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Preisdatenbank abonnierenW Hartfhorne Brofeley eight day longcase clock with moon phase. 13" arch dial calendar and seconds. brass hands. Two train movement striking on a bell. Contained in an oak case cross-banded with mahogany reeded quarter columns to trunk, reed columns to hood with swan neck pediment.Dimensions 83" x 18" x11" deep.Dial has been restored new seat-board, Case in original condition. Movement not tested weights and pendulum present
A collection of dress watches to include a ladies Radley with dotty black and white strap, in original branded case, a ladies Accurist bangle watch cased, a ladies Disney Micky Mouse, ladies Swatch watch along with various others including vintage including gents, Logan steel cased watch, Rotary pendant watch and a Swiza desk clock and white metal cigar box (1 bag)Further details: wear and tear to all commensurate with age movements untested
An early 19th century English gilt bronze mounted crackle glazed Chinese porcelain vasethe mounts in the manner of Benjamin Vulliamy (1747-1811) and Benjamin Lewis Vulliamy (1780-1853)the grey crackle glazed baluster body with a relief moulded biscuit undulating key border and scalloped girdle, the foot with a similar narrow band, the whole with applied stylised lion drop ring handles, the rim with applied flared fluted and lobed rim mounts, the foot rim mount with trellis cast border, the vase raised on an a shallow square porphyry plinth base, the vase 36.6cm high, 39cm high overall including the plinth (2)Footnotes:Benjamin Vulliamy and his son Benjamin Lewis Vulliamy (1780-1854) who traded in London as Vulliamy & Son, belonged to a family of Swiss extraction whose original business of making clocks and watches expanded rapidly during the last quarter of the 18th century due much to the entrepreneurial spirit of the senior member of the family, Benjamin. Trading from 74 Pall Mall, their surviving Ornament and Clock Books contain extensive details regarding their business practices which clearly indicate that their craftsmen were not necessarily employees of the firm, but were 'individuals or firms largely resident in London who were working independently for their own account,' (See: Furniture History, 1967, Geoffrey de Bellaigue, 'The Vulliamys and France,' pp. 45-53). Besides mechanical movements for their watches and clocks, they also designed and had made elaborate cases which incorporated porcelain figures which were supplied by William Duesbury of Derby. In addition they supplied ornamental metalwork in many guises and, as de Bellaigue remarks, 'they were prepared to supply their customers with anything from a chimney-piece to a door handle, from a piano to a button.' The Vulliamys were fully aware of current taste on the Continent and France, not only utilizing published French designs, but also copying actual French objects or their components. They are also recorded as actually purchasing works of art in Paris, either on commission or for resale, and also utilized the workshops of the Delafontaines, 'who were among the most eminent bronze manufacturers active in Paris in the beginning of the nineteenth century,' (Bellaigue, op. cit.). The Delafontaines are shown in Vulliamys' books 'as suppliers of bronze mounts, chased but not gilt, which were incorporated into candelabras, inkstands, clocks and mounted porcelain jars,' as seen on the present vases. The Vulliamys had an illustrious list of clients, including many members of the aristocracy and eminent personages, together with the patronage of the Royal Family including the Prince Regent to whom they supplied elaborate mounts, all with comparable square bases, for several Chinese porcelain vases which in the Royal Collection. These included three Chinese famille rose jardinières (RCINs 48 and 101659.1-2) and a set of four jardinières with bowls of dark blue Spode ware in imitation of Chinese porcelain (RCINs 700.1–4).For further information on this lot please visit Bonhams.com
Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A Victorian dial wall clock advertising Hovis Bread maker's label fpr C W S Ltd Clock Case Factory; a Victorian tole ware bread bin with three plastic display loaves, Allsopp's patent cast iron bean slicer pat. numbers 4898 and 16115, a vintage tin, and a plastic display chicken Location: BWL
A Robert Welch butter knife with a ceramic butter dish, decorated Bibendum figure, a Bakelite three-link chain, 14" long, a hydrometer, a St Moritz mantel clock, an early 20th century metallic glazed studio pottery vase, 9" high, a square studio pottery bowl, an Upchurch small two-handled pottery vase and a Wedgwood floral lustre decorated bowl (chip to rim)
A small French Edwardian brass carriage clock: the eight-day duration timepiece movement having a platform lever escapement, the backplate stamped with the hand-setting arrow of the maker Couaillet Frères of Saint-Nicolas-d'Aliermont and Paris, the white enamel dial having black Roman numerals, blued steel spade hands and signed for the retailer Goldsmiths & Silversmiths Co., 112 Regent Street, London W, the brass Corniche case having a three-bale handle, height 12cm handle up, 9.5cm handle down, with the original leather travelling box.
A Victorian French brass carriage clock: the eight-day duration movement having a platform cylinder escapement and stamped to the backplate with the serial number 9 81, the white enamel dial having black Roman numerals, blued steel moon hands and signed for the retailer Furber & Son, Cheltenham, with the brass Corniche case stamped to the underside with the initials H.A. being the case maker Henry Acier who was granted a patent in 1867 for case design, height 16cm handle up, 14cm handle down.
A Victorian French brass carriage alarm clock: the eight-day duration movement having a later platform lever escapement and stamped to the backplate with the initial B within a circle along with the serial number N913, with a bell to sound the alarm, the white enamel dial having black Arabic numerals and blued steel spade hands with a subsidiary alarm setting dial, with a brass Corniche case, height 16cm handle up, 14cm handle down.
Couaillet Frères, a French brass carriage clock: the eight-day duration movement having a later platform lever escapement and stamped with the hand-setting arrow mark of Couaillet Frères, the white enamel dial having black Roman numerals and blued steel spade hands, the brass case with turned columns and matching handle, height 15cm handle up, 13cm handle down.
Gay, Lamaille, Paris a brass Corniche carriage clock with alarm: the eight-day duration timepiece movement having a silvered platform lever escapement with alarm sounding on a bell, the backplate stamped with the initials E.G.L. within an oval for the maker Gay, Lamaille of Paris, the white enamel dial with black Roman numerals, alarm setting dial and blued steel spade hands, the brass Corniche case having a three bale handle, height 16.5cm handle up, 13.5cm handle down.
Henry Capt, a French alarm carriage clock: the eight-day duration timepiece movement having a silvered platform lever escapement and sounding the alarm on a bell, with the backplate stamped with the serial number 791, the white enamel dial having black Roman numerals, blued steel moon hands, alarm setting dial and signed for the retailer Henry Capt, Geneve, the brass Corniche case with handle, height 13cm handle down, 15.5cm handle up.
Diette-Hour, Paris, a miniature carriage clock: the eight-day duration, timepiece movement having a platform cylinder escapement with the backplate stamped with the initials DH for the makers Diette-Hour, the white enamel dial with black Roman numerals and blued steel spade hands, the gilt-brass Corniche case with handle, height 8cm handle down, 9.5cm handle up.* Biography Charles Hour had premises at 7, Rue Saint-Anastase, Paris, being an important maker who was a witness at the wedding of Raoul-Alfred Baveux in 1899, the successor with his brother to Alfred Baveux when they continued to supply carriage clock movements to the famed Henri Jacot workshop as Baveux Frères. Hour teamed up with Diette at the end of the 19th century with their trademark being the initials DH, with additional workshops at Marche des Enfants Rouge.
Drocourt, Paris, a small brass Corniche carriage clock: the eight-day duration movement having a silvered platform lever escapement and striking the hours and half-hours on a gong with the gong block stamped A.D. for the gong maker Drury of London, the backplate stamped with the Drocourt trademark and serial number 14015, giving a date of manufacture of circa 1877, the white enamel dial having black Roman hour numerals and blued steel moon hands, the brass Corniche case with a three-bale handle, height 12.5cm handle down. 15.5cm handle up.*Biography For details of Pierre and Alfred Drocourt see lot 1953
A French porcelain panelled carriage clock: the eight-day duration movement having a platform lever escapement and striking the hours and half-hours on a gong with push button repeat of the last hour at will, the backplate stamped with the serial number 2183 and with certain attributes similar to those carriage clocks made in Saint-Nicolas-d'Aliermont by Holingue frères, blanc roulant maker to Drocourt, the pink porcelain dial has raised gilt decoration, depicting red and white flowers, with the centre decorated with ducks in flight, with the chapter ring having black Roman numerals and blued steel spade hands, the matching pink porcelain side panels decorated with ducks taking flight from reeds to one side and ducks on the water with mountains behind on the other, both within oval framing, the gilded brass Corniche case having a three-bail handle and oval top glass, height 16.5cm handle up, 14cm handle down.*Notes The panels on this clock are near-identical, although in a different hand, to those seen on a decorative Drocourt carriage clock serial number 29607.
Drocourt, Paris a miniature Anglaise carriage clock: the eight-day duration, timepiece movement having a platform lever escapement with the backplate stamped with the Drocourt oval trademark and numbered 13151, giving a date of manufacture of circa 1876, the white enamel dial with black Roman hour numerals, red outer five-minute numerals and blued steel spade hands, the gilt-brass Anglaise case with Greek-key handle, height 9cm handle down, 10.2cm handle up.* Biography Pierre Drocourt started the well-known carriage clock making business at 3 Rue Coutures St-Gervais, Paris in 1853 before moving to 8 Rue Limoges in 1856, with a name change to 28 Rue Debelleyme in 1865. His son Alfred succeeded him in 1872, taking over the workshops of their suppliers, Holingue Frères in Saint-Nicolas-d'Aliermont in 1874.*Notes Reference Leigh Extence Pierre & Alfred Drocourt, An Exhibition of Carriage Clocks, Catalogue 2014.
Delépine-Barrois, a miniature oval carriage clock: the eight-day duration, timepiece movement having a platform cylinder escapement with the backplate stamped with the Delépine-style hand setting arrow and numbered 14, the white enamel dial with black Roman numerals and decorative blued steel hands, the gilt-brass oval case with handle, height 8cm handle down, 9.5cm handle up.*Notes Delepine-Canchy were carriage clockmakers in the horological town of Saint-Nicolas-d'Aliermont having succeeded the renowned Honoré Pons in the mid-1840s and continued to use the Pons trademark stamp for a number of years. Their workshops were positioned across the road from those of Henri Jacot who they supplied in the early 1870s. Charles Delépine continued alone from the mid-1850s before his nephew Ludovic and wife Marie Barrois took on the business as Delépine-Barrois. The company, including the substantial house and workshops, were bought by the Couaillet brothers in 1912 who continued making carriage clocks in the town.
A French Anglaise repeating carriage clock: the eight-day duration movement having a platform lever escapement and striking the hours and half-hours on a gong with a repeat of the last hour at will, the hand setting arrow to the backplate as seen on early examples signed for Margaine of Paris and numbered 554 ,the white enamel dial having black Roman numerals, blued steel moon hands and a finely engraved gilded mask, the gilt-brass Anglaise case with a shaped and fluted handle, complete with numbered travelling box and winding key, height 18cm handle up, 15cm handle down.* The property of the Late Ann Meyrick
An Edwardian chinoiserie lacquered mantel clock: the eight-day duration timepiece movement having a lever escapement, with the round dial having black Roman numerals to the cream chapter ring and fine decorative blued-steel hands, the curved-top case having a black lacquer ground with chinoiserie decoration depicting Oriental scenes, height 17.5cm.
An American black slate mantel clock: the eight-day duration movement striking the hours on a gong, the cream enamel dial with visible escapement set to the centre, black Roman numerals and blued steel hands, the black slate case of classical design with fluted columns and dome-topped architectural pediment, height 42cm.
Japy Frères, Paris, an ormolu and porcelain mantel clock: the eight-day duration movement striking the hours and half-hours on a bell with the backplate stamped with the trademark roundel and serial number for Japy Frères, 7399, the Sevres-style blue porcelain dial having black Roman numerals, a cherub painted to the centre and brass spade hands, the decorative ormolu case with matching porcelain panels to the sides and front, applied floral mounts, Satan-head mounts to the sides and surmounted by an urn, height 45cm. Movement detached from case.
Junghans, an Edwardian chiming mantel clock: the eight-day duration movement striking on a gong with Westminster chime sounding at each quarter on a further four gongs, with the backplate stamped for the maker Junghans, the brass dial having a silvered chapter ring with Arabic numerals, blued-steel fleur-de-lys hands and two subsidiary dials, the case having a pediment top, stepped base and applied presentation plaque dated 1907, height 46cms.
Elliott, London, a 20th century chiming mantel clock: the eight-day duration movement striking the hours and chiming the quarters on four gongs, the square cream dial stamped An Elliott Clock along with the retailer's name Parkhouse & Wyatt, Southampton, with the silvered chapter ring having black Roman numerals and trefoil hands, the shaped case with silvered bun feet and chrome bezel, height 22.5cm.
Synchronome, an electric oak wall clock and electric oak mantel clock: the wall clock having an octagonal case, the white painted dial with black Arabic numerals and signed Synchronome, Electric, with a brass bezel, the movement stamped Sychronome Patented and numbered 49210, diameter 22cm, the curved mantel clock having a round painted dial with black Roman numerals and brass bezel, the movement stamped Synchronome, Patented, and numbered 16949, height 23cm.
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