THOSE CONNECTING THE CABINS OF QUEEN VICTORIA AND PRINCE ALBERT ABOARD THE R.Y. VICTORIA & ALBERT II each with threaded pipe connector, indicator rod and removable whistle — 4in. (10cm.) high (2, a pair) £800-1200 76.

FOUR ITEMS OF BLUE AND WHITE WARE FROM THE R.Y. VICTORIA & ALBERT III, CIRCA 1910

by Spode Copeland, comprising dinner plate; coffee can; and two saucers (one cracked), each with gilt-highlighted device for Royal Yacht and maker’s mark to base, plate — 10¼in. (26cm.) diam £400-600

76 77.

A GIMBALLED CANDLE LAMP, BELIEVED TO BE FROM A ROYAL YACHT with maker’s label for ‘Norie & Wilson’ on outer gimbal bracket, in plated metal, the sprung candle socket with lead counter weight, glass shade with separate protector and wall bracket — 13in.

(33cm.) £200-400 78.

A LIFEBUOY FROM THE R.Y. ALEXANDRA (1908) cork-filled canvas painted white with polychromed crown and inscribed in gilt lettering “ALEXANDRA” with grab rope surround — 31in. (79cm.) diameter The 2050 ton R.Y. Alexandra was built by A.& J. Inglis, Glasgow, named after Edward VII’s consort, and intended to escort and supplement the work undertaken by the main Royal Yacht, Victoria & Albert III, which she did the year she was launched on a State visit to Russia. Serving as a hospital ship in WWI, by 1925 it was too expensive to justify two Royal Yachts and she was sold to the Norwegian Shipping Co. of Trondheim for £25,000 and converted to a cruise ship. She was sunk during the German invasion of 1940.

£300-400

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79.

A PAIR OF NOVELTY SILVER CIGARETTE HOLDERS FROM THE KAISER’S RACING YACHT METEOR III, CIRCA 1907 modelled as port and starboard navigation lamps, each with green or red glass and match strike, the tops hinged to reveal gilt-lined cigarette compartment with match compartment in ‘ventilator’ over, each stamped on their bases with the Kaiser’s monogram and dated ‘1907’, Continental ‘800’ mark and maker’s name M. Hansen, Kiel, each — 5½in. (14cm.) without handle

79 (Detail)

Built by Townsend & Downey Shipbuilding Co., on Shooter Island and designed by H. G. Barbey & A. Carey Smith, the Kaiser’s third Meteor was launched on February 25, 1902 christened by Alice Roosevelt, the U.S. President’s wife. Sadly, her racing record was not impressive and, after persevering for several seasons, she was sold in 1909 to be replaced the the fourth, and last, Meteor, and upon which these attractive novelties were no doubt also used.

£1500-2000

80.

A PAIR OF SILVER SALTS FROM THE GERMAN IMPERIAL STEAM YACHT HOHENZOLLERN II, CIRCA 1893 comprising two gilt-lined bowls on ball-and-claw feet conjoined with an Imperial eagle handle, engraved on lower left edge with cipher for Wilhelm II and impressed with maker’s marks for ‘D. Vollgold & Söhne’ - 2 x 4½in. (5 x 11.5cm.)

79

The Royal Yacht Hohenzollern II was launched in 1893 by the shipbuilder A.G. Vulcan in Stettin, which was at that time part of the Prussian Empire.

She measured a vast 122 meters in length with a width of 14 meters.

Dwarfing her British equivalent, she became a regular sight during Royal Cowes Week where the Kaiser hosted receptions aboard her with German military bands contrasting sharply with Prince (later King) Edward’s informal string quartets playing popular music hall songs on the Squadron’s lawns. She also served something of a dual purpose being both a recreational and a naval command vessel, combining lavish interiors with special cannons which had been a gift from the renowned industrialist Alfred Krupp. In June 1914 the Kaiser was aboard her for his summer cruise in the Norwegian fjords when he learnt about Sarajevo.

Laid up from the end of July, she was never used again and was scrapped by the Weimar Republic in 1923.

£400-600 81.

A PAIR OF SILVER SALTS FROM THE GERMAN IMPERIAL STEAM YACHT HOHENZOLLERN II, CIRCA 1893 comprising two gilt-lined bowls on ball-and-claw feet conjoined with an Imperial eagle handle, engraved on lower left edge with cipher for Wilhelm II and impressed with maker’s marks for ‘D. Vollgold & Söhne’ - 2 x 4½in. (5 x 11.5cm.) £400-600

80 and 81 80 and 81 (Detail)

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82.

FOUR YACHTING TABLE SILVER NOVELTIES all modelled as navigation lamps and comprising a pepper pot inscribed Steuerbord and engraved with Imperial German cypher for ‘AV’ under, hallmarked for 1906-7; a table vesta (1901-2); a flask inscribed ‘HWB’ under ventilator 1911-12); and a cigar lighter (1922-3), all approximately — 3½in.

(9cm.) high (4) £800-1200

82 (Detail)

82 83.

A LT. COMMANDER’S FULL DRESS UNIFORM FOR THE ROYAL NAVY, CIRCA 1920

by Gieves, Matthew & Seagrove and comprising bicorn hat with bullion tassles, epaulettes, sword belting, kid gloves, laced trousers, full dress tail coat and boat cloak, contained in two regulation tin trunks inscribed for ‘A.G. Davidson, RN’, together with three service medals from the Great War comprising the 191415 Star, British War Medal 1914-20 and Victory Medal (3)

84.

A ROYAL NAVY DIRK, CIRCA 1915 of standard pattern, with 18¼in. etched blade, tanned snakeskin wire-bound grip, regulation hilt and scabbard with sprung retaining clip — 25in. (63.5cm.) overall The use of tanned snakeskin for the grip, in place of the usual fish skin, is unusual and may have been a Wartime expedience forced upon the cutlers.

£100-150

Alastair Gordon Davidson (1893-1974) entered the Service in 1906 as a Midshipman, spent WWI as a Sub Lt, promoted Lt in 1916 and Lt Cdr in 1924. He is thought to have served in H.M. Ships Seraph, Wessex, Wakeful and Viceroy during the 1920s as a Lieutenant Commander. He left the navy in 1936 as a Commander but then was recalled during WWII, appointed Captain and commanded the training ship Cardiff from 1942 to 1944.

£400-600

83 additional images online at www.charlesmillerltd.com

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85 85.

A 1920s MODEL GUN TURRET FROM METAL OFF THE SCUTTLED IMPERIAL GERMAN BATTLESHIP HELGOLAND the well-made model fashioned as an inkstand in the form of a revolving gun turret, the inner lid marked “Cast from Metal exsurrendered German Battleship Helgoland”, Thos. W. Ward Ltd., Sheffield, 1922, with two aluminium ink reservoirs, an attractive item, extreme width — 7½ins. (19cms.)

Helgoland was the nameship of a small class of three battleships and one battle-cruiser ordered for the Imperial Navy during the celebrated AngloGerman ‘Arms Race’ of the early 20th century. Built at Kiel, Helgoland herself was 549 feet in length with a 94 foot beam and displaced 25,200 tons deep loaded. With a main armament of 12-12in. guns, she could cruise at 20 knots and must have been a hugely impressive sight at full speed. In action at Jutland, in Vice-Admiral Schmidt’s 1st Squadron, she was interned at Scapa Flow when the High Sea’s fleet surrendered after the November 1918 Armistice. Laid up idle for six months, Helgoland was scuttled along with the rest of the fleet on 21st June 1919, after which began the famous salvage operation which lasted throughout the 1920s.

£300-400 86.

NAPOLEONIC WARS: CAPTURE OF THE CAPE OF GOOD HOPE The Dutch Government, having not only rejected…the proposals… that the Settlement should place itself under the protection of Great Britain…(and) having acted in a manner demonstrative of such hostile disposition towards us…The Admiral and myself concurred in thinking it expedient to prevent the execution of his purpose, by landing ourselves, and taking possession of the place…, a collection of excellent and lengthy front page reports from Vice-Admiral Sir George Elphinstone, and Major Generals Clarke and Craig, all pertaining to the invasion and capture of the Cape of Good Hope, a Dutch colony, that became the enemy of the British during the Napoleonic Wars after becoming vassals of the French, includes the articles of capitulation, and lists of killed and wounded — 183 cm. of column space, page 1 columns 1-3, and page 2, columns 1-2, in a complete and origianal issue of THE LONDON EVENING POST, for 26 November, 1795. £200-300

87.

THE BATTLE OF CAMPERDOWN Admiral Duncan’s Official Account of the Victory over the Dutch Fleet under Admiral de Winter off Texel: The Venerable soon got through the enemy’s line, and I began a close action, with my division on their van, which lasted nearly two hours and a half, when I observed the masts of the Dutch Admiral’s go by the board; she was, however, defended for some time in the most gallant manner; but being pressed by numbers, her colours were struck, and Admiral de Winter was soon brought aboard the Venerable... with lists of killed and wounded, battle order, ships taken, etc. (back page, col 1-2, 55cm. of column space); also in separate articles: medallions similar to those presented after the Glorious 1st of June to be presented; a slightly wounded woman manning one of the guns positively refused to quit her quarters until forced below for attention; Dutch accused of using stink pots, a horrid system of warfare long abandoned; Nelson presided at a meeting of Naval Officers at the Shakespeare Tavern (pages 1 & 2, 28 cm. of column space), all in a complete and original issue of THE OBSERVER, dated 22nd October, 1797. £250-350 88.

NAPOLEONIC WARS: CAPRI CAPITULATES TO THE BRITISH The Commandant of Capri to Rear Admiral Sidney Smith: I received, Sir, your letter dated this day, and for answer, I have to observe to you, that a true soldier does not surrender until he has tried his force with that which attacks him. You, Sir, are too good and brave a soldier to blame me if I do not accept your polite invitation… an excellent and lengthy article by Admiral Sidney Smith, covering the Naval and land actions surrounding the Battle of Maida, and the capitulation of the French garrison at Capri.

Included are the letters between the garrison commander L’Etang, and Sidney Smith, as well as the conditions of surrender, letters from Richardson of the Juno, and others to Sidney Smith, and lists of killed and wounded, in all — 116cm. of column space, page 2, columns 1-3; also: Captain Lavie Captures La Guerriere: Report from Captain Lavie of the Blanche, to the Admiralty Office of his naval action off Greenland and subsequent capture of the frigate Guerriere.

The Blanche managed to deliver two broadsides before the Guerriere realized she was not an ally, the capture of which earned Lavie a Knighthood — 18cm. of column space, page 2, column 1, in a complete and original issue of THE CALEDONIAN MERCURY, for 2nd August, 1806. £200-300

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H.M.S. Locust

89.

AN HISTORICALLY INTERESTING SHIP’S BELL FROM H.M.S. LOCUST (1939) nickle-plated with black filled lettering, regulation crown top and red painted interior (lacks clapper) — 11in. (28cm.) high Launched by Yarrow of Scotstoun and completed in 1940, Locust was one of four ‘Dragonfly’ Class river gunboats. Displacing 715 tons (deep load), they measured 196ft 6in., steamed at 17kts and carried a crew of 74.

Relatively lightly armed with two 4in. quick-firing guns and one 3.7in. howitzer, Locust was later augmented with three 20mm. and twenty depth charges. In August 1942 she played a lead rôle in Operation Rutter - better known as the Dieppe Raid or the Battle of Dieppe. Commanded

by Robert Ryder (who in March had participated in the very successful St. Nazaire Raid), the Dieppe Raid contrasted poorly - of the 6000 allied (mostly Canadian) troops landed, including 200 Commandos from Locust, 3,367 were killed or wounded on the beaches. The Royal Navy lost thirtythree landing craft and one destroyer, the Royal Air Force 106 aircraft, mostly to flak, compared with just 46 of the Luftwaffe. The sober lesson learned was that the Allies could not hope to invade mainland Europe for a long time, but when Operation Overlord was finally put into practice in 1944, Locust participated and, despite being hit by shellfire, survived the War. She was decommissioned in May 1946 and placed in reserve, being sold for breaking at Newport in 1968.

89 A WHITE GOLD AND DIAMOND NAVAL SWEETHEART BAR BROOCH

BY GIEVES OF LONDON LTD, CIRCA 1920 the central crown set with diamonds and mounted on a plain bar with pin and safety catch behind, — 4.6g, 2¾in. (7.5cm.), in plush lined fitted box with retailer’s mark to lid. £200-400

£700-900 90.

A LATE 19TH-CENTURY NAVAL CROWN SWEETHEART BROOCH, of typical form with band of seed pearls, stamped to reverse 15ct DELACOUR [of Chatham], — 3.4g.; 20mm wide, contained in plushlined case. £200-400

90

91.

A 15CT GOLD AND ENAMAL NAVAL SWEETHEART BROOCH, CIRCA 1932 modelled as a fouled anchor flanked with wreaths and royal crown over, mounted on a bar brooch with safety catch, stamped 15 to reverse, in a fitted case stamped Gieves London — 4.5g, 1¾in.

(4.5cm.) £200-400 92. additional images online at www.charlesmillerltd.com

91

92

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93.

CAPTAIN HANS LANGSDORFF’S NAVAL DRESS SWORD Kaisermarine pattern, the 29½in. pipe-backed blade stamped with maker’s mark for F.W. Höller, Solingen, regulation half-basket hilt inscribed on the hinged thumb-piece Kpt. Z. See Langsdorff, contained in leather scabbard of issue — 35½in. (90cm.) overall Provenance: Phillips Glendinings, London, Arms & Armour Sale, 26th March, 1998, lot 1064: Acquired by vendor in lieu of a debt, from a German engineer in Buenos Aires in 1957.

Captain Hans Langsdorff, born at Bergen on the Baltic island of Rügen in 1894, spent much of his youth in Düsseldorf before joining the Imperial German Navy in 1912. After active service during WWI, he remained in the navy and ultimately became a torpedo specialist before accepting a senior administrative appointment with the Reichsmarine. Proving equally capable behind a desk, he was an obvious choice to command the new cruiser Admiral Graf Spee when she completed in 1936, a commission which eventually ended with him being accorded that remarkable reputation for chivalry in war which not only made him a household name at the time, but which has now endured for over 50 years.

When WWII broke out on 3rd September, 1939, the ‘pocket battleship’ Graf Spee was already in the South Atlantic although, despite Germany’s invasion of Poland on 1st September, Hitler was initially convinced that Great Britain and France would negotiate for an early peace. To this end, he kept German warships away from the commercial shipping lanes as he awaited developments and Graf Spee stood off the South American coast in company with her supply ship Altmark for almost three weeks before finally receiving orders to assume the offensive. On 20th September Langsdorff sank his first victim, the Booth Line’s steamer Clement, 60 miles off Pernambuco, and in just over two months, he sank a further nine British merchantmen. His dislike of unnecessary bloodshed however, coupled with the extraordinarily humane treatment of his prisoners whom he put aboard Altmark, earned him the grudging respect of even those captains whose ships he had sunk beneath them although it was not until Altmark herself was captured off Norway the following February that the full story emerged. The Admiralty meanwhile, realising that Langsdorff had to be stopped as much to allay public concern at home as to prevent further shipping losses, mounted an urgent operation to hunt and destroy Graf Spee as rapidly as possible. Commodore Henry Harwood, Senior Royal Navy officer in the area, was given command and his flotilla - designated Force ‘G’ - consisted of the heavy cruiser H.M.S. Exeter and two light cruisers, Ajax and Achilles, the latter seconded from the Royal New Zealand Navy. In theory at least Force ‘G’ was easily capable of dealing with a single enemy heavy cruiser; in practice

93

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however, the considerable strengths of the so-called ‘pocket battleship’ were such that Harwood knew he faced a formidable task even allowing for the fact that he would first have to locate Graf Spee and corner her somewhere in the vastness of the South Atlantic.

Intuition suggested the wide estuary of the River Plate, a vital crossroads for many South American trade routes, and Harwood’s fitness for command soon proved itself when Force ‘G’ sighted the smoke of an unknown vessel on the horizon early on the morning of 13th December.

Exeter approached to investigate and instantaneously with Harwood’s confirmation that the stranger was indeed Graf Spee, Langsdorff had spotted his pursuers, rung up ‘battle stations’ and was steaming into action at full speed. Harwood wisely divided his force so as to minimise the effects of the enemy’s main armament but not before all three of his ships had become targets. Langsdorff opened fire at approximately 6.20am. and concentrated his port salvoes on Exeter whilst his starboard guns dealt with Ajax and Achilles. Exeter bore the brunt of accurate German gunnery and by 7 o’clock she had received between 40 and 50 hits and lost two turrets. Half an hour later, her last turret was silenced and she was forced to withdraw from the action, severely damaged and with heavy casualties including 53 dead. The light cruisers fought on obstinately, despite the overwhelming odds, and even though they too were damaged - especially Ajax - their dogged tenacity probably saved Exeter and decided the outcome of the battle. Unknown to them, Langsdorff had become concerned that he was vulnerable to a combined torpedo attack and that fear, coupled with the realisation that Graf Spee had actually been hit 20 times by British shells, provoked a surprising reaction and he broke off the engagement to run for shelter in the Plate Estuary 300 miles to the west.

‘Admiral Graf Spee’ being scuttled, 17 December 1939

Racing past and ignoring a homeward-bound British merchantman the Shakespeare, Graf Spee made the neutral port of Montevideo after a 12 hour dash pursued by Ajax and Achilles. Britain immediately requested the Uruguayan authorities to expel Graf Spee within 24 hours or intern her under the provisions of International Law, thereby initiating a frenzied burst of diplomatic activity worthy of the most popular fiction. Despite the best efforts of both Langsdorff and the German Ambassador, the permitted stay was only extended to 72 hours and Langsdorff, surrounded by rumours of approaching British reinforcements, was faced with a bitter choice. As the 8.00pm. deadline neared on 17th December, Langsdorff took his second fateful decision and having released the few British prisoners still aboard his ship, and bidding farewell to those who had given him sanctuary in Montevideo, ordered Graf Spee to make ready to sail. Clearing her moorings at 6.15pm., she made for the open sea followed by the German steamer Tacoma. With her battle ensigns flying, she stopped engines at the three mile limit and there, in full view of Ajax and Achilles, she suddenly and unexpectedly blew up and destroyed herself with pre-set explosives. Her crew were taken aboard Tacoma which proceeded to Buenos Aires where, on 20th December, Captain Langsdorff took his own life rather than face the ignominy of surrender and internment.

It was a tragic end for a man who, by then, had earned the admiration of those who were hunting him down as well a those who had suffered loss at his hands. To many he epitomised the chivalry of an earlier age and even though he had sunk over 50,000 tons of British merchant shipping, not a single allied life had been lost aboard any of those vessels. In fact, his conduct throughout the Graf Spee’s final commission was such that he was, and still is, universally regarded as one of the last gentleman raiders in the history of war at sea.

Admiral Graf Spee, the third of the ‘Deutschland’ class cruisers [the socalled ‘pocket battleships’] was laid down in 1932, launched in 1934 and completed in January 1936. Displacing 11,700 tons, she measured 610 feet in length with a 71 foot beam, and could make 28 knots under full power. Her design, as a fast heavily-armed though lightly-armoured longrange merchant raider, proved a triumph and had all eight of the class been built instead of three which were completed, the Royal Navy would probably have faced an impossible task given that it had only three capital ships capable of matching their speed.

£4000-6000

93 (Detail)

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Fittings & Collectables

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95, 96 and 97 95.

A FINELY CARVED EARLY 19TH-CENTURY ‘BUGBEAR’ CARVED COCONUT FLASK carved in the round with young couples drinking amongst vines, with typical bearded face yawing to top and white metal mask handles to each side — 5in. (20.5cm) high £400-600 96.

A FINELY CARVED EARLY 19TH-CENTURY ‘BUGBEAR’ COCONUT FLASK carved in the round with hunting and musical motifs, the mouth typically carved with a bearded mouth and garland underneath, — 5in. (12.5cm.) high; together with a coconut cup engraved in the round with botanical motifs (2) £400-600

97.

A FINELY CARVED EARLY 19TH-CENTURY ‘BUGBEAR’ COCONUT FLASK carved in the round with roundals comprising Britannia, a swag of musical instruments, (?) a French cockerel and serpent, the end with typical yawing bearded face with glass eyes, — 5in. (12.5cm.) high; together with a small coconut inscribed to Rosa de Roboletto decorated with patriotic motifs (2) £400-600

96 96 additional images online at www.charlesmillerltd.com

97

97

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98 98.

AN EARLY 19TH-CENTURY CARVED COCONUT FLASK AND STAND incised in the round with patriotic symbols comprising the UK crown, a thistle and shamrock, interspersed with geometrical patterns, inset metal (?lead) nozzle, mounted on a plain polished ring stand with three small candle sconces and feet, height including stand — 5½in. (15cm.) £400-600f 99.

A SHELL WORK VALENTINE geometric shell designs contained within a hinge-fronted octagonal wooden display case — 16¼in. (41cm.) wide £800-1200

99

42

100 100.

A SAILOR’S SHELLWORK VALENTINE, BARBADOS, 19TH-CENTURY of geometric design in the form of a Maltese cross, in a fitted mahogany glazed case — 13in. (33cm) diameter Provenance: With Parker Gallery label to verso. £800-1200 101.

AN EARLY 19TH-CENTURY FRENCH NAPOLEONIC PRISONER-OFWAR SPINNING JENNY of single character type, with blue, green and red lining — 4in.

(10cm.) high £600-800

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102.

A VERY RARE AND FINE NAPOLEONIC DANISH PRISONER-OF-WAR WOOD AND BONE MARQUETRY MODEL OF A DROP-FRONT BUREAU, CIRCA 1812 with numerous compartments, cupboards and drawers decorated overall with closely observed depictions of shells in contrasting and shaded woods and inlaid geometric bone designs, the fretted bone top rail with initials ‘KHR’ over watch compartment, the base with gold-leaf-backed fretted trim — 13¼ x 9½ x 6¼in. (33.5 x 24 x 16cm.); a lower drawer contains a note reading A small cabinet by Canute Helvestan Revham, a Danish prisoner detailed at Woolwich in 1812. N. Lodge / Copied from label on glass shade by A.L. Pease, May 26th, 1903, Brinkburn, Darlington. £3000-5000

102 103. Ø A RARE IVORY, WOOD AND BONE MODEL OF A PUMPING ENGINE, POSSIBLY DIEPPE, CIRCA 1860 constructed as beam engine acting on a double cylinder with fly wheel and governor safety mechanism, mounted on mother-ofpearl and ebony base atop inlaid brick box, pinned with initials ‘A B’ to one side on herringbone marquetry base with domed glazed cover, base — 12in. (30.5cm.) square (domed cover associated) £2000-4000

103 additional images online at www.charlesmillerltd.com

104.

A FINE EARLY 19TH-CENTURY NAPOLEONIC PRISONER-OF-WAR STRAW-WORK BOX decorated overall, the lid with bowl of flowers, the interior with mirror and lidded compartments depicting a French man o’war sailing past a telegraph signalling tower, the reverse with large butterfly flanked with musical swags and pin cushions, — 3½ x 11½ x 8in. (9 x 29 x 20cm.) £600-800

104

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105 105 (Detail) 105.

A SILVER-GILT AND ENAMEL MOUNTED PRESENTATION ALBUM FOR THE MAIDEN VOYAGE OF THE HAMBURG-AMERIKA LINE’S S.S. AMERIKA, 1905 the first few pages with 14 mainly 6 x 8in. photographs showing the launch and some fitted interiors; nine watercolour caricatures of principal personnel aboard with captions, each monogrammed ‘AD’, four pages of German and English press cuttings; passenger list; concert party programme and manuscript menu from the ‘Ritz Carlton’, gilt-edged card pages bound within substantial blue calf boards with watered-silk lining, silver gilt corners hallmarked for London 1905-06, an enamelled House pennant, and banner title reading Souvenir of Maiden Voyage of / S.S. “AMERIKA” / Oct. 10th to Nov 5th, 1905 — 15 x 11¾in. (38 x 30cm.)

105 (Detail)

44

Provenance: Believed to have been owned by the Chief Steward.

Built for the Hamburg-Southampton-Cherbourg-New York service by Harland & Wolff Ltd and registered at 22,623 gross tons, Amerika was, for a year, the largest ship in the world until the Cunarder’s Mauretania and Lusitania eclipsed her. In 1912 she collided with the British submarine B2 with the loss of 15 lives. Interned on the outbreak of War, she was seized by the US Government in 1917 and fitted as a troopship - a year later she collided with, and sank, the British cargo ship Instructor with the loss of 16. Post-War she was absorbed into the United States Lines with an Anglicized name and resumed passenger work. Laid up from 1931, she was re-converted to her troopship role in 1941 for the War. In 1951 she was laid up as a Government reserve ship before being broken up in 1958.

£1000-1500

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106 106.

R.M.S. QUEEN MARY: A COMMEMORATIVE ALBUM OF PHOTOGRAPHS BY STEWART BALE, LIVERPOOL, CIRCA 1937 comprising 57 9¼ x 11½in. black and white images showing construction, fitting, interiors and sailing views of the ship, each blind-stamped with the studio mark (lower right) and attached to card pages with manuscript captions contained within original green card album with studio complement slip and stamp inside covers; and loose image of the launching party, the album — 11½ x 15in. (29 x 38cm.)

Provenance: Presented to Sir John Stewart, Lord Provost of Glasgow, 23rd November, 1937, and thence by descent. £1000-1500

107.

PLATED TABLEWARE FROM THE TRANSATLANTIC STEAM SHIP COMPANY, CIRCA 1830 comprising a sugar bowl and milk jug, both engraved as per title, with maker’s marks and crest underneath, sugar — 8in. (20cm.) wide (2) £200-300 108.

R.M.S. CARPATHIA/TITANIC: A COMMEMORATIVE GOLD ANCHOR in 18k gold, inscribed on the shank R.M.S. CARPATHIA / APR.15 1912, contained in original fitted plush-lined case with maker’s marks for ‘Jay’s, London’ — 1½in. (4cm.); 16.7g. £400-600 109.

A TITANIC MEMORIAL POSTCARD SIGNED BY SURVIVOR FREDERICK DENT RAY the postcard circa 1912 published by Avenue Postcard Co., New York, signed in blue ballpoint pen by F.D. Ray, — 5½ x 3½in. (14 x 9cm.)

Provenance: given to the vendor by Mr Ray, circa 1965 as a birthday gift.

Frederick Dent Ray (1879-1977) was a 3rd Class Saloon Steward aboard Titanic. Completing his shift at 9pm on the 14th April, he retired to his room where he bunked with 27 others. When they were roused, he joined his lifeboat station (No.9) and saw it filled. He then assisted at the No.11 lifeboat, and then No.13 where, because of the few crew inside, he was told to get in. He saved the boat from two near-disasters on lowering (swamping and crushing) and gave evidence at the New York enquiry. He later became a poultry farmer in Sussex.

£300-500

106 (Detail) “Drag Chains”

107 additional images online at www.charlesmillerltd.com

108

109

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110 (Detail)

110 (Detail) 110.

STEAM YACHT BANSHEE R.Y.S. thirty six photographs of the interior and exterior of the Banshee, each with the blindstamp at foot of ‘A. Debenham - Copyright Cowes & Ryde’ mounted on card pages, Original cloth. Oblong folio. London, 1901.

A remarkably fine depiction of the steam yacht Banshee, with splendid exterior and interior views. Commissioned by millionaire Col. Harry MacCalmont to replace his Giralda which he ran between 1894-98, Banshee, built by Ramage & Ferguson in 1901, was a steel twin-screw schooner. Almost naval in appearance, she measured 229½ft, with a 29½ft beam and registered at 993 tons. After his untimely death in 1905, Banshee was sold to Portugal and became the R.Y. Amelia until the assassination of King Carlos in 1908. Thereafter she was used as a dispatch vessel in the Portuguese Navy and was dropped from Jane’s list in 1937. MacCalmont built a third steam yacht, the nine-screwed Tarantula, which he owned concurrently with Banshee and which can be seen in the next lot.

110 (Detail)

110 (Detail)

46

£1000-1500

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111 (Detail) 111.

‘STEAM YACHTS’ thirty actual photographs mounted of steam yachts, with the inclusion of numerous press cuttings, illustrations, yachting celebrities and coloured illustrations of pennants and writing paper. Original cloth, slightly worn. Oblong folio, circa 1899-1900.

Includes ‘inter alia’ Gerald; Rosabelle; Gunilda; Banshee; Queen Alexandra; Rozabelle; Venetia (three photographs) and Tarantula.

£500-800

111 (Detail) “Tarantula” R.Y.S. additional images online at www.charlesmillerltd.com

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112 112.

‘A CODE OF SIGNALS FOR THE USE OF VESSELS EMPLOYED IN THE MERCHANT SERVICE’ published with the permission of Capt. Marryat, published by J.M. Richardson, ninth edition 1844, hand-coloured plates on pull-out; together with private code for the Royal Victoria Yacht Club, original card boards with label for the Royal Victorian Yacht Club — 10 x 6½in. (25.5 x 16.5cm.)

Others: old yellowing and staining.

Sold not subject to return. £400-600 113.

‘THE AMERICAN FLAG’ published by the New York Education Dept. 1910; together with Our Flags Their Original, Use, and Traditions by Rear Admiral S. Eardley-Wilmot, London 1901 — 9½ x 7½in. (24 x 19cm.)

(2) £80-120

114.

BEKEN, FRANK & KEITH: ‘THE BEAUTY OF SAIL’ Illustrated. Original cloth, rubbed. - Guest, M. & W. Boulton, ‘The Royal Yacht Squadron’, portraits and plates. Original cloth, a little rubbed. And twenty other works.

(22) This lot will be available for viewing at Imperial Road £200-300 115.

TOUDOUZE, G.G. AND OTHERS, ‘HISTORIE DE LA MARINE’ numerous coloured and mounted plates and illustrations. Original decorated cloth. Paris, 1934. - Somer, Jack A. Athena. A Classic Schooner for Modern Times’. Two volumes. Original cloth, dustjackets. And seven others.

(10) This lot will be available for viewing at Imperial Road £100-150 116.

STEPHENS, OWEN J, EDITOR: ‘J CLASS’ plates and illustrations. Vol I original cloth; vol II, original limp boards.

‘Nautical Quarterly, Vols XXXI - XXXVII (lacks XXXII), illustrated in colour. Original pictorial cloth. And six other works.

(14) This lot will be available for viewing at Imperial Road £100-150 117.

‘BRITISH YACHTS AND YACHTSMEN, A COMPLETE HISTORY OF BRITISH YACHTING’ mezzotint portrait of Edward VII, numerous plates and illustrations.

London, The Yachtsman Publishing Company, 1907, - HeckstallSmith, B. ‘Yachts & Yachting in Contemporary Art’. Plates, some coloured and mounted. Original cloth. London, The Studio, 1925, limited edition. And six other works.

(8) This lot will be available for viewing at Imperial Road £200-300

117 (Part)

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118.

CHARNOCK, JOHN: ‘HISTORY OF MARINE ARCHITECTURE’ additional engraved title in vol I and 98 engraved plates (of 99).

Some aquatint, a little foxing, original buckram. 4to London, various publishers, 1800-1801.

(3) £600-800

118 (Detail)

119.

ALLEN, GRANT: ‘THE TIDAL THAMES WITH ... PLATES BY W.L. WYLLIE A.R.A.’ five parts, 20 photogravure plates printed on India Paper, illustrations in the text. Folio, London, Cassell & Company, circa 1900. Original pictorial boards, contents loose. Printed for subscribers only.

(5) £400-600

119 (Detail)

120.

‘FLAGS & FUNNELS OF THE BRITISH MERCANTILE MARINE’ published by The Journal of Commerce and Shipping Telegraph, Liverpool, circa 1918, printed sheet backed on linen and folded within card covers of issue — 22 x 32in. (56 x 81cm.) open; together with another, similar for circa 1920 (2) £150-250

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121 (Detail) 121.

‘COMPLETE BRITISH AND IRISH COASTING PILOTS, BEING A SET OF ACCURATE COASTING CHARTS, A NEW EDITION ARRANGED

BY J. NORRIE’ 25 (only 17 called for), double page or folding charts, one chart very large and folding, a few tears. Contemporary boards, broken.

Folio, London, J.W. Norrie & Co., 1838. £1200-1800

123.

A TECHNICAL WATERCOLOUR PROFILE FOR A MARINE MORTAR, CIRCA 1790 laid paper with side, top and front views delicately shaded in watercolour, a scale lower left and cartouche in German reading Der Block / Mit dem Beschlage / des / 24 Udigen / Mortiers / und / deßen Richtung — 12 x 18in. (30.5 x 46cm.) £150-250

122.

‘A CHART DESCRIBING PART OF THE COAST OF GREAT-BRITAIN, FROM THE SOUTH FORELAND TO BERWICK ...’ possibly after John Sennex, on laid paper with lightly shaded coastline naming principal towns — 21 x 23½in. (53 x 60cm.) £100-150

122

50

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124 (Detail) 124.

A LARGE HELM FROM THE IRON BARQUE MARMION, BUILT BY JOHN REID & CO., GLASGOW, 1864 of typical construction with ten turned spokes with one capped in brass, inset brass securing plates around rim, wooden hub with brass plates and cap inscribed MARMION — 84in. (213.5cm.) diam Built for Williams, Milligan of Liverpool, she plied a regular trade to Australia for just over 30 years before, in 1895, being sold to J. Boysen of Christiansand, Norway. She was finally broken up in Sweden in 1925 after 60 years of service.

This lot will be available for viewing at Imperial Road £800-1200

124 (with lot 54 to show scale)

125.

THE SHIP’S BELL FROM SWEDISH MERCHANT SHIP SOLIDEO GLORIA(1782) cast in bell metal with foliate decoration and inscribed in the round SOLIDEO GLORIA ME FECIT ERIK LINDEMAN GEDANI / DE LONGE GOTTFRIED AN / LONGE CHRISTIAN: / ANNO 1782 (lacking section of crown top and clapper, overall wear) — 13in. (33cm.) high Provenance: Swedish ships’ bells appear to be unique in that they bear the name of the ship’s owner as well as the maker of the bell, in this instance the ship’s owner in Erik Lindeman and the maker is thought to be Christian. £600-800 126.

A FINE AND LARGE CARVED TILLER, 19TH-CENTURY with foliate rudderhead, barley-twist shaft, terminating in a Turk’s head knot, hollowed underside and remnant gilt finish — 81in. (206cm.) long £500-800

125

126

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127.

A FINE FIGUREHEAD RECOVERED DURING THE ATTEMPTED SALVAGE OF THE PRUSSIAN BRIG GEORGE FORSTER, WRECKED UPON THE GOODWIN SANDS, 30TH NOVEMBER, 1856 carved from solid elm with laminated arms as a half-length portrait depicting George Forster wearing a braided coat with finely carved jabot and hair, terminating in a scroll, faintly inscribed to front GEORGE / FORSTER / Wrecked on / Goodwin / Sands / March 30th 1830 [sic] — 50in. (127cm.) high

Provenance: Until recently this figurehead adorned the True Briton public house, Folkestone, where it had resided for an unknown period of time.

The Times for 1st December, 1856 reported the grounding of the Prussian ship George Forster the previous day, 30th November - one of six groundings between September and December that year. At the time it was stated that she was laden with timber and that steam tugs and lifeboats were standing by as it was “feared she would become a wreck”.

Both her main and mizzen masts had been cut away in an effort to refloat her at the next high tide and it seems highly likely that this figurehead - a weighty adornment when every ounce mattered - was removed at the same time in a last, desperate attempt to save the vessel.

In the event it was all in vain as the ship broke her back and became a complete loss, although her crew was entirely saved.

George Forster (1754-94) was born near Danzig in what was then Polish Prussia to a family that had British antecedents. His father Johann, a reluctant cleric, took every opportunity to expand his travel and scientific knowledge and his enthused son soon followed suit. In 1766 the pair travelled to London in search for an appropriate position and, on their arrival, the elder Forster established contact with other German-speaking clergy and intellectuals in London. Among them was Carl Gottfried Woide, the Lutheran preacher and man of letters, who helped them find lodgings in Denmark Street and establish contacts within the British scientific and scholarly communities. In 1772 he was engaged to replace Joseph Banks as naturalist on James Cook’s second Voyage of Discovery in the Resolution, and took young George along as his assistant. The voyage took the Forsters round the Cape of Good Hope to New Zealand, Tahiti, Tonga, and south beyond the Antarctic circle. George Forster’s later reputation was based largely on the descriptions of the voyage he published after their return in 1775. The first of these was a botanical work, Characteres generum plantarum...

MDCCLXXII-MDCCLXXV, published together with his father, which earned him election to the Fellowship of the Royal Society. A Voyage Round the World, in His Britannic Majesty’s Sloop, Resolution (1777), which Forster published after his father had been denied the opportunity to write the official account of the voyage, had much greater impact. In 1779 he returned to Germany where he held several academic posts and from April to June 1790 he undertook a further journey, accompanied by Alexander von Humboldt. This time be travelled along the Rhine, through the Low Countries, and on to London, returning through revolutionary France and Forster’s account of the journey was held in great esteem by contemporaries.

Forster remained in Mainz after the occupation of the city by French revolutionary forces in 1792, becoming active in Jacobin circles. A supporter of the incorporation of the west bank of the Rhine into the French republic, in early 1793 Forster was elected deputy for Mainz to the national convention in Paris. His writings about the revolution were significant, if highly contentious, contributions to its reception in the German-speaking world. He died suddenly in Paris on 10th January, 1794 at the age of 39. It is not surprising that such a famous and significant character was honoured with the name of a ship by his fellow countrymen.

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The George Forster figurehead in Perspective The world of Ships Figureheads can be divided in to roughly four main subject forms: Female, Male, Creatures and Billets-types, each one having a number of subdivisions. Whilst it is no surprise that surviving female figureheads out number males by at least five to one, the vast majority of male figureheads are from unknown vessels, possibly depicting a forgotten vessel’s owner or local dignitary; they represent the epitome of late Georgian and early Victorian gentlemen yet, occasionally, a male figurehead survives to show that exceptions to the rule can be found, and the George Forster is one such figurehead. His remarkable state of preservation, due in part to the fact that he has been carved from a solid block of elm, is an indication of high quality coupled with durability. Laminated yellow pine was used for the vast majority of figureheads at this date (around 1830) and was a lighter, less resilient wood, vulnerable to rot and splitting. The use of elm is significant in allowing the carved detail to be as crisp and sharp as the day he was carved. The carver would have relied on pictorial references supplied by the ship’s owner, a number of contemporary portraits of both George and his father have survived, plus a number of illustrations published after his death, giving the carver ample reference material to create a portrait carving that has been painted almost to life. Great care and sensitivity has been taken with the face and hair and we see a handsome young man brimming with confidence that belies his tragic death, and particular attention has been made to the delicate and intricate folds of his jabot, while the base has a rich assortment of flowing material culminating in a very finely carved backwards scroll, with acanthus leaves - a true tour de force of the ship carvers skill.

127 (Detail)

During the conservation work on George Forster the original colour scheme was researched and sensitively re-applied; it’s not uncommon for a figurehead of this age to have numerous layers of inapt over-painting by the ship’s crew and amateur artists, masking the true detail and appearance. In this instance, an important clue as to identity was found on the front of the figure, painted in gold leaf, in a style of typeface commonly used during the second quarter of the nineteenth century, in larger letters is “GEORGE FORSTER WRECKED ON GOODWIN SANDS” with a date of March 30th 1830. Subsequent research has shown this date to be incorrect and the true date of the wreck, while still on the Goodwin Sands, was in fact 1856 - an error put down to the sign writer. What is not disputed are the facts of the wrecking from the journal of the RNLI and The Times; or the exceptional quality of this carving with a strong provenance rarely seen today in today’s market.

Richard Hunter Figurehead Historian

£15000-20000

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128.

A NOVELTY EDWARDIAN SMOKER’S COMPENDIUM in the form of a yachtsman’s cap, the crown opening to reveal cigar/cigarette tray, cigar cutter, ashtray and matchbox holder, maker’s mark in lid for H. Rodrigues, 42 Piccadilly, London — 11in.

(28cm.) wide £300-500

128 (Detail)

128

129.

A GONDOLA FORCOLA, VENICE, 20TH-CENTURY in shaped wood of typical form, mounted on a square display base — 33½in. (85cm.) high £500-800 130.

TWO PAIRS OF LIGNUM VITÆ SPEAKING TUBE TERMINALS, 19TH-CENTURY turned with threaded connectors and removable whistles, one with ivory indicatator, each approximately — 3in. (7.5cm.) high (4, two pairs) £400-600 131.

A FINE CASED SET OF TRANSATLANTIC TELEGRAPH CABLE SAMPLES BY SIEMENS, HALSKE & CO., LONDON, CIRCA 1868 twenty-four labelled specimens comprising eight cables in profile with engraved collars and additional cross-sections, terminus samples, insulation samples etc., in fitted plush-lined glazed Morocco leather case with maker’s label for ‘John Cowell & Co., Dublin’ over lock and manuscript note inside reading Packenham Hall - the seat of the Earl of Longford — 12½in. (32cm.) square. £600-800

129

130

54

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133.

A WALKING STICK CARVED FROM TIMBER RECOVERED FROM THE WRECK OF THE ROYAL CHARTER [1859] of tapering form carved with foliate devices, silver cuff hand-inscribed ROYAL CHARTER / OCT 26 1859 / WRECKED — 34in. (86.5cm.) long

132.

A RARE ROCKING AUTOMATON COLLECTION BOX FOR THE SHIPWRECKED MARINERS’ SOCIETY, CIRCA 1900 the painted tin interior with rigged wooden barque pinned between ‘waves’ with collecting drawer under, glazed door with legend along lower edge, contained within oak box with coin slot to top, overall measurements — 16¾ x 12 x 7in. (42.5 x 30.5 x 17.5cm.) £400-600

The auxiliary sailing ship Royal Charter was one of the most successful early steam vessels running to Australia during the decade following the gold rush, which began in 1851. After numerous highly profitable voyages, she left Melbourne on 26th August, 1859, homeward bound and carrying 388 passengers, 112 crew and a large cargo of bullion fresh from the goldfields. Quite apart from almost 70,000 ounces of gold valued at £273,000 and £48,000 in newly minted sovereigns, she was also carrying the personal wealth of a number of passengers who had made fortunes at the diggings.

133

Arriving at Queenstown on 24th October after a record run of only 55 days, a large number of letters were dispatched announcing their safe arrival. As she sped up the Irish Sea, Captain Taylor ran inshore a little to allow his passengers a sight of Brunel’s new monster steamship Great Eastern which was lying at Holyhead after her trials.

Shortly after this minor detour, the wind started to freshen considerably. Taylor’s signal rocket for a pilot at around 6.30pm. remained unanswered due to the weather and by 8.00pm. it was blowing a full gale. In an effort to gain a little more searoom, he ordered a few sails to be set but to no avail. The sheer power of the sea and the wind, which by now had veered around and was hurricane strength, was blowing Royal Charter towards the shore and her puny engine could do little to stop the drift. At 1.30am. the following morning the port anchor snapped and the starboard chain went an hour later. Swung around by the straining cable before it broke, Royal Charter was now bows on to the land and heading inshore. She grounded at about 3.30am. although little could be done to evacuate the ship until daylight. Valiant efforts to get a line for a bo’sun’s chair ashore eventually succeeded, but hardly had a handful of men got off the wreck than a huge wave broke the ship in two at 7.00am. With practically all the passengers in the rear saloon, their fate was sealed; Only 40 persons survived the disaster and all were men - 22 passengers and 18 crew. Every woman and child (and Captain Taylor with all his officers) perished in the violence of the storm and those bodies which were recovered revealed the awful truth; very few had drowned, most had been battered to death on the rocky shore within feet of safety. The storm - one of the greatest of the 19th-century - became known to history as the “Royal Charter Gale”. £500-700

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132

134 134.

A YACHTING CLOCK RETAILED BY RAMAGE, LONDON, CIRCA 1920 the 4in. silvered dial signed under ‘VI’ Ramage, 68 Jermyn St, SW1, slow/fast lever above ‘XII’, French 8-day going barrel movement, glazed port, mounted in a wood and metal ‘helm’ for bulkhead suspension — 12½in. (32cm.) diameter £150-250

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135

135.

CAPTAIN DUDLEY’S SEXTANT FROM THE ILL-FATED YACHT MIGNONETTE, CIRCA 1875/1883 unsigned, the 7½in. radius brass ‘A’ frame vernier sextant with silvered scale divided to 120º, arc numbered ‘2258’, vernier with tangent-screw adjustment and swivel magnifier, telescope arbor, mirrors, seven shades, wooden handle and pin feet, contained in original keystone box, the lid inscribed internally in pencil: Lat. Long.

Tuesday 24º57 11º20 Wednesday 24º50 11º50 Thursday 24º33 12º40 Friday 24º10 —— Saturday 24º02 15º— Sunday 23º57 16º50 Monday 23º54 18º10 Tuesday 23º52 19º10 Wednesday 23º38 20º00 To whoever picks this up / Sunday July 20th PM / We Thomas Dudley, Edwin Stevens, / Edmund Brookes & Richard Parker, / the crew of the Yacht Mignonette which / foundered on Saturday the 5th. of July, have / been in our little dinghy 15 days. We have / neither food or water and are greatly reduced / We suppose our Latitude to be 25º South our Longditude / 28ºW May the Lord have mercy upon us / please forward this to Southampton.

Overall measurements — 10 x 11in. (25.5 x 28cm.); together with a copy of ‘The Custom of the Sea’ by Neil Hanson in which the full account of the Mignonette and her crew is given.

(2) Provenance: Moghul Antiques, Adelaide, South Australia (acquired from a deceased estate in Sydney); purchased by vendor from Moghul Antiques,1973.

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The loss of the cutter yacht Mignonette and the subsequent fate of her crew must rival any of the greatest tales of woe upon the ocean and divided a shocked Victorian public when the full, gruesome details became public knowledge in the ensuing inquest.

The Mignonette was a 20 ton cruising yacht built in 1867 and at only 52 feet long, was designed for inshore sailing rather than any longer, more challenging voyages. She was bought in 1883 by John Want, an Australian lawyer who arranged, after some difficulty, with Tom Dudley (the captain) and three crew - Edwin Stephens; Edmund Brooks; and Richard Parker, the cabin boy, to take on the 15,000 mile voyage from Southampton to Sydney, Australia. Parker was 17 years old and an inexperienced seaman. Departing on 5th May, all was well until two months later on 5th July whilst heaving to about 1,600 miles off the Cape of Good Hope, a rogue wave smashed away a bulkhead and the yacht sank within five minutes.

The Illustrated London News, 20th September 1884

135

Scrambling into the flimsy open dingy, whose ¼in. planks were holed in the haste to depart, the shocked crew only had time to grab this sextant, a chronometer, and two tins of turnips - no water. On 9th July a turtle was spotted and sustained them for several days, but by 17th July the possibility of drawing straws to be sacrificed was being discussed. It seems that the condition of Richard Parker, the young cabin boy, was such that his fate was sealed and, on or near to the 24th July, Edwin Stevens cut his jugular vein so they could drink his blood, killing him. Feeding off his body for the next few days, on 29th July a sail was spotted and the German barque Montezuma rescued them and secured the dinghy.

Delivering the survivors to Falmouth on the 6th September, candid statements were given to the authorities in the mistaken belief that they were protected by a “Custom of the Sea”. As no such custom had been created in law, these statements formed the basis of the evidence against them in a trial that began on 3rd November. Public opinion swung firmly behind the unfortunate seamen, however a young and ambitious barrister called William Danckwerts was determined to make use of his previous success in wreck law and pursue a conviction of Murder on the High Seas. In effect, this became Britain’s last trial for Cannibalism at sea.

In the event, Brooks was acquitted, but Dudley and Stephens were found guilty and sentenced to death. The public outcry was such however that this was commuted to six months imprisonment. After the trial was over, John Want offered Dudley a new start in Australia and he opened a chandlery in Sydney, presumably taking this sextant with him.

£1000-1500

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Instruments

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142.

A 3IN. POCKET GLOBE ATTRIBUTED TO DUDLEY ADAMS, LONDON, CIRCA 1800 twelve hand-painted gores with cartouche engraved A correct GLOBE with the new Discoveries, equatorial and solar eclipses, tracks for Cook, North America described as with Parts Unknown, Australia described as New Holland Nuyts Ld, delicately shaded country divides contained within a shagreen case with celestial gores lining, hand-coloured with cartouche inscribed A Correct Globe with new observations of Dr Halley & c. — 3in. (7.5cm.) diam £2000-3000

138.

A RUN OF CHRISTIE’S SCIENTIFIC INSTRUMENT CATALOGUES comprising approximately 100 catalogues spanning 1969-2012 (100) This lot will be available for viewing at Imperial Road £300-400 139.

A RUN OF SOTHEBY’S SCIENTIFIC CATALOGUES comprising approximately 160 catalogues spanning 1969-2003 (160) This lot will be available for viewing at Imperial Road £450-550 140.

SCIENTIFIC CATALOGUES approximately 80 catalogues spanning 1973-2013 for auctioneers and dealers comprising: Bonhams, London; Phillips, London; Hervé Chayette, Paris; Trevor Phillips, London; Harriet Wynter, London; Jean Louis Picard, Paris; Tesseract, US (80) This lot will be available for viewing at Imperial Road £100-150 141.

HARRIET WYNTER LTD CATALOGUES bound in three volumes and comprising: Book Catalogues Vol 1 No. 4 March 1975-Winter 1977; Book Catalogues Vol 2 1978-1981; Instrument Catalogues Vol 1 No.1 to Vol 3 No.5 spanning January 1973-January 1977; together with some loose instrument catalogues from January 1977 and 1986. (a lot) £100-150

142 (Detail)

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143, 145 and 144 143.

AN EARLY 19TH-CENTURY FRENCH TERRESTRIAL TABLE GLOBE signed in the main cartouche GLOBE TERRESTRE Dresse d’apres les relations les plus recents, par Th. Delamarche Successeur de Robert de Vaugondy 1821 and in a second cartouche À PARIS, Chez Fx Delamarche et Charles Dien, Rue du Jardinet No 13, Quartier St Andre des armes, showing the known geographical details of the time, such as central Africa marked Interieur tout-a-fait inconnu, no Lake Victoria, Hottentots to the South: Alaska as Amerique Russe, and the Amazon basin Territoire des Missions, the globe held in a horizon ring supported by four quadrants, in a turned ebonised wood column and circular base, glove — 8.5in.

(22cm.) diam; overall stand — 19¾in.

(50cm.) high £2000-3000

144.

AN EARLY 19TH-CENTURY TERRESTRIAL TABLE GLOBE signed in the cartouche GLOBE TERRESTRE Dresse d’apres les decouvertes Cook, Laperouse et d’autres voyageurs...C.F. Delamarche 1816, the known geography at the time as expected; North America as Amerique Septentrionale, with the Arctic coastline of (present-day) Canada not marked, River Nile no further than the Mountains of the Moon, Australia as Nouvelle Hollande, globe held in a horizon ring supported by four quadrants, on a turned ebonised wood column and circular base, globe — 8in.

(22cm.) diam, overall height in stand 18¾in. (48cm) £2500-3500

145.

A MID-19TH-CENTURY FRENCH TERRESTRIAL GLOBE signed and dated in the cartouche GLOBE adopte par le conseil de l’universite, Maison Delamarche, Rue Serpente No 25, Paris 1856, the River Nile peters out at the Montagnes de la Lune without showing Lake Victoria, Alaska as Amerique Russe, Tokyo Japan, Tokyo as Jedo, circumnavigational track of the French navigator D’Urville around the world traced (1837-1840), mounted in a horizon ring supported by four quadrants on a classical turned ebonised wood base, globe — 9in.

(23cm.), overall in stand — 21½in. (54.5cm.) £2500-3500

143

145

144

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146 (Detail) 147 (Detail)

146.

A 9IN. TERRESTRIAL GLOBE PUBLISHED BY E. BERTAUX, PARIS, CIRCA 1890 comprising 12 coloured gores, the equatorial graduated in degrees, hours and minutes, the meridian of Paris graduated in degrees, the ecliptic graduated in days of the month and of the houses of the Zodiac, the Antarctic with little detail beyond Enderby’s Land and Wilke’s Land, the stamped brass hour dial, with engraved brass meridian half-circle, mounted on a tapered wooden column and plinth base — 19½in. (49.5cm.) high £600-800 147.

A 12IN. TERRESTRIAL GLOBE PUBLISHED BY DELAMARCHE, PARIS, CIRCA 1870 with chromolithographic gores signed DELAMARCHE / E. BERTAUX EDITEUR / 25 RUE SUR PENTE / PARIS / , meridian for Paris, tracks for Astrolabe 1826/27, d’Urville 1838 and 1840, Australia named Nouvelle Hollande ou Australie, graduated equatorial, with ecliptic line, mounted on a graduated brass meridian and supported on ebonised tapered base, overall height — 23½in. (60cm.) £800-1200

146 and 147

148 (Detail)

148.

A 18IN. TERRESTRIAL LIBRARY GLOBE BY ANDREWS, CHICAGO, CIRCA 1890 comprising two sets of 12 chromolithographic halfgores, signed in cartouche Andrews’ / 11inch / terrestrial globe / [A.H.] Andrews & Co mounted within a carved wooden stand with stretcher compass — 45in. (114cm.) high £3000-4000

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149 149.

A GOOD PAIR OF MID-19TH-CENTURY 9IN TABLE GLOBES BY NEWTON & SON, CHANCERY LANE, LONDON, terrestrial and celestial. According to the geography, the Earth globe can be dated after 1857 (showing Lake Victoria) but before 1865, when the United States covered the whole of that Country. The Celestial globe signed in the cartouche “Newton’s Improved Celestial Globe.....66 Chancery Lane”. The constellations shown include the original 48 proposed by Claudius Ptolomey plus, in the southern hemisphere, the later ones found and introduced 18th century, such as Telescopium, the Artist’s Easel, the Pendulum Clock and the Octant.

Globes mounted in a brass half circle, divided by degrees from zero to 90 and numbered every ten degrees. Turned mahogany pillar support with circular base. Overall height of globes in stands 37cm.

NB. Newton & Son, globe makers, are recorded as working at 66 Chancery Lane between 1841 and 1883. See Clifton, Gloria, Directory of British Scientific Instrument Makers 1550-1851.

£3000-5000

149 (Detail)

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150

151

150.

A 6IN. CELESTIAL BY BALE & WOODWARD, LONDON, CIRCA 1850 with hand-painted gores signed as per title above Orion, and mounted with calibrated brass meridian on wooden triform base — 11in (29cm.) high £600-800

152.

A 12IN. RELIEF GLOBE PUBLISHED BY THURY & BELNET, FRENCH, CIRCA 1860 signed as per title with medal accreditation for 1855 and 1858, comprising two sets of 12 chromolithographed raised gores with two polar calottes, with hour dial at the North Pole graduated meridian and horizon rings, mounted on a decorative cast-iron support on a marble plinth, overall measurement — 24in. (61cm.) high £1000-1500

151.

AN 18IN. CELESTIAL GLOBE BY SMITH & SON, LONDON, CIRCA 1830 the plaster core covered with twelve hand-painted gores, signed in the cartouche Smith’s Celestial Globe... Smith & Son 172 Strand, mounted on four-legged turned wooden table stand with graduated brass meridian ring and horizon ring (6 x 5in. damaged area by Taurus, meridian ring cracked) — 24 x 24in. (61 x 61cm.) £2000-4000

153.

AN IRON METEORITE FROM THE SIKHOTE-ALIN IMPACT, RUSSIA, 12TH FEBRUARY, 1947 formed as molten mass with a pitted surface, dark sheen and coppered patches, approximately — 2in. (5cm.) wide; 122.8g., contained in a glass display dome with legend; together with a small glass tektite sample from Lednice (2) According to eyewitness accounts, the meteorite that became known as the Sikhote-Alin Meteorite left a fireball trail some 20 miles long and was brighter than the sun. It was thought to have entered the Earth’s atmosphere at 30,000 miles per hour and exploded into five or six large pieces when approximately 3½ miles high, with many smaller fragments such as this one falling over a square kilometre. Tektites are glass pebbles of unknown origin and found in various parts of the world, but are probably formed by meteorite impact. This one is from Lednice in the Czech Republic.

£200-400

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153

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154

155

154.

A RECORDING AND INDICATING BAROGRAPH BY WEIR & SONS, BELFAST & DUBLIN, CIRCA 1910 the drum with 8-day clockwork motor, eight atmosphere pressure drum with reciprocal dial weather indicator signed along lower edge as per title, bevelled glass cover on display base with twin compartment chart drawer under — 8¼ x 14½in. (21 x 36cm.) £250-350

156.

A BOW-FRONTED DOMESTIC BAROMETER BY DOLLOND, LONDON, CIRCA 1800 signed on the silvered scale as per title, the scale with vernier indicator and thermometer to left, ivory adjusting knob, ebonised reservoir cover and scroll pediment with urn finial — 40in.

(101.5cm.) high £600-800

155.

A SMALL FRENCH GILT-BRONZE BAROGRAPH, CIRCA 1880 stamped and numbered on the bedplate ‘PHNB 414’, seven atmosphere drum acting on lacquered brass movement with clockwork barrel within bevelled glass gilt cover — 6¼ x 8½ x 5¼in.

(16 x 21.5 x 13.5cm.) £400-600

157.

A 2½IN. POCKET BAROMETER BY CASELLA, LONDON the silvered dial signed as per title and numbered 3032, scale divided for up to 2000ft, contained within hinged leather case of issue; together with a 1¾in. example signed and numbered Dollond, London 5725, divided for pressure up to 10,000ft and contained in case of issue with makers label in lid (2) £150-250

156

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158 158.

A 19TH-CENTURY LACQUERED BRASS THEODOLITE unsigned, the telescope with rack and pinion focusing, dust cap and level, located on the limb with twin clamps, the half vertical circle inset with a silvered scale with vernier and 0° - 30° x two scale for Diff of Hypo. & Base, the ‘V’ frame supports mounted on vernier plate with silvered compass level and cross bubble, the 0° 30° horizontal circle with chamfered silver scale, on four screw adjustment tripod support with accessories in mahogany case with trade label for J. Halden & Co. Ltd. — 11¾in. (29.8cm.) wide. £400-600 159.

AN OXIDISED BRASS THEODOLITE BY ELLIOTT BROTHERS, LONDON, CIRCA 1900 the 3in. silvered dial signed as per title and numbered ‘922’, complete with bubble levels and lacquered brass adjusting screws, contained within fitted box with accessories and repair labels for Stanley dated 1909 in lid — 7½ x 13in. (19 x 33cm.) £400-600

159 160.

A BRASS MINER’S DIAL BY ROTHWELL, MANCHESTER, CIRCA 1800 of typical form, the 6in. glazed silvered dial signed as per title, folding sights, bubble levels and brass cover engraved with 50º sighting scale, mounted on ball joint — 13½in. (34cm.)

Rothwell is recorded as working between 1780 and 1820.

£150-250 161.

A WOODEN WAYWISER BY GEORGE ADAMS II, LONDON, CIRCA 1780 the 32in. diameter six spoke wheel with iron tyre and drive gear to 7½in. silvered dial signed G Adams Fleet Street London, inscribed and divided for measurements in yards, poles, miles and furlongs, fret-cut black steel hands, hinged glazed cover and loop handle — 42in. (107cm.) high £800-1200

161 (Detail)

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161

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164

162 162.Ø A LACQUERED CIRCULAR PROTRACTOR BY TROUGHTON & SIMMS, CIRCA 1840 of typical form signed on the radius as per title with hinged compass point and glass with central + sight line, contained within original fitted box — 7¼in. (18.5cm.) wide; together with a late 19th-century T. & H. Doublet drawing set, the top tray apparently complete with compass, pen, divider etc; the lower tray with protractor, divider and other accessories, contained in original plush lined case — 8in. (20.7cm.)

(2) £200-300 163.Ø A LATE 19TH-CENTURY DRAWING SET BY ELLIOTT BROTHERS, LONDON the top tray complete with compass, pens, dividers etc, the middle tray with boxwood rule and ivorine sector; the lower tray with ivorine parallel rule and sector by A.G. Thornton, Manchester and owners name Peter Farquarson — 7½in. (19cm.) wide £80-120

164.

AN EARLY 18TH-CENTURY FOLDING SQUARE BY BUTTERFIELD, PARIS signed Butterfield À Paris and engraved over one side with different scales entitled Pouce Du Rhin / Pouce De Roy and Ligne À Plans, hinged at centre with plumb-bob string hole and cut-away cavity — 8¾in. (22.2cm.) folded; together with an early 19thcentury French folding brass square for old and new measurements, unsigned (2) Provenance: Sotheby’s, 21st October 1977.

£300-500 165.

AN 18TH-CENTURY BRASS SECTOR AFTER BUTTERFIELD À PARIS inscribed Butterfield à Paris, the sectorial lines divided 0-90° and 0120°, the edges with scales inscribed calibre des pieces; les cordes; poids des boules and Les parties Egales — 4½in. (11.5cm.); folded in plush-lined leather case £100-150

165 163

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166.

A LARGE MID-19TH-CENTURY STATION POINTER BY TROUGHTON & SIMMS, LONDON of typical form, constructed in lacquered brass and signed at centre as per title, the 30in. arms with 21in. extensions, contained in fitted box of issue with tools, box width — 34in. (87.5cm.); together with an unsigned wooden pantograph, probably circa 1800 (2) £200-400

166

167.

A LACQUERED BRASS DRUM SEXTANT BY G. & C. DIXEY, CIRCA 1830 of typical form, signed above the silvered scale G. & C. Dixey / Opticians to the King, 3 New Bond St., London, and contained within original stitched leather travelling case — 3½in. (9cm.) diameter George and Charles Dixey worked from this address between 1825 and 1838.

£150-250 168.

A LACQUERED BRASS DRUM SEXTANT BY CARY, LONDON, CIRCA 1840 of typical form, signed as per title by silvered scale, with threaded cap — 2¾in. (7cm.); together with an oxidised brass example by Troughton & Simms in leather case (2) £150-250

167

169.

A COURSE INDICATOR BY J.R. STEBBING, SOUTHAMPTON, CIRCA 1862 constructed in lacquered-brass, signed and inscribed Invented by Comr. Hay, R.N. & J.R. F.R.A.S. Southampton No.546; together with diamond registration mark for 1862 and Stebbing monogram, and comprising a 12in. rule with cutaway section, twin scaled circumferentor, three indicators with wire sights and a swivelling sight with sliding shade, contained in fitted case with complete set of accessories, the case — 13¼in. (33.5cm.) wide £400-600

168

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171

170 170.

A MARINER’S ASTROLABE heavily cast in brass after the original Valentia astrolabe, shaped ballast, the upper half divided but un-numbered, shaped shoulder with universal suspension ring, period style alidade with countersunk pinnials in sighting veins — 7in. (18cm.) diam The Valentia astrolabe of 1588 was discovered under a rock on Valentia, off Southern Ireland, and is now retained as part of the National Collection at Greenwich as NAV0022.

£600-800 171.

A BOXWOOD NOCTURNAL, ENGLISH, CIRCA 1730 unsigned, the obverse inscribed BOTH BEARS, complete with indicators and shaped handle; the reverse inscribed with a compass rose — 11in. (28cm.) long £1500-2000 172.

A CROSS-STAFF BY HARRIET WYNTER, LONDON, CIRCA 1989 the ebonised shaft signed and dated as per title and all components stamped with ‘HW’ monogram, calibrated and hand-punched over four sides with white chalk filling, three (of four) box wood vanes with brass thumb-screws, contained in a fitted baize-lined box based on an original example — 35½in. (90cm.) wide; together with a copy of the Harriet Wynter Ltd catalogue for January 1977 in which the cross staff was first advertised (2) £600-800

172

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173

173 (Detail)

173.

A FINE DAVIS BACK-STAFF BY WILLIAM CLARKE, 1736 in lignum vitæ with boxwood scales and maker’s plate signed and inscribed Made

by William Clarke near Union Stairs for John Quince 1736, the arcs divided over one side, the lesser to 60º and the greater to 25º with punched Fleur de Lys and Tudor Rose decoration — 25in. (63.5cm.) wide £3000-4000

174.

A FACSIMILE CROSS-STAFF AFTER THOMAS TUTTELL, MODERN the staff divided over four faces as in working practice, together with four shaped holly vanes with brass securing keys — 31½in. (80cm.) long, main vane 20¼in. (51.5cm.) wide The original ivory cross-staff, upon which is this example is based, is located at the Royal Museums, Greenwich, object number NAV0505. Thomas Tuttell worked between 1695 and 1702 from two London addresses and advertised a full range of instruments although very few survive. It is understood this example was commissioned in the late 1990s and accurately follows the original.

£400-600

175

175 (Detail)

175.

A FINE BACK-STAFF BY WILLIAM CLARKE, LONDON, 1743 the lignum vitae frame signed on the maker’s plate Made by William Clarke near Union Stairs in Wapping for John Scott: 1743, boxwood arcs divided over one side and punched decoration — 24½in. (62cm.) wide £3000-4000 additional images online at www.charlesmillerltd.com

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176 (Detail) 176.Ø A FINE 15½IN. RADIUS MAHOGANY AND BOXWOOD FIDUCIAL OCTANT BY THOMAS RIPLEY, LONDON, 1774 the scale divided to 90º, wooden index arm with bone-edged reader, maker’s plate inscribed Made By Thos Ripley at ye Hermitage Bridge / LONDON / For David Bartholomo, Augt 23, 1774, pinhole sights, interchangeable shades, mirrors and peg feet — 18in. (45.5cm.) overall £2000-3000

176

177.Ø A 17½IN. RADIUS FIDUCIAL OCTANT, ENGLISH CIRCA 1780 unsigned, the boxwood arch with brass fiducial reader with clamp, wooden index arm, pinhole sights, interchangeable shades, mirrors with brass adjusting mechanisms behind, and wooden feet, overall — 20½in. (42cm.) £1000-1500

177

178 (Detail) 178.Ø A 16IN. RADIUS VERNIER OCTANT BY THOMAS RIPLEY, LONDON, CIRCA 1788 with inset scale divided to 100º, vernier with right alighted ‘0’, brass index arm, maker’s plate signed and inscribed MADE BY THOs RIPLEY Hermitage Bridge / London / For Mr James Adam / NOVr / 5 \nd /1788, pinhold sight, three interchange shades note plate to reverse scratch inscribed NOV 5TH 1788 and brass feet — 18¼ (46.5cm.) high overall £1500-2500

178

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179 (Detail) 179. Ø A FINE 17IN. RADIUS VERNIER OCTANT BY GEORGE ADAMS I, CIRCA 1770 signed and inscribed on maker’s plate G. ADAMS Mathl. Inst. Maker to His MAJESTY / Fleet Street London, ivory scale divided to 95º and inscribed James Smallwood to left, Vernier with centralised ‘0’, brass index arm with guard, pin-hole sights, two interchangeable shades, mirrors and brass feet — 18¾ x 16½in. (47.5 x 42cm.) overall £2000-3000

179

180.Ø A 15½IN. RADIUS VERNIER OCTANT, ENGLISH, CIRCA 1770 unsigned, the scale numbered to right 451 and divided to 95º, vernier scale with centralised ‘0’, brass index arm attractively engraved with Rococo scrolls and a stern view of a man-o’-war — 18½in. (47cm.) high overall £600-800

180

181 (Detail) 181.Ø A 13½IN. RADIUS VERNIER OCTANT BY MARY DICAS, LIVERPOOL, CIRCA 1800 signed and inscribed on the cross bar Made at M Dicas s Mathematical Shop / Liverpool, the scale divided to 100º with ‘SBR’ division mark impressed to middle, pinhole sights, fixed shades and threaded pencil top, contained within original stepped keystone case with decorative lock escutcheon and inked owner’s name Cornelius Woodf. in lid partially obscured by trade label for George Bradford, 99 Minories — 17½ x 15in. (44.5 x 38cm.)

Mary Dicas worked from 1797-1806 when she married George Arstall and they continued as Arstall, Dicas & Co and other variants until about 1813; George Bradford, an optician, worked from 99 Minories between 1817 and 1851 where he sold new and second-hand instruments.

£700-1000 additional images online at www.charlesmillerltd.com

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182

183

182. Ø A 11¾IN. RADIUS VERNIER OCTANT BY SPENCER, BROWNING & RUST, LONDON, CIRCA 1788 signed in the crossbar as per title, inset ivory scale inset to 100º and marked at centre with the ‘SBR’ dividing engine mark, vernier with right aligned ‘0’, brass index arm, pinhole sight, three shades, mirrors and threaded bone-topped pencil, contained within original stepped keystone case with owner’s name inked inside lid John Steer / 1788, with decorative lock escutcheon overall measurements — 14 x 13in. (35.5 x 33cm.)

183.Ø AN 11¼IN. RADIUS VERNIER OCTANT BY CARY, LONDON, WITH DOLLOND-TYPE BACK-GLASS ADJUSTMENT, CIRCA 1800 the scale divided to 100º, signed on the cross bar as per title, pinhole sights with swivelling shade and back-glass adjusting lever behind, three shades, mirrors and pin feet, contained within stepped keystone case with shaped escutcheon — 14½ x 13in. (37 x 33cm.)

Provenance: Christie’s South Kensington, 6th November, 1997, lot 253. £400-600

184 (Detail)

184

72

The reverse glass adjustment is not commonly seen. A similar but earlier version can been seen in the collection of the Royal Museums, Greenwich, numbered NAV1356.

£600-800 184.Ø A 9IN. VERNIER OCTANT BY CRICHTON & SON, LONDON, CIRCA 1850 signed on the cross bar as per title and inscribed Made for A Baharie & Son Sunderland, scale divided to 100º, braced index arm, sighting tube mount, mirror shade, in fitted keystone box complete with accessories and arsenic green maker’s label in lid with Great Exhibition label of 1851 and stamp for Baharie & Sons, — 11¼ x 11½in. (28.5 x 29cm.) £400-600

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185

185 (Detail) 185.

A FINE 12IN. RADIUS VERNIER SEXTANT BY JESSE RAMSDEN, LONDON, CIRCA 1785 with straight-bar frame, the arc divided to 135º signed to middle as per title, the veriner with right-orientated ‘0’, braced index arm, fixed full-length sighting tube with half mirror mounted to end, interchangeable black/silver index mirror numbered behind ‘840’, five shades, wooden handle and pin feet, contained within fitted yellow-pine case with accessories including secondary tube, threaded eye-piece shade, black mirror and screwdriver, the lid with manuscript label reading Ramsden’s sextant / June 8th, 1842 / Index error 2’ 26” / to be subtracted, cased measurements — 15 x 17in. (38 x 43cm.)

Ref: Morzer Bruyns, W.F.J.: Sextants at Greenwich, Oxford, 2009, No.141, Inv. No. NAV1104 which described a similar instrument, numbered 842; Whipple Museum Inv No. WH.2122. £4000-6000 additional images online at www.charlesmillerltd.com

186 186.

A 8IN. VERNIER SEXTANT BY JESSE RAMSDEN, LONDON, CIRCA 1798 the diamond pattern frame signed on the brass arc Ramsden London, and numbered behind index mirror 1383, inset silvered scale divided to 130º, vernier reader with clamp and adjustable magnifier on thread, braced index arm, sighting tube assembly with sighting tube, seven shades, two mirrors and wooden handle, — 10in. (25.5cm) overall height £400-600

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187 (Detail) 187.Ø AN 8½IN. VERNIER SEXTANT BY DOLLOND, LONDON, CIRCA 1800 signed on the cross bar as per title, scale divided to 140º and stamped with Ramsden fouled anchor mark at centre, right-aligned vernier scale with braced index arm, sighting tube mount, shades, mirrors, shaped handle and brass feet, contained within keystone box with two telescopes — 11 x 13¾in. (28 x 35cm.) £800-1200

187

188.

A 7½IN. RADIUS VERNIER SEXTANT BY E. LORIEUX, PÈRE, PARIS, CIRCA 1860 with lacquered brass ladder frame, signed and numbered on the arc E. Lorieux, père, 12542, silvered scale divided to 160º, Vernier with hinged magnifier on index arm impressed with maker’s stamp, contained within a fitted box with accessories including telescopes, shades, mirror adjuster etc. — 10in. (25.5cm.) square £300-500 189.

A 7¼IN. RADIUS VERNIER ‘HEART’ PATTERN SEXTANT BY HEATH & CO. LTD, NEW ELTHAM, LONDON, CIRCA 1900 with oxidised brass heart-shaped frame, the arc signed as per title, vernier with ‘Hezzanith’ trade label and automatic clamp, telescope support, two mirrors, seven shades and wooden handle, contained in fitted box of issue with complete set of accessories — 11in.

(28cm.) square £300-500

188

189

74

190.

A 6IN. RADIUS LACQUERED BRASS REFLECTING CIRCLE BY PISTOR & MARTINS, BERLIN, CIRCA 1850 signed and numbered Pistor & Martins, Berlin, 534, the solid frame with inset silvered scale, twin verniers, prismatic sight with two demi-shades and swivelling scale reader, contained in fitted and counter-numbered box with sighting tubes and shades, the lid with manuscript error certificate for 1878 — 8¼in. (21cm.) square £600-800

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191

Joseph Wright of Derby: ‘Mr and Mrs P Burdett’ (Detail) showing a simalar instrument c.1765

191.

A VERY FINE ¾IN. PINK SHAGREEN AND GILT-BRASS FOUR-DRAW VELLUM-COVERED CARD TELESCOPE BY J. AYSCOUGH, LONDON, CIRCA 1750 signed on the fourth draw as per title, parallel main tube with ray skin ‘jewels’ and delicate pink staining, gilt brass section dividers to green vellum-covered card draws with inked focus lines and dust slides each end — 14½in. (37cm.) closed; 42in. (107cm.) open, mounted on associated turned wooden Georgian telescope table stand — 18in. (46cm.) high (2) This telescope represents an expensive commission made at the apex of the pre-achromatic development of the refracting telescope and dates to between 1747 and the maker’s death in 1759 at just 40 years of age. James Ayscough (1719-59) was one of the most creative and innovative London telescope opticians in the formative experimental period which led directly to the achromatic doublet objective being patented in 1758 by John Dollond Snr (1703-61). The son of a Wiltshire parson, at 13 he was apprenticed to James Mann II (w.1706-d.1756) and as such was at the forefront of many such achromatic lens trials from their inception by the London barrister Chester Moor Hall. Latterly educated at Christ’s College, Cambridge, Ayscough gained his Freedom in 1740 under James Mann II, with whom he was later in partnership between 1743 and 1747. He became an independent maker in 1748 where he was known for quality experimental optical designs and published a fine optical treatise in 1752 entitled A Short Account of the Eye and Nature of Vision, chiefly designed to Illustrate the Use and Advantage of Spectacles. This aroused great jealousy and ire amongst other London opticians for promoting hard green crown glass, being rather expensive to procure and time-consuming to polish.

Literature: 1. Gee, B, ed. McConnell, A & Mirrison-Low, A: Francis Watkins and the Dollond Patent Telescope Controversy, Ashgate, pp.41-47; 2. Talbot, S: Shagreen and Fish-skin - on Scientific Instruments, their Cases and Étui c.1700-1800, SIS Bulletin No.123 Dec. 2014, pp.10-27; 3. Louman & Zuidervaart: A Certain Instrument for Seeing Far, Wassenaar, 2013, Nos. 49, 152, 180. £2000-3000

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191 (Detail)

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192.

A 1½IN. REFLECTING TELESCOPE, ENGLISH, CIRCA 1740 unsigned, the 7in. barrel with end cap, primary and secondary speculum mirrors with spring backing to threaded back-plate with eyepiece assembly, with fine focus adjustment and threaded eyepiece, mounted on a baluster stand with threaded base and contained within original fitted case with lock escutcheon and mounting plate to top, case measurements — 2¾ x 9 x 3½in. (7 x 23 x 9cm.) £800-1200

192

193 193.

AN UNUSUAL PORTABLE 2½IN. REFRACTING ASTRONOMICAL LIBRARY TELESCOPE BY WILLIAM HARRIS, LONDON, CIRCA 1805 the 28in. brass tube signed on the back plate Wm. Harris, 47 Holborn, London, with massive central thread, rack-and-pinion fine focus, dust slide and lenscap, mounted on folding tripod stand — 20½in. (52cm.) high William Harris occupied this address between 1805 and 1815. The barrel’s ability to divide in half would have made this an especially practical instrument for observation work away from the confines of a building.

194

195

194.

A 2IN. REFRACTING TABLE TELESCOPE BY JESSE RAMSDEN, LONDON, CIRCA 1790 signed on top of the 25½in. lacquered brass tube Je Ramsden London, lens cap, focus wheel adjustment, three interchangeable threaded eyepieces with dust-slides or solar filter, folding tripod stand (possibly associated), contained within fitted wooden box of issue £600-800

195.

A 3IN. REFRACTING LIBRARY TELESCOPE

BY WATSON, LONDON the 24in. main tube signed on the back plate as per title, shade cuff, rack-andpinion fine focus, attached to folding tripod stand — 19½ x 38in. (49.5 x 96.5cm.) overall £150-250

£200-300

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196.

A LATE 19TH-CENTURY 4IN. REFRACTING ASTRONOMICAL LIBRARY TELESCOPE BY ROSS, LONDON signed on the sighting tube and stand as per title, 36in main tube with rack-and-pinion eyepiece assembly and star finder, mounted on substantial tripod stand with screw-adjustment, contained within a fitted wooden box with accessories including conventional eyepieces and solar diagonal and retail trade label for C. Baker, Holborn, cased measurements — 9½ x 52 x 14in. (24 x 132 x 135.5cm.) £2000-3000

196

197.

A STEAMED-WOOD ASTRONOMER’S CHAIR, CIRCA 1875 after W. Callaghan and comprising two sections steamed to fit lowlevel x-struts — 26 x 33in. (66 x 84cm.)

A similar chair bearing a maker’s plate for ‘W. Callaghan, 1873’ was sold in these rooms 21 October 2009, lot 247.

£200-400

197

198.

A 6IN. TWO-DRAW REFRACTING OBSERVATORY TELESCOPE, CIRCA 1930 unsigned, with 59½in. painted, galvanised metal tube, the eyepiece with rack and pinion focusing acting on first draw tube, with lens cap and sliding trunnion mount, overall measurements — 74in. (188cm.); together with an associated star finder (2) £400-600

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203 (Detail)

199 (Detail)

201 (Detail)

199 (Detail)

199

200

201

200

202

199

201

199

203

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202.

A ½IN. SINGLE DRAW TELESCOPE, CIRCA 1780 unsigned, with plain tapering wooden tube, bulbous eyepiece and lens cap with dust slides — 25½in. (65cm.) closed £250-350

199.

THREE 19TH-CENTURY WOOD AND BRASS TELESCOPES comprising a 2in. single draw marine-type signed Gilbert & Sons, London, Improved with 39in. tapered tube; a 1½in. single draw with 19in. main tube, signed by the eyepiece P CARPENTER LONDON, DAY OR NIGHT; and a 1¾in. three-draw example signed G. Wilson, London, Improved, Day or Night — 12in. (30.5cm.) closed.

(3) £300-400

203.

A 1¼IN. TWO-DRAW REFRACTING TELESCOPE BY SALOM & CO., EDINBURGH & LONDON, CIRCA 1850 signed on the draw tube Salom & Co. / Edinburgh & 137 Regents St / A20266, parallel wooden main tube with rack and pinion fine focusing on first draw, dust slide and lens cap — 14in. (35.5cm.); together with an ‘officer of the watch’ type example by Ross, London no. 20602 (2) £150-250

200.

A 1¼IN. MARINE TELESCOPE BY LINCOLN, LONDON, CIRCA 1770 the reverse-taper decagonal main tube with single draw signed as per title, bulbous eyepiece and lens cap — 34in. (86.5cm.) closed; together with an English ¾in. marine telescope circa 1770, unsigned, with reverse-taper decagonal tube, single draw with bulbous eyepiece and dust slide — 25½in. (64.8cm.) closed (2) £250-350

204.

A PAIR OF 8 X 50 BINOCULARS, JUMELLE, FRANCE, CIRCA 1936 stamped on the back plate S.R.P.I. Puteaux / Jumelle S 8 x 50 (S.R.P.I. 1936) No. 513, the prismatic 6¼in. barrels with 2in. lenses and vernier reader with fine scale adjustment finished in original light green livery, rubber shades, and mounted in a tripod base with adjustable legs, — approx. 11in. (28cm.) long £400-600

201.

A 1½IN. SINGLE-DRAW DECAGONAL SEA SERVICE TELESCOPE, CIRCA 1780 unsigned, with 29½in. tube with lacquered brass fittings; together with another signed and inscribed T. Harris & Sons London / JERSEY SIGNALS; and two more, unsigned (4) £150-250

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205.

A LARGE ELECTROSTATIC MACHINE, PROBABLY FRENCH, EARLY 19TH-CENTURY constructed in walnut, with single 31in. diam glass disc operated by crank handle on stuffed leather pads, and associated insulating glass rod-mounted brass contacts mounted loosely on shaped table stand (table later, old restorations) — 64 x 49in. (163 x 125cm.)

This lot will be available for viewing at Imperial Road £600-800

206 (Detail)

205

206 206.

A PARTIALLY COMPLETE ELECTROSTATIC MACHINE BY GEORGE ADAMS I, CIRCA 1770 with hand-cranked glass drum mounted on wooden base with glass insulating posts and ivory maker’s label inscribed G. ADAMS / FLEET St. / LONDON — 17½ x 20½ x 15in. (44.5 x 52 x 38cm.)

This lot will be available for viewing at Imperial Road £400-600 207.

AN ELECTROSTATIC MACHINE, PROBABLY FRENCH, EARLY 19TH-CENTURY constructed in walnut and brass with a 16in. glass disc mounted on drive mechanism with stuffed leather pads, brass contacts on glass insulating rods set on a display base (lacking crank) — 25 x 32 x 18in. (63.5 x 81.5 x 46cm.)

This lot will be available for viewing at Imperial Road £200-300

207

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208.

A FINE NAIRNE-TYPE VACUUM PUMP, ENGLISH, LATE 18TH-CENTURY unsigned, constructed in mahogany and brass with glass bell jar, primary pump with rack-andpinion action on two cylinders, secondary pump/release mechanism under platform with bell jar, supported by six wooden and two lacquered brass columns — 27 x 23in. (69 x 59cm.)

This lot will be available for viewing at Imperial Road £1500-2000 209.

A FULLER-TYPE CALCULATING SLIDE RULE BY STANLEY, LONDON, CIRCA 1916 of usual construction with handle recessed to fit case-mounted metal prong, complete with makers label in lid, set of instructions and presentation plate to front dated for 1918, the case — 18¼in.

(46cm.) wide; together with a rope gauge and hand-held telescope in card case, both unsigned.

(3) £150-250 210.

THREE MODERN SETS OF NAPIER’S BONE’S BY HARRIET WYNTER two in box and one in ebony, each comprising ten rods and a square root block punched with numbers as in authentic practice, each contained in a wooden ‘book’ case with spine inscribed Harriet Wynter, London, 1992, and numbered 13, 14 and 17, each — 6 x 4¾in. (15 x 12cm.); together with eight copies of Napier’s Bones by D. J. Bryden detailing their history and use (11) £200-400

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208

210

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211 211.

AN EARLY 19TH-CENTURY TRAVELLING MEDICINE CHEST the doors fitted with bottle compartments, lower drawer plushlined with pestle and mortar, measure, scales etc., the top with inset carry handle — 9½ x 8in. (24 x 20cm.) £250-350 212.

A SMALL 19TH-CENTURY TRAVELLING MEDICINE CHEST the top with compartments for 12 bottles in three sizes, most with contents and labels from various London chemists with contents mainly comprising oil-based remedies including Syrup of Squills and Halibut Oil etc., the lower draw containing a glass pestle and mortar, measure, scales, weights and two glass eyes, approximately — 7in. (18cm.) cubed £200-300

213

82

212 213.

A PAIR OF SCALES BY THOMAS REEVES, LONDON, CIRCA 1765 in brass and steel, contained within baize-lined oak case with trade label, the lid with remnants of black seal — 9¼in. ( 23.5cm.) wide; together with a similar set, smaller and unsigned, with weights; a folding pocket coin balance by Masterman, Peters, Mildred, Masterman & Co.; and an riental set in ‘guitar’ shaped case.

(4) £100-150 214.

A 19TH-CENTURY PHRENOLOGY HEAD BY L.N. FOWLER of usual form with transfer-printed inscriptions and hand-tined blue lining around base and shoulder — 11in. (28cm.) high overall Provenance: Christie’s, South Kensington, 11th August 1988. £150-250

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216

215

215.

A FIELD SURGEON’S SET, PROBABLY FRENCH, MID-19TH-CENTURY the silvered instruments with ebony handles and mixed signatures including knives, scalpel, saw, tourniquet, cauterizing iron etc., the saw signed Mathieu à Paris and tourniquet by SMAW London, contained in fitted case with secured lid compartment, the top with inset handle and impressed to corner ‘ETAT 140’ — 15½in.

(39.5cm.) wide £200-300

217.

A GOOD SPECTROSCOPE BY JOHN BROWNING, LONDON, CIRCA 1875 in lacquered and oxidised brass, signed by the prism John Browning, 63 Strand, London, circumference scale divided 0-110 with vernier and magnifier, 13in. observation tube with rack-andpinion fine focus, secondary tube with crystal sample, mounted on tapering brass pillar to painted iron stand secured to sliding base board to fit case with ivorine retailer’s label for Clarkson’s, High Holborn, London, the case — 15½ x 9½in. (39.5 x 24cm.) £300-400

216.

A WOODEN STEEL TREPAN DRILL, CIRCA 1760 the square shank with shaped handle and wooden grip — 9¾in.

(25cm.) high £300-500

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220.

A 19TH-CENTURY LACQUERED BRASS CULPEPER-TYPE MICROSCOPE unsigned, the 5½in. barrel with rack-and-pinion focusing and tube focus lines, contained within fitted pyramid case with drawer containing accessories including four numbered nosepieces, live box, fish plate and blank four-aperture bone slide, the case — 12¾in. (32.5cm.) high £200-300 221.

FOUR 19TH-CENTURY TOY MICROSCOPES all unsigned, comprising Nuremberg tripod and drum-types; a screw-barrel type after Eustachio Divini; and a scioptic ball, the tallest — 12in. (30.5cm.) high (4) £100-150

218 218.

A LACQUERED BRASS SOLAR MICROSCOPE, PROBABLY 19TH-CENTURY unsigned, with 6½in. main tube with rack-and-pinion focus by slide assembly, mounted to back plate with vertical and horizontal keyturn mirror orientation — the back plate — 4¾in. (12cm.) square £250-350 219.

A DIDACTIC PRISM AFTER AHREN BY NEWTON & CO., LONDON CIRCA 1890 the lacquered brass prism signed as per title and mounted on a mahogany board, the sliding optical components with rack and pinion fine adjustment, — 31in (79cm.) overall length. £1000-1500

220

84

219

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222 222.

A FINE COLLECTION OF PREPARED MICROSCOPE SLIDES, 19TH-CENTURY comprising approx. 1,000 slides with most professionally prepared by houses including Baker; Ross; Peal; Smith; Beck & Beck; Adlington; Frederick Wood; etc., each slide with manuscript description and contained within three compartment fitted drawer in two collectors’ cabinets, one with maker’s plate for W. Watson & Sons London, Watson cabinet — 13 x 10½ x 11¾in. (33 x 26.5 x 30cm.)

(2) £1500-2500 223.

A LATE 19TH-CENTURY MICROSCOPE SLIDE PREPARATION SET unsigned, with drop-down front revealing fitted compartments and drawers containing apparatus, tools, spare labels, glasses etc. as appropriate — 13½in. (34cm.) wide; together with two enclosed glass slide drying dishes with fitted interiors (3) £150-250

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224

226

224. Ø A GROUP OF OPTICAL INSTRUMENTS comprising an Adams type gilt brass and turned ivory monocular

by Watkins & Hill, London, a small monocular spyglass by L. Cassella, London, two map readers, a folding lacquered brass pocket magnifier, and four modern pocket microcopes (9) £150-250

226.

A POCKET MICROSCOPE, PROBABLY LATE 19TH-CENTURY unsigned, of miniature conventional form, folding into plush-lined card case — 5in. (12.5cm.) wide; together with another pocket microscope, a mid-19th-century brass simple microscope; and a fleaglass with bulbous glass body and removable base (4) £150-250

225. Ø A WITHERING FIRST-TYPE POCKET MICROSCOPE, CIRCA 1776 of standard form with brass-handled accessories comprising diamond-headed scalpel, pricket and tweezers, contained within original cylindrical card case of issue — 4½in. (11.5cm.) high; together with a second-type Withering folding pocket microscope of usual form, with pasted label inside lid annotated A Gift from Lady Archer, 1799, the case with accessories including additional lens, tweezers, scalpel, and two four-aperture bone slides with samples — 4¾in. (12cm.) wide (2) £250-350

227. Ø A 19TH-CENTURY JONES-TYPE POCKET NATURALIST’S MAGNIFIER unsigned, in lacquered brass with folding turned ivory handle and lens, the specimen slider with reversible pin/pincer, contained in card pocket case — 2¾in. (7cm.) wide; together with another of similar type, mid-19th-century, the case 6¼in. (16cm.) wide.

(2) £200-300

225

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228.

A BOTANIST’S MICROSCOPE BY CARPENTER, LONDON, CIRCA 1830 of typical form, signed on the rack-and-pinion mounting post Carpenter, 24 Regent Str.t, London, contained within fitted box with accessories including four nose-pieces, platform pincer, five fouraperture bone slides with samples, plush-lined lid and securing hooks — 6½in. (16.5cm.) wide Philip Carpenter (w.1808-d.1833) occupied this Regent’s Street address between 1827 and 1833

£300-400

228

229.

A GOOD BOTANIST’S MICROSCOPE BY G. & C. DIXEY, LONDON, CIRCA 1830 signed on the lacquered brass limb G. & C. Dixey, New Bond Street, LONDON, contained in a tray within fitted plush case complete with accessories including four nosepieces, a live box and two six-aperture bone slides with specimens — 5½ x 4½in. (14 x 11.5cm.)

Provenance: Sotheby’s, 7th February 1972. £400-600

229

230.

AN EARLY 19TH-CENTURY LACQUERED BRASS CARY-TYPE BOTANIST’S POCKET MICROSCOPE unsigned, of typical form and contained in original fitted case complete with accessories including three nosepieces, live box, tweezers, pricker, scalpel and three bone slides — 4in. (10cm.) diam £200-300

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232

231.

A ‘JONES’S MOST IMPROVED’-TYPE MICROSCOPE MAGAZINE, CIRCA 1820 unsigned, of typical form, contained within fitted case with accessories including four nose-piece, reflector, live box and a small quantity of four-aperture bone slides wrapped in paper, the box with plush lined lid — 9½in. (24cm.) wide £400-600

233.

A LATE 19TH-CENTURY LACQUERED BRASS MONOCULAR MICROSCOPE AND ACCESSORIES unsigned, contained in small case with accessories including two nosepieces, alternative eyepiece, bull’s eye lens, platform specimen holder, the lower drawer containing a selection of card and glass slides, cased measurement — 10 x 6¼in. (25.5 x 16cm.); together with a brass microscope oil lamp signed on the foot Swift & Son, with counter-signed porcelain shade — 11in. (28cm.) high (2) £150-250

232.

A 19TH-CENTURY DRUM-TYPE MICROSCOPE unsigned, of typical form and contained in fitted box complete with accessories including six nosepieces, live box, Lieberkühn reflector, platform pincers, tweezers, three four-aperture bone slides etc., the box — 11in. (28cm.) diam £150-250

234.

A MICROSCOPE LAMP BY R. & J. BECK, LONDON with lacquered brass ring base signed as per title, burner assembly with adjustable bull’s eye lens with glass filter option on chimney, mounted on a quick-release clamp to square-section pillar — 12in.

(30.5cm.) high £100-150

233

234

231

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235.

A FINE LACQUERED BRASS MONOCULAR MICROSCOPE BY WRAY, LONDON, CIRCA 1870 with rack-and-pinion adjustment to tube and platforms, contained in fitted case with accessories including four eyepieces, seven nosepieces for 3in.; two 2in.; two 1in.; 2⁄3in.; ½in.; ¼in. and 1⁄12in. powers; prism, bull’s eye condensing lens and others, contained in fitted mahogany case with additional loose accessories including an early electric lamp and a reflector attachment — 22 x 12¾in. (56 x 32.5cm.); together with an associated part-filled magazine of prepared slides; a box of blank slides, glasses and papers, an empty magazine and a copy of Lionel Beale’s How to Work the Microscope, London, 1867 (5) £2500-4000

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237

236 236.

A BINOCULAR TRUNK-TYPE MICROSCOPE BY R. & J. BECK, LONDON, CIRCA 1900 with lacquered and oxidised brass bedplate with hinged support signed on the back as per title and numbered 4994, platform with dual-adjusting knobs, filters, mirror, and rack-and-pinion focusing, together with a fitted tray of accessories including 1⁄8in.; ¼in.; 1in.; 2in. and 3in. nosepieces, alternative eyepieces, platform filters, bull’s eye lens, etc., (lacking case) assembled height — 15in.

(38cm.)

(2) £250-350 237.

A MONOCULAR TRUNK-TYPE MICROSCOPE BY R. & J. BECK, LONDON in lacquered and oxidised brass, signed as per title and numbered 7698 on the back of the folding stand, contained in fitted box with accessories including five nosepieces, live box, alternative platform, bull’s eye lens, and a selection of slides etc., the box — 16in. (40.5cm.) diameter £200-400

238

90

238.

A LACQUERED BRASS MONOCULAR MICROSCOPE BY MORITZ PILLISCHER, LONDON, CIRCA 1859 signed and numbered on the foot M. Pillischer, London, No. 478, 8in. main tube, contained in fitted box with accessories including ¼in.; ½in.; 1in. and 2in. nosepieces, the ½in. dated for 1859, alternative eyepieces, live box, specimen clamp and selection of slides, the box — 16¾ x 7½in. (42.5 x 19cm.) £500-800 239.

A LATE 19TH-CENTURY MONOCULAR MICROSCOPE BY ARONSBERG & SON, MANCHESTER with lacquered brass barrel and support and oxidised brass foot signed as per title, contained within a fitted case with fittings and accessories including a ¼in. nosepiece, bull’s eye condensing lens and slide drawer — 14½ x 8¾in. (37 x 22cm.) £300-500

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240.

A RARE IMPERIAL RUSSIAN NAVAL SIGHTING COMPASS BY SAMOILOV, PRIGIIGIORSK, 1853 the 7in. mica-backed card signed and inscribed in Cyrillic, dated 1853 and inscribed in pencil 1278, double-headed eagle with naval crossed anchors at north, the rim edged with silvered brass and divided with reversed Roman numerals, jewelled suspension pivot and sealing wax balancing, mounted on a sprung steel pin within substantial silvered brass bowl with glazed bottom, removable glass top with folding sights (one missing), lacquered brass gimbal mounts within original wooden box with inset handles, securing hooks, brass makers plate and inscribed in ink K.V. No. 50, overall dimensions — 12in.

(30.5cm.) square

240 (Detail)

240 (Detail)

Andrew V. Samoilov (1790-1871) was born in St. Petersburg to a family of craftsmen. He entered the Admiralty and ran the instrument studio at the Izhora Factories from 1820 until his death, enjoying the right to add his personal mark to his output. He is considered the first and perhaps finest Russian master instrument maker in the first half of the 19th-century. The Izhora Factories, one of the oldest in Russia, were founded in 1722 by decree of Peter the Great and were the nucleus of Russian naval innovation manufacturing everything from forged anchors and anchor chains, stretched copper sheets for sheathing hulls, armor cladding, steam engines and navigational instruments.

£800-1200

240

241

241.

A FINE DENT-TYPE BOATS COMPASS PATTERN 182 BINNACLE COMPASS BY KELVIN & JAMES WHITE LTD, CIRCA 1912 with 4in. ‘Chetwynd’s Patent’ card in gimballed bowl contained in regulation binnacle housing with clamp, candle, shade slide, instructions in waterproof slip case and pasted inside door stamped 7 Feb 1912, brass temple top with candle lantern, brass top glass cover inscribed with maker’s details and swivel handle, shaped base stenciled PATT 182 behind, with lashing rings, overall measurements — 13 x 9 x 9in.

(33 x 23 x 23cm.)

In 1890 four compass manufacturers (Dent, Hughes, Lilley & Reynolds) were invited by the Royal Navy to compete for a new design of boat compass. The specifications required the instrument to be capable of handling the vibrations of a steamboat as well as the usual requirements for sailing and pulling boats and the resulting entries were tested aboard H.M.S. Vernon at Portsmouth. The example offered

by Dent was the best on all counts and was introduced as BOATS COMPASS PATTERN 20 in 1892. Apart from a reduction in card size (from 7in. to 4in.) in 1907, the pattern (re-designated 182) remained in service until after World War I. £1500-2000

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242 242.

A FINE EARLY 19TH-CENTURY IVORY POCKET COMPASS BY GILBERT & SONS, LONDON the 1¾in. mica-backed card with jewelled pivot signed Gilbert & Sons, near Ye India House, Londoni, sealing wax balancing, removable brass pin, supporting inner ivory card damping ring and turned, threaded lid — 1½ x 2½in. (4 x 6.4cm.) £400-600 243.

A FRENCH SURVEYING COMPASS BY JACQUES CANIVET, CIRCA 1760 with 4in. printed compass rose signed Canivet À Paris by South, half blued-steel needle on jewelled pivot with retainer under, silvered circumference scale, glazed with retaining spring, contained in wooden case counter signed on inset brass plate Canivet à la Sphère à Paris, sliding lid, pivoted side sight and inset table attachments underneath — 6½ x 7in. (16.5 x 18cm.)

Provenance: Sotheby’s, 9th June 1977. £300-400

243

243 (Detail) 244.

A SMALL WOOD AND BRASS ‘SESTREL’ YACHT BINNACLE AND COMPASS BY HENRY BROWNE & SON with 3½in. card signed E. Esdailie & Sons, NSW in liquid-filled bowl gimbal-mounted within brass binnacle with correction spheres, glazed hood with burner, mounted on wooden pedestal stand with brass maker’s label — 21in. (53.5cm.) high; together with a portable boat binnacle case (2) £150-200 245.

A WOODEN TRAVERSE BOARD, PROBABLY 20TH-CENTURY constructed from two conjoined halves with inlaid compass rose at centre, 18 rows of radiating peg holes with red-painted compass points and carved decorative corners — 16in. (41cm.) diam £150-250

244

245

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246.

A 19TH-CENTURY TURNED WOOD AND PAPER SHEPHERD’S SUNDIAL unsigned, of typical form with threaded top to detachable gnomon recess — 5¼in.

(13cm.) high; together with a late 19th-century fruitwood compass sundial with instructions pasted in lid (2) £150-250

246

247.

A UNIVERSAL EQUINOCTIAL RING DIAL BY DOLLOND, LONDON, CIRCA 1800 in lacquered brass, signed under the degree scale as per title, chapter ring with black-filled Roman numerals, pivoted bridge with calendar and zodiac scales and sliding gnomon, string gnomon with slotted pin sight, the rim with sliding suspension loop — 6in. (15cm.) diam £1000-1500

247 248.

A POCKET COMPASS SUNDIAL BY ELLIOTT BROTHERS, CIRCA 1870 with 1½in. silvered dial signed Elliott Brothers / 440 Strand / London, mounted on lacquered brass bedplate with three levelling screws, two bubble levels, folding latitude scale and hour ring with folding gnomon, contained within plush-lined Morocco case with label on base, overall — 3½in. (9cm.) wide; together with an early 19th-century brass pocket compass sundial, unsigned and lacking case (2) £250-350

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250 249

249.

A LARGE BOXWOOD GUNTER-TYPE HORARY QUADRANT, ENGLISH, CIRCA 1760 unsigned, constructed in laminated sections and inscribed over one side with the usual degree scales and equinox dates, the shadow square with positions for five stars, plummet hole and remnant sights in the top edge — 12in. (30.5cm.) radius Literature: Cowham, M: A Dial in your Poke, 2nd Ed., Cambridge 2011, p.32-3. £1500-2500

250.

AN EARLY 19TH-CENTURY TIMING GLASS the conjoined bulbs filled with volcanic sand between pine endplates secured with four square section supports, one end plate inscribed ‘10 minutes’ — 7in. (18cm.) high £150-250 251.

A DIPLEIDOSCOPE BY E.J. DENT, LONDON, CIRCA 1850 mounted on a bedplate numbered ‘L791’, threaded levelling, bubble level and compass box with steel needle, brass prism cap inscribed E.I. DENT’S / PATENT / MERIDIAN INSTRUMENT / 82, Strand / & 33, Cockspur St. / LONDON, contained within fitted box with glass shade in lid and wooden retainers to sides — 5in.

(12.5cm.) square £250-350 252.

A RARE POCKET COMPASS SUNDIAL BY JOHN FOWLER, CIRCA 1730 constructed in engraved brass with black wax filling, folding gnomon, blued-steel needle, signed J Fowler fecit between ‘III’ and ‘VIII’, complete with lid — 2 5⁄8in. (6.7cm.) diam John Fowler worked between 1721 and 1750 from The Globe, Sweeting’s Alley by the Royal Exchange, London, and specialised in sundials and compasses.

£250-400

251

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253 (Detail)

253 253.

A RARE SILVER-PLATED BRASS INCLINING DIAL BY J. SISSON, LONDON, CIRCA 1740 the 4½in. diameter dial with sprung folding gnomon signed I Sifson / LONDON, the hours running IIII-XII-VIII, inner degree scale running 140º-0-140º, hinged by ‘XII’ to baseplate with hinged latitude arm, level recess, and inset 2¼in. glazed compass with blued-steel needle, contained in fitted plush-lined Morocco leather case — 5¼in. (13.3cm.) square Exhibited: The Clockwork of the Heavens, Asprey & Company, London, November 1973, item 55 (Private Collection).

Jonathan Sisson (1690-1749) worked from the Strand and was father of Jeremiah Sisson who continued between 1749-1783. Both signed their instruments ‘J. Sisson’ and distinguishing between them has long been debated without conclusion.

£3000-4000 254.

A SILVER BUTTERFIELD DIAL, CIRCA 1740 of usual form, with folding bird gnomon, glazed compass compartment with blued compass needle signed on the reverse BUTTERFIELD À PARIS with latitude table to European cities and foliate scrollwork behind compass and French silver marks — 3in. (7.5cm.) wide £1200-1500

254

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255 (Detail) 255.

CHARLES CUMMINS, LONDON, A FINE 8-DAY MARINE CHRONOMETER, No. 1051/im, CIRCA 1845 the 4in. silvered dial signed and numbered Charles Cummins near the India House, London. 1051/im, radial champlevé Roman numerals, blued steel hands, up-down and seconds dials, 2-frame brass movement with reverse fusee and chain, Harrison’s maintaining power, spotted plates, Earnshaw-type footed spring detent escapement, bi-metallic compensation balance with wedgeshaped heat compensation weights and meantime adjustment nuts, free-sprung blued steel helical balance spring, contained within counter-weighted gimballed brass bowl within three-tier brass-bound mahogany box with brass drop handles — 8 x 7¼ x 7¼in. (20.3 x 18.5 x 18.5cm.) £2000-3000

255

256 (Detail)

256 (Detail) 256.

RICHARD WIDENHAM, EAST STREET, LONDON, A SMALL TWO-DAY MARINE CHRONOMETER WITH AUXILIARY COMPENSATION, No. 1160, CIRCA 1835 signed and numbered on the 3in. silvered dial Widenham London 1160, radial champlevé Roman numerals, gold hour and minute hands, three quarter plate brass movement with separate plate to secure the spring barrel, fusee and chain, Harrison’s maintaining power, bi-metallic “Z” balance with wedge-shaped temperature weights and meantime adjustment screws, two screws on each arm for auxiliary compensation, Earnshaw-type spring footed detent escapement, free-sprung silvercoloured helical balance spring, diamond endstone, contained within silvered gimbal-mounted bowl within three-tier counter-numbered box with full maker’s trade label lining the lid, original key and silvered drop handles, approximately — 5in. (12.7cm.) square £1800-2500

96

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258

257

257 (Detail) 257.

D. McGREGOR & Co., GLASGOW & GREENOCK, A TWO-DAY MARINE CHRONOMETER WITH MERCER’S AUXILIARY COMPENSATION BALANCE, No. J/5846, CIRCA 1875 the 4in. silvered dial signed D. McGregor & Co., Makers to the Admiralty, Glasgow & Greenock, and numbered in the subsidiary seconds dial J/5846, radial champlevé Roman numerals, large subsidiary seconds, up-and-down dial, gold hour and minute hands, spotted brass plates with separate bridge for the spring barrel, fusee and chain, bi-metallic balance with Mercer’s auxiliary compensation, free-sprung blued steel helical spring, Earnshawtype spring footed detent escapement, diamond endstone, the plates and bowl punch-numbered 6253, gimbal mounted within three-tier mahogany box with ivorine maker’s plate counter numbered J/5846 with brass stringing to front and inset handles — 7½in. (19cm.) square £2000-3000

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258 (Detail) 258.

[HENRY] FRODSHAM, LIVERPOOL, A TWO-DAY MARINE CHRONOMETER, No. 2413, CIRCA 1840 the 4in. silvered dial signed, inscribed and numbered Frodsham, Succefsor to / Parkinson. & Frodsham. / MAKER TO THE ADMIRALTY / South Castle St. Liverpool, 2413 [one number obliterated above], radial champlevé Roman numerals, gold hour and minute hands, spotted brass plates with separate bridge for the spring barrel, fusee and chain, bi-metallic “Z-type” balance with cylindrical temperature weights, rating nuts and auxiliary compensation, Earnshaw-type footed spring detent escapement, counter numbered bowl, gimbal-mounted within three tier brassbound mahogany box with signature plaque (later) and inset handles, approximately — 7½in. (19cm.) square £1200-1800

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260

259.

WEMPE, HAMBURG, A TWO-DAY MARINE CHRONOMETER, No. 8218, CIRCA 1968 the 4in. frosted dial signed Chronometerwerke, Wempe, Hamburg, and numbered 8218, upright black Arabic numerals, subsidiary seconds and up-and-down dials, blued steel hands, matte silver metal plates, reverse fusee and chain, free-sprung silver-coloured helical balance spring, integral balance with four cylindrical temperature compensation weights, Earnshaw-type footed spring detent escapement within counterweighted patinated plastic bowl and gimballed within two-tier mahogany box with bevelled glass top, original tipsy key, maker’s plaque bearing counter number, approx. — 7in. (18cm.) square £500-800 260.

JOSEPH SEWELL, LIVERPOOL, A TWO-DAY MARINE CHRONOMETER, No. 4804, CIRCA 1890 the 4in. silvered dial signed Joseph Sewill, 61 So-Castle Street, Liverpool, Maker to the Admiralty / 4804 , champlevé radial Roman numerals, subsidiary seconds and up-and-down dial, gold hour and minute hands, fusee and chain, free-sprung blued steel helical balance spring, diamond endstone, bimetallic balance with two cylindrical heat compensation weights, meantime adjustment nuts, Earnshaw footed spring detent escapement, plain plates, gimbal mounted within threetier mahogany box with drop handles and original tipsy winding key and brass plate engraved Bury & District Federation of Homing Societies, approximately — 7½in.

(19cm.) square £300-500

259

261 (Detail)

262 (Detail)

261.

A TWO-DAY RUSSIAN MARINE CHRONOMETER, 20TH-CENTURY the 4in. frosted dial signed in Cyrillic and numbered 06191, upright black Arabic numerals, large subsidiary seconds, up-and-down dial, striped gilt plates, reverse fusee bi-metallic integral balance with four heat compensation weights and meantime adjustment nuts, free-sprung silver-metal helical balance spring, Earnshaw-type footed spring detent escapement, counter numbered plates, gimbal-mounted within threetier box with Cyrillic label and drop handles — 8in.

(20cm.) square. £600-800 262.

A TWO-DAY RUSSIAN MARINE CHRONOMETER, 20TH-CENTURY the 4in. frosted dial signed and numbered NMEHM KNPOBA 8261, upright Arabic numerals, subsidiary seconds and up-and-down dial, striped gilt plates, reverse fusee and chain, maintaining power, bi-metallic integral balance with four cylindrical heat compensation weights, free-sprung silver-metal helical balance spring, Earnshaw-type footed spring detent escapement, mechanism intended for electrical impulse connected to the escapement via an extra wheel mounted above the fourth wheel on its pinion, plates numbered 21854, gimbal-mounted within three-tier box with Cyrillic label and drop handles — 8in. (20cm.) square, contained within plush-guard box of issue, approximately — 10in.

(25.5cm.) square. £600-800

261

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Models

Lot 305 (Detail)

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265. Ø A WOOD AND IVORY PRISONER-OF-WARSTYLE MODEL OF A WARSHIP, LATE 19TH-CENTURY the planked and pinned hull with ebonised wale, gunports with guns, chain plates with dead eyes, well-carved full-length polychrome figurehead of a merchant in hat, stern carvings, the decks with fittings and armament, bound masts, standing and running rigging, mounted on a wooden display base with marquetry compass rose at centre — 20½ x 22in. (52 x 56cm.) £800-1200

265

266.

A WELL PRESENTED AND FINELY DETAILED ½’ TO 1” SCALE OF THE ALDEBURGH SPRAT BOAT OSSIE [1893] modelled by R. Phillips as in working practice, in cherry and spruce woods, with varnished interior, raised masts with sails and mounted on a wooden stand with oars and nameplate, overall measurements — 11½ x 12in. (29 x 30.5cm.) £250-350

266

267.

A STYLISED BONE MODEL OF A MAN O’WAR, POSSIBLY PORTUGUESE, CIRCA 1860 depicting a ram-bowed battleship with simple fittings including ventilators and funnel, set atop a decorative carved mount within later case, cased measurements — 10¼ x 13 x 6in.

(26 x 33 x 15cm.) £400-600

267

100

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268 268.

A WELL-PRESENTED MODEL OF THE BARQUE MANILA, CIRCA 1880 with carved hull finished in grey and pink with varnished topsides, scored decks deck winch, companion ways, covered hatches, ventilation, deck house with fitted boats over, belaying rails, bilge pump, gratings, helm and other details, masts with yard and foot ropes, standing and running rigging, mounted on two brass supports within glazed wooden case overall — 11 x 13 x 5¼in. (28 x 33 x 13.5cm.) £500-800

269.

A WELL-PRESENTED NAPOLEONIC FRENCH PRISONER-OF-WARSTYLE SLIPWAY MODEL FOR A 64-GUN SHIP the hull with polychrome figurehead, carved stern and quarter galleries, open gun ports, chain plates with dead-eyes, deck with mast holes, bitts, belaying rails, belfry with bell, well deck with capstan, poop deck with deck lights and other details, mounted on a slipway with stock supports, within ‘dock yard’ laid out with masts with their component parts, and other fittings including long boats, cannons in trucks etc., with sentry huts in two corners and perimeter fence with gates, contained within glazed wooden case — 9 x 12 x 12in. (23 x 30.5 x 30.5cm.)

Similar models upon which this is based are in the collections of Trinity House, London, and the U.S. Naval Academy, Anapolis. Please see Freeston, E.C. Prisoner of War Ship Models, Chatham, 1972, ch.12.

£800-1200

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270

270.

AN ATTRACTIVE UN-RIGGED MODEL OF THE FAMOUS RACING YACHT AMERICA (1851), PROBABLY LATE 19TH-CENTURY the 25½in. hull carved from the solid with bow decoration and stern eagle, painted deck with cut-away bow-sprit and masts, covered hatch, finely modelled capstan, deck light, companionway and circular cockpit, mounted to two turned columns on wooden base — 11 x 31½in. (28 x 80cm.)

Arguably the most celebrated racing yacht ever built, America was commissioned by a syndicate of New York businessmen who engaged George Steers to design them a schooner based upon the lines of the city’s distinctive pilot boats. Launched on 3rd May, 1851, she measured 95ft in length and was constructed of five different woods, mostly white oak. She left American waters in June and, after a brief call at Le Havre, arrived at Cowes on 1st August where she caused an immediate sensation. The now famous race for which the Royal Yacht Squadron had put up a handsome new Hundred Guinea Cup took place amidst great excitement on 22nd August, 1851. Commencing at 10 o’clock, the 58 mile course was around the Isle of Wight and, after a disappointing start, America took the lead at 11.30. She crossed the finishing line at 8.37 that evening, eight minutes ahead of the nearest challenger and, in that instant, achieved the fame which was to remain hers long after her timbers had perished away.

270 (Detail)

£2000-4000

102

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271 271.

A 1IN TO 1FT SCALE HALF BLOCK MODEL FOR THE HERRESHOFF 12½FT BUZZARDS BAY BOY’S BOAT [1914] modelled by P. Ward in laminated contrasting wood with rudder, open cockpit with tiller, cutaway mast and boom, mounted in board with titles, overall measurement — 20 x 7¾in. (51 x 19.5cm.), historical data £150-250

272 272.

A ½IN. TO 1FT SCALE HALF BLOCK MODEL FOR A 40FT COASTAL MOTORBOAT BY J.I. THORNYCROFT [1914] modelled by P. Ward with brass propeller shaft and propeller, rudder, rear mounted torpedo, cockpit; mounted on wooden board with painted R.N. flag and titles, overall measurements — 8 x 24¼in. (20 x 61.5cm.), historical data £250-350

274

273 273.

A 1:60 SCALE HALF BLOCK MODEL FOR THE 40-HORSE POWER PETROL POWERED YACHT FLEUR DE FRANCE [1901] modelled by P. Ward, with brass propeller and rubber, painted topside with portholes, scored deck with cutaway masts, brass funnel and other fittings, mounted on a wooden board with painted French flag, overall — 9 x 24in. (23 x 61cm.) £150-250

additional images online at www.charlesmillerltd.com

274.

A WELL-BUILT RADIO-CONTROLLED SAILING MODEL OF THE MARBLEHEAD CLASS POND YACHT POCAHONTAS modelled by R. Foster, the planked hull and deck with oval access hatch to battery and rudder/sailing servos compartment, blue and white PVC sails, varnished overall — 71 x 50in. (180 x 127cm.) stand, plans, remote control (4) This lot will be available for viewing at Imperial Road £300-400

103

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275 275.

A 1:192 SCALE RECRUITING OFFICE WATERLINE MODEL OF THE AIRCRAFT CARRIER H.M.S. HERMES [1959] AS CONFIGURED FOR HER SERVICE AS FLAGSHIP DURING THE FALKLANDS WAR the carved hull plated with paper and painted black below the waterline, complete with detailed fittings and superstructure as appropriate, including landing craft on davits, high-speed launches, collapsible railings, lightboat pods, secondary armament, bridge superstructure with radar and radio aerials, sat-nav and comms, open bridge; the deck with three Sea King helicopters, one embarking, soldiers, and other fine details, depicted underway on a painted waterline base, contained in a perspex case, overall measurements — 17 x 52 x 16½in.

(43 x 132 x 42cm.)

This lot will be available for viewing at Imperial Road £600-800 276.

A 1:100 SCALE BUILDER’S MODEL FOR THE 57-METER NYAYO CLASS FAST PATROL BOAT NYAYO (P3126) BUILT FOR THE KENYAN NAVY BY VOSPER THORNYCROFT, 1988 moulded hull with bilge keels, thrusters, four-shafts on A-brackets with propellers, twin rudders, finished in red and black below the waterline and in grey with pennant number the deck with fittings including high speed dinghy’s with crane, ventilators, main and secondary gun platforms, superstructure with closed bridge with range finder and comms tower behind, and other details, mounted on two brass columns within plexiglass display base and plates, overall measurements — 11 x 29 x 7¼in. (29 x 73 x 19cm.) £300-400

276

104

277.

A 1:48 SCALE BUILDER’S WATERLINE PROPOSAL MODEL OF A 34-METER GUNBOAT FOR THE KUWAIT NAVY, BY VOSPER THORNYCROFT, CIRCA 1995 the grey painted hull with simple fitting, main and secondary armament, dingy, deck rails with quick release life rafts, radar and communication platforms, and closed bridge, mounted on a blue plexiglass base in a plexiglass case, overall measurements — 10¼ x 35 x 10in. (34.5 x 89 x 26cm.)

This lot will be available for viewing at Imperial Road £300-400

277

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278 278.

A CASED SET OF WWII RECOGNITION MODELS BY H. A. FRAMBURG & CO., CHICAGO in grey painted die-cast metal and representing 29 classes of assorted British warships including aircraft carriers, battleships, destroyers, frigates and sloops, each secured to wooden base stamped to the underside with class or name and the maker’s details and contained in sliding compartment to fitted grey painted case, with securing catch and rope handles, case dimensions — 13½ x 17 x 4in. (34 x 43 x 10cm.) £1000-1500 279.

A 1:240 SCALE WATERLINE MODEL OF THE TRIBAL CLASS DESTROYER H.M.S. COSSACK, PENNANT NO. L03 [1937] with solid moulded hull, with portholes, finished in regulation grey with fittings, superstructure, main and secondary armament as appropriate, secured to black plastic display base with plexiglass cover, overall measurements — 6½ x 25 x 5in. (16.5 x 58.5 x 12.5cm.); together with another similar for H.M.S. Dainty pennant no. D108.

(2) £600-800 280.

A 1:240 SCALE WATERLINE MODEL OF THE BLACK SWAN-CLASS SLOOP H.M.S. AMETHYST, PENNANT NO. F116 [1943] the solid moulded hull with portholes, finished in regulation grey with fittings, superstructure, main and secondary armament as appropriate, secured to black plastic display base with flexiglass cover, overall measurements — 8 x 18 x 5in. (20.5 x 45.5 x 12.5cm.); together with another similar for H.M.S. Alamein, pennant no. D17 [1945] 6½ x 23 x 5in, (16.5 x 58.5 x 12.5cm.)

(2) £600-800 additional images online at www.charlesmillerltd.com

279

280

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281 (Part) Property from the collection of the late Derek Head 281.

A COLLECTION OF TWENTY 1:1250 SCALE WATERLINE WARSHIP MODELS BY BASSETT-LOWKE comprising British light cruisers Durban; Carlisle; Cairo; Delhi; Leander (1946); Neptune; Ajax (1941); Orion (1942); Achilles (1939); Achilles (1941); Galatea; Sydney; Ampthion (1936); Arethusa (1944); Dido (1940/1); Phoebe (1942); Aurora (1939) and Diadem (1945), each with maker’s label on the underside and loosely taped to blue wooden base with perspex cover with legend, overall measurements — 7¼ x 20 x 10in. (18.5 x 51 x 25.5cm.); together with the depot ships Hecla (1940) and Tyne (1941) by Bassett-Lowke and a further seven support vessels of similar type by Reginald Carpenter comprising Ausonia (1921); Ranpura (1924); Adamant (1942); Resource (1929); Woolwich (1935); Montclare (1922); Forth (later Defiance) (1939), each with maker’s label on the underside and loosely taped to blue wooden base with perspex cover with legend, overall measurements — 7¼ x 9½ x 19¾in. (18.5 x 23 x 50cm.)

(27 in two cases) £700-900 282.

A COLLECTION OF FIVE 1:1250 SCALE WATERLINE MODELS BY BASSETT-LOWKE comprising US battleships California (1921); Maryland (1921); Maryland (1942); Tennessee (1920) and Colorado (1921), each with maker’s label on the underside and loosely taped to blue wooden base with perspex cover with legend, overall measurements — 5 x 12 x 8in. (12.5 x 30.5 x 20.5cm.)

(5) £400-600

282 283.

A COLLECTION OF SIX 1:1250 SCALE WATERLINE MODELS BY BASSETT-LOWKE comprising White Star liners Medic (1899); Adriatic (1907); Majestic (1890); Baltic (1904); Titanic (1912) and Homeric (1922), each with maker’s label on the underside and loosely taped to blue wooden base with perspex cover with legend, overall measurements — 7¼ x 14½ x 10in. (18.5 x 37 x 25.5cm.) (6) £1000-1500 284.

A COLLECTION OF NINE 1:1250 SCALE WATERLINE MODELS BY BASSETT-LOWKE comprising the Hamburg-Amerika liners Cleveland 1909); Reliance (1926); Resolute (1926); Orinoca (1928); New York (1927); Milwaukee (1929); St. Louis (1929); Cordillera (1933) and Carabia (1933), each with maker’s label on the underside and loosely taped to blue wooden base with perspex cover with legend, overall measurements — 7¼ x 17 x 10in. (18.5 x 43 x 25.5cm.)

(9) £700-900

283

284

106

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285 285.

A COLLECTION OF EIGHT 1:1250 SCALE WATERLINE MODELS BY BASSETT-LOWKE comprising White Star liners Ceramic (1913); Doric (1922); Albertic (1927); Olympic (1911); Calgaric (1922); Britannic (1959); Georgic (1932) and Georgic (1944), each with maker’s label on the underside and loosely taped to blue wooden base with perspex cover with legend, overall measurements — 7½ x 15½ x 9¼in. (19 x 39.5 x 23.5cm.)

(8) £1000-1500 286.

A 1:1250 SCALE WATERLINE MODEL OF THE R.M.S. QUEEN MARY

BY BASSETT-LOWKE with maker’s label to the underside and loosely taped to a blue wooden base with perspex cover with legend, overall measurements — 5 x 13¼ x 5½in. (12.5 x 33.5 x 14cm.) together with a 1:1200 scale waterline model of the R.M.S Queen Elizabeth II (1969) by Reginald Carpenter, loosely taped to a blue wooden base with perspex cover with legend, overall measurements — 5 x 13½ x 6½in. (12.5 x 34.5 x 16.5cm.)

(2) £250-350

286

287 Other Properties 287.

A SCALE WATERLINE MODEL OF THE R.M.S. QUEEN MARY, CIRCA 1937 carved and painted in Cunard livery with detailed superstructure and fittings as appropriate, depicted under full speed with a frothing bow wave and wake in a moulded painted seascape within glazed oak case with silver plaques engraved R.M.S. “QUEEN MARY” / CUNARD WHITE STAR LINE / LENGTH 1019’ 6” / SCALE 1” TO 60FT / MODEL BY E.E. BURRAGE — 10 x 30 x 14in. (25.5 x 76 x 35.5cm.) £1000-1500 additional images online at www.charlesmillerltd.com

107

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288 289.

A WELL PRESENTED AND FINELY DETAILED SCALE MODEL FOR THE R.T.Y.C STEAM YACHT AMANDA the wooden hull with bilge keels, portholes and companionways, finished in red and cream, with scored varnished decks, wood capped deck rails, fitted boats in davits including steam launch, desk lights, stayed funnel, open bridge with search lights, binnacle, winch, ventilators, etc., mounted on two gilt-brass columns on raised plush base within glazed mahogany case on stand, overall measurements — 61½ x 60 x 16in. (156.5 x 152.5 x 40.5cm.)

This lot will be available for viewing at Imperial Road £2000-3000

288.

A 1:100 SCALE MODEL OF THE R.Y. BRITANNIA [1953] the carved hull finished with red below the waterline and blue, with bilge keels, stabilisers, gilt brass propellers and rudder, the planked decks with white painted superstructure complete with suite of boats in quick launch davits, glazed bridge with comms mast including radar and sat nav, grab rails, companionways, stayed masts, deck , wood cap deck rail, bell, Victoria & Albert binnacle, capstan and other details, mounted on four silvered columns within glazed wooden case with plate, overall measurements — 28 x 64½ x 19½in. (71 x 164 x 49cm.)

This lot will be available for viewing at Imperial Road £2500-4000

289

108

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290

290.

A FINE AND WELL-PRESENTED PRISONER-OF-WAR-STYLE BONE MODEL FOR THE 64-GUN THIRD RATE SHIP DIADEM [1782] with planked and pinned hull, finely carved stern and full-length figurehead in the form of maiden proffering a crown (diadem), the planked deck with fittings including water casks, capstan, gratings, belfry, bitts, belaying rails, deck lights etc., well deck with fitted long boat suspended over, stern davits with boat, bound masts with yards and s’tun’sl booms, standing and running rigging with bone blocks, mounted on bone fretted wooden display base with turned feet, overall measurements — 17½ x 20in. (44.5 x 51cm.) £7000-9000

290 (Detail) additional images online at www.charlesmillerltd.com

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291

291. Ø AN EARLY 19TH-CENTURY NAPOLEONIC FRENCH PRISONER-OFWAR BONE AND BALEEN MODEL FOR A 64-GUN SHIP with 8in. planked and pinned hull, retractable metal cannons with port lids, carved warrior form figurehead flourishing a sword, carved stern and quarter galleries, scored deck with simple fittings, bone masts, yards with s’tun’sl booms, bone blocks and tackle, mounted on three supports to wooden display base lined with paper with watercolour ‘sea’ under model, the ends with the Royal arms and Britannia (rigging later) — 12 x 14in. (30.5 x 35.5cm.) overall £5000-7000

291 (Detail)

110

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292

292.

A FINELY-RESTORED EARLY 19TH-CENTURY NAPOLEONIC FRENCH BOXWOOD AND BONE MODEL FOR THE 90-GUN SECOND RATE SHIP OF THE LINE UNION [1756] the planked and pinned hull copper-sheathed below the waterline, with baleen wales, gun ports with retractable brass guns, finely carved quarter lights and stern with broadside cords, finely carved full-length bone warrior form figurehead, scored decks with fittings including water casks, belfry, capstan, companionway, bench, gratings, and saloon lights, bound masts with bone gallants and yards with bone s’tun’sl booms, standing and running rigging with blocks and tackle and supporting two fitted longboats, mounted on ebony supports to wooden display base, overall measurements — 23 x 26in. (58.5 x 66cm.) £10000-15000

292 (Detail) additional images online at www.charlesmillerltd.com

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293 293.

A LARGE BUILDER’S HALF BLOCK MODEL FOR AN UNIDENTIFIED FOUR-MASTED AUXILIARY PASSENGER/CARGO SHIP OF APPROXIMATELY 1870 the laminated and carved hull with black topsides, mounted on a display board (display board cropped along the lower right edge, lacking masts, funnel, several deck houses, old wear) — 14 x 105in. (35.5 x 267cm.)

Provenance: De-accessed from the National Maritime Museum, Greenwich circa 1995, catalogue number HB404.

This lot will be available for viewing at Imperial Road £500-800

294 294.

A BUILDER’S HALF BLOCK MODEL FOR A BARQUE OR CLIPPER, UNIDENTIFIED, CIRCA 1870 the laminated carved hull finished ‘copper’ below the waterline with black topsides, cut-away bowsprit and mounted on a painted display board with remnant details (details unreadable, model and board repainted, lacking rudder, old wear) — 12½ x 75in. (32 x 190.5cm.)

Provenance: De-accessed from the National Maritime Museum, Greenwich circa 1995, number HB392. £500-800

295 295.

A BUILDER’S HALF BLOCK MODEL FOR THE BARQUE CRAIGWHINNIE, BUILT BY R. & J. EVANS & CO. FOR W. KILLEY & CO., LIVERPOOL, 1878 the laminated and carved hull with black topside’s, cutaway masts, bow sprit and simple headpiece, mounted on wooden display board with applied manuscript name plate and inset plaque (plaque faded and illegible) — 14 x 59½in. (36 x 151cm.)

Measured at 859 tons, Craigwhinnie is recorded as wrecked off Cefn Sidn, Carmarthen Bay, 20th December, 1899. £1000-1500

112

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296 296.

A HALF BLOCK BUILDER’S MODEL FOR S.S. MERANNIO (LATER PARITA) BUILT FOR GLEDHILL & DISHART BY GRAY OF HARTLEPOOL, 1881 the laminate hull carved with black painted topsides lacquered and lined decks and superstructure, plated fittings, including deck rails, winches, companionway etc, painted wooden ventilators, cutaway mast and funnel, the superstructure with open bridge with helm, fitted boats in davits, engine room light, covered hatches, and emergency steering gear, mounted in wooden display board — 14 x 60in. (35.5 x 152.5cm.)

An otherwise unremarkable tramp steamer, in 1939, she was Greek registered, re-named Parita and became part of the ‘Aliyah Bet’ campaign - illegal Jewish immigration to British Mandated Palatine. Chartered by a group of some 800 Jewish refugees and departing Marseilles in the middle of June, their original intention was to dock at Symrna, Turkey but they were turned away. So began a long meandering journey where the ship, looking for any port to take them, was rebuffed time and time again. After eleven weeks at sea, dehydrated, nearing starvation and losing patience, a group wrested control of the ship and, defying a tight British blockade, ran it up the beach at Tel Aviv in front of the Ritz Hotel on the 22nd August 1939.

Although locals did what they could to help, the passengers were arrested and interned by the British. A few days later on 3rd September, War was declared.

£2000-3000

297 (Detail) 296 (Detail)

297 297.

A HALF BLOCK BUILDER’S MODEL FOR THE CARGO SHIP S.S. ALORA BUILT FOR J.H. GOODYEAR BY H. MURRAY & CO., DUMBARTON, 1882 the laminated and carved hull with black topsides, carved fittings, cutaway masts and funnel mounted on display board with inset builder’s plate, and hanging loops, overall measurements — 13 x 56in. (33 x 142cm.)

This small cargo ship of 729 tons was reported “missing” whilst in passage from Swansea with patent fuel on 2nd February, 1883, just under a year after her launch on 7 February 1882. She has yet to be found.

£1500-2500 additional images online at www.charlesmillerltd.com

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298

298 (Detail)

298 (Detail)

298.

A MIRROR-BACK BUILDER’S MODEL FOR THE S.S. KINGSWEAR, BUILT FOR RENWICK, WILTON & CO. LTD, BY WOOD SKINNER, TYNE & WEAR, 1909 the laminated and carved hull with lined and lacquered decks, superstructure with silver-plated fittings where appropriate, mounted on an above-waterline mirror with ivorine builder’s plates within original glazed mahogany display case. Overall measurements — 19 x 75in. (48 x 190.5cm.)

The S.S. Kingswear was built in Newcastle in 1909 by Wood, Skinner & Co. with a length of 245ft and a gross tonnage of 1457. She served as an ammunitions carrier during WWI and was subsequently purchased by John D. Paleocrassas in 1929 who renamed her Polemis. In 1940, she was seized at Port Lyautey by the French Vichy government who renamed her Maure. In 1943 the German ‘Mittelmeer Reederei’ (Mediterranean Shipping Company) took control but she was targeted by Allied aircraft who successfully bombed her on 15th March, 1944 at St Louis du Rhône, forcing her scuttling that August - she was finally raised and broken up in 1949.

298 (Detail)

114

This lot will be available for viewing at Imperial Road £2000-3000

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299 299.

A HALF BLOCK BUILDER’S MODEL FOR A PASSENGER CARGO SHIP OF CIRCA 1890 the carved hull finished in white with black topsides, lacquered deck with lined fittings, cutaway mast and funnel, and other fittings, mounted on wooden board within bow-fronted glazed case with brass suspension loops, overall measurements — 9 x 41 x 5in. (23 x 104 x 12.5cm.) £1000-1500

300

300 (Details)

300.

A HALF BLOCK BUILDER’S MODEL FOR THE PASSENGER CARGO SHIP MENDOZA BUILT FOR HAMBURG-SUDAMERIKANISCHE DAMPFS.GES. BY REIHERSTIEG SCHIFFSWERFTE & MASCHINENFABRIK HAMBURG, 1894 the carved and laminated hull with painted red and black topsails, pierced for portholes, varnished decks with lined cabin, cutaway mast and funnel and lined superstructure, mounted on a white edged wooden display board with brass builder’s plates, overall measurements — 17 x 79in. (43 x 201cm.)

A large vessel of nearly 4,000 tons, she was wrecked off Punta Mogotes, Patagonia on 10th July, 1914.

£1000-1500 additional images online at www.charlesmillerltd.com

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301 301.

A 1:48 SCALE BUILDER’S MODEL FOR THE ‘ACACIA’ CLASS FLEET SWEEPING SLOOP H.M.S. HONEYSUCKLE, BUILT FOR THE ROYAL NAVY BY LOBNITZ & Co., RENFREW, 1915 the hull in good condition with fine original finish, the deck and superstructure distressed and missing components, original display base and plates, lacking glazed case — 17 x 73 x 20in. (43 x 185.5 x 51cm.); facsimile set of rolled deck plans supplied by Greenwich (2) Built under the Emergency War Programme, this class comprised 24 vessels all named after flowers and were also referred to as the ‘Flower Class’ and ‘Cabbage Class’. Displacing 1,200 tons, they measured 250ft and could cruise at a respectable 16½ knots manned by 77 officers and crew. Their bows were triple-hulled against mine explosions and, because they were coal-fired, were famed for giving off huge clouds of smoke which, after dark, streamed sparks from their funnels. Honeysucke was sold for breaking in September 1922.

This lot will be available for viewing at Imperial Road £2000-4000

301 (Detail) 302 (Detail) 302.

A BUILDER’S MODEL FOR THE CARGO SHIP S.S. CORSEA, BUILT BY S.P. AUSTIN & SON FOR CORY COLLIERS LTD, 1921 with carved laminated hull, lined wooden varnished decks with gilt fittings as appropriate, masts with derricks, lined superstructure, stayed liveried funnel, fitted lifeboats in davits and other details, mounted on raised plinth display base with ivorine plate within glazed wooden case loosely mounted on stand (model restored overall, case and stand later), measurements including stand — 54 x 52 x 16in. (137 x 132 x 40.5cm.)

(2) Apart from a technical change of ownership in 1946 to William Cory & Son Ltd, Corsea remained with the firm until 1953 when she was sold to the Finnish firm of Rederi Ab Luleå who ran her as Nylandia until sold for breaking in 1958.

302

116

This lot will be available for viewing at Imperial Road £2000-3000 additional images online at www.charlesmillerltd.com

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303

303 (Detail)

303.

A 1:48 SCALE BUILDER’S MODEL OF THE COLLIER S.S. SIR JOHNSTONE WRIGHT BUILT FOR THE CENTRAL ELECTRICITY AUTHORITY BY WILLIAM PICKERSGILL & SONS LTD, SUNDERLAND, 1955 by the Sunderland Model Making Co., carved hull finished in two-tone red and black, black painted cargo decks with lined superstructure and fittings including deck rails, winches, ventilators, covered hatches, over bridge with binnacle, range finder, water tanks, superstructure with liveried funnel, lifeboats in davits, emergency steering over propeller and other details, mounted on four silver columns with original mahogany display case with ivorine plates, on associated table stand, cased model measurements — 18 x 50 x 14in. (46 x 127 x 35.5cm.); table 30in (77cm) high; together with a watercolour of the Sir Johnstone Wright, signed ‘John Mortimer’ (lower right), framed size — 20in x 24½in (51 x 62cm.); and a leather photograph album showing the launch of the Sir Johnstone Wright and the presentation of the model to Gordon Blain, retiring Fuel Supplies Officer.

(3) Named in honour of Sir Johnstone Wright (1883-1953), chairman of the Central Electricity Board and president of the Institution of Electrical Engineers, the collier S.S. Sir Johnstone Wright was launched on the 18th August, 1955 for the express purpose of shipping coal from the North East of England to power stations in the South at the behest of the fuel supplies officer, Gordon Blain. In the year he retired (1976), she was sold and renamed Fanis by Christincoast Cia Naviera SA, of Piraeus, Greece before being broken up at Aspropyrgos in 1984.

Provenance: Gordon Blain and thence by descent. £1500-2500

303 (Part): Lot 303 being presented to Gordon Blain (second right) upon his retirement in 1976 additional images online at www.charlesmillerltd.com

303 (Part)

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304

304 (Detail)

304.

A BUILDER’S WATERLINE MODEL FOR THE TURBINE STEAMERS ISLE OF JERSEY AND ISLE OF GUERNSEY BUILT FOR THE SOUTHERN RAILWAY CO. BY DENNY BROTHERS, DUMBARTON, 1930 the laminated and carved hull finished in black with lacquered decks, lined superstructure with silvered fittings, twin raked stayed funnels, fitted lifeboats in davits, wood-capped deckrails, mushroom and standard ventilators, bridge with binnacle over, anchor winches with studded chains and other much fine detailing, mounted on a rippled glass velvet-backed sea with builder’s plates, glazed case and stand, measurements including stand — 70 x 90 x 24in. (178 x 229 x 61cm.)

This pair of passenger ferries were ordered by Southern Railways for the Southampton to Channel Islands crossing in 1929 and built by William Denny & Brothers, Dumbarton. They were registered at 306ft in length and displaced 864 tons (net). The Isle of Jersey became Hospital Ship No 3 during World War II serving in Northern Waters and the Mediterranean, and also at the Normandy landings in June 1944. She returned to cross channel service after the war and was sold to a Libyan buyer in 1960 before being scrapped in 1963. The Isle of Guernsey also saw service as a hospital ship, including Dunkirk, and later as a training vessel and landing ship. She was scrapped in 1961.

This lot will be available for viewing at Imperial Road £10000-15000

304 (Detail)

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305

305 (Detail) 305.

A FINE BASSETT-LOWKE BOARDROOM MODEL OF THE R.M.M.V. WINCHESTER CASTLE [1930] AS DEPICTED AFTER HER REFIT IN 1938 the laminated and carved wooden hull finished in red and lavender grey with white topsides, lined lacquered decks crowded with detailed gilt, silvered and painted fittings including winches with studded chains, anchors, bitts, ventilators, wood-capped deck rails, boarding companionways, painted and lined superstructure with covered lifeboats in davits, overbridge with range finder and much other fine detail, mounted on bronzed display columns on display base with maker’s plate and specification plate within original glazed case with stand; together with a top lamp, measurements including stand — 68 x 94 x 23½in. (173 x 239 x 59.5cm.)

Built in 1930 by Harland & Wolff, Belfast with a length of 656½ft and a gross tonnage in excess of 20,000grt for the Union-Castle Line, the Winchester Castle was the last ‘Castle’ to be upgraded to oil-fired boilers in 1938 when her twin funnels were replaced with a single raked funnel as seen on this model. During the War she served as a troop carrier but was briefly used as the Allied Headquarters during the invasion of Vichy-held Madagascar as part of Operation Ironclad between May and November 1942. Post war she was deployed as a UK-South Africa migrant ship before being scrapped in Japan in 1960.

This lot will be available for viewing at Imperial Road £15000-20000

END OF SALE Our Next Sale will be held on Tuesday, 10th May, 2016, closing for entries 11th March, 2016.

305 (Detail) additional images online at www.charlesmillerltd.com

305 (Detail)

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Gavin Gardiner Limited ----------------------------------------------------------------------------------------------------------------

Auctioneers of Fine Modern and Vintage Sporting Guns, Ries and Accessories

Forthcoming Auction: 9th December 2015 at Sotheby's 34-35 New Bond Street London Entries now invited: Forthcoming Free Valuations Days: Tiverton Harrogate Edinburgh Glasgow London Pulborough

9th October 14th October 20th October 21st October 23rd October 26th October

For further information about consigning items to this important sale or for an appointment please do not hesitate to contact us

Tel 01798 875300 www. gavingardiner.com

ms

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Evolution Auction 25th November

Little ‘Al’, An exceptionally rare juvenile Allosaurus, 2.8m long, Jurassic, 150 million years old £300,000/500,000

www.summersplaceauctions.com

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Ship Name Index Ship Achilies, H.M.S. Adamant, H.M.S. Admiral Graf Spee, S.M.S. Adriatic, R.M.S. Ajax, H.M.S. Alaska, S.S. Albertic, R.M.S. Albion, H.M.S. Alexandra, R.Y. Alora, S.S. Amanda, R.T.Y.C America Amerika, S.S. Amethyst, H.M.S. Ampthion, H.M.S. Arethusa, H.M.S. Aurora, H.M.S. Ausonia, H.M.S. Baltic, R.M.S. Banshee, R.Y.S. Beaver Belfast, H.M.S. Bounty, H.M.S. Britannia [1953], R.Y. Britannia, R.Y. Britannic, R.M.S. Cairo, H.M.S. Calgaric, R.M.S. California, U.S.S. Carabia, S.S. Carlisle, H.M.S. Carpathia, R.M.S. Ceramic, R.M.S. Cleveland, S.S. Cochrane, H.M.S. Colorado, U.S.S. Cordillera, S.S. Corsea, S.S. Cossack, H.M.S. Craigwhinnie Dartmouth De Ruyter, S.S. Defiance, H.M.S. Delhi, H.M.S. Diadem, H.M.S. Dido, H.M.S. Discovery, S.S. Doric, R.M.S. Durban, H.M.S. Eleanor Fleur de France, M.Y. Forth, H.M.S. Foudroyant, H.M.S. Galatea, H.M.S. George Forster Georgic, R.M.S. Hecla, H.M.S. Helgoland, S.S. Hermes, H.M.S. Hohenzollern II, S.Y.

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Lot 281 281 93 283 281 36 285 68 78 297 289 270 105 280 281 281 281 281 283 110 38 32 63 288 21, 25, 26, 30 285 281 285 282 284 281 108 285 284 73 282 284 302 279 295 38 13 281 281 281, 290 281 34 285 281 38 273 281 52, 54 281 127 285 281 85 275 80, 81

Ship

Lot

Homeric, R.M.S. Honeysuckle, H.M.S. Inflexible, S.S. Isle of Guernsey, T.S. Isle of Jersey, T.S. Kingswear, S.S. Leander, H.M.S. Locust, H.M.S. Lutine, H.M.S. Majestic, R.M.S. Manila Marmion Maryland, U.S.S. Medic, R.M.S. Mendoza, S.S. Merannio, S.S. Meteor III Mignonette Milwaukee, S.S. Montclare, H.M.S. Neptune, H.M.S. New York, S.S. Nyayo, K.N. Olymic, R.M.S. Orinoco, S.S. Orion, H.M.S. Ossie Parita, S.S. Phoebe, H.M.S. Pocahontas Queen Elizabeth II, R.M.S Queen Mary, R.M.S. Ranpura, H.M.S. Reliance, S.S. Resolute, S.S. Resolution, H.M.S. Resource, H.M.S. Rovenska Royal Caroline, R.Y. Royal Charlotte, R.Y. Royal Charter, S.S. Santiago, P.S. Sir Jonestone Wright, S.S. Solideo Gloria St Louis, S.S. Sydney, H.M.S. TĂŠmĂŠraire, H.M.S. Tennessee, U.S.S. Titanic, R.M.S. Tyne, H.M.S. Undaunted, H.M.S. Union, H.M.S. Victoria & Albert II, R.Y. Victoria & Albert III, R.Y. Victory, H.M.S. Winchester Castle, R.M.M.V. Woolwich, H.M.S. Xamura Zenita

283 301 37 304 304 298 281 89 72 283 268 124 282 283 300 296 79 135 284 281 281 284 276 285 284 281 266 296 281 274 287 106, 286, 287 281 284 284 33 281 28 67 67 133 12 303 125 284 281 53 282 108, 109, 283 281 74 292 75 21, 31, 76 47, 50, 51, 55, 56, 57 305 281 29 21

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Artists Index Artist Abbott, L.F. Aubert, M. Bone, M. Brandrett, A. Briscoe, A. Cleveley, J. Condy, N.M. D’Esposito, G. Dixon, C.E. Downing, G.H. English School Hardy, J. Herbert, A. Huggins, J.M. Langton, C. L’Hostis, G. Lishman, J.D.

Lot 65 19 33 38 25 43 10 35 11, 15, 16, 21, 24, 27 22 37, 66 40 46 41 23 29 34

Artist Loos Family Marchington, P. Mason, F.H. Mitchell, J.F. Mortimer, J. Ogilvy, E. Pitcher, N.S. Robbins, T.S. Serres, J.T. Stainton, G. Taylor, C. Thompson, T. Thomson, W.M. Turner, C.E. Turner, J.M.W. Wood, F.W. Wyllie, W.L.

Lot 13 12 30 31 303 28 26 7 9, 42 45 18 39 36 32 17 44 20, 47

Instrument Makers’ Index Maker Adams I, G. Adams II, G. Adams, D. Andrews, A.H. Aronsberg & Son astrolabe Ayscough, J. Bale & Woodward Beck, R. & J. Berteaux, E. Browning, J. Butterfield Canivet, J. Carpenter Carpenter, P. Cary Casella Casella, L. Christie’s Clarke, W. Crichton & Son Culpepper Cummins, C. Delamarche Dent Dent, E.J. Dicas, M. Dixey, G. & C. Dollond Elliott Brothers Fowler, J. Fowler, L.N. Frodsham, H. G. McGregor & Co. Gilbert & Sons Harris, W. Heath & Co. Ltd Henry Browne & Son Jumelle

Lot 179, 206 161 142 148 239 170 191 150 234, 236, 237 146 217 164, 165, 254 243 228 199 168, 183 157 224 138 173, 175 184 220 255 143, 144, 145, 147 241 251 181 167, 229 156, 187, 247 159, 163, 248 252 214 258 257 199, 242 193 189 244 204

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Maker

Lot

Kelvin, James White Ltd 241 Lincoln 200 Lorieux, E. 188 Masterman, Peters, Mildred, Masterman & Co. 213 Mathieu 215 Nairne, E. 208 Newton & Co. 219 Newton & Son 149 nocturnal 171 Pillischer, M. 238 Pistor & Martins 190 Ramsden, J. 185, 186, 194 Reeves, T. 213 Ripley. T. 176, 178 Ross 196 Rothwell 160 Salom & Co. 203 Samoilov, A.V. 240 Sewell, J. 260 Sikhote-Alin 153 Sisson, J. 253 Smith & Son 151 Sotheby’s 139 Spencer, Browning & Rust 182 Stanley 209 Stebbing 169 Thury & Belnet 152 Troughton & Simms 162, 166 Tuttle, T. 174 Watkins & Hill 224 Watson 195 Weir & Sons 154 Wempe 259 Widenham, R. 256 Wilson, G. 199 Withering 225 Wray 235 Wynter, H. 141, 172, 210

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Conditions of Business for Buyers 1. Introduction (a) The contractual relationship of Charles Miller Ltd. and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Charles Miller Ltd.; (iii) Charles Miller Ltd.’s Authenticity Guarantee; (iv) Any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement. (v) As auctioneer, Charles Miller Ltd. acts as agent for the Seller.

Occasionally, Charles Miller Ltd. may own or have a financial interest in a lot.

2.

Definitions “Bidder” is any person making, attempting or considering making a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent or executors; “CM” means Charles Miller Ltd., Auctioneers, 6 Imperial Studios, 3/11 Imperial Road, London SW6 2AG, company number 6282355.

“Buyer’s Expenses” are any costs or expenses due to Charles Miller Ltd. from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell the lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3. Examination of Lots (a) CM’s knowledge of lots is partly dependent on information provided by the Seller and CM is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of CM’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at CM’s absolute discretion.

4. Exclusions and limitations of liability to Buyers (a) CM shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a counterfeit, subject to the terms of CM’s Authenticity Guarantee. (b) Subject to Condition 4(a), neither CM nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by CM, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations can not be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers;

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(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by CM in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against CM and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither CM nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of CM or the Seller for death or personal injury caused by the negligent acts or omissions of CM or the Seller.

5. Bidding at Auction (a) CM has absolute discretion to refuse admission to the auction.

Before sale, Bidders must complete a Registration Form and supply such information and references as CM requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case CM’s prior and express consent must be obtained). (b) CM advises Bidders to attend the auction, but CM will endeavour to execute absentee written bids provided that they are, in CM’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to CM’s other commitments; CM is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6.

Import, Export and Copyright Restrictions CM and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES).

7. Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”). (b) Title in a lot will not pass to the Buyer until CM has received the Purchase Price in cleared funds. CM will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, CM will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. CM’s assumption of risk is subjected to the exclusions detailed in Condition 5(d) of the Conditions of Business Sellers.

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(e)

All packing and handling of lots is at the Buyer’s risk. CM will not be liable for any acts or omissions of third party packers or shippers.

9.

Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, CM may in its sole discretion exercise 1 or more of the following remedies:store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; Cancel the sale of the lot; Set off any amounts owed to the Buyer by CM against any amounts owed to CM by the Buyer for the lot; Reject future bids from the Buyer; Charge interest at 4% per annum above HSBC Bank Plc base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; Re-sell the lot by auction or privately, with estimates and reserves at CM’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; Exercise a lien over any Buyer’s Property in CM’s possession, applying the sale proceeds to any amounts owed by the Buyer to CM. CM shall give the Buyer 14 days written notice before exercising such lien; Commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; Disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

(a) (b) (c) (d) (e) (f)

(g)

(h) (i)

10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 20 working days of the auction, the lot will be stored at the buyer’s expense and risk at CM’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the buyer, CM will re-sell the lot by auction or privately, with estimates and reserves at CM’s discretion. The sale proceeds, less all CM’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.

11. Data Protection (a) CM will use information supplied by bidders or otherwise obtained lawfully by CM for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties worldwide for the purpose outlined in Condition 11(a) and to Sellers as per Condition 9(i).

12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by CM are the copyright of CM. (b) These Conditions of Business are not assignable by any Buyer without CM’s prior consent, but are binding on Bidders’ successors, assignees and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of CM.

Charles Miller Ltd’s Authenticity Guarantee If Charles Miller Ltd sells an item of Property which is later shown to be a “counterfeit”, subject to the terms below Charles Miller Ltd. will rescind the sale and return the Buyer the total amount paid by the Buyer to Charles Miller Ltd. for that Property, up to a maximum of the Purchase Price.

The guarantee lasts for one (1) year* after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in Charles Miller Ltd.’s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property.

Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repainting).

Please note that this guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Charles Miller Ltd.’s reasonable opinion); or

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(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this guarantee the Buyer must:(i) notify Charles Miller Ltd. in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to Charles Miller Ltd. in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

Charles Miller Ltd. has discretion to waive any of the above requirements. Charles Miller Ltd. may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and acceptable to Charles Miller Ltd. Charles Miller Ltd. shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Charles Miller Ltd. decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by Charles Miller Ltd. *This excludes books and prints which are sold not subject to return.

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Charles Miller Ltd Catalogue Subscription Form In order to avoid missing a sale why not subscribe and receive the catalogue directly from the printer’s mailing house. Subscribers receive at least two catalogues per annum and are kept up-to-date with sale-related events at Charles Miller Ltd. Name (Block Capitals) .....................................................................................................................................................................................................

Address ............................................................................................................................................................................................................................ ........................................................................................................................................................................................................................................... ...........................................................................................................................................................................................................................................

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By completing your email details, you agree to receive Charles Miller Ltd e-mailings SUBSCRIPTION COSTS (including postage)

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Please make cheques payable to CHARLES MILLER LTD and send to Charles Miller Ltd, 6 Imperial Studios, 3/11 Imperial Road, London SW6 2AG, United Kingdom, or alternatively fax your details to us on +44 (0) 207 806 5531 Credit/Debit Card Information

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Charles Miller Ltd Sale Title Maritime & Scientific Models, Instruments & Art Date 3rd November 2015

ABSENTEE BID FORM (Please print or type) Name Address

Code: Encounter Please mail or fax to: Charles Miller Ltd 6 Imperial Studios, 3/11 Imperial Road London SW6 2AG Fax +44 (0) 207 806 5531

Important Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.

I agree to be bound by Charles Miller Ltd.’s Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.

Methods of Payment Charles Miller Ltd. welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG Please ensure all bank charges are met so that we receive the total invoiced amount

Postcode Telephone/Home

Business

Mobile Fax

Vat No.

Email Signed

Date

Card type (Visa, Mastercard, Debit) Card Number Cardholder Name Expiry Date

3 digit security code

Billing Address (if different from above)

Cardholder Signature We reserve the right to use these details if prompt payment is not received Lot

Description

£ Bid Price

IBAN No.: GB47MIDL40190401754750 BIC.: MIDLGB2128K Sort Code: 40-19-04 Account No.: 01754750 Account Name: Charles Miller Ltd Credit/Debit Card A 4% surcharge is payable on all credit card transactions; there is no charge for UK debit cards. International debit cards attract a 4% surcharge. By signing this form you are authorizing payment for this sale.

Sterling Bankers Draft Drawn on a recognised UK bank.

Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven working days to clear a cheque without a letter of guarantee from your bank.

Telephone bid requests must be received by 12pm on the day prior to sale additional images online at www.charlesmillerltd.com

127

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Lot

128

Description

£ Bid Price

Lot

Description

£ Bid Price

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Charles Miller 3rd Nov Covers.qxp_Layout 1 01/10/2015 10:28 Page 3

Auction Enquiries and Information Tel: +44 (0) 207 806 5530 Fax: +44 (0) 207 806 5531 Email: enquiries@charlesmillerltd.com

Sale Number: 016 Code name: ENCOUNTER Enquiries Charles Miller Sara Sturgess

Catalogue £18 plus postage

Online Catalogues and bidding www.charlesmillerltd.com

Historical Consultant Michael Naxton Charles Miller Ltd 6 imperial Studios, 3/11 imperial Road LONDON SW6 2AG

This catalogue is available to download with the Auction Net App available free from the App Store Listen to the Auction Live: +44(0)20 7806 5535

Important Information for Buyers All Lots are offered subject to Charles Miller Ltd.’s Conditions of Business and to reserves. The Conditions of Business for Buyers are published at the end of the catalogue.

Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”.

A Buyer’s Premium of 20% is applicable to all lots in this sale. Excepting lots sold under Temporary Import Rules which are marked with the symbol ‡ (see below), the Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Lots offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all buyers.

Sale venue: 25 Blythe Road, London W14 0PD

Lots marked with the symbol ‡ have been imported from outside the European Union (EU) to be sold at auction under Temporary Import Rules. When released to buyers within the EU, including the UK, the buyer will become the importer and must pay VAT at the rate of 5% on the hammer price. The Buyer’s Premium will be subject to the standard VAT rate at 20%.

Buyers outside the EU will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request.

Absentee/Telephone Bidding

Charles Miller Ltd. will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition in the saleroom.) This service is offered free of charge.

Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven working days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept major credit cards (regrettably we are unable to accept American Express), for which a surcharge will be made of 4% of the transaction total. There is no charge for payments made by UK debit cards.

International debit cards are subject to 4% surcharge. Payments over £2,000 must be made by bank transfer; cash payments above £6,000 will not be accepted without prior arrangement.

Charles Miller Ltd. can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and will assist in the application for any export licences which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements.

For lots imported from outside the EU, the following VAT symbols are used:‡

For items over 100 years old: import VAT of 5% payable on whole hammer price, less premium (a further 20% is payable on the premium.)

Ω

For items under 100 years old: import VAT of 20% payable on whole hammer price, less premium (a further 20% is payable on the premium.)

†

For lots sold from within the EU, if the client is VAT registered and not using the Auctioneers’ Special Scheme, full VAT at 20% is levied on the hammer price

and premium. cover: lot 127 back cover: lot 106

Part view & Post sale collection: 6 Imperial Studios, London SW6 2AG

Please complete, sign and return the form on page 127. If you wish to bid by telephone this is strictly by availability and must be booked by 12pm on Monday 2nd November.

Payment

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)

Electronic transfers may be sent directly to our Bank (please add any additional bank charges ensuring we receive the full receipted amount):

If a lot is affected by this right it will be identified with the symbol δ next to the lot number. The buyer agrees to pay to Charles Miller an amount equal to the resale royalty and we will pay such amount to the artist’s collecting agent. Resale royalty applies where the hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:

HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG

Royalty For the portion of the Hammer Price (in Euro) 4.00% 3.00% 1.00% 0.50% 0.25%

up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000 in excess of 500,000

invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Since 1st January 2012 Droit de Suite extends to the estates of artists deceased for up to 70 years

Account Name: Charles Miller Ltd Account Number: 01754750 Sort Code: 40-19-04 IBAN Number: GB47MIDL40190401754750 BIC.: MIDLGB2128K Swift Code: MIDLGB22

Storage On receipt of cleared funds, lots can be collected from Charles Miller Ltd.’s premises at 6 Imperial Studios, 3/11 Imperial Road, London SW6 2AG. Please note that collection is BY APPOINTMENT on +44 (0) 207 806 5530. All lots should be cleared within a month of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

Post Sale Collection If a lot is robust enough to be posted at the buyer’s risk, we will do our best to oblige for a modest admin charge. We are not professional packers and will only use what second-hand materials are to hand and cannot accept responsibility for lots which are lost or damaged in transit. We strongly suggest that complex/fragile/large lots are referred to a shipper for quotation purposes before the sale - please ask for details.

Charles Miller 3rd Nov Covers.qxp_Layout 1 01/10/2015 10:28 Page 2

16

Charles Miller Ltd

Charles Miller Ltd

Maritime and Scientific Models, Instruments & Art London Tuesday 3rd November 2015

6 Imperial Studios, 3/11 Imperial Road, London, SW6 2AG Tel: +44 (0) 207 806 5530 • Fax: +44 (0) 207 806 5531 • Email: enquiries@charlesmillerltd.com

London Tuesday 3rd November 2015

Charles Miller Ltd