An 18th Century Longcase Clock by James Bowra, of Sevenoaks, the 12ins arched brass dial with Roman and Arabic numerals, subsidiary seconds dial and date aperture, to the eight day two train movement striking on a bell, contained in case with arched and moulded cornice and fluted column to hood, plain trunk door on plinth base, 85ins highCondition Report - The case of this clock is oak. The external of the case appears to be in good overall condition showing no obvious sign of previous damage or repair. It should be noted however that the top of the hood has split and appears to be in rather poor condition (possibly earlier repair). The door opens and functions correctly and the hinges appear original, the glass appears to be a later replacement, likewise the finials have been reseated or replaced at an earlier date. The dial is in good condition showing no obvious sign of damage or repair. Likewise the black Roman baton numerals appear to be original and not re-painted. The side glasses to the hood appear to be later replacements. There is some evidence of repair to the main case of the clock at the hood mounting position. The mechanism appears complete and the hands sets but is should be regarded as untested. The door hinges appear original and function correctly. The pendulum is present. The plinth appears to be original and unrestored.
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1929 Ford Tudor Hot Rod Transmission: manualMileage:28191This stunning bespoke Hot Rod was imported from Texas in bare metal by the late Graham Jones and originally completed by Home Grown Hotrods in Southend. Jon of Home Grown Hotrods recalls, Mr Jones a former Minardi, BAR & Tyrrell Formula 1 press officer would often source rare parts and bring them back with him from trips to various tracks. The Tudor Saloon body of the 1929 Ford is as new, and due to this benefits from rear seats enabling this fire breathing hot rod to transit four passengers. Fitted with a new Chevrolet small block engine, stainless steel exhaust and new brake lines while painted in Rover Green with black before fitting with Halibrand wheels.The car passed to Mr Monkley in 2015 and has since been kept in stunning condition it has had some remedial work to ensure it is in top condition for a continental trip to Switzerland and back, this included a replacement front crossmember, upgraded brakes, shock absorbers and suspension setup to assist in a long distance drive. The trip to the Alps was successful and this car often seen at American and Hot Rod shows described as totally reliable and easy to drive with an automatic gearbox that changes smoothly with its close ratios whilst the torque from the V8 is ideal for both cruising or street racing. Offered with a V5 registration document and boasting a useful trunk to the rear for luggage. A stunning one-off example for which viewing is highly recommended.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
A RCAF pilot's flying log book with a metal trunk containing an extensive collection of related ephemera, photographs and memorabilia comprising items collected during the pilot's training course in the USA including training manuals, pay book and a large amount of personally collected 1940's paper ephemera, examples of which are railroad and bus company timetables and place mats, city guides, programmes and a sketch book.
Tempus Fugit, a Georgian mahogany and oak 8 day longcase clock, the 12" dial with silvered chapter ring and applied cast brass spandrels and sea serpent arch, subsidiary seconds dial, the movement with cast iron false plate, signed Wilkes & Son, Birmingham, striking on a bell, the hood with swan neck pediment, the trunk with canted corners, pendulum, two weights, key, 230cm. John Wilkes & Son are listed as dialmakers in Birmingham c 1820-31, a John Wilkes is also listed c 1803-15 and a Samuel Wilkes 1829-52, most likely the father and son. They also supplied movements. Interestingly there is a price list in Loomes' White Dial Clocks published in January 1820 by Wilkes & Son of Whittall Street, Birmingham. The price of dials depended on the size, 8 day or 30 hour and square or arched and ranged from £1 4s 0d to 7s 0d. Additional paintings on the dial were extra.
![A storage chest and a trunk. [2]](https://cdn.globalauctionplatform.com/90129739-5aa8-4904-9bbf-add400d1fb1f/41a5bcb9-40f5-4383-b1e7-ade20113ae1d/468x382.jpg)
An early 19th century 8-day longcase clock, Roman numerals, arched, rolling moon dial, corners painted with fruit and flowers, case of mahogany with inlaid decoration, full length trunk door, quarter reeded columns, four matching reeded columns to the hood, swan necked pediment and 3 ball finials, verre eglomise inserts, base reduced, some loose mouldings, bell striking movement with one weight, key and pendulum.
A good 19th century 8-day longcase clock signed to the 14 inch arched, rolling moon dial for Taylor of Manchester, dial in excellent condition having evidence of restoration recorded on the reverse, Roman numerals, corners painted with figures representing the continents, decorative case of mahogany with inlaid decoration, 3/4 length trunk door, turned columns with Corinthian capitals, matching columns flank the hood, swan necked pediment and 3 ball finials, ogee feet, bell striking movement with weights, key and pendulum.
A late 18th/ early 19th century 8-day longcase clock signed to the 13 inch square painted dial for Lupton, Altrincham, Roman numerals, corners painted with pink flowers, case of mahogany with inlaid decoration, full length trunk door, square reeded columns, matching square columns to the hood, swan necked pediment and 3 ball finials, ogee feet, bell striking movement with weights, key and pendulum.
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty work. Peru. 18th century. Red cedar wood interior, the exterior is covered in tortoiseshell and mother of pearl as well as iron fittings. Its structure consists of flat sides, an upper lid and lower drawer. There is a filing drawer for storing small objects inside. 40 x 65 x 35 cm.There is an almost identical example to this one at the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, and in the Prado Heudebert family collection in Lima.With regard to the origin of this type of furniture, which has the same origin and decoration as this one, it is very interesting to read the article by Professor Gustavo Curiel, published in the Mexican Institute of aesthetic research magazine "Imágenes", (http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html) about the analysis of a magnificent dresser which is kept at the Meadows Museum in Dallas :“With regard to the place where this furniture originated (characterised by rich tortoiseshell inlay, mother of pearl and silver thread) it has been repeated, without any kind of foundation, that this type of furniture was made in Mexico City, in the Philippines, on the Indo-Portuguese coast and in continental Asia. Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that this type of furniture was made in the Viceroyalty of Peru. This very singular style of production of alt-luxury furniture continued until the 19th century. On the other hand, the evident Asian influence on the decoration of the dresser should be highlighted. There are Korean flowers and other elements derived from the repertoire of Asiatic ornamentation.”The quoted article by Professor Curiel continues: “In the decoration we can make out shapes that are reminiscent of Korean flowers, that Jorge F. Ribas has related to lacquered Korean pieces of the Joseon Dynasty. These same floral motifs are present on inlaid boxes and are, one can affirm, the “signature” of one particular workshop’s creations, which indicates that there was heavy activity in the workshop which managed to make these distinctive decorative forms which have endured over time.” Jorge Rivas, who Professor Curiel alludes to in his text, is currently the curator at the Frederick and Jan Mayer Center at the Denver Art Museum, and head of the Latin American Art department.As María Campos Carlés indicates, also in “Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII” (An enduring legacy of Hispano-America. The furniture of the Viceroyalty of Peru of the 17th and 185h centuries): “Oriental influence on the furniture of the Peruvian and Mexican coasts began in the mid-17th century when Japanese craftspeople arrived in the Americas, whether Christian or not, they were specialised in Namban lacquer. They brought with them knowledge of how to use lacquer combined with mother of pearl and other materials. They trained European artisans in these skills, as well as converted Muslims and indigenous people, all of these with artistic experience and who learned the technique quickly, being then able to plan, design and build luxurious furniture which became known as “enconchados” and which came to replace the Namban style furniture …It is important to highlight the natural inclination that the artisans of Arab origin that lived in the Viceroyalty of Peru had for covering flat surfaces with abstract motifs. They can be discovered in the way that ornaments and lattices became geometrical and repeated, reflecting a Spanish influence seen in Hispanic-Mudejar furniture.
Colonial School. 18th century. "True portrait of Our Lady of Valvanera" Oil on canvas. 142 x 106 cm. The iconography is based on the anonymous engraving dedicated to the General of Earth and Sea, Iñigo de la Cruz Manrique de Lara Ramírez de Arellano (1673-1733). In it, the clothing of the Virgin Mary, the position of the tree, the chest in the foreground and the eagle of the throne can be seen, as well as other details. In front of a large tree trunk rests Our Lady of Valvanera —patron of La Rioja— richly dressed with the Christ Child on her lap and a fruit and a flower in her left hand as bees fly around them, an iconographic symbol. According to legend, the image of Our Lady of Valvanera, which had been carved by Saint Luke and brought to Spain by Saint Peter’s disciples, was discovered by a repentant bandit named Nuño Oñez who had become a hermit. After an angel appeared to him in his cave in the mountains of La Rioja to show him the way, he did not hesitate to make the journey. A priest named Domingo from the Segovian village of Brieva was willing to help him, and their quest came to a successful end in the hollow of an enormous oak tree marked by a honeycomb and a spring which emanated from its roots; three elements which currently identify the patron of La Rioja. Scholars who studied this miracle later linked it to the iconography of Heaven, identifying the tree, fountain of grace, with Christ and linking the bee hive with the faithful congregation and the brightly coloured flowers and birds with Heaven. On discovering the image of the Madonna, the pair formed by Nuño and Domingo moved her to the Hermitage of Santo Cristo, the first place where it was worshiped and where more than a hundred hermits had care over it. It is not made clear in the legend from La Rioja why the Montenegrin Nuño Oñez converted to Christianity. It was attributed to the piety shown by a worker who he was planning to ambush, as the curator Ronda Kasl suggests in his description of the “True portrait of Our Lady of Valvanera” (1770-1780), in the Metropolitan Museum collection. Another story tells that his repentance was caused by the accidental death of his son while trying to get water from the opening of the cave by the river Najerilla (near Anguiano, La Rioja), where father and son lived. This painting can be linked with the similar painting of Our Lady of Valvanera which presides over the main reredos in Saint Maron’s Cathedral, which is currently a Maronite church following Syriac orientation, but until 1922 was the Parish church of Our Lady of Valvanera and, before that, the "Combento de Balvanera". The Franz Mayer museum has a painting by Juan Correa which depicts Our Lady of Valvanera, dated circa. 1665, which has very similar iconography to this one, Also, at the Metropolitan Museum in New York, there is another version by an anonymous artist from Cuzco, dated circa 1770-1780, which was donated by James Kung Wei Li, in memory of the Ambassador and Mrs. Ti-Tsun Li, of the Republic of China, in 2018.
A pair of Sitzendorf Meissen style models of parrots, early 20th century, the polychrome birds perched on floral encrusted trunk bases, blue printed factory marks, height 32cm.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 Meissen porcelain frog rook chess piece, 20th century, designed by Alexander Struck, modelled as a squatting frog raised on a plinth, height 6cm, together with two miniature Meissen parrots, one sat perched on a tree trunk base, height 5cm, each with crossed swords in underglaze blue to bases, and a porcelain model of a musical frog, signed 'S. Barlley'.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.
Regency mahogany-cased domestic regulator - Edwards, Shoreditch, the 12-inch circular white Roman dial with subsidiary beneath XII, inscibed 'Edwards 17 Shoreditch', the knopped five-pillar movement striking on a bell, the architectural case with pedimented hood having fluted frieze, convex-glazed bezel within brass line inlay and canted corners over conforming trunk with glazed long door on panelled base and bracket feet, 202cm highCondition report: Sold with two brass weights, pendulum, key and winder.Dial has been refreshed - repainted and reblacked some years ago. Movement appears sound - possible later addition to stalk of hammer but otherwise cleaned and maintained. Case exhibits veneer cracks and a very minor loss but is of good colour and patina.
Mid 19th Century Irish mahogany-cased longcase clock, Chancellor & Son, Dublin, signed 13-inch circular Roman dial with subsidiary seconds beneath XII, in break-arched case with arched panelled trunk door, 203cm highCondition report: Minor dial discolouration. Movement appears sound but is untested. Case has cracking over dial door, over trunk door and to base, the latter with water staining and veneer loss.
![Second quarter 19th Century mahogany stick barometer, J. [John Frederick] Newman, 122 Regent St., London, (fl. 1827-1856), th](https://cdn.globalauctionplatform.com/426156a2-ce0d-4df2-9ee4-addd0097c736/746ed540-e754-4ed8-b10a-addf00ae62d1/468x382.jpg)
Second quarter 19th Century mahogany stick barometer, J. [John Frederick] Newman, 122 Regent St., London, (fl. 1827-1856), the silver two-piece scale reading from 27 to 31 inches of pressure with remarks, flanking partially exposed main tune, the moulded trunk with bone vernier adjusting knob over turned cistern cover, 96cm highCondition report: Cleaned and restored condition (bought from P. A. Oxley early 1990s), mercury responsive, a good example.
Second quarter 19th inlaid mahogany-cased 8-day painted dial longcase clock, West Country, anonymous, circa 1830, the 13-inch break-arched Roman dial with subsidiary seconds beneath XII, calendar crescent, country cottages to the spandrels and a Biblical scene to the arch, the knopped four-pillar movement rack-striking on a bell, the case with typical local wavy cresting and hood door frame between barley-twist columns over ebony and boxwood-strung short trunk door between canted corners, 203cm highCondition report: Sold with two wieghts, pendulum and door key.Dial has been cleaned but displays flaking below calendar. Movement appears sound. Case with later finials and with minor crack to arch buit overall good.
Vintage leather travelling trunk bearing paper label for H J Cave & Sons, 81 New Cavendish Street, London. H.J. Cave & Sons is a London-based fashion house specializing in luxury leather accessories. Founded in 1839 by Harriet Jane Cave, H.J. Cave is believed to be the designer of the modern leather handbag as we know them today The company was established in 1839 by sole-proprietor Harriet Jane Cave creating railway baskets and leather trunks. In 1856 Harriet began expanding the company to include a range of products including travel-bags, wicker works, and portmanteaus. After the Queen of England sponsored participation at the World Fairs, H.J. Cave was awarded the English Royal Warrant of Appointment to Queen Alexandra, and later Princess Victoria 94 x 32 x 24cm
Provincial, mahogany or mahoganized oak, two weight, eight day time and hourly striking longcase clock, made by Charles Maxey, Wallingford, (Berkshire/Oxfordshire), England circa 1765-1770.Case: 200 cm x 50 cm x 27 cm mahogany or mahoganized oak longcase clock made in the provincial manner of the English southern countryside. The hood has a flat top, overhung ogival moulded pediment with down to a tympanum which is essentially a horizontal frieze above a multi-stepped cornice sitting over the square glazed dial door which has no evidence of ever having hood pillars and has a small rectangular stile at the rear of the outer hood. There is a large concave moulding that transitions down to the trunk section with its full length rectangular door with two exposed knuckle hinges on the right and a brass key escutcheon on the left side. The interior of the door has breadboards added to prevent warping of the door and elongated lantern hinges are noted inside the door. The front corners of the trunk are sharp with evidence of columns. An ogival shaped moulding leads down to the squarish unadorned base which sits in a broad flat base moulding, flat to the floor. . . . Dial: A square brass dial plate with applied silvered roman hour chapter ring with closed bar minute track to the outside with large Arabic numerals placed at each five minute marker (the large size Arabic numerals usually point to a date in mid to late second half of the 18th century. The dial centre is engraved with floral and foliate curling patterns along with a hanging lantern or two and many vines. There are likely matching steel diamond shaped hands dating to the 19th century and are apparent replacements for the originals. The hour hand is hidden by the auction sign. The bottom of the chapter ring is engraved “Cha†Maxey, Wallingfordâ€. The cast and applied gilt corner spandrels are of the ‘C’ scroll and foliate type and date in England to the era 1760-1785, and appear quite correct. The dial plate fits the dial matte perfectly. . . Movement: Not shown and most likely this would be a double weight driven solid brass rectilinear shaped movement with the front and rear plates connected by knopped and cuffed brass pillars (four), anchor recoil escapement, flywheel and either a rack and snail or countwheel striking system powered by the descent of two brass canister weights, most likely of eight day duration but may also be of 30 hour duration. (The movement has not been shown) There is a long pendulum rod and brass covered bob swinging inside the trunk of the casing. . . . . . Condition: I believe this is a mahogany stained oak case made in the countryside of England. The lack of hood pillars suggest that the door may have been replaced or the hood pillars simply left off the case to save on cost. Loss of finish in spots, especially at the base. Replaced set of steel hands. The fact that the weights are not link chain held I believe this to be an eight day clock where the cabinetmaker made the simplest case that he could. Remember that early on most worked as undertakers who built coffins before English longcase clocks were devised in the 1670s. Condition of the dial is very good except for the replaced hands and the dial belongs to this case c. C. 1765-1770
A late 18th century 8-day longcase clock. The white painted broken arch (un-named) painted dial with floral spandrels and painted with a Bishop and gartered sheep to the arch. The mahogany case with swan neck pediment, long trunk door and on bracket feet. 2.2 meters high. 29 cm/ 11" dialCondition report: With pendulum, 2 weights.
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