Y Y A FLEMISH EBONY, TORTOISESHELL, PAINTED, AND GILT METAL MOUNTED CABINET ON STAND POSSIBLY ANTWERP, EARLY 18TH CENTURY Each drawer front decorated with allegorical scenes, the architectural moulded doors opening to an ivory inlaid and mirrored interior152.5cm high, 104cm wide, 41cm deep overallProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesPlease note: Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (Ref: DPW733P2) Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, some old lifting and bubbling to the veneers to the top and sidesThe internal mirror plates with bloom and depletionThe painted panels to the drawer fronts appear to be metal (probably copper or tin), these have some signs of pittingThe lock to the central cabinet doors is working at time of report, this appears to be original.The gilt metal areas with some dirt and discolourationOverall appears solid and stableOld splits and cracks to the ivory inlaysPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
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A pair of Continental green glazed pottery stove tilesprobably Flemish, 19th century, in the late 16th / 17th century styleeach of rectangular form moulded with allegorical figures depicting America and Asia from the Continents standing within arched niches, the rectangular architectural frames surmounted by mask heads flanked by twin satyrs and draped urn figures, the sides with flower vases and female caryatids above mask head blocks, some damages, each 64cm x 38cm approximately, later mounted within wooden frames. (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A good late 19th/early 20th century carved oak table clockthe dial signed J. Smith & Sons, Clerkenwell, Londonthe architectural case with carved pediment over canted corners, the sides with sound frets, on footed plinth base, the signed 5' rectangular silvered Roman dial with engraved mask and matching blued steel hands, a regulation dial above XII, the twin chain fusee movement with anchor escapement striking on a coiled gong, with pendulum, two case keys and a winding key, 35cms highThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An impressive late 19th century Continental carved oak quarter chiming table clockthe architectural case with broken swan neck pediment on carved composite columns to a stepped moulded plinth, the 8' arched brass dial with subsidiaries for chime/silent, regulation and chime on 8 bells/Westminster over a silvered chapter ring, the substantial triple chain fusee movement with anchor escapement sounding the hours on a large coiled gong and the quarters on a run of eight graduated bells, 59cms highThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A good late 19th century German oak quarter chiming bracket clock with pull repeat and matching bracketthe movement stamped for Winterhalder and Hoffmeierthe architectural case with triangular pediment over reeded pilasters and a stepped rusticated stonework base, the 6' rectangular dial with subsidiaries for regulation and chime/silent over the silvered chapter ring, the heavy triple chain fusee movement with anchor escapement chiming the quarters on a set of four gongs and striking the hours on a fifth (the block stamped J. & F.D.), together with pendulum, winding key and case key, the clock, 46cm high, the bracket, 37cm high (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A late 19th century French gilt bronze and Sèvres style inset porcelain figural mantel clockin the Louis XVI style, the movement stamped J T Paris and numbered 84the architectural case with Bleu Celeste and floral enamelled porcelain inset panel decoration, the 3.5' Roman dial within laurel wreath fronds below a flambeau finial above a central oval panel depicting a courtly figures within a rustic landscape flanked by twin columns and draped seated putti, the elaborate base with fringed lambrequin panels enamelled with floral vases and a central putto on toupie feet, the brass twin train movement with Brocot type escapement striking on a bell, 48cm high overallThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An attractive Aubusson carpetlate 19th centuryon purple pink ground, the golden central medallion of typical form with acanthus leaves and laurel leaf surround, the main field with spiralling tendrils, the whole woven within architectural frieze border filled with floral garlands,465cm x 339cmThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
London. Grand Architectural Panorama of London, Regent Street to Westminster Abbey, from the original drawings made expressly for the work by R. Sandeman, Architect and executed on wood by George C. Leighton, London: I. Whitelaw, 1849, wood engraved folding panorama on ten conjoined sheets, captioned place and street names printed along lower edge, contained in original cloth covers, printed title in red to upper pastedown, gilt-blocked title and image of St. Paul's Cathedral to upper cover, covers 15.5 x 17.5 cm, panorama unfolded length 685 cm, together with Grand Architectural Panorama of London from the Thames. Extending from the New Houses of Parliament to Greenwich Hospital..., eighteen feet in length, London: Charles Evans & I. Whitelaw, 1849, wood engraved folding panorama on seven conjoined sheets, captioned location and landmark names printed along lower edge, contained in original cloth covers, printed title in red to upper pastedown, gilt-blocked title and image of St. Paul's Cathedral to upper cover, covers 15.5 x 17.5 cm, panorama unfolded length 555 cmQTY: (2)
Chaucer (Geoffrey). The Workes of our Antient and Learned English Poet, Geffrey Chaucer, newly printed, 1st Speight edition, London: Adam Islip, at the charges of Bonham Norton, 1598, black letter, text double column, title within elaborate woodcut architectural border, 3 other divisional titles with woodcut borders, woodcut initials, head and tailpieces, near-contemporary ownership inscription 'Gilbert Digley' to title lower margin with another inscription in the same ink partially rubbed out to lower margin right-hand corner, early ownership inscription 'Dunfland Devon' to title upper margin, lacking engraved portrait (one from a 17th-century copy supplied, remargined and trimmed to margins), lacking first and final blanks, and leaves C4-6, engraved portrait relaid with loss to margins, a few gatherings damp-stained (more heavily to final leaves), final leaf with some staining and a few indistinct early annotations in Latin, small marginal repairs to a few leaves, light occasional toning, late 17th-century calf, rebacked (endpapers renewed), red morocco title label lettered in gilt, worn, folio (305 x 190 mm)QTY: (1)NOTE:Pforzheimer 177 (different imprint); STC (2nd ed) 5077. 'From the form of imprints it would seem that Bishop, Norton, and Wight commissioned Islip to print this edition, and judging from the frequency with which copies with their imprints occur it is probable that Bishop took the largest share and Norton the next' (Pforzheimer).
De Bry (Theodore). Ander Theil der Orientalischen Indien, von allen Vo?lckern, Insulen, Meerporten, fliessenden Wassern und anderen Orten, so von Portugal ... biss in Ost Indien und zu dem Land China, sampt andern Insulen zu sehen seind... Erstlich ... in Holla?ndischer Sprach beschrieben, durch Joan Hugo von Lindschotten ... Ietzo aber von newem in Hochteutsch bracht..., 2nd edition, Frankfurt: E. Kempffer, 1613, engraved architectural title (supplied from 1st edition, trimmed to margins), engraved portrait of Linschoten, 34 engraved plates with accompanying captions below (out of 39), lacking the maps, some plate margins trimmed, some spotting and toning, disbound, folioQTY: (1)NOTE:Church 229. Part II of India Orientalis, containing Linschoten's voyages. Collected from two or more copies, and sold not subject to return.
De Bry (Theodore). Funffter Theil der Orientalischen Indien, Frankfurt: M. Becker, 1601, )(4, A-G4, H6, A-C4, D6, E4 (complete), engraved title with architectural border, 20 engraved plates with accompanying text below, woodcut initials and headpieces, a few small concomitant damp-stains to lower and outer margins of a couple of quires (not affecting text), light occasional spotting and toning, a few plates trimmed to outer margins (a few touching plate marks), modern brown quarter morocco gilt, folio (190 x 295 mm)QTY: (1)NOTE:Church II, 234.Forming the fifth part of De Bry's collection of voyages, this part describes the Second Dutch expedition to the Moluccas in 1598-99. The success of the expedition led to the formation of the Dutch East India Company. Mauritius was named as such during the expedition, and is pictured in the first plate of the work.
* Edwards (Lionel, 1878 - 1966). The Sandbath, Romsey Remount Dept, 1916, pencil on pale cream wove paper, signed with initial and titled, together with, a collection of thirty one drawings and sketches by Edwards, pencil and black ink plus one watercolour, thick paper mainly detached leaves from a sketch book, partial Reeves' Solid Sketch Book containing final seven pages, titles and remarks by the artist, depicting mainly equine studies with some other agriculture, architectural and countryside scenes of UK and Germany, including: York Racecourse, The Ludlow, The Flint and Denbigh Hunt, Porta Nigra, Busental Woods, Evolution of Side Saddle Costume, The Paddock Sparsfield Vale Harriers, The Chains Exmoor, Quorn on Flint Hill, The White Cattle of Weymouth published in Country Life, 1946, three drawings signed by the artist, all roughly 25.5 x 36.5 cm (10 x 14 1/2 ins)QTY: (32)NOTE:Provenance. Consigned by the artist's descendents.
A Tabriz style runner, the central panel set with three repeating medallions on a cream ground, with stylised flower head and animal motifs, within a similar stepped border, approx 64 cm x 210 cm, a similar rug, the central panel set with two rectangular panels on a cream, black and red ground, within a stepped border, approx 142 cm x 99 cm, together with a modern Seraband rug, the central panel set with stylised architectural motifs on a red and black ground, within a stepped red and black stylised floral decorated border, approx 193 cm x 133 cm
A large folio of unframed prints, from 18th, 19th and 20th century, mediums to include lithographs, etchings and engravings, to include botanical subjects, maps of the Danube, 18th century architectural copper plate prints, studies of mammals, anthropological items and numerous other subjects, all unframed.
An early 19th century French Empire black marble mantel clock with gilt bronze mounts, the dial signed Bayart Bger à St Omer Of architectural form, the front mounted with terms, the finial formed as a basket of flowers and flanked by gryphons, on rectangular marble base and bun feet, on a marquetry rosewood base and glass dome, 34.5cm wide, 10cm deep, 53cm high. Provenance: Property from a private collection of European Decorative Arts N.B: This lot is subject to CITES regulations
ENGLISH SCHOOL (19TH CENTURY) (5)High level station, Crystal Palace titled (lower right) pencil heightened with white on paper 16 x 31.5cm Together with two further architectural drawings by the same hand (one unframed); Spring, a signed and numbered etching etching by Nasreen Begum; and an etching of a fountain by another hand (5)
A MAHOGANY PERPETUAL DESK CALENDAREarly 20th Century Of architectural form, glazed apertures and canvas rollers, 33cm highCondition Report:Functioning. Light staining and marks/fading to the calendar as expected due to age and use. Knocks and wear to the case.Wear to the rolls, the top Day of the Week roll with thinning to the canvas, particularly to the right side. Some creases to the number roll. The Month and Day roll both discoloured and with foxing. The rolling knobs worn. The rolling mechanism is loose and is slow to operate, particularly for the number roll.Various old chips and scuffs to the case, discolouration and marks. Chip to the back left of the top.
Christopher A Markham, Church Plate of the County of Northampton, London & Northampton 1894, number 57 from a small paper edition of two hundred; and Thomas North, The Church Bells of Northamptonshire, Leicester 1876, both rebound marbled boards; together with Architectural Notices of The Churches of The Arch-Deaconry of Northampton, London 1849, tooled calf; and Christopher A Markham, Stone Crosses of the County of Northamptonshire, London & Northampton 1901, cloth.Qty: 4
Y A VIENNESE ROSEWOOD GRANDE-SONNERIE STRIKING 'DACHLUHR' REGULATOR WALL CLOCK THE DIAL INSCRIBED FOR NED BARWITZIUS, VIENNA, CIRCA 1830The four pillar triple train eight-day movement with shallow-arch plates, deadbeat escapement incorporating tall inverted T-shaped pallets, fine beat adjustment to crutch and regulated by brass lenticular bob pendulum with ebonised wooden shaft, the quarter train sounding on the smaller of the pair of graduated gongs positioned behind the movement on a Y-shaped brass stand indistinctly stamped ...MILLER & SONN followed by the hour train sounding the last hour on the larger of the two, the 6.5 inch circular white enamel Roman numeral dial inscribed Ned Barwitzius, IN WIEN to centre with pierced steel hands within alternating cartouche cast brass bezel, in a rosewood five-light case with box-line edged canted shallow break-arch cornice over conforming arch-glazed front door incorporating architectural line details to the upper section, the sides with short over long rectangular windows and the ogee-shaped base with canted waist moulding edged in boxwood.92cm (40.25ins) high, 29.5cm (11.5ins) wide,13cm (5ins) deep.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The movement will require setting-up in the case however this should not prove problematic. The dial would appear to have been restored hence there are no visible faults. The backboard of the case has two small filled slots adjacent to the present movement support brackets which suggest that the present movement and dial are probably not original to the case (although the fit and match is very good). The case is generally in sound condition however the lower section (that forms the base of the case complete with the inverted caddy) is loose in its joints hence needs securing (gluing). The case also shows some very slight movement/warping to both sides otherwise faults are very much limited to minor bumps, scuffs and other age related blemishes.Clock is complete with pendulum, three weights and a winder; weights have some minor denting to the brass casings. Condition Report Disclaimer
A VICTORIAN GOTHIC REVIVAL CARVED OAK WALL CLOCKW. DAVIS AND SONS, BIRMINGHAM, CIRCA 1860The five pillar twin chain fusee gong striking movement with shouldered plates and anchor escapement regulated by 21 inch wood-rod pendulum incorporating cylindrical brass bob, the 12 inch circular engraved silvered brass dial polychrome decorated to resemble a rose-window and signed W. DAVIS & SONS, NEW ST., BIRMINGHAM to centre within Gothic Roman numeral hour chapter ring with conforming stylised foliate half hour markers and outer minute track, with steel fleur-de-lys hands set behind hinged glazed moulded brass bezel, the case with foliate trefoil finial to the moulded ogee-arch pediment incorporating further crotchet finials to shoulders and leaf carved tracery to inside edge, with repeating gothic arch tracery hinged panel beneath the dial flanked by projecting canted architectural uprights each capped with spires and fronted with gothic arch recesses between shaped projections, the sides with hinged doors and the base with ogee moulded waist over canted underside further decorated with overlaid tracery to front and terminating with a foliate carved trefoil pendant.165cm (65ins) high, 61cm (24ins) wide, 25.5cm (10ins) deep. William Davis and Sons are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Birmingham 1854-80.Condition Report: Movement is in dirty/neglected condition however appears fundamentally all-original with no visible evidence of alteration. The dial is original to the movement and is generally in good original condition with overall mellowing and slight wear to the silvered finish. The movement and dial are original to the case.The bezel appears most likely to be original but the hinge has been repaired and modified hence the tongue now rests in a slot cut in the fascia of the case rather than being fitted to the inside edge of the aperture. The tab for securing the bezel is missing. The case is generally in sound original unrestored condition with faults essentially limited to relatively minor shrinkage cracking to some of joints to the boards forming the panels of the carcass. There appears to be no noticeable losses to the mouldings or carved elements. The front door is missing its lock otherwise blemishes are very much limited to minor bumps, scuffs and age-related wear.Clock has wood-rod pendulum, winder and a case key. Condition Report Disclaimer
A GEORGE II WALNUT EIGHT-DAY LONGCASE CLOCKTHOMAS JENKINSON, SANDWICH, CIRCA 1730The five-pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial and calendar aperture to the richly matted centre within applied silvered Roman numeral chapter ring with diamond lozenge half hour markers, Arabic five minutes beyond the outer minute track and signed Thomas, Jenkinson, Sand:,wich to lower edge, with pierced steel hands and mask and scroll cast spandrels to angles, in a case with architectural moulded cornice and plain frieze over hinged glazed front applied with Solomonic twist-turned three-quarter columns to front angles, the sides with rectangular windows and plain quarter columns applied to bargeboards at the rear, the trunk with concave throat moulding over caddy moulded rectangular door fronted with quartered veneers within crossbanded borders, on conforming plinth base with concave upper moulding and plain skirt.218cm (86ins) high, 49.5cm (19.5ins) wide, 26cm (10.25ins) deep at the cornice. Thomas Jenkinson is listed in Loomes, Brian Clockmakers of Britain 1286-1700 as being recorded by Michael Person as born around 1656 and apprenticed in 1711 to Joseph Booth of Sandwich, Kent. Jenkinson gained his freedom in 1719, was married to Sarah Bing in 1723 and worked in Sandwich until his death in 1755. Condition Report: Movement is in relatively dirty condition but appears to be essentially all-original with no visible evidence of alteration or noticeable replacements. The dial again is a little dirty with some oxidation and discolouration to the finishes however appears to be all-original, except for the hands, and in good condition. The movement retains what is probably its original seatboard which rests on blocks around ¾ of an inch thick applied to the top of the cheek uprights. This would suggest that the movement and dial are probably not original to the case although they would appear to be well suited. The case is generally in sound condition. The hood appears to be free from significant faults. The trunk has some warping to the frame around the trunk door aperture otherwise is presentable albeit a bit dirty/neglected in appearance. The backboard is probably a replacement and the base has been restored/rebuilt with well-matched veneers. Overall a nice decorative example which would benefit from a clean/service and a freshening-up of the finish to the case. Clock has pendulum, case key, a pair of brass cased weights but no winding key. Condition Report Disclaimer
A QUEEN ANNE BURR WALNUT EIGHT-DAY LONGCASE CLOCKTHE DIAL SIGNED FOR JOHN KIRTON, EARLY 18th CENTURYThe five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square bras dial with ringed winding holes elaborate herringbone, foliate scroll and basket of flowers border-engraved calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised basket-hilt half hour markers and Arabic five minutes beyond the minute track, with pierced steel hands and cast gilt brass twin cherub and crown pattern spandrels to angles beneath and added arch centred with a herringbone border engraved silvered boss inscribed John Kirton, London flanked by dolphin cast mounts, in a case with generous architectural cornice over hinged glazed dial aperture applied with three-quarter columns to front angles, the sides with rectangular brass grille sound frets and conforming quarter columns applied against bargeboards to the rear, the trunk with concave throat over 42 inch rectangular door fronted with fine book-matched burr veneers within a herringbone border, the sides with twin herringbone panels within crossbanded borders, the base with ogee top mouldings over conforming burr-veneered fascia and moulded skirt.225cm (88.5ins) high, 53cm (21ins) wide, 29cm (11.5ins) deep. A John Kirton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1696 and gaining his freedom of the Clockmaker's Company in 1706.Condition Report: Movement is in very dirty non running condition however appears complete (except for one pulley) and fundamentally original with some historic repairs replacements only. The dial has added arch and a casting crack/fault towards the lower right-hand corner otherwise appears to be in sound original condition with old surface showing discolouration and tarnishing. The movement and dial are fitted with an old seatboard however this rests on blocks applied to the cheek uprights of the case; this detail coupled with the added arch to the dial indicates that the movement and dial are not original to the case. The case is generally in sound condition with good solid original structure. The hood has replaced lip above the top mouldings and top board (probably originally had a caddy superstructure). The upper quadrants above the arch of the dial probably originally had fretwork hence present veneers are most likely later. The hood door is loose hence will become detached form the right hand column when opened (just requires re-gluing) and the fillet mouldings to the arch are missing (arch also has repaired break). The trunk door retains original locks and hinges and is generally in good condition. The base appears original except for the skirt. Otherwise case is in very good original condition with faults limited to relatively minor age related, bumps, scuffs, shrinkage and a few minor veneer repairs.Clock has pendulum, two weights, case key but no winder (a pulley is also missing). Condition Report Disclaimer
AN UNUSUAL GEORGE III MAHOGANY LONGCASE CLOCK OF SMALL PROPORTIONSJ. WHITHAM, SHEFFIELD, LATE 18th CENTURYThe four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 10 inch white painted Roman numeral break-arch dial signed J. Whitham, SHEFFIELD to centre, with scroll pierced steel hands and gilt-bordered polychrome rose spray painted decoration to spandrels, the arch centred with a painted roundel depicting Chronos within gilt bead surround and flanked by gilt leafy scroll decoration, the case with central concave upstand to the open swan neck pediment flanked by finial platforms and inset with gilt on black decorated verre eglomise panels, over complex moulded break-arch cornice centred with a keystone and ogee moulded glazed hinged dial aperture flanked by free-standing fluted Corinthian columns, the sides with bold baluster outline bargeboards applied to the rear edge, the tapered trunk with plain frieze over inswept throat and rectangular reeded door decorated with oval line panel to centre, the lower section swept outwards and resting on architectural mouldings onto a stepped plinth base with further moulded skirt.193cm (76 ins) high excluding finial, 48cm (19ins) wide, 25cm (9.75ins) deep. Jonathan Whitham is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Sheffield 1770-90.Condition Report: The movement is in good clean working condition with no visible evidence of alteration or noticeable replacements to the mechanism itself. The frontplate is drilled with two additional dial feet holes to the upper corners, these appear to have never been used hence are most likely to surplus drillings from the time the clock was made (maker decided to use one top pillar instead of two). The dial retains old slightly crazed surface with a filled hole inline with the seconds arbor which would appear to date from the time the dial was made (ie. we believe is not indicative of alteration). The dial has a well-executed patch of restoration between the XI and XII numerals as well as some noticeable scratching just below and to the right of the centre arbor. The lower dial feet fixing points have some slight stress marks/flaking Faults to dial are otherwise limited to slight rubbing, crazing, light scratching wear and other age-related blemishes.The movement retains its original seatboard however a section is missing from the rear left hand side of the panel. The cheeks of the case are applied to the inside of the trunk - this would appear to be an original feature; the movement is currently a little wonky when in the case (leans to the right) however we are the opinion that the case is most likely original to the movement and dial.The case is generally in good original condition however the finish is somewhat uneven and dull hence would benefit from the attention of a good finisher to revive it. The central glass insert to the hood is cracked and the gilt painting is a little rubbed; the painting itself is a little naive hence may have been re-done at some point in the past. The backboard has a horizontal crack which has been stabilised by securing a thin overlain panel behind the movement and baton across the back. The cornice mouldings have been trimmed to a 45-degree angle at the rear edge to allow clock to stand across a corner. Faults to the case are otherwise limited to age related bumps, scuffs, shrinkage and wear.Clock is complete with two weights, pendulum, case key and a winder. Condition Report Disclaimer
A VICTORIAN LACQUERED BRASS PORTABLE MONOCULAR MICROSCOPEC.W. DIXEY, LONDON, MID 19th CENTURYThe body tube attached to the cylindrical upper limb via rack and pinion principle focus slide incorporating calibrated fine adjustment screw at the base of the cylinder, the rectangular stage with dovetail slides for subject positioning and the substage assembly fitted with a revolving disc pierced with three graduated apertures, the underside with telescopic fitment for the pivoted plano-concave mirror, the whole raised via an axis pivot joint on a architectural columns upright applied to a disc fitted with three horizontal rectangular supports with two hinged to allow them to be folded back for storage and one engraved C.W. Dixey, Optician to the Queen, New Bond Street to upper surface, the horizontal mahogany box fitted to take accessories including two objective cannisters, spare eyepiece, substage prism attachment, forceps, tweezers and light condenser with stand.The box 13cm (5ins) high, 41cm (16ins) wide, 19,5cm (7.75ins) deep. Charles Wastell Dixey is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers as working from 335 Oxford Street in 1838 then 3 New Bond Street, London 1839-62. He exhibited at The Great Exhibition of 1851 and gained the Royal Warrant as optical and mathematical instrument maker to Queen Victoria. In 1862 the business became 'Dixey & Sons C.W.'; Charles Wastell Dixey subsequently died in 1880.Condition Report: Instrument is in sound original condition retaining its original lacquered finish with relatively minor wear/discolouration. The rack focus is operational, and the instrument will focus on a subject although the lenses are dirty so require a clean. There are two objectives (plus cannisters) present and two eyepieces. The substage mirror has degradation to the silvering. The box is intact but the accessory carrier has become loose and it has two small thin slots for accessories that are no longer present. The top panel of the box is split and loose however should reattach/repair relatively easily. Condition Report Disclaimer
A FINE AND RARE GEORGE II GILT BRASS MOUNTED EBONISED QUARTER-STRIKING TABLE CLOCKHENRY HINDLEY, YORK, MID 18th CENTURYThe six distinctive double-baluster turned pillar twin chain fusee movement with arched plates measuring 10.25 by 6 inches enclosing greatwheels fitted to the narrow ends of the fusee cones, the going train incorporating perpendicular contrate drive from the centre-wheel to the escapement positioned at the apex of the plates, now with deadbeat escapement incorporating Brocot-type pallets positioned between the dial and the front plate (behind a shaped bridge) and regulated by half-seconds lenticular bob pendulum swinging to the rear, the two-in-one quarter-striking train incorporating single rack for both hours and the quarters utilising a standard snail arrangement to set the count for the former, and a second three-tooth rack stop lever (acting on a pin set in the hour rack arm) to control the latter, sounding on a graduated pair of bells with the hour on the larger and the quarters on both via dedicated hammers (incorporating Hindley's distinctive 'L' shaped springs) driven by the same pin wheel with automatic positioning via lateral pump action facilitating disengagement of the quarter hammers and engagement of third single hour hammer leading up to the hour, the backplate applied with an additional second plate finely engraved with asymmetric scrolling foliage around a central circular cartouche signed Hen. Hindley, of YORK flanked by Ho-Ho bird, lion and grotesque mask inhabited strapwork, the 7 inch arched brass dial with richly matted centre within applied silvered Roman numeral dial with Arabic five minutes to outer track and signed H. Hindley, York to lower edge, with scroll-pierced steel hands and lambrequin mask centred scroll cast spandrels, the upper margin with Strike quar's/Hr/Silent selection beneath arch centred with a subsidiary seconds dial flanked by female sphinx inhabited scroll cast mounts, the plate further applied with raised ogee border mouldings incorporating architectural cavetto 'capitals' and keystone details, the ebonised bell-top case with hinged brass carrying handle and pineapple finials over complex top mouldings and arch-glazed hinged front incorporating generous gilt fillet moulding to dial aperture, foliate scroll cast gilt upper quadrant frets and applied with female term mounts to uprights, the sides with arched brass fish scale sound frets and the rear with rectangular glazed door set within the frame of the case, on stepped ogee moulded skirt base.48cm (19ins) high with handle down, 27.5cm (10.75ins) wide, 18.5cm (7.25ins) deep.Henry Hindley was born in Great Harwood, near Blackburn, Lancashire 1699, little is known about his early life, however by the mid 1720's he was making clocks in Wigan where he repaired the church clock in 1726. Hindley moved with his young family (including his son, Joseph born 1728) to the prosperous city of York where, after making clocks for the Mansion House and Guildhall, he gained his Freedom of the city in 1732. Hindley s talents were such that he equipped his workshop with tools of his own design including an important dividing and wheel cutting engine, a screw cutting lathe and a fusee engine. As well as domestic clocks Hindley received commissions for several turret clocks including York Minster and supplied a range of scientific instruments including two important equatorial telescopes for the Duke of Norfolk and William Constable. By the 1760 s Hindley s health had deteriorated to the extent that an ever-increasing proportion of the business was handled by his son Joseph. Henry died in 1771 with his son and successor Joseph unfortunately dying just three years later in 1774, before he had had the opportunity to stamp his own mark on the family firm. According to the late Rodney Law, of Hindley's work only around 15 'spring clocks' are known versus around 40 longcases (see Law, R.J. HENRY HINDLEY OF YORK 1701-1771, PART II - published as an excerpt by The Antiquarian Horological Society). Law writes that of the examples seen by him all except one have half-seconds pendulums, all but three seconds hands and the majority have maintaining power. All also have the same distinctive design of double baluster pillar following those possibly first seen on Hindley's longcase clock of 1742 suggesting that he did not start making spring clocks until after that date. The use of fusees with the large ends positioned frontwards was to reduce the degree of friction at the larger front pivot which, with the standard design, was most apparent after winding. Further refinements include 'kneed' springs (of right-angled 'L' form), and two-in-one quarter-striking using the same rack for both the quarters and the hours. Indeed it is noted by Rodney Law that the latter detail has similarities with French work suggesting that Hindley was either well-read, having studied the works of makers such as Thiout, or was kept abreast of French work by his 'ingenious Jesuit friend'The positioning of the escapement behind a bridge towards the apex of the arch of the frontplate (driven via a vertically pivoted arbor with contrate wheels), is again typical of Hindley's work and allows space for a half-second pendulum to be installed in a standard-sized table clock as well as the provision of subsidiary seconds to the arch of the dial. Indeed when fitted with his form of deadbeat escapement Hindley's table clocks would have been very good timekeepers, hence the provision of a seconds dial will be very worthwhile. In addition to these refinements the wheel train of the current clock is very finely executed with pinion counts of eight or above which, again, ensures fine accurate running. A clock by Hindley with very similar design and layout to the current movement is illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 150-53.The separately engraved backplate fitted to the present clock is highly unusual. The decoration is finely executed by an accomplished engraver and can be firmly placed within the category of 'vine engraving 1740-1770' discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on pages 337-358. Indeed the quality of the engraving, both in its up-to-date sophisticated design and highly accomplished execution, would suggest that it was executed in London. It is therefore most probable that Hindley sent the plate to London to be engraved as a separate entity from the movement and fitted it over the plain backplate on completion of the mechanism. PLEASE SEE THE ONLINE 'PAGE-TURNING' CATALOGUE FOR THE REMAINING TEXT OF THIS FOOTNOTE.
A WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCKTHE MOVEMENT AND DIAL BY LANGLEY BRADLEY, LONDON, 18th CENTURYThe five finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform scroll half hour markers, Arabic five minutes beyond the minute track and signed Lang. Bradley, London to lower margin, with sculpted steel scroll hands and winged cherub mask and foliate scroll cast spandrels to angles within a foliate herringbone engraved border, now in a case with ebonised and floral trail inlaid concave cornice and scroll pierced frieze frieze over hinged glazed dial aperture incorporating conforming marquetry to surround and flanked by Solomonic three-quarter columns to the front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with floral trail decorated concave throat moulding over 38.5 inch rectangular door inlaid with an architectural urn within bird inhabited flowering foliage into an ebonised ground, centred with a lenticle and with half round moulded surround set into a herringbone inlaid surround, the sides veneered with twin line-bordered panels over base with decorated concave ogee top moulding and conforming floral marquetry to fascia, on moulded skirt incorporating bracket feet with shaped apron between, (the case probably Dutch and includes a detached and dismantled caddy superstructure).220cm (86.5ins) high, 54cm (21.25ins) wide, 27cm (10.5ins) deep at the cornice. Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain 1286-1700 as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers' Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul's Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton. Despite this embarrassment Sir Christopher Wren attempted to influence the Crown's potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as 'a very able artist, very reasonable in his prices' in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain's response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley.
A GEORGE III MAHOGANY EIGHT-DAY QUARTER-CHIMING LONGCASE CLOCK WITH CENTRE SECONDS AND MOONPHASETHOMAS RICHARDSON, WEVERHAM, CIRCA 1780The substantial five pillar triple train movement chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the going train with anchor escapement planted low-down for the centre seconds and regulated by seconds pendulum, the 13.5 inch brass break-arch dial signed to an oval reserve Thomas, Richardson, WEAVERHAM to the recessed scroll engraved centre incorporating annotations for the concentric calendar to outer edge, within applied silvered Roman numeral chapter ring with scallop-shell half hour markers and Arabic five minutes beyond the outer minute track, with pierced blued steel hands and richly cast rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating mounts cast as putti riding eagles to lunettes and annotations for the age of the moon to the circumference of the lunar disc beneath curved silvered plate fitted with a central fixed pointer for the lunar calendar and engraved That man is yet unborn, that duly weighs an Hour to outer margin, the case executed in the manner of Gillows of Lancaster with architectural dentil moulded open swan neck pediment centred with a pierced upstand and fronted with gilt scroll decorated verre eglomise infill, over break-arch mouldings centred with a keystone and hinged glazed dial aperture flanked by free-standing Corinthian columns with brass caps and bases, the trunk with concave throat moulding and 'Chinese Chippendale' style blind fret frieze over shaped-top caddy moulded flame figured trunk door flanked by fluted quarter columns with further blind fret panels beneath, the plinth base with stepped ogee top mouldings over ogee-arch shaped raised caddy moulded panel flanked by canted angles applied with architectural quoin detailing, on ogee bracket feet.221cm (87ins) high, 61cm (24ins) wide, 28cm (11ins) deep. Thomas Richardson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Weaverham (Cheshire) circa 1795.Condition Report: Movement is in relatively clean working condition having been well maintained by the vendor since purchase in the 1980's; however, a precautionary light clean/service is advised. The movement shows no evidence of alteration or significant replacements although some of the wheels within the trains may have been pinioned at some point in the past (a few collects vary very slightly from the others - only noticeable on very close examination as all collects are essentially of the same form). The movement therefore survives in good operational condition and entirely in its original form/specification. The dial is generally in very good condition however the lower left-hand corner of the plate has a section (triangular in shape approx. 2cm across) missing from the plate. This appears to be a break across a casting weakness however a good clock restorer should be able to let in a new piece of appropriate yellow brass without a great deal of difficulty. All the dial functions are connected and are operational; the moon disc has some slight wear/rubbing and some very slight historic re-touching otherwise is in fine original condition. The silvering is now a little tarnished with some spotting hence now has a slightly mellow appearance; the engraving is strong with minimal wear. The movement retains what appears to be its original seatboard which rests directly onto the cheek uprights of the case which appear essentially untouched. From this we are of the opinion that the movement and dial are most likely original to the case.The case is generally in good original condition. The hood is missing two of the small scroll-shaped 'dentils' to the cornice and the verre-eglomise panels have either been repainted or are replacements. The hood otherwise is in fine condition although there are two vacant sockets for finials (no longer present) to the top. The trunk door retains its original lock and hinges, the lower margin has some shrinkage cracking but no apparent losses. Faults to the case are otherwise limited to relatively minor age-related bumps, scuffs, shrinkage and other blemishes commensurate with age and use.Clock is complete with pendulum, three cast iron weights, winder and case key. Condition Report Disclaimer
1st-2nd century A.D. A copper-alloy pyxis of architectural form, a column to each corner, and a bull's head to two of the sides; one side with a male head and the opposite side with a female head; the busts with rectangular recessed plaques below containing inscribed names: 'IVLIVS' and 'LVCIA'; domed lid with corded ribs rising from each corner towards the apex, bulbous finial, knop to each corner. See Rolland, H., Bronzes Antiques De Haute Provence, Paris, 1965, items 384, 385, for similar miniature altars, without lid. 70.6 grams, 53 mm high (2 1/8 in.). German art market, 1990s. Mr A.H., a North American collector living in the UK. This pyxis is most likely to have been an ink-pot or a cosmetic box. The fine manufacture, the precision of the details and the presence of male and female names indicate that it was probably intended as a marriage gift. The man was probably an army officer, considering that he is wearing armour and a corona civica, as military decoration. [A video of this lot is available to view on Timeline Auctions Website.]
Circa 7th century A.D. A gold finger ring with flat-section hoop, round plaque with openwork 'architectural' bezel, dome with granule and filigree detailing. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 495. 4.00 grams, 26.90 mm overall, 18.23 mm internal diameter ( approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13) (1 in.). German art market, 1990s. Mr A.H., a North American collector living in the UK.
Circa 2nd century A.D. or later. A bronze Buddha ??kyamuni figure modelled in the round standing bare-footed on an architectural plinth, wearing a shin-length garment, ushnisha to head, hands in the abhayamudr? of fearlessness; pierced lug to reverse; ‘Buckingham Collection’ label to verso. Cf. The Zhiguan Museum of Fine Art, Treasures of Himalayan Art, Sakyamuni, Gandhara, bronze, 4th-5th century, height 44 cm, ZG 1 001, for similar. Tibet House, An Exhibition at Tibet House New York from the Buckingham Collections, New York, cat.no.GMB027, p.131. 1.1 kg, 27.5 cm high (10 7/8 in.). Dr Paul Singer, New Jersey, USA, 1995. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages: Exhibition catalogue cat.no.GMB027, p.131; and no.237, p.71. Accompanied by a copy of Nik Douglas' catalogue page #075 with provenance and price of US$220,000.00. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11375-191880. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
France, Burgundy, circa 1225-1250 A.D. A white limestone corbel-capital probably from the destroyed Cluniac priory of Moutiers Saint Jean, composed of a capital on the left decorated with deeply undercut crockets, corbel with a carved head on the right; from a carved doorway or window which carried a pointed arch. 22.8 kg, 45 cm (17 3/4 in.). Salles des Vantes Pillet, 1 July 2007, lot 168. Ex central London gallery. Accompanied by a copy of a previous four page typed and illustrated report. Accompanied by scholarly note TL05442 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11411-192174. The capital would have supported an innermost voussoir above, whilst the corbel would have supported the innermost voussoir. The base of the capital has a small diameter which would have been echoed in the column below. This relationship with the slender shaft and the capital base is characteristic of architectural carving from Moutiers Saint Jean. The carving is closely related to a group of twenty five extant sculptures, now held in American museums, which recent scholarship has demonstrated are from the priory of Moutiers-Saint-Jean, which suffered extensive damage over the course of the Wars of Religion and the French Revolution. In 1797 the remains were sold into private hands. The closed crockets on our capital suggest that the sculpture could be dated earlier than the Duke University capital; parallels between this sculpture and an additional sculpture associated with the Moutiers group dated to 1225-1250 A.D. are striking in relation to the carving of the eyes, stylised hair and 'v' shaped face. A string indication that this is another piece from the ruined abbey. In a medieval text dating from 996, Moûtiers was called Monasterium (root of the word monastery). [No Reserve]
F. MAYER IN WIEN. A VIENNESE LATERNDLUHR STYLE MONTH DURATION REGULATOR WALL CLOCK the elegant architectural rosewood case with boxwood inlay and ebonised mouldings fitted a hinged glazed door enclosing a skeletonised 7" porcelain chapter ring with subsidiary day/date dials to the centre fronting a circular plated month duration weight driven movement with dead-beat escapement, long steel rod pendulum with large brass bob and knife edge suspension - 19th Century with later case135cm highThe case is in very nice condition with no losses. The small finial to the bottom left of the case has snapped but is present. The movement is complete and does run but is dirty and will need cleaning and servicing. The dial has several hairline cracks to the chapter ring, both calendar dials are undamaged. Comes with original weight and pendulum.
King George V silver freedom casket of architectural form, the hinged lid enclosing a velvet lined interior with an angel and dragon surmount, embossed with stylised flowers, inscribed to the front panel ' Presented to the Reverend Montgomery Campbell DD with the Freedom of the Royal Burgh of Dumfries, 17th May 1928 ', hallmarked Glasgow 1927, 53oz gross, 10.5ins wide together with the original presentation scroll and a small quantity of related ephemeraThe finial needs tightening.Hallmarks as shown in photos
FOUR BOXES OF CLOCKS, TREEN, METALWARES AND SUNDRY ITEMS, to include a wooden cased mantel clock, a glass domed anniversary clock, a William Grant's Scotch Whisky barrel length 37.5cm, an Ebner Bakelite folding camera, a pocket voltmeter and gauge, a burr wood box with brass fittings fitted for mathematical/scientific instruments, carved alabaster dragon architectural?/ decorative elements, a M?ori hand carved wooden box: the lid carved with a face having mother of pearl eyes, plated and other metal trays, candlesticks, cutlery, coffee and teapots, etc (4 boxes) (sd)
* FRANCIS WYNNE THOMAS (BRITISH 1907 - 1989), ALPINE LANDSCAPE oil on canvas, signed image size 50cm x 60cm, overall size 64cm x 74cm Framed. Note: Wynne was a Painter and art teacher born in Bromley, Kent. He was an architectural graduate from Cambridge University but went on to study art at Heatherleys (1930-34) under Frederick Whiting. During the War Wynne Thomas was an officer in the R.A.F. stationed at the Photographic Interpretation Unit at Medmenham, Buckinghamshire, where his skills of acute observation and detailed knowledge of boats were invaluable. He exhibited at the Royal Academy, the Royal Society of British Artists and the Royal Institute.
Five prints, including three architectural hand-coloured prints entitled "Maison, Rue De Berry, Paris", "Theatre de Noyon" and "Chateau de Fere en Tardenois", each approx 20w x 29 h cms together with two architectural hand-coloured drawings of Keble College including proposed Servant Quarters and proposed Warden's House, approx 34 x 52 cms, all framed and glazed.
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