A Viennese walnut grande-sonnerie striking regulator wall clockW. Schonberger, Vienna, third quarter of the 19th century The four pillar triple train eight-day movement with deadbeat escapement incorporating tall inverted V-shaped pallets regulated by brass lenticular bob pendulum with ebonised wooden shaft and incorporating fine beat adjustment to crutch, the quarter train sounding on the smaller of the pair of graduated gongs positioned on a decorative brass double-scroll shaped bracket behind the movement followed by the hour train sounding the last hour on the larger gong, the 6.25 inch circular two-piece silvered Roman numeral dial signed W. Schonberger, IN WIEN to the slightly recessed centre within brass border and chapter ring with outer minute track, with pierced steel hands within moulded cast bezel, the case with large turned finial and winged pediment to crest flanked by further finials, over break-arch cavetto cornice and full-height arch-glazed front door applied with three-quarter baluster columns between canted panel applied sections to upper and lower margins, the sides with long glazed panels, over stepped ogee shaped base with conforming pendant finials, 135cm (53ins) high. Wenzel Schönberger was a citizen and master small clockmaker who worked in Vienna from 1847; he is further mentioned in 1852 and 1862 when he repaired the St. Stephens Cathedral tower clock. He is thought to have ceased working by 1885. He was a fine and relatively prolific maker of clocks primarily wall regulators including at least one year-going example. Condition Report: Movement is in clean working condition having been maintained in working order by the vendor; there is no evidence of alterations or significant replacements. The seatboard and mounting brackets within the case appear original confirming that movement and dial are original to the case.The dial has slight chipping around the centre hole and to the right hand edge of the recessed centre as well as a light hairline crack. The chapter ring has hairline cracks near the X, IIII and VIII numerals.The case is in good original condition with no unsightly faults. The backboard has a slight warp (only visible when viewed from behind) and has had work done to re-secure it into the case at some point. The base finial is a replacement and the lock has been removed (replaced by a brass hook-catch). Faults are otherwise very much limited to very slight bumps scuffs and other age related blemishes.Clock has three brass-cased weights which have denting, wood-rod pendulum in good condition and a crank winder. Condition Report Disclaimer
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A rare oak cased micro-barograph with thermometerNegretti and Zambra, London, early 20th centuryThe mechanism with nine-segment aneroid chamber connected via a lacquered brass armature to an inked pointer for recording the change in barometric pressure on a double-height clockwork-driven rotating paper scale lined drum, the brass baseplate engraved NEGRETTI & ZAMBRA, LONDON and applied with an arched silvered Fahrenheit and centigrade scale mercury tube thermometer, the case with five-panel hinged cover on cavetto moulded skirt base incorporating a drawer containing spare charts over simple squab feet, 49cm (19.25ins) wide. The firm of Negretti & Zambra are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as being established in 1850 when a partnership between Enrico Negretti and Joseph Warren Zambra was formed. The firm became one of the most prolific makers of scientific instruments and continued trading well into the 20th century.Condition Report: The aneroid chambers appear to be in sound condition with no obvious variation in profile depths and the instrument responds to change in pressure. The clockwork movement is in working condition. The recording pointer pivots and frame appear complete and brass retains original lacquer finish with overall light to moderate patchy discolouration in places. The thermometer is in good original condition. The case is in sound original unrestored condition with faults limited to minor bumps, scuffs, shrinkage and wear commensurate with age; there is a small quantity of spare charts with the instrument. Condition Report Disclaimer
Y A Victorian rosewood quarter striking table clockG. E. Frodsham, London, late 19th centuryThe substantial five pillar twin chain fusee movement with anchor escapement regulated by disc bob pendulum and two-in-one strike train ting-tang sounding the quarters on two bells and counting the hour on the second larger bell only, the backplate with pendulum holdfast and cocks for the twin hammers, the 7.5 inch circular cream painted Roman numeral dial signed G.E. FRODSHAM, GRACECHURCH ST., LONDON., to centre and with pierced blued steel hands set behind hinged bevel-glazed cast brass bezel, the case with shallow pagoda-shaped top and floral scroll engraved crest over dial flanked by canted angles terminating with leafy sprays at the base, the sides with rectangular windows over ogee-profile moulded lower margins, the rear with rectangular glazed door, on skirt base with block feet, 43cm (17ins) high. George Edward Frodsham was born in 1831 and succeeded John Frodsham at 31 Gracechurch Street, London in 1864. In 1882 the business became G. E. Frodsham and Company and then a Limited Company in 1888. The following year (1889) the business advertised as being clockmakers to the Queen, Prince of Wales, The Royal Observatory and The Lords of the Admiralty and continued under George Edward Frodsham until 1901 when he presumably retired; he died two years later.Condition Report: Movement is in clean working condition with no visible alteration or replacements. The dial has been restored to a high standard hence is in fine condition but with some texture (looks to be from from conserved crazing) to the surface. Case is also in good restored condition with faults limited to minor scrhrinkage, a few light bumps, scuffs etc.; the right hand carved motif to the front is currently detached - need gluing back on. The bezel requires some adjustment to the hinge as it is currently closing very tight. The finish would benefit from a good wax.Clock is complete with case key and winder. Condition Report Disclaimer
A Regency brass inlaid mahogany quarter-chiming bracket clockF.B. Adams, London, circa 1825The substantial six pillar triple chain fusee movement with anchor escapement regulated by lenticular bob half-seconds pendulum, chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, mounted along with the pendulum holdfast bracket onto the stylised floral border engraved backplate signed Adams, LONDON to a shaped cartouche to centre, the eight inch circular cream painted convex Roman numeral dial signed F.B. ADAMS, LONDON to centre and with decorative pierced steel spade hands set behind convex glazed hinged cast brass bezel, the architectural case with brass pineapple finial set on a brass rosette decorated pedestal surmount and anthemion decorated acroteria to the simple triangular tympanum inlaid with a flowerhead centred panel and delicate scroll to fascia, over fleur-de-lys quadrant infill around the dial and rosette centred scroll decorated panel to apron flanked by full-height ebonised strip pilasters inlaid with repeating star motifs divided by a wavy line, the sides with brass lion's mask ring handles over rectangular brass fishscale sound frets, the rear with triangular-topped glazed door, the skirt base decorated with band of repeating stars over lozenge and scroll motifs to front, on brass ball feet; with original wall bracket incorporating conforming diamond lozenge inlay to the fascia of the platform over similarly decorated single down-curved support, the clock 58.5cm (23ins) high; the clock and wall bracket 76cm (30ins) high overall. Francis Bryant Adams is recorded in Loomes Brian, Watchmakers & Clockmakers of the World, Volume 2 as apprenticed in 1821 and working in London from 1828. In 1832 he went into partnership with his sons and served as Master of the Clockmaker's Company 1848-49. The business is thought to have continued by his sons until circa 1875.Condition Report: The movement is in relatively clean working condition with no visible evidence of alteration or significant replacements. The dial appears to retain its original finish with some light rubbing/wear mainly around the winding holes as well as a few small patches of light degradation to the finish. The numerals and signature have been strengthened. The case is in sound original condition with significant faults limited to cracks above each side fret (passing beneath the side handles), The rear right hand finial is missing and there is a veneer chip to the same side at the rear of the base. Faults are otherwise very much limited to minor shrinkage, bumps, scuffs and minor lifting to the brass inlay in places. The bracket is original to the clock and is free from significant faults with overall condition commensurate with that of the clock case. Both the bracket and base of clock case are fitted with brass lined-holes to allow them to be secured together by a bolt - the bolt itself is not present.Clock has a case key but no winder. Condition Report Disclaimer
An Edwardian polychrome floral enamelled engine-turned silver small boudoir timepieceRetailed by Marcus and Company, New York, 1902The French eight-day movement with platform lever escapement and integral winder to backplate, the 1.5 inch circular white enamel Roman numeral dial inscribed MARCUS & CO. NEW YORK to centre and with blued steel hands set behind a convex glass with moulded bezel incorporating canted insert to interior, the Art Nouveau inspired case of waisted lancet form with transparent enamelled engine-turned fascia decorated with painted purple clematis blooms enveloping the dial over shaped-arched aperture flanked by integral side supports to the base, the rear with rectangular door over conforming aperture, Hallmarks for London 1902 makers mark rubbed, 10.5cm (4.25ins) high; with original morocco leather covered lancet-shaped protective outer case. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Marcus and Company were retailers of Jewellery and other luxury goods who traded from 17 Broadway, New York, 1892-1962.Condition Report: Movement is in working and appears free from noticeable alterations or significant replacements. The mechanism is however fairly dirty hence a clean and service is advised. The dial appears to be undamaged; the hands do not match so one will be a replacement. The case is free from noticeable crack of chips to the enamel, there is a small scratch to the surface at the apex as well as a few tiny firing blemishes which can only be seen on close examination under reflected light. The marks to the sides of the case are partially rubbed and the rear door has a very slight dent from the door being closed onto the winder (without the latter being folded). Otherwise case appears free form noticeable faults. The protective outer case has lost almost all of its padded silk lining to the doors and much of the leather covering to the exterior. Condition Report Disclaimer
A Victorian silver cased miniature carriage timepieceRetailed by Drew, London 1898The French frosted gilt eight-day movement with platform lever escapement and integral winder to backplate, the 1.25 inch circular white enamel Roman numeral dial with fine scroll pierced gilt hands set behind a convex glass with moulded bezel, the rectangular case overall decorated with repousse rococo scrollwork incorporating a vacant cartouche to the hinged back panel, with pivoted looped scroll hinged handle and on compressed bun feet, Hallmarks for London 1898, (maker's mark indistinct) and stamped DREW, 156 LEADENHALL ST. E.C. to underside, 7cm (2.75ins) high excluding handle; with original morocco covered protective outer case applied with a silver plaque to top inscribed Presented to, Mr & Mrs H.A. Wainwright, by the staff of, Boodle & Dunthorne Ltd., on the occasion of their, Silver Wedding.Provenance: The beneficiary of the Estate of a private collector, East Midlands. The firm of retail jewellers Drew and Sons was based at Piccadilly Circus from 1887 until 1914 when they moved to premises in Regent Street. They also had premises at Leadenhall Street in London from 1888-1914 and also at Kings Road in Brighton from 1894. Condition Report: Movement is in relatively clean working condition, the dial appears free from visible damage. The case appears free from noticeable/significant dents and has only light wear. The outer protective case has overall rubbing/wear to particularly to the exterior covering. Condition Report Disclaimer
An Edwardian silver cased miniature carriage timepieceUnsigned, Birmingham 1903The Swiss eight-day frosted keyless pocket-watch type movement with lever escapement regulated by split bimetallic balance and 1.25 inch circular white enamel Roman numeral dial with blued steel spade hands set behind a convex glass with moulded bezel, the rectangular case overall decorated with repousse rococo scrollwork incorporating a vacant cartouche to the hinged back panel, with pivoted double scroll-cast hinged handle and winding crown to top and on compressed bun feet, Hallmarks for Birmingham 1898 makers H M for Henry Matthews, 7cm (2.75ins) high excluding handle. Provenance: The beneficiary of the Estate of a private collector, East Midlands. The silversmith Henry Matthews specialised in small decorative objects and worked from Vittoria Street, Birmingham, circa 1894-1930.Condition Report: Movement is in relatively clean working condition, the dial appears free from visible damage. The case appears free from noticeable/significant dents and has only light wear. Condition Report Disclaimer
A French Rojo inset Belge noir marble mantel clock in the Egyptian tasteRetailed by Howell James and Company, London, circa 1875The circular eight day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped H.L.F., R'TE S.G.D.G. over serial number 6440, the circular white enamel Roman numeral dial indistinctly inscribed Howell James & Co., To The Queen to centre and with gilt spade hands within moulded gilt surround fitted with hinged bezel-glazed hinged bezel, the tapered plinth-shaped case with shallow upstand over convex moulded red marble cornice and inset triangular quadrant panels to the fascia over conforming canted top moulding to the diamond lozenge inset skirt base, 23.5cm (9.25ins) high. Provenance: The property of a private collector, Hertfordshire.Condition Report: Movement is in working condition with no visible signs of alteration or significant replacements however it is a somewhat dirty/discoloured hence a precautionary gentle clean/service is advised. The retailer's signature to the dial is rubbed but still discernible; otherwise dial is in good condition with no visible cracks or chips. The case is free from serious damage however there is overall light edge chipping to the black marble with the most significant being one around 5mm across to the lower right hand corner of the skirt.Clock has a pendulum but no winding key. Condition Report Disclaimer
A French ormolu and verde antico marble mantel clock in the Empire tasteThe movement stamped for Samuel Marti, Paris, early 20th centuryThe circular eight-day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with Samuel Marti, MEDAILLE D'OR, PARIS 1900 roundel and serial number 9739 over further number 7 2 to lower margin, the two-piece dial with gilt centre cast with pair of seated winged lions within narrow white enamel Roman numeral chapter ring, with blued steel moon hands set within guilloche decorated surround behind a hinged bevel-glazed bezel, the case with gilt eagle surmount to the cavetto moulded marble and leaf cast superstructure flanked by flambeau finials over repeating projecting acanthus leaf decorated gilt cornice and inset rectangular marble section housing the movement, with stylised horse-drawn chariot and drapery swag cast mount beneath dial and scroll motif to sides, flanked by free-standing marble columns with Egyptian style foliate capitals to angles, on skirt base with repeating leaf cast gilt mouldings and paw feet, 48cm (19ins) high.Condition Report: The movement is in relatively clean working condition with no visible evidence of alteration and or significant replacements. The dial is in fine condition with no visible damage. The case is in good condition with the only significant fault being three filled holes to the marble along the face of the front skirt suggesting that there was a mount fitted there at one time which is no longer present. Faults are otherwise limited to minor edge chipping, some light filling to the marble (probably part of the finishing process from when the clock was made) and light rubbing to the gilding.Clock has a pendulum and winding key. Condition Report Disclaimer
A French Napoleon III bronze, ormolu and white marble figural mantel clock in the Louis XVI styleRetailed by Juvenaux, Paris, circa 1870The circular countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with VINCENTI... MEDAILLE D'ARGENT, PARIS 1855 beneath indistinct retailers stamp JUVENAUX and number 62, the circular white enamel Roman numeral dial with Arabic five minutes to outer track and fine scroll pierced and engraved gilt brass hands set behind hinged cast convex glazed bezel, the case with lovebird, quiver and flaming torch cast surmount to the acanthus cast and chased laurel bordered superstructure over central rectangular section housing the movement fitted with brass grille frets to the sides and rectangular glazed door to the rear, flanked by seated putti holding aloft grapes and flowers, the base with repeating foliate band and scroll-fronted panel beneath the dial flanked by acanthus cast ogee platforms beneath the cherubs, over breakfronted white marble plinth applied with gilt tied laurel moulding to upper edge and on toupe feet, 35cm (13.5ins) high.Condition Report: Movement is in working condition with no visible evidence of alteration or significant replacements; the mechanism is a little dirty hence a gentle clean/service is advised and the bell is missing its securing nut. The dial has some light concentric scratching in the vicinity of the IX and X numerals, two small chips to the left hand winding hole and one to the right and a small hairline crack next to the 30 minute mark below VI. The case is generally in good original condition with the mounts retaining original gilding throughout with light wear to high spots and a few spots of green tarnishing to the superstructure. The marble base has a slight shallow edge bruise to the centre towards the left hand return of the breakfront otherwise faults very much limited to a few minor edge chips (can be felt rather than seen).Clock has a pendulum and a winding key. Condition Report Disclaimer
A French Louis XVI style ormolu and white marble mantel clock garnitureThe movement by Samuel Marti, Paris, late 19th centuryThe circular eight-day two train bell striking movement with anchor escapement regulated by short disc bob pendulum incorporating Brocot type regulation to suspension and stamped with Samuel Marti, MEDAILLE D'OR roundel over serial number 8173, 3 5 to backplate, the case with patinated bronze sphere applied with gilt stars and Roman hour numerals and with arrow hands, supported aloft by three standing putti over a cylindrical marble stand applied with a continuous ribbon tied floral festoon cast mount to waist and a laurel band above concave sided quatroform platform base incorporating gilt fillet moulding to lower edge, 49.5cm (19.5ins) high; the five-light candelabra side pieces with branches cast as rose stems and blooms forming the sconces, over single putto uprights and conforming floral swag decorated cylindrical stands with quatroform bases, each 54cm (21.25ins) high approx.Condition Report: Movement is in relatively clean working condition with no visible alteration or significant replacements. The dial is in good condition, the rear of the sphere has some very slight bruising the lip of the rear cover where attempts have been made to lever the cover off (rather than unscrew). The case and candelabra are in good condition and appear complete with no visible repairs or missing elements. The gilding is generally very good although there are numerous small dark spots mainly within the branches of the candelabra as well as some slight surface discolouration visible mostly in the larger castings. The marble has a few very small edge chips otherwise appears to be in fine condition.Clock is complete with pendulum and a winding key. Condition Report Disclaimer
A French Louis XVI style ormolu and white marble figural mantel clock 'Amor loses his weapons'The dial bearing signature for Festeau le Jeune, Paris, late 19th centuryThe circular eight-day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with A.D. MOUGIN, DEUX MEDAILLES roundel beneath serial number 52937 to upper left and further number 7 7 to centre, the circular white enamel Arabic numeral dial bearing inscription in puce Festeau le Jeune, A PARIS to centre, with vertical hour numerals, puce Arabic quarters to outer track and fine scroll engraved and pierced gilt brass hands set behind engine-milled convex glazed hinged cast brass bezel, the case cast with surmount of flaming torch and arrows bound to a floral wreath amongst billowing clouds over the dial flanked by standing robed figure of Venus opposing the infant Amor with the fascia between centred with a shaped panel inset with mount cast with ribbon-tied floral festoons around a central sunburst mask motif, on conforming platform base inset with further leafy mounts to front over toupe feet, 42cm (16.5ins) high. A version of this model dating to circa 1780 and housing a movement by Adam Lechopie, Paris is illustrated in Niehuser, Elke FRENCH BRONZE CLOCKS on page 131 (figures 214-15).Condition Report: Movement is in clean working condition with no visible evidence of alteration or significant replacements. The dial has a localised series of small hairline cracks in the vicinity of the dot minute ring between the 2 and 3 numerals, there is also some light concentric scratching between the 9 and 10 numerals and two tiny chips to the right hand winding hole. The case is generally in fine condition with the mounts retaining original gilding throughout with only very light wear or discolouration. The cherub is missing something (an arrow?) from his left hand and there is a filled blemish to the marble to the left hand side return of the projecting panel beneath the dial. The same panel has some slight chipping to the surround around the inset festoon cast mount. Faults to the case are otherwise very much limited to a few minor edge chips to the marble (an be felt rather than seen).Clock is complete with pendulum and a winding key. Condition Report Disclaimer
A fine French Empire ormolu and patinated bronze figural mantel clockUnsigned, in the manner of Jean Andre Reiche, Paris, early 19th century The circular eight-day two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension, the circular white enamel Roman numeral dial inscribed a Paris to centre and with gilt moon hands within an engine-turned bezel, the case with surmount finely modelled as a female figure in Empire dress standing at her dressing table adjusting an oval swing mirror with jewellery and fabrics to the table top raised over stylised foliate decorated frieze and legs formed as winged female terms over tapered uprights, the base of architectural plinth form with tablet upstand over moulded cornice and butterfly populated raised gilt square border around the dial with twin griffin and flaming torchere applied patinated bronze panel beneath, flanked by full-height panel pilasters decorated with laurel wreaths over further elaborate winged female terms, the sides with recessed arched panels applied with mounts cast as stylised torcheres onto a patinated background, on moulded skirt base with compressed bun feet, 46.5cm (18.25ins) high. The current lot is of particularly pleasing form with the surmount finely modelled with a figure in mid action interacting with faithfully modelled details in the table and accessories which forms an effective contrast with the formal architectural nature of the base. It is likely that the subject is Venus at her toilet which was a popular subject at the time. The faithful 'real life' nature of the modelling of the figural element is reminiscent of the work of Jean Andre Reiche (1752-1817) whose two best known models 'the Liseuse' and 'the Evening Prayer' are illustrated in Niehuser, Elke FRENCH BRONZE CLOCKS on pages 86 and 165 respectively. Elke, on page 185, also illustrates an interesting figural clock which he titles 'Antique Library'; this clock is noteworthy in that it shares many strong stylistic similarities with the current lot. In particular the scaling of the figure and the modelling of the details such as the table are so alike to that seen on the present clock that it would be reasonable surmise that both most likely originated from the same foundry. Unfortunately Elke does not provide any attribution as to the designer of the foundry responsible for the 'Antique Library'.Condition Report: Movement is in working condition and appears free from visible alteration or noticeable replacements. Although it will run and strike the mechanism is in dirty/neglected condition hence will require a clean/service before it can be put into long-term use. The dial has chipping around both winding holes; the left hand having minor fritting and the right having more extensive shallow surface losses however the losses do not appear to reveal the copper ground beneath and there are no visible hairlines. Faults to the dial are otherwise limited to some very light surface scratching.The case is generally intact and in fundamentally original unrestored condition retaining its original gilding and patinated surfaces. The figure and table surmount are a little wobbly (fixings need tightening). The silvering to the mirror glass shows heavy degradation; the rear is backed with paper (which is now lifting/incomplete) and the glass is held by a vertical wire. This arrangement appears to lack 'finesse' hence may be a modification (would expect a gilt back panel to the mirror?). The table is missing part of the foliate cast decoration to the frieze otherwise surmount is in good condition. The top of the main part of the case has some patchy degradation to the gilding and gilding to the base skirt heavily worn so this section will probably require re-gilding. The rest has some light wear/patchy degradation but is largely in good original albeit dirty/unrestored condition. All mounts appear present and undamaged.The clock has what appears to be its original pendulum (although the hook at the top is incomplete), there is also a winding key present. Condition Report Disclaimer
A French Empire Ormolu and patinated bronze figural mantel clockThe dial signed Lepaute, Paris, 19th centuryFitted with a circular eight-day two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension and stamped with ..Japy Fils, Medaille d'argent, 1844 1849 roundel over number 283, the circular white enamel Roman numeral dial inscribed LEPAUTE A PARIS to centre and with blued steel moon hands within a milled bezel, in a case modelled with a patinated bronze figure of Zeus cradling the infant Bacchus stood beside a tree stump adorned with fruiting vines and a crooked staff, the rectangular plinth base applied with mount cast with fine triple fruiting swag decorated baton beneath an urn with serpent handles to fascia, over stylised lotus leaf cast ogee moulded skirt base over rosette and scroll cast bracket feet, (case and dial probably circa 1810, the movement later), 50cm (19.75ins) high. The current lot is cast with Zeus holding his infant son Bacchus (or Dionysus) who was a product of his affair with Semele. Zeus killed Semele by revealing his true form (a bolt of lightning) and Bacchus came forth from Zeus's thigh. Zeus took the infant who, despite being half mortal, was considered a god. Bacchus represented fertility, wine and hedonism and travelled with his followers of Maenads, Satyrs, and the drunken portly Silenus.Condition Report: Movement is just about working but is dirty hence a gentle clean/service is required. As catalogued the mechanism is not original to the dial and case hence the winding hole protrude a little further than normal and the left hand is slightly off-centre in the hole. The movement has not been removed from the case to assess how much alteration has been done to the back of the dial to facilitate fitment of the present movement. The dial enamel has some noticeable chipping and scratching around the right hand winding hole and very light chipping to the edge above the I numeral. The case retains original gilding with overall only light wear however the flat side and rear sections have oxidised/discoloured.Clock has pendulum but no winding key. Condition Report Disclaimer
A fine French porcelain inset ormolu 'Japonaise' mantel clock garniture The porcelain front panel signed for C. Kiffert, circa 1880The circular eight-day gong striking movement with recoil escapement for regulation by disc bob pendulum incorporating Brocot type rate adjustment to the suspension, the backplate stamped with serial number 5797 to upper left hand margin, the rectangular mid blue ground simulated cloisonné porcelain dial panel painted with bird and butterfly amongst chrysanthemum blooms to centre within pseudo Japanese character gilt cartouche numeral chapter ring and with fine pierced and engraved brass hands, the surround populated with additional insects and birds within flowering foliage incorporating shaped ornithological panels with the lower one signed C. Kiffert to left hand margin, the case with fine porcelain surmount modelled as a zoomorphic dragon carp set on a rectangular four-legged plinth over shaped stepped platform decorated with incised geometric patterns and with galleried bollard finials to corners, with cavetto top mouldings centred with a geometric decorated pendant panel flanked by stylised scroll-pierced projecting corbels to the front, over line-incised frame around the dial panel terminating with smaller conforming apron panel to the lower margin, the sides with arcaded panels inset with further matching porcelain panels each painted with a fan and geometric panel within a simulated cloisonné field decorated with birds and butterflies within delicate flowering foliage, the rear with hinged circular cover for the movement within geometric line decorated panel infill flanked by further pieced projecting corbels, on elaborate waisted cavetto moulded base bordered with geometric incised half-round band to upper margin and applied with scroll pierced projections matching the upper corbels to sides, over swollen skirt inset with further bird and flower painted porcelain panel flanked by geometric blind fretwork infill to front apron and incorporating elephant mask feet, the porcelain panels and case each inscribed with serial number 32495 to rear, 51cm (20ins) high; the matching side pieces each modelled in ormolu mounted porcelain as a square section tapered shoulder vase painted with birds, insects and panels on a simulated cloisonné ground with elephant mask handles over elaborate waisted base incorporating blind fretwork to apron and scroll feet, each 17cm (10.5ins) high, (3). The current lot can be directly compared to another garniture of almost identical pattern (with the exception of having additional candelabra extensions to the side pieces) which was sold at Christies, London The Opulent Eye - 19th Century Furniture, Sculpture & Works of Art 6th March 2014 (lot 197) for a premium inclusive £35,000.The full identity of the painter of the porcelain panels of the current lot, C. Kiffert, appears not to be recorded, however this signature is sometimes seen on large impressive porcelain vases often executed in the style of Sevres. One such example was sold at Christies, London 19th Century Furniture, Sculpture, Works of Art & Ceramics 27th September 2007 (lot 63) for a premium inclusive £18,500. The painted porcelain surmount adorning the present clock is unusually modelled as a carp with a dragon's head. This form comes from the legend of Koi-no-Takinobori which has its roots in ancient China wherein carp swim, against all odds, up a waterfall known as the 'Dragon Gate' at the headwaters of China's Yellow River. The gods are very impressed by the feat, and reward the few successful carp by turning them into powerful dragons. The story symbolizes the virtues of courage, effort, and perseverance, which correspond to the nearly impossible struggle of humans to attain Buddhist enlightenment.Condition Report: Movement appears complete and all original with no visible alteration or significant replacements. Although the mechanism will run and strike it is in dirty/neglected condition hence requires a clean/service. The dial panel is free from visible chips or cracks other than some very slight nibbling around the winding holes. The numerals may have been re-touched/strengthened and there is a slight firing blemish near the VIII numeral otherwise panel is in good albeit slightly dirty condition with minimal wear to the gilding. The side panels are free from visible damage or restoration and have minimal gilt wear however are a little dirty. The dragon fish figural surmount has had some chipping to the whiskers touched-in with red pigment - this will require attention to bring the figure back to fine condition. The securing studs for the platform holding the surmount are presently incomplete hence it can be lifted straight-off the case. The gilding to the brass is original and generally in sound albeit very dirty condition but has some noticeable rubbing to high spots. Both side pieces are generally in good original condition although one has cracking and related small shallow chips to the base part of the ceramic. Otherwise faults are limited to very light gilt wear.The clock has a pendulum but no winding key. Condition Report Disclaimer
A late 20th century Danish light-up globe, together with miscellaneous items to include novelty nesting dolls, driving gloves, three composition Oriental chess pieces, a pair of treen elephant bookends and enamelled badges to include a Robinsons Golly white waistcoat badge Location: RWBThe globe requires a new plug.
Mixed furniture to include a reproduction inlaid mahogany bureau with fall flap revealing a pigeon hole interior with drawers, above one short and three long drawers on bracket feet, a Singer sewing machine and teak table, a light oak chest of two short and three long drawers, a mahogany towel rail and a two tier occasional table
A quantity of cut table glass to include a Claret jug with silver plated top, a Georgian pillar and step cut water jug A/F, Edwardian acid etched finger bowl and water tumbler set, a bag light, various bowls, vases and drinking glasses including an octagonal brilliant cut bowl on four splayed legs
Fine Kashmir cream pashmina wool shawl with polychrome panels of boteh to fringed ends and borders. Slight moth damage. Approx 3 metres x 132cm. Condition report:Approx. 120" x 52 1/2" and embroidered initials E.K. Some moth damage and small holes, light stains overall. Good invisible repair to one end. As images.
Kashmir finely woven plain cream wool shawl with fringed ends and two others, printed cotton. (3). Condition report:Cream shawl - Beautifully soft pashmina wool. Quite loosely woven with natural shibs, appears almost stripey when held up to the light. A couple of tiny pin prick holes and a few small light brown marks. Signed. Approx. 100" x 52". As images.Brown print - Splits, small holes, 135" x 68".Cream print - Rough fringing, slight marks, no holes visible, 124" x 62".
19th century English 'turnover' shawl, the blue wool field with applied polychrome woven borders of boteh and flowers, single sided but the borders have been applied so weave is the right side up when the shawl is folded in a triangle. 54 1/2" x 54 1/2".Condition report:No holes but a few small pulled threads and some light staining, probably food/drink. Overall fabric and border feel strong, although some light patches to blue field when held up to daylight. 54 1/2" x 54 1/2". As images.
Victorian paisley wool shawl, single sided, the two tone red and turqoise field with woven foliate scrolls and borders of boteh. Condition report:Some splattered staining, mainly on turquoise field, weave thin and patchy when held up to light especially to end panels. A few small holes or tears. Approx. 128" x 65".
Eleven vintage designer silk scarves, comprising: two x Christian Dior, Oscar de la Renta, Jean Patou, Gil de Losne, Yves Saint Lauren, Prochownick x 2; Diane Von Furstenberg, Bianchini Férier and Grès. Condition report:Dior Blue: Small mark bottom right cornerDior Green: Some slight marks and light makeup stainingOscar de la Renta: Rolled hem stitching coming undone, especially along bottom edge, which has virtually no rolled edge. pulled thread from left hand side to centre square. Some very light makeup staining.Prianchini Ferier: Very light small marks, small catch in bottom right corner.Gil de Losne: Some fine pulled threads, pin holes and very light marking. Stitching to rolled edge starting to come away.YSL: Very stained/browned overallJean Paton: Small pinholes, some small marks, label detaching.Diane V.F: Good condition, some small loose threads to rolled hem.Prochownick: Brown - A few tiny holes holes and loose threads to hem.Grey - Good condition, small light mark to border.Gres: Good condition, very light watermarks.
Hermès "Harnais a L'Anglaise" vintage silk scarf, some staining and seven other silk scarves. (8). Condition report:Hermes: Very stained and browned all over. Few tiny holes and pulled threads.Green: Very slight marking and small pulled threads. Generally okBrown, cream, gold stirrups: Generally good condition.Blue hearth: Some mottled light staining and marks.Black foliate scrolls: 'Gevan', generally good condition.Brown/cream bags and tassels: Some light marks to border.Feathers: 'Myriaflor' Paris. Very slight mark, very fine pulled thread, 2 small holes to border.Vintage Cars: Generally good. Very slight mark.
Small quantity of 18th century and 19th century linen and cotton bed sheets, some with embroidered initials, stitched seams etc. Condition:Cotton - Single pulled thread top, Width 82" x Length 112" - Good condition, very light small brown mark.Small cotton cot sheet - 38" wide. Several small holes.Blue "28" - Approx. Width "78" x Length "108".Blue "19" - Approx. Width 80" x Length 108". Some light brown marks.RRI 6 - Large patch, several small holes. Length 1222" x Width 65"P3RR - Stitched single "sleeping bag" made from several 18th sheets, tears to seams and small holes.
19th century Continental porcelain chocolate cup with finialled domed cover and twin handles decorated with floral sprays, swags and fishscale borders in puce, green, red and gilt, unmarked, 15cm high (chip to cover); also two fluted tea bowls and a circular plate with similar decoration, 8cm diam. and 20cm diam. and a pair of English porcelain Imari dishes of scallop shell form. (6). Condition report:All in good condition. Very light wear. Bright gilding and enamels.
Wedgwood bone china "Gold Florentine" pattern dinner service, pattern no. W4219, for eight settings, comprising: eight twin handled soup bowls and stands; eight 27.5cm diam. dinner plates; eight 20.5cm side plates; eight 20cm dessert bowls; two twin handled circular covered tureens, each 20cm diam.; two graduated oval ashets, 35cm and 39cm long; sauce boat and stand and two circular ashtrays. Condition report: Generally in good condition overall. Some very light wear/scratches but gilding bright overall.Large ashet - good condition.Smaller ashet - good condition.Covered tureens - One in good condition, the other with 7" crack to bowl.Sauce boat and stand - Both good condition.8 dinner plates - all in good condition.8 side plates - all in good condition.8 dessert bowls - all in good condition.2 ashtrays - in good condition with visible sagger marks to underside.8 soup bowls - all in good condition.Soup bowl stands - all in good condition.
19th century Samson of Paris porcelain "Chinese export armorial" bowl with floral sprigging and gilt borders, unmarked, 29cm diam.; together with a Chinese circular hardwood stand, 18cm diam. (2).Glaze impurities to body and interior. Rubbing to gilding particularly to rim and foot. Bowl interior bears light usage scratches commensurate with age.
Seven pieces of Sevres blue celeste porcelain teawares, made for Chateau des Tuileries, all with gilt Royal cypher of King Louis Philippe, comprising: two cups and saucers and a cake plate decorated with cherubs and two side plates decorated with courting couples, all with palace marks in red, printed Louis Philippe marks c.1840's, with additional S numbers in green. Large plate, 25cm diam., cups 7cm high, saucers 12.5cm diam. and side plates 20cm diam. (7). Condition report:Some wear overall but no visible cracks or chipsCups- rubbed gilding and light wear. Some glaze impurities. Firing defect / roughness to inner rim of oneSaucers- Glaze impurities, rubbed gilt and enamelsSide plates - Rubbed gilding especially rims and borders of central panels. Small glaze defect to underside rim of one (Guitar)large plate - Small dimple in centre panel (top left) Gilding and enamels generally good.
Boxing Micky Ward signed 11x9 black and white program card. George Michael Ward Jr. , often known by his nickname of "Irish" Micky Ward, is an American former professional boxer who competed from 1985 to 2003. He challenged once for the IBF light welterweight title in 1997, and held the WBU light welterweight title in 2000. Ward is widely known for his trilogy of fights with Arturo Gatti, two of which received Fight of the Year awards by The Ring magazine, . Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Boxing Micky Ward signed 11x9 black and white program card. George Michael Ward Jr. , often known by his nickname of "Irish" Micky Ward, is an American former professional boxer who competed from 1985 to 2003. He challenged once for the IBF light welterweight title in 1997, and held the WBU light welterweight title in 2000. Ward is widely known for his trilogy of fights with Arturo Gatti, two of which received Fight of the Year awards by The Ring magazine, . Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Boxing Iran Barkley signed 10x8 colour photo. Iran Barkley (born May 6, 1960) is an American former professional boxer who competed from 1982 to 1999. He held world championships in three weight classes, including the WBC middleweight title from 1988 to 1989, the IBF super middleweight title from 1992 to 1993, and the WBA light heavyweight title in 1992. As an amateur, Barkley won a bronze medal in the middleweight division at the 1982 World Championships. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Boxing Roberto Duran signed 10x8 colour photo. Roberto Durán Samaniego (born June 16, 1951) is a Panamanian former professional boxer who competed from 1968 to 2001. He held world championships in four weight classes: lightweight, welterweight, light middleweight and middleweight, as well as reigns as the undisputed and lineal lightweight champion, and the lineal welterweight champion. He is also the second boxer to have competed over a span of five decades, the first being Jack Johnson. Durán was known as a versatile, technical brawler and pressure fighter, which earned him the nickname of "Manos de Piedra" ("Hands of Stone") for his formidable punching power and excellent defence. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Boxing Donny Lalonde 12x8 mounted signature piece. Donny Lalonde (born March 12, 1960) is a retired professional boxer. His nickname is "Golden Boy, " after the Golden Boy statue atop the Manitoba Legislative Building in his boxing home town of Winnipeg. Lalonde held the WBC Light Heavyweight Championship from 1987 to 1988. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Boxing Carlos Ortiz 12x8 mounted signature piece. Carlos Ortiz (born 9 September 1936) is a Puerto Rican former professional boxer. He won three world titles, two at lightweight and once at light welterweight. Along with Félix Trinidad, Miguel Cotto, Wilfredo Gómez, Héctor Camacho, and Wilfred Benítez, Ortiz is considered among the best Puerto Rican boxers of all time by sports journalists and analysts. [1] As of January 2018, Ortiz holds the record for the most wins in unified lightweight title bouts in boxing history at 10. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Boxing Roberto Duran framed signed 20x16 print with photo proof of Roberto signing this item. Roberto Durán Samaniego (born June 16, 1951) is a Panamanian former professional boxer who competed from 1968 to 2001. He held world championships in four weight classes: lightweight, welterweight, light middleweight and middleweight, as well as reigns as the undisputed and lineal lightweight champion, and the lineal welterweight champion. [1] He is also the second boxer to have competed over a span of five decades, the first being Jack Johnson. Durán was known as a versatile, technical brawler and pressure fighter, which earned him the nickname of "Manos de Piedra" ("Hands of Stone") for his formidable punching power and excellent defence. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
W.A.S. BENSON (1854-1924) AND JAMES POWELL & SONS, WHITEFRIARS ARTS & CRAFTS CEILING LIGHT, CIRCA copper, brass and cast metal, with flint glass shade(79cm high to top of fitting, 50cm wide)Footnote: Literature: Hamerton Ian (edt.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 258, pl. 11 where a similar example is illustrated.
ATTRIBUTED TO C.F.A. VOYSEY FOR THOMAS ELSLEY & CO. GROUP OF ARTS & CRAFTS FITTINGS, CIRCA 1920 brass, to include a FINGERPLATE, stamped verso ELSLEY'S, 38cm tall; a PAIR OF DOOR HINGES, each stamped ELSLEY, 23cm tall; a DOUBLE LIGHT SWITCH AND PLATE, unmarked; and a SINGLE LIGHT SWITCH PLATE, unmarked, 14.5cm and 8cm across
ATTRIBUTED TO CECILE WALTON OUR LADY OF FATIMA carved stone, depicting the Virgin with the three shepherd children(66cm x 45cm)Footnote: Provenance: Originally sold by a descendent of Cecile Walton and, by family repute, by her hand and from her studio. From Castle of Park, Aberdeenshire Note: This stone carving may have its inspiration from Our lady of Fatima, an apparition reported in 1917 by three shepherd children at the Cova da Iria, in Fátima, Portugal. On 13 May 1917, the children reported seeing a woman "brighter than the sun, shedding rays of light clearer and stronger than a crystal goblet filled with the most sparkling water and pierced by the burning rays of the sun."
ÉMILE GALLÉ (1864-1904) RARE COROLLA LAMP, 1902-1903 overlaid, acid-etched and fire-polished glass, traces of original gilding to the base, bears maker’s marks to shade and base GALLÉ(shade 35cm high, base 32cm high, approx. total height 64cm)Footnote: Literature: Charpentier, Françoise-Thérèse Le Théâtre du peuple a eu 100 ans cet été 1995, Arts Nouveaux, Bulletin de l'Association des Amis du Musée de l’Ecole de Nancy, 1996, n° 12, pages 3 - 10 where a line drawing of this lamp is illustrated (see illustration) Note: For Émile Gallé, light was a source of justice, truth, and hope. Gallé was inspired by the symbolism of the lamp at a very young age and later he discovered that light also gives other nuances to glass. The arrival of electricity multiplied the decorative possibilities. At the Exposition Universelle of 1889 he created a large ornamental glasswork lamp in the form of a mosque, ‘an immense night-light as if veiled in black silk’. At the Salon du Champ-de-Mars of 1892, he exhibited a ‘violet-aubergine crystal lamp’ inscribed as Twilight with flowers mingled with amethysts and described by the French poet and essayist Sully-Prudhomme at the time; “A large piece of a sumptuous, clouded blood-red purple with ruby shards. Purpurine and livid vegetation is chiselled in relief. The edges are coloured in an opaque dark red to the opening. The frame is made of an inverted corolla in a sculptured palustrine oak.” Gallé really began his interest in electric lighting from 1899, and it is only after the Exposition Universelle of 1900 that he really began to focus his attention on it. He created numerous models in 1902 and in fact supplied examples to the house of his eldest daughter Therese on the occasion of her marriage. He exhibited several lamps at the Marsan Pavilion at the Exposition de l’Ecole de Nancy in 1903 in Paris, which are very similar to the lamp offered here. Electric lighting created by Gallé is characterised by a very pronounced naturalism: hazelwood sconces, iris night-lights, squash girandoles, umbel or flower cluster pendant lamps, columbine suspension lights etc. They are rare and easy to identify - they cannot be confused with the models created in the factory after his death. The lamp presented here is inspired by the snowdrop (Galanthus nivalis). The lampshade and the feet, blown separately, are made of double- glass, the internal layer milky white and the external layer violet-aubergine. The piece is engraved with vegetable acid. Moreover, the feet are engraved in intaglio with stylised snow crystals and a vertical signature Gallé. This lamp is very rare. There is a less rare version with a wrought iron mount that has appeared at auction several times. The interest in these lamps, which date from 1902-03, rests in the fact that they were created by Émile Gallé himself. The majority of lamps that we more commonly find on the market were actually produced by the Etablissements Gallé, twenty years after Gallé’s death in 1904. Lyon & Turnbull would like to thank François Le Tacon for his work in compiling this note.
ALESSANDRO MAZZUCOTELLI (1865- 1938) LARGE CEILING LIGHT, CIRCA 1910 wrought iron, stamped maker's mark to the frame MAZZUCOTELLI(68cm diameter, 160cm high)Footnote: Provenance: A Private European Collection of Design Note: Alessandro Mazzucotelli was born into a wealthy family of blacksmiths who founded their wealth on the need for iron during the wars of the 18th and 19th centuries. When he was eighteen the company fell on hard times and he moved to the Milan to complete his apprenticeship at Defendente Oriani. In 1891, six years later, he left the company and began to focus on his own work. Most of his designs were for decorative features for buildings and his work took him from Italy to Germany and even to Thailand, where he provided ironwork for the buildings of the architect Annibale Rigotti in Bangkok. His style was initially influenced by the Stile Liberty, which he explored during his travels through Europe with the Italian furniture maker Eugenio Quarti. He took inspiration from the ideas of artists such as Burne-Jones, William Morris and Walter Crane in England and Émile Gallé in France. Mazzucotelli made his name at the International Exhibitions starting in Turin in 1902, Brussels in 1910, Paris 1925 and many others. He also became a regular lecturer at the crafts school of the Società Umanitaria. Examples of his work can be seen today, particularly in Milan, and include the balustrades and handrails of the Palazzo della Borsa (1907) and the street lights in the Piazza del Duomo (1927-28).
bronze, signed and inscribed in the cast M. A. SUZOR-COTE'/ L'ESSOUCHEUR, stamped foundry mark and edition no. to foot rim ROMAN BRONZE WORK NY/ #17, bears gallery label for W. Scott & Sons to the underside, inscribed W. SCOTT & SONS/ No. O/S - 749/ PROPERTY OF SUZOR-COTÉ RCA/ "THE GRUBBER"/ PRICE $385.00(53.3cm wide, 40.6cm high)Provenance: Presented as a gift to Alfred James Towle Taylor, circa 1935-40 and by family descentNote: After studying at the prestigious École des Beaux-Arts in Paris, Suzor-Côté returned to his native Canada and sought to capture the mesmerising mountain landscapes of his homeland. Here, he quickly gained critical acclaim as an artist, breaking away from the rigid academic tradition of studio painting, in favour of Canada's iconic and breath-taking scenery. Heavily influenced by French Impressionism, his works demonstrate a fascination with colour theory and the play of light on snowy mountain tops and icy lakes.In 1907, Suzor-Côté began to develop his talents in sculpting, and by 1919 he had excelled in the medium. His works in bronze are quite rare, as he is thought to have only produced around fifty in his career. As with his painterly approach, the influence of Impressionism remained dominant throughout his experimentation with sculpture.In L’Essoucher, idealised Classical subjects have been abandoned for character studies of rural settlers, representing the essence of country life in Canada. Here, one is immediately drawn to the figure’s body language: his back growing tired and beginning to hunch over; his hands, larger than life, grip onto his tools as his body strains with the hard manual labour he must undertake. Equally, there is a clear attempt to depart from the academic sculptures of his contemporaries, which strive for smooth perfection and beauty. In the present example, Suzor-Côté has sculpted a richly textured surface that is both evocative and captivating. The eye is carried across every fold and crevice, drawing our attention to the physicality of the labourer's task at hand. L’Essoucher typifies Suzor-Côté’s move away from idealism, towards more authentic subjects which celebrate the individual and, above all, captures the essence of rural Canadian life which he loved and cherished.Note: Founded in 1859 as a framing workshop, William Scott and Sons became an important gallery and art dealer in Montreal in the late nineteenth and early twentieth centuries. The firm imported work by British and French painters, and in 1892 became the first gallery in Canada to show work by the French Impressionists. The gallery mainly sold Barbizon School paintings but from 1901 was the dealer for M.A. Suzor-Cote as well as handling the work of Cornelius Krieghoff.
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