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Click here to subscribeA 19th Century eight day oak cased Longcase Clock, the hood with broken swan neck pediment above a 12.5`` broken arch painted dial, the cream face with Roman numerals subsidiary seconds hand and signed C. Crew, Tetbury and flanked by gilded floral style spandrels, raised on front bracket feet, (minus back feet), approx. 213cm high
A Queen Mary bronze Medallion by Gilbert Bayes, for the Maiden Voyage 1936, struck by The Royal Mint, starboard view of the ship with leaping Dolphins in the sea, the reverse with New York skyline inside the bar gate arch at Southampton, in green leather case, 7cm diameter, literature L Brown British Historical Medals, Volume 3, London 1995, number 4282
A MAHOGANY BRACKET CLOCK the breakarched brass dial with matted centre, silvered chapter ring and signed on a silvered disc to the arch Settman St Leonards, with cherub spandrels and twin fusee movement striking on a bell, in brass mounted mahogany case with scale pattern side frets, 45cm h excluding handle, elements 18th c The clock made up in the early 20th c incorporating earlier movement and case, on the reverse beneath the glass door an engraved presentation plaque marking the retirement of the recipient dated 1947. In good condition and apparently running
A 17th century style French heraldic cast iron fire back, with broken arch top centred with a cartouche flanked by two griffin, foundry stamp to bottom right hand corner, DE.COVSANCE, H. 57 cm, W. 52 cm, together with a pair of wrought and cast iron fire dogs with basket tops, H. 79 cm, D. 70 cm, grate and companion set (8).
GEORGE III MAHOGANY EIGHT DAY LONGCASE CLOCK maker Daniel Brown of Glasgow, the 13-inch arched brass dial with automaton ship in the arch above a silvered Roman / Arabic numeral dial, the floral engraved centre with scalloped circular seconds dial and square date aperture within pierced gilt spandrels, the case with fret carved swan neck pediment above a star inlaid door flanked by spiral quarter columns and plinth on bracket feet, 216cm high
GEORGE III MAHOGANY EIGHT DAY LONGCASE CLOCK maker William Law of Linlithgow, the 12-inch enamel dial, with automaton swan to the arch, above a Roman numeral chapter with Arabic numeral quarters, within gilt rose spandrels, the movement with fine baluster columns chiming on a bell, the case with swan neck hood above a rectangular door and fluted quarter columns and plinth on bracket feet, 220cm high
An inlaid mahogany longcase clock, early 19th century, the arched brass 11in dial inscribed 'Gervas Chapman Barton', and surmounted with a reverse print on glass, the silvered chapter ring with subsidiary seconds and calendar aperture, with an eight-day movement striking the hours, in a mahogany inlaid case with broken arch pediment, with brass details and centred with a finial, 219cm high CONDITION REPORT: New seat board ill fitting. Condition issues and additions to top of hood, case, movement. Inscription panel damaged to left side, reverse painted panel flaking. Additional images available (on request)
An 18th Century Japanned Longcase Clock with eight day movement. The 13 inch (33 cm) brass dial having a painted moon roller in the arch above the chapter ring encircling a matted centre with calendar aperture and seconds ring. The corners adorned with figural spandrels representing the seasons in engraved borders. The case decorated with Chinoiserie figures and scenes depicted in raised gilt lacquered on a dark green ground. The hood with caddy top and turned columns flanking the dial. The trunk with a break dome top door and moulded base, 94 ins (129 cms) in height.
A George III Oak & Mahogany Cross-banded Eight Day Long-case Clock (A/F). The painted 12 inch (30.5 cm) dial having an oval portrait medallion in the arch depicting a young girl with garland of flowers, fanned motifs to the corners and subsidiary calendar and seconds dials to the centre. The hood with a pagoda pediment surmounted by spired brass ball finials and having fluted columns flanking the dial. The lip moulded trunk door inlaid with a conch shell in a navette shaped panel flanked by canted sides and standing on a moulded base with bracket feet, 93 ins (236 cms) overall in height.
A 16th Century Spanish/French Carved Chestnut Coffer on original sledge feet. The lid with a moulded edge above dovetail jointed sides. The front board enriched with four arch topped panels of linen fold carving flanking a Gothic tracery quatrefoil roundel to the centre beneath the iron hasp and lockplate, 20 ins (51 cms) high, 59 ins (150 cms) wide, 19 ins (49 cms) deep.
The 2005 Silver Proof Piedfort Collection a 4-coin set comprising Two Pounds (2) 2005 Gunpowder Plot, 2005 60th Anniversary of the End of World War II, One Pound 2005 Menai Straits Suspension Bridge, Fifty Pence 2005 Samuel Johnson`s Dictionary FDC cased as issued with certificate, The 2006 Silver Proof Piedfort Collection a 6-coin set comprising Five Pound Crown Queen Elizabeth II 80th Birthday (with gold highlighting) , Two Pounds (2) Brunel `The Man` and Brunel `His Achievements`, One Pound Egyptian Arch, Fifty Pences (2) Victoria Cross `The Award` and Victoria Cross `The Heroic Acts` FDC cased as issued with certificates
A circa 1900 Sheraton Revival satinwood bonheur du jour, the broken arch pediment over two arched glazed doors enclosing two shelves over a serpentine frieze drawer on square tapered legs united by a waisted undertier with all-over painted cartouches depicting musical instruments, female masks, urns and baskets of flowers with floral garlands, harebells and husks throughout, 59 cm wide x 39 cm deep x 176 cm high CONDITION REPORTS Approx. 68 cm wide x 39 cm deep x 175 high. Various cracking to the veneers particularly to cross banding and inlays, various pieces of veneer missing (please see photos for examples), undertier with some splits and cracks, overall however colour appears good, and general condition appears reasonably good.
An Edwardian mahogany boxwood line strung and satinwood banded writing table the low arch back with bowfronted low shelf over a tooled brown leather inset surface and three short frieze drawers fitted with gilt metal knob handles on four slender square tapering legs terminating in brown salt glazed castors, 76cm wide, 93.5cm high, 47cm deep
A Chinese late 19th Century brass tray top table, arch to rim with bird and deer and animal engraving, drop down centre with pierced gallery, the body with similar engraving and central character mark, 63.5cm dia, set on padouk folding six leg base, carved as bamboo with leaf to corner and central roundel.
A Winterhalder & Hofmeier burr walnut and gilt brass quarter chiming bracket clock, late 19th century, the arched brass dial with silvered chapter ring Roman numerals and fleur-de-lys hour markers, subsidiary dials for slow/fast and chime/silent, the three train movement chiming the quarters on four coil gongs and the hour on a further gong, the backplate stamped W&H/Sch, the handsome arch top case surmounted by three acorn finials above a foliate cast mount in the arch, the arch door flanked by Corinthian columns, the breakfront plinth base raised on flattened gilt brass bun feet, with pendulum, winder and case key. 60cm to top of the finial
William Waldie, Dunse, a Scottish mahogany eight day longcase clock, circa 1830, the hood with swan neck pediment over an arched door flanked by columns, the case with quarter columns flanking a moulded door over a fielded panel, the base raised on bracket feet, the painted arch dial with subsidiary seconds, painted in the arch with a shepherd and his flock, signed. 212cm
Richard White, North Walsham, a George III oak eight day longcase clock, the 11" break arch brass dial with silvered chapter, subsidiary seconds and date aperture, signed in the arch, the arched hood carved with a blind fretwork band above Corinthian columns, the case with fluted canted corners flanking a door with a glazed lenticle, the panel base raised on bracket feet. 223cm
Thomas Arlot, Sunderland (1765-91), a George III oak eight day longcase clock, the 12" brass break arch dial with subsidiary seconds and date dial, engraved with scrolling vine, signed in the arch, the hood with broken pediment and brass sphere finial, Corinthian columns, the case with long trunk door, with weights and pendulum. 234cm
Joseph Heppell Maughan, Gateshead (1834-64), an oak eight day longcase clock, the 13" painted break arch dial with subsidiary seconds and date dial, painted in the arch with a milkmaid and a shell to each corner, the arch top hood with turned columns, the case with pointed arch door flanked by quarter columns, raised on bracket feet. 217cm
A floral marquetry and walnut cabinet, the shouldered arch top with projecting moulded cornice and canted sides, above a conforming case fitted with a pair of glazed doors, enclosing fixed shelves, over a base with a pair of panelled cupboard doors, decorated with vases of flowers, flanked by panelled sides, on a plinth base with bun feet. 220cm by 200cm by 39cm
Walter Frederick Osborne RHA ROI (1859-1903) SUNSHINE AND SHADOW, [LA RUE DE L`APPORT], DINAN, 1883 oil on canvas signed and dated lower left; signed again in pencil on stretcher on reverse; with Spence`s Fine Art Gallery [Sackville St., Dublin] label on reverse 17.5 by 13.5in., 43.75 by 33.75cm. P RHA, Dublin;Private collection;Christie`s, London, 9 May 1996, lot 69 as La Rue de l`Apport, Dinanwith Cynthia O`Connor Gallery, Dublin;Private collection RHA, Dublin, 1884, catalogue no. 333 [£21-0-0];Irish Paintings for the 31st Antique Dealers Fair, RDS, Dublin, 26-29 September 1996, catalogue no. 5 as as La Rue de l`Apport, Dinan (illustrated) Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.115, catalogue no. 76 (listed);Campbell, J. Peintres Irlandais en Bretagne, Musée de Pont Aven, 1999, p.48 Lovers of Irish art may feel a sense of familiarity with his picture by Walter Osborne, even if they have not seen it before, or visited Dinan in Brittany. For it shows the same motif: gateway at Dinan which is featured in the much -admired painting The Hôtel Beaumanoir`s Portal, Dinan, 1883 also known as Old Convent Gate, Dinan, 1883, by Osborne`s contemporary Joseph Malachy Kavanagh, in the National Gallery of Ireland (NGI. 1194).The medieval walled town of Dinan in the district Cote d`Eméraude in the north of Brittany, was often the first port-of-call for Irish and English visitors to the Continent, quite easily accessible by ferry from Southampton to St. Malo, and then by local steamer down the River Rance. Strategically situated on a hill above the river, Dinan was a picturesque medieval town encircled by a stout wall, notable for the port, the imposing St. Servan Church, the Tour d`Horloge dating form the 15th Century, and the Jardin Anglais; as well as for its cobbled squares and streets, stone entrance gates, and stone bridges. There was a long-established English colony there, and throughout the 19th Century, Dinan attracted many artists, including Dagnan and Stanfield in the Romantic period, the Pre-Raphaelites Seddon and Boyce, History painters Ward and Lady Elizabeth Butler, and French Realists Corot and Bonvin. Shortly before Osborne`s visit the old stone Porte de Brest had been demolished. Of more significance to Walter Osborne was the fact that young English contemporaries, such as Ralph Todd, Blandford Fletcher, William Breakspeare and Edwin Harris (some of them students in Antwerp) had painted in Dinan c.1879-80. After completing their studies in Antwerp Osborne and Kavanagh travelled to Brittany in spring or early summer 1883. In spite of the town`s historic sites Osborne preferred the more quiet or secluded corners of Dinan, for example the narrow Rue de l`Apport leading from the Place des Merciers, and the Rue du Jerzual, which led downhill to the port. The large gateway (entitled Old Convent Gate in Kavanagh`s picture) is situated on the Rue de l`Apport, the Renaissance portal to the Hôtel Beaumanoir, built in the 15th Century. Rather than showing the gate from outside, bathed in sunlight, the artist represents it from inside and largely in shadow. Framed by the gateway, an elderly street cleaner with a long-handled twig broom pauses from his work, standing in reflection, or looking at the viewer. He wears the plain costume of the Dinan worker: wide-brimmed hat, blue jacket, faded trousers and wooden clogs. The painting is a fine piece of Social Realism. Yet the man stands in shadow, and Osborne`s attention is given as much to the architectural features of the scene, and contrast of sunlight and shadow, as to the human presence. Although small in scale, the picture is well constructed, and painted with a kind of rapturous verisimilitude. Osborne was attracted by the variety of rough textures: old stone, weathered wood, cobbles, slates, tiles, grass and foliage, on which sunlight falls. He shows the imposing gateway with its latticed upper area through which the sun pierces. The gate and the workman`s hut appear in a state of neglect, the timberwork battered, and weeds growing. (Behind the artist was a small square in which the manor was situated, while the top of the gate`s exterior was decorated by a religious statue and curling fish motifs). Warm sunlight in the street begins to enter through the arch, falling on the woodwork and cobbles and along the top of the gate. The area of sunlight at the top right is balanced by a small section of blue sky in the top left corner. The fruit or vegetable stall outside the gate is in shadow, but the sturdy stone house captures the sunlight. Osborne even observed such details as the plaque bearing the name of the street, Rue de l`Apport, and a globe-like glass lamp hanging from the gate.Osborne enjoyed working in the company of fellow-artists, and the close similarity of his painting with Kavanagh`s suggests that the two artists were painting in Dinan together. However, Kavanagh`s picture is larger in scale, and his viewpoint further back in the square. The man is viewed from behind, and sunshine enters the square more fully, suffusing the cobble stones with warmth. And the little glass globe is omitted from Kavanagh`s picture.In one of Osborne`s sketchbooks in the National Gallery is a tiny pencil drawing of his painting (NGI no. 19, 201 facing p.3, iv), entitled Sunshine and Shadow. This, surprisingly, may be the title of the picture, rather than Rue de l`Apport whose name he identifies in the street sign in the painting. Both pictures were exhibited at the RHA in 1884, along with several other Breton works. (Sunshine and Shadow, along with later titles such as Light and Shade, indicate Osborne`s plein-air as well as topographical preoccupations). There is a small black and white photograph of the exterior of the gate, La Porte du Couvent, in Osborne`s photographic album in the National Gallery (NGI, CSIA). The arch appears to have a grill with an open doorway in it. Osborne`s painting has an important historical significance, for it shows the house outside the gate as it was in 1883. It was later destroyed (perhaps during World War II), and a fine handsome, traditionally-styled house built on its site. However, the ancient Hôtel de Beaumanoir with its fine doorway, staircase and gate, has been beautifully restored. Dr Julian CampbellJanuary 2014
A pair of 19th Century ebonised four-poster single beds with twist turned posts/see illustration Condition Report: One bed with damage to one head arch top and finial is loose and fits poorly, both with acceptable scratches and ware, screw joints need attention to secure present movement. Height: 86" (218.5cm) Width: 36" (91.5cm) Depth 75" (191cm)
A mahogany longcase clock, the 33cm (13") arch brass dial with broken arch pediment and fluted pilaster above a cross banded door and base on ogee bracket feet, the dial signed Lowry, White Haven, 233.75cm (92") high/see illustration Condition Report: The clock is original and at present in working order, country house condition with lots of mildew inside case. Seems strange that the pillars are proud of the cornice but the cornice has been there a long time, the broken arch seems to finish abruptly leaving a disproportionate gap; maybe it once had an earlier lantern or bell top, long removed.
Georgian style ebonised and gilt eight-bell bracket clock , late 19th century, the bell top case with pineapple finials, grille sides and applied ornament, the break arch dial with silvered chapter ring, chime/silent and Cambridge/eight-bells, the unsigned eight day triple movement with an engraved backplate and pendulum, chiming the quarter on bells and striking the hour on a coil, height 54cm (winds, strikes, chimes, ticks; pendulum, winding and door keys). *See clocks and watches proviso. Condition report: see terms and conditions.
George III mahogany longcased clock by Thomas Cawson, Liverpool, white painted break arch Roman dial with maritime rolling moon and floral spandrels, eight day striking movement, in a swan neck hood with eagle finials, gilded panels, plain columns, over a triple arch door flanked by full columns, on a cut corner base and ogee bracket feet, height 253cm (two weights, pendulum). *See clocks and watches proviso. Condition report: see terms and conditions.
Mahogany Westminster chiming longcased clock , the ornately carved and fretted case enclosing a brass break arch dial, silvered chapter ring, triple weight movement chiming the quarter on rods, height 228cm (three weights, pendulum). *See clocks and watches proviso. Condition report: see terms and conditions.
A good 18th century mahogany eight day long case clock, the brass dial signed J.N.O. Pitts, Tilbury, beneath an ornate, cherub, arch, the case with blind fret, canted corners beneath a fret pierced and flowerhead carved pediment, the whole on ogee bracket feet, maximum height 244cm. Condition Report: We do not operate the clocks to see if in working order and do not guarantee the workings. There are three holes drilled into the brass dial where the movement posts are connected therefore uncertain if the movement is original. The seating boards are built up. The edge of the trunk door has some damage together with the back legs missing.
The painted dial and movement from a long case clock, the arch with revolving marine painted lunar dial signed to the chapter ring Rob Jones, Conway. Condition Report: The face is worn and scratched in places with slight rusting around the edges. In general it is in need of some restoration. There is a false plate, it is cast iron and has the name E.HORSON on it. The mechanism is not detached.
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