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Preisdatenbank abonnierenA 20th century French brass stick barometer by Lehalle-Paris, No. 3583, the glazed upper section enclosing a silvered vernier scale, the trunk with mercury thermometer, height 103.5cm, boxed (minor crack to glass section).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George III oak and mahogany crossbanded longcase clock with eight day movement striking on a bell, the painted breakarch dial decorated with a seated girl, a dog and rabbits, inscribed 'Jas Slater Uttoxeter', the hood with three brass finials, the trunk door inlaid with a conch shell patera, height 234cm, with pendulum, two weights and winder.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 19th century French painted pine Morbier or Comtoise longcase clock with two train weight driven movement striking on a bell, the white enamelled circular dial with black Roman hour numerals and inner date ring, the brass surround embossed with fruit basket and scrolls, the low bellied trunk with glazed pendulum lenticle, the base with painted figural scene, height excluding hood 222cm, with nine rod pendulum and two weights (hood disassembled).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George III mahogany longcase clock with eight day movement striking on a bell, the 12-inch brass breakarch dial with boss to arch, inscribed 'R. Bradberry Reeth', above a chapter ring with Roman hour numerals and foliate engraved centre with subsidiary seconds and date aperture, the hood with moulded arch pediment, glazed door and brass stop fluted columns, the trunk with arched door, above a panelled base and bracket feet, height 225cm, with pendulum and two brass cased weights. Note: Robert Bradbury is a recorded clockmaker working in Reeth, Yorkshire, from 1771 to circa 1800.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A mid-19th century oak trunk dial wall clock timepiece with weight driven eight day single train movement, the 16-inch painted circular dial with black Roman hour numerals and inscribed 'JN Beale Oundle', the hood with swan neck pediment, glazed door and fluted columns, the trunk door flanked by fluted corner columns, height 150.5cm (some faults), with pendulum and weight. Note: John Beale is a recorded clockmaker working in Oundle, Northants, between 1830 and 1854.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An early 19th century mahogany longcase clock with eight day movement striking hours on a bell, the 9½-inch circular dial with black Roman hour numerals and outer Arabic minutes, the hood with arched pediment above a circular glazed door and brass stop fluted corner columns, the trunk with rectangular door, on a panelled base and plinth, height 185.5cm, with pendulum, two brass cased weights and winder.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George III dark green and gilt chinoiserie japanned longcase clock with eight day movement striking on a bell, the 12-inch brass breakarch dial with silvered subsidiary strike/silent indicator to arch above a silvered chapter ring, framing a matt centre with silvered subsidiary seconds, date aperture and plaque inscribed 'Edwd Muddle CHATHAM', all cornered with cast and pierced gilt foliate scroll spandrels, the case with all-over gilt chinoiserie decoration, the arched hood with glazed door, above an arched trunk door and plinth base, height 214cm (lacking pendulum and weights). Note: Edward Muddle is a recorded clockmaker working in Chatham, Kent, from circa 1760 to 1779.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Regency mahogany long case clock of small proportions by Robert Chandler of London, twin weight driven movement with rack and snail striking a bell recoil escapement, caddy top above an 8” silvered dial, signed “Robert Chandler London”, the glass bezel with brass surround and ebony cut corner pieces above a short trunk on plinth base, 140cm tall, 29cm wide
A vintage leather "Osilite" travelling trunk by H.J. Cave & Sons, 81, New Cavendish St, London W. With painted initials to top B.S.L. carry handle to top with brass hard ware and leather name badge to front. Pale green linen lining with label to underside of lid.Complete with key. Approx. 53 x 52 x 52 cm.
Vinyl - 14 Long Deleted Cult Films Soundtracks / Library Music reissue albums to include Roy Budd – The Internecine Project (2019, Trunk records) EX / EX, ATA Records – The Library Archive Vol. 2 (2021, ATA Records) EX / EX, Les Baxter – Hell's Belles (2010, Sidewalk Records) EX / EX, Jean-Bernard Raiteux – Jess Franco's "Les Démons” (2016, Finders keepers Records) EX / EX, Justin Greaves – The Devil's Business (2013 + liner note innersleeve, and a 24"X 24" foldout poster, Death Waltz Recording Company) EX / EX, Rare Music From The Cometa Library Vaults (2016, Pheon Records) EX / EX, The Freedom – Nerosubianco (1994, Tenth Planet Records) EX / EX, Bent, Batty And 'Bnoxious (Awful Aural Urgh) (Torture Records) EX / EX, Stu Phillips – Beyond The Valley Of The Dolls - The Original Soundtrack (2003 Test Pressing + promo pack. Harkit Records) EX, Tonite Let's All Make Love In London (Limited Pink Vinyl. 2017, Instant / Charly records) EX / EX, With Pink Floyd and Small Faces. The Cyrkle – The Minx (2008, Flying Dutchman records) EX / EX, Giuliano Sorgini – Occulto (2020, Four Flies Records) EX / EX, Nora Orlandi – A Doppia Faccia (2020, Four Flies Records) EX / EX, Serge Gainsbourg – Bande Originale Du Film “Cannabis” (2008 France, Back To Black) EX/ EX
Early 20th century Velvet Court Dress, consisting of black velvet frock coat and waistcoat with steel buttons, black velvet breeches with steel buttons and buckles, black patent leather shoes with steel buckles, cocked hat with loop and button in steel, Court Sword with steel hilt, held in leather scabbard, all held in a black jappaned uniform trunk with a brass plaque to the top engraved 'The Hon. G. Waldegrave' (the breeches also have a tailors label attached marked 'Waldegrave Hon. G. 5/6/02', this type of court dress was worn by all men not entitled to wear a court uniform or Military uniform on occasions of state and is still worn by High Sherrifs of counties and most notably by Black Rod in the House of Commons, a letter, dated 1999 is also in the trunk and is apparently from a High Sherrif who had borrowed the court dress for an event
2-piece set of candlesticks silver. Beautiful set with pillar-shaped fluted trunk. Stuffed foot. 1 candlestick is only hallmarked with the master stamp and sword 925. The Netherlands, Zeist / Voorschoten, van Kempen en Begeer, 1968, hallmarks: standing lion, Minerva, maker's mark, i, sword. Inscription: 26-7-1974 / 26-7-1979 - minimal traces of use. 387 grams, 925/1000. Dim. H 16 cm, diam 7.5 cm.
Louis XV-Elefanten-KaminuhrHöhe: 42 cm. Breite: 30,5 cm. Tiefe: 18 cm.Signiert „VIGER A PARIS“.Mitte 18. Jahrhundert.Werk: Ankerwerk, Pendel an Seidenfadenaufhängung, Schlossscheiben-Schlagwerk für Halbstunden- und Stundenschlag auf Glocke. Die Werkplatine in Gravur signiert und datiert: „Viger AParis No 665“.Dass Pendulen in dieser und ähnliche Gestaltung mit exotischen Details gerade in Frankreich beliebt wurden, geht vor allem auf das erneute naturwissenschaftliche Interesse zurück. Auch die positiven kolonialen Erfahrungen, die seit der frühen Aufklärung ein neues Bild der exotischen Kontinente schufen, haben dazu beigetragen, auch in der dekorativen Ausstattung des höfischen Ambientes die neue Weltoffenheit zu demonstrieren. Nicht zuletzt hat der Chinoiserie-Stil und der Einfluss der Kenntnisse chinesischer und japanischer Porzellan- Elefanten oder -Nashörner die Schaffung solcher Objekte gefördert. Elefantenuhren gehörten nun zu den beliebten Produkten des Kunsthandwerks. Von führenden Bronziérs unter den Hoflieferanten Louis XV, wie Jean-Joseph de Saint Germain (1719-1791) sind solche Exemplare geschaffen worden, in unterschiedlichsten Detailausführungen.Bei dem vorliegenden Beispiel, einer selteneren Ausführung, wird in alten Verzeichnissen und Inventaren von einer „pendule à l’échassier“ gesprochen. Ein ähnliches Exemplar – etwa mit einem Werk von Baillon – befand sich in der Sammlung Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie’s, London, Juni 1971), weitere wenige Exemplare gelangten ebenfalls nur auf namhaften Auktionen in den Handel.Der Aufbau folgt einem bewährten Schema: Der Elefant, in brünierter Bronze, steht nach links mit hochgeschwungenem Rüssel auf einem vergoldeten, steinigen, mit exotischen Blättern und Blüten besetzten Terrain-Sockel. Über den Leib zieht vertikal ein vergoldetes Sattelband, auf dem floral gestalteten Sattel das zylindrische Gehäuse, umzogen von Blatt- und Blütenwerk, bekrönt mit einer Tiergruppe: Neben einem bellenden Jagdhündchen erhebt sich ein Kranich, der mit einer Kralle einen Stein hochhält. Dieses ikonografische Bildmotiv ist Symbol für die Wachsamkeit (da das Tier bei Beginn des Einschlafens den Stein fallen lässt und somit wieder geweckt wird). So steht das Figurenmotiv, zusammen mit dem bellenden Hündchen, in sinnvollem Zusammenhang mit der Uhr und dem Glockenschlag.Das Zifferblatt mit gewölbter Glasabdeckung in weißem Email, mit schwarzen römischen- und arabischen Minuten; signiert „VIGER“ – „A PARIS“. Die Zeiger filigran durchbrochen und vergoldet.In sehr guter Erhaltung und lauffähig. A.R. (†)Provenienz:Bedeutende amerikanische Privatsammlung.Literatur:Vgl. Hans Ottomeyer, Peter Pröschel, Vergoldete Bronzen, München 1986, Bd. I, S. 124 mit Abb. (13220123) (11)Louis XV elephant mantle clock Height: 42 cm.Width: 30.5 cm.Depth: 18 cm.Signed “VIGER A PARIS”.Mid-18th century.Lever movement, pendulum on silk suspension, count wheel striking mechanism for half hour and hour strike on bell. Engraved signature and date on clockwork plate: “Viger AParis No 665”.The reason that pendulum clocks in this or similar designs with exotic details became popular in France is primarily due to renewed scientific interest. Positive colonial experiences created a new image of the exotic continents since the early Enlightenment and contributed demonstrating the new cosmopolitanism in the decorative furnishings of courtly interiors. The chinoiserie style and knowledge of Chinese and Japanese porcelain elephants or rhinos encouraged the creation of such objects. Elephant clocks were now popular artisanal products. Such specimens were created by leading bronze makers among the purveyors to the court of Louis XV, such as Jean-Joseph de Saint Germain (1719 Paris - 1791), in the most varied and detailed versions.In the present, rarer example, old directories and inventories speak of a “pendule à l’échassier”. A similar example, such as a work by Baillon was held in the collection of Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie’s London, June 1971), a few other examples were also only sold at renowned auctions.The structure follows a proven model: the elephant, in burnished bronze, stands to the left with its trunk raised standing on a gilt rocky base decorated with exotic leaves and flowers. A gilt saddle strap runs vertically across its body, the cylindrical case on the florally designed saddle, surrounded by foliage and flowers is surmounted by a group of animals: next to a barking hunting dog, a crane rises, holding up a rock in its talon. This iconographic motif symbolizes vigilance – if the animal starts falling asleep holding the rock will wake it up again. This figural motif, together with the barking dog, is meaningfully connected to the clock and the chiming of the bell.The white enamel dial with black Roman and Arabic minutes with a domed glass cover is signed “VIGER” – “A PARIS”. The gilt hands are in delicate openwork. In very good condition and operational. (†)Provenance:Important American private collection.Literature:cf. Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich 1986, vol. I, p. 124 with ill.
Deutscher Maler der Mitte des 17. JahrhundertsSoldaten beim GelageRötel auf Papier.40 x 57,5 cm.Hinter Glas gerahmt.In einem Innenraum, dessen einziges Mobiliar ein Tisch mit zwei Bänken darstellt, haben sich sechs geharnischte Soldaten zum Trunk zusammengefunden. Rest. Besch. (1340695) (13))
A Rare 19th Century Barundi Sacred Tree Drum, East Africa, carved from a large tree trunk, the resonator of stretched cow hide secured by wooden pegs, raised on three outsplayed block feet, 59cm diameter, 125cm high.Footnote:- These drums would have been used at ceremonies and social gatherings.No splits to the head. Good strong sound.
A Songye Small Power Figure (Nkisi), DRC, of carved wood, set into half a calabash with thorny twigs, shells, nuts and seeds, with basket weave and twisted cloth borders, 31cm diameter; a Baule "Mouse Oracle", Ivory Coast, carved from a small hollowed out tree trunk, the exterior carved with the masks of a horse, an antelope and a fish, the interior with two compartments, the base set with a pierced metal panel, the lift-off lid with stylised antelope carved handle, 47cm; a Cham-Mwana Terracotta Divination Vessel, Nigeria, modelled as a stylised figure with flask body, 29cm (3)
A George III lacquered longcase clock by Christopher Pinchbeck, London, with 12inch arched brass and silvered dial, named to the arch, subsidiary seconds dial and date aperture, 5 pillar movement, on a plinth base, the case with some restorations and refinishing, 220cm highhood door loose; damages to case, lacking trunk door hinges (gouge marked) and now having a modern piano-type hinge. With two weights and pendulum. Some partial restorations to case. Please see photos.
A Georgian oak longcase clock by Manister Baxter of St Neots, the square brass dial with rococo style spandrels, engraved centrally with flowers and scrolls, silvered chapter ring bearing Roman numerals, single train movement, the case hood with brass ball and eagle surmounts, with carved frieze and three quarter pillasters, plain trunk and base, 216cm high.
John Constable R.A., 1776 (East Bergholt, Suffolk) - 1837 (Hampstead, London), titled verso 'The Trunk of a Tree on the banks of a stream, the roots overhanging the water', 'Inscribed: 20 April, 1821', 'pencil drawing -4-3/4 x 3-1/2''', 'Tree Studies (Three on one mount)', all on the same typewritten label verso, Thomas Agnew & Sons Ltd label verso 'No 42031', octagonal label verso listing from the 'Dr. H.A.C Gregory' and 'David M.Freudenthal' collections and exhibited at the 'Wildenstein Constable Centenary Exhibition, 1937 (133)' and the 'Arts Council John Constable, 1949 (38)', pencil drawing, 11.9cm x 9.1cm, frame 27.8 x 23.6cmDr H.A.C. Gregory. M.C. David M.Freudenthal. Purchased from Thomas Agnew & Sons in April 1979 by a Midlands' collector. Thence by descent.Exhibited:- Wildenstein - Constable Centenary Exhibition, 1937 (133); Arts Council - John Constable, 1949 (38).H.A.C.Gregory, M.C. was a well-respected connoisseur, noted for collecting the best examples by Constable. The Agnew’s label lists this work as having been exhibit number 38 in the Arts Council exhibition of Constable’s works in 1949. It is also listed as being in the Wildenstein Constable’s centenary exhibition in 1937.This work encapsulates Constable’s passion for trees in particular and the English countryside in general. Unusually, it is dated ’20 April 1821’. Research has revealed that the Suffolk Records Society (SRS) has a letter dated on this very day, written to his wife, Maria, in London. It was written in the latter part of the 20th from his birthplace, East Bergholt. So, this would have been drawn in the environs. Again, unusually we know the locale. He records in his letter that he called on the Godfreys in the morning and remarks that the hot cross buns he brought from London were ‘’quite acceptable’’ (1). This letter is a charming insight into this man’s character, who comes across as humane and engaging. The plight and travails of some mutual acquaintances are recounted, along with his visits and his love of the countryside, which is particularly evident "How sweet and beautiful is every place & I visit my old haunts with renewed delight. . . Nothing can exceed the beautiful green of the meadows, which are beginning to fill with buttercups, & various flowers – the birds are singing from morning till night but most of all the sky larks. How delightful is the country, but I long to get back to what is still more dear to me…'' (2)This drawing is listed in Charles Rhyne’s chronology and is mentioned in a footnote on page 266 of John Constable's Correspondence (JCCI) in the SRS. Also, it is illustrated in Graham Reynolds book/raisonne ‘The Later paintings and Drawings of John Constable’ (see plate 224), where it is listed as ‘Whereabouts unknown’ (3).One thing that is not known and that is from which sketchbook this study originates. Maybe it is from the same one as another drawing of a willow stump which was also drawn in April 1821 at East Bergholt (4). Could this be one of ‘The Three on one mount’ that is on an old typewritten label verso on this work. There is another with different subject matter, depicting a gentleman on a bank, which might come from the same book too. It is ostensibly slightly larger, measuring 9.1 x 12.4cm and dated ‘7Sepr 1820’ (5), but could this difference in size be due to the mounting for Halls Fine Art’s example, which is framed and mounted, for we don’t know how much of the work on paper is concealed by the mount.1-2. Beckett, R, M. John Constable Correspondence II (JCCII), pp. 266-67 and JCC I, pp. 195-96.3.Reynolds, G. The Later Paintings and Drawings of John Constable’, published 1984, p74. plate 224.4.Ibid. p.74.5.Ibid. p60, plate 190.See Chiswick Auctions sale on the 19th of June 2019, lot 89. This drawing (18 x 30cm) made a hammer price of £70,000. It's provenance included being sold as part of the Gregory Collection at Sotheby's on the 20th of July 1949.Another, sketchier, example (Worcester Cathedral from the meadows), 22 x 28.5cm and estimated at £20,000-30,000 sold for £36,000 at Bonhams' sale on the 6th of December 2017.There is some general surface discolouration staining (both in fore and background) that has probably come through the backing.Very probably laid down. Sold Unexamined out of frame.Frame - overall in sound condition, but minor dents, scratches and chips, including a 1.5cm chip on upper left corner.
A MAHOGANY LONGCASE signed Budgen Croyden, the eight day movement with anchor escapement striking on a bell, 12" arched brass dial with silvered centre with Roman and Arabic numerals, seconds dial and calendar aperture, signature in the arch, the mahogany case with arched hood with moulded cornice and waved surmount with brass finials, arched panel trunk door, fluted angles, panelled base with waved apron and bracket feet, 92 1/2" high (Est. plus 21% premium inc. VAT)A marriage of case and movement, movement clean, face good. Case generally good bar minor losses to upper moulding of cornice.
A MAHOGANY LONGCASE signed Joseph Leake London, the eight day movement striking on a bell, 12" arched brass dial with Roman and Arabic numerals,calendar dial to arch, the centre with seconds dial and signature plaque, the case with arched hood, the waved surmount with brass finials, fluted angles, arched panelled trunk door, the base with cut corner bead panel and bracket feet, 91" high (Est. plus 21% premium inc. VAT)Movement and face good, a marriage with case. Case with split to hood door glass, sound panels to side lacking grilles and with later wooden infills, some loss to lower rear left edge of hood, loss of waist moulding on left side
A MAHOGANY LONGCASE signed Grinnard High Holborn, No 12, the eight day movement with anchor escapement striking on a bell, 12" arched brass dial with moonphase, seconds dial and calendar aperture, the case with pagoda hood with fret panel and brass finials on stop fluted columns, arched panelled trunk door, panel base and bracket feet, 95" high (Est. plus 21% premium inc. VAT)Handsome clock but probably a marriage of case and movement. Movement and face very good and clean, case generally very good with pleasant colour, small loss of veneer to top corner of left foot,
A MAHOGANY LONGCASE signed Samuel Lister Bolton, the eight day movement with anchor escapement striking on a bell, 14" square dial painted with birds and flowers, Roman and Arabic numerals and secondary dials, the case with chequer stringing, the scrolled pediment with carved and gilded rosettes and carved finials, verre eglomise frieze on turned columns, arched trunk door flanked by cluster column pilasters, canted paned base and ogee bracket feet, 91 1/2" high (Est. plus 21% premium inc. VAT)Movement and face clean and good. Case generally good and with good colour.
A fine Rifle Volunteers scarlet tunic, labelled inside “Major W H Hornby 1859”, collar rank pips, white facings and silver lace, silvered strung bugle buttons; a companion mess waistcoat; also 2 early pattern crimson sashes. VGC. All contained in its tin trunk with brass name plate to W H Hornby Esq. £200-250
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