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Click here to subscribeA 19th century slate mantel clock, the case, of architectural form, with incised gilt floral decoration and inset with malachite panels, enclosing a white enamel dial with Roman chapter ring and visible escapement, eight day drum movement striking hammer on bell, the back plate impressed G.F, and with mercury pendulum, and flanked by a thermometer and aneroid barometer. H51cm, W57cm, D17cm.
MOSKAU/KIEV, 2 Becher, 84 zolotniki, 1891/1892. Becher mit Innenvergoldung, florale und architektonische Dekore, Beschauzeichen für Moskau und Kiev sowie Beschaumeisterzeichen 1891 und 1892, H. ca. 5,5 cm, Gewicht ca. 61 g. Leicht berieben, ansonsten gut erhalten.| MOSCOW/KIEV, 2 cups, 84 zolotniki, 1891/1892. Beaker with gilded interior, floral and architectural decorations, inspection marks for Moscow and Kiev as well as master maker's marks 1891 and 1892, h. approx. 5.5 cm, weight approx. 61 g. Slightly rubbed, otherwise in good condition.
very good 17th Cent. cupboard with a beautiful sober baroque style architectural design in rose-wood, walnut and oak with four drawers and a drawer and finely sculpted pilasters || Zeer goed zeventiende eeuws meubel met een mooi sober barok architectonisch design in palissander, notelaar en eik met twee grote deuren, een lade en twee kleine deuren & met fijngesculpteerde pilasters met ondermeer leeuwenkoppen ooit aangekocht bij antiquair Loncke voor ca 10000 euro (400000 Bfr)
A very large and imposing pair of Louis XV architectural elements in carved and gilded wood dating from the 18th century. The ensemble is adorned with two magnificent oil paintings in the style of Francois Boucher, one symbolising "Love", Cupid chasing a dove, frolicking in the sky, accompanied by putti in front of an abundant basket of fruit. The other depicts cherubs, musicians and painters, an allegory of the Arts. High quality work, some minor restoration required. - Weight: 30.00 kg - Shipping unavailable - Region: France - Sizes: H 1280MM X L 1950MM - At first glance: normal wear / patina of use
David Blackburn (1939-2016)"New York Architectural"Signed and dated 1983, pastel, 39cm by 32cmThe work is float mounted. The slightest of time staining in evidence to the margins, this may also just be where the pastel has bled slightly. Very slight crease upper right hand side through the centre of the pink. Tny crease top left corner to margin. Some light surface dirt and debris trapped under the glass. Some minor areas where the pastel has bled onto the mount (lower edge). Not examined out of the frame.
French - Belgium slate 8-day mantle clock c1900, break-front architectural style case with a gable pediment and twin recessed pilasters on a rectangular plinth, two part dial with an ivorine chapter and gilt centre, with Arabic numerals and steel fleur di Lis hands, Parisian movement striking the hours and half hours on a coiled gong. With pendulum. Dimensions: Height: 28cm Length/Width: 30cm Depth/Diameter: 14cm
French - late 19th century 8-day mantle clock in a Belgium slate case, with an architectural pediment and classical relief from Greek mythology to the tympanum, with four recessed pillars and brass capitals to the front, two part enamel dial with Arabic numerals and steel trefoil hands, with a rack striking movement, striking the hours and half hours on a coiled gong.With pendulum. Dimensions: Height: 28cm Length/Width: 28cm Depth/Diameter: 14cm
Crusades.- Matthieu (Pierre) Dell'historia di san Luigi IX e delle cose piu memorabili occorse nella guerra da lui fatta con Saraceni per l'acquisto di Terra Santa, first Italian edition, fine engraved architectural title with putti holding the arms of Louis IX at head by Greuter, woodcut head-pieces, decorative initials and printer's device to final recto, colophon / errata f., a few wormholes in title, 2O4 small piece from lower margin, 2Q2 large piece of lower blank corner neatly cut away, foxing and some staining, lightly browned, hinges splitting, contemporary limp vellum, stained, 4to, [Venice], [Francesco Baba], 1628. *** First Italian edition of this account of the crusades of Louis IX against the Turks.
Cavalieri (Giovanni Battista) Romanorum Imperatorum Effigies, title within architectural border, 157 engraved portraits of Roman Emperors on 151 leaves, engraved author's arms to A1, printer's device at colophon on final leaf verso, small amount of worming to title affecting border, initial gathering mis-bound and partially mounted on stubs, some light foxing and soiling, worming to pastedowns, contemporary limp vellum, ink manuscript title to spine, toned, yapp edges, [EDIT 16 CNCE 10458; Mortimer Italian 119], 8vo, Rome, Francesco Coattino, 1590.*** Portraits run from Julius Caesar, through to the Holy Roman Emperors concluding with Rudolphus II who was elected in 1576.
Fishing.- Ongaro (Antonio) L'Alceo favola pescatoria, title within ornate woodcut historiated architectural border incorporating arms of Cardinal Serra, woodcut head- and tail-pieces and historiated initials, errata f. at end, red ink stamp of Libraria Colonna to title, A2 and verso of errata f., occasional spotting or light foxing or staining, 19th century navy blue boards, spine gilt and with brown leather label (little scuffed), piece missing from head of spine, corners worn, rubbed, but solid, [Fontanini I, p. 484. Gamba 1541 (later edition)], 8vo, Ferrara, Vittorio Baldini, 1614. *** An attractively printed edition of Ongaro's well-received pastoral, with the fishermen of present-day Nettuno at its centre. It is the first edition to include Guarini's intermezzi. Provenance: Colonna family (red ink stamps); Allardyce Nicoll (1894-1976), theatre historian, author of The World of Harlequin, 1963 (bookplate to front pastedown).
Architecture.- Vignola (Giacomo Barozzi da) Regola delli Cinque Ordini d'Architettura, engraved throughout with architectural title and 36 numbered plates including privilege and dedication, plate 24 with marginal tear just touching border, n.p., n.d.; Alcune Opere d'Architettura, edited by Francesco Villamena, engraved architectural title and 11 unnumbered engraved plates, including 2 of the Gesù Church in Rome, the final two perhaps from a different copy, (some copies have title & 12 or 17 plates), Rome, 1617, together 2 works in 1, some marginal staining, eighteenth century half calf, upper joint broken but just holding at head, lower starting to crack, folio.
Jesuit Bio-Bibliography.- Ribadeneyra (Pedro de) Illustrium scriptorum religionis Societatis Jesu catalogus, second enlarged edition, title within ornate woodcut architectural border, woodcut head- and tail-pieces and decorative initials, final errata f., occasional contemporary ink marginalia in 2 hands, I5 mostly marginal ink stain causing hole, with loss of a few letters (without loss of sense of text), water-stained, occasional spotting, lightly browned, contemporary limp vellum, spine with head little worn and a couple of splits with loss, little stained, [Palau 266559; Sabin 70778a], 8vo, Lyon, Jean Pillehotte, 1609. *** Second, enlarged edition of the first bio-bibliography of members of the Society of Jesus, first published at Antwerp in 1608. The compiler entered the Society at the age of 14, and went on to be Professor of Rhetoric at Palermo, and to write his well-known Life of Loyola in 1572. Provenance: Col. S. Lyn, Berkeley Square (19th century bookplate).
Emblemata.- Alciati (Andrea) Diverse imprese accommodate a diverse moralità, con versi..., title within ornate architectural border, woodcut illustrations within ornate borders throughout, lacking final 12ff. (O1-8, P1-4), all gatherings loose from spine, contemporary vellum, morocco label to spine (chipped), [Rawles & co. F.043], 8vo, Lyon, Guillaume Rouillé, 1564.
Orsini (Fulvio) Imagines et elogia virorum illustrium et eruditor, first edition, engraved title within ornate architectural border, ink ownership inscription to foot, whole-page engraved illustrations, woodcut illustrations, lacking 2ff. in middle (F2-3) and final f. (O4) with colophon on verso, some off-setting, spotting and other stains, contemporary vellum, upper joint cracked, a few small stains, [Adams U72; EDIT 16 CNCE 37885; Mortimer Italian 329], folio, [Venice and] Rome, Pietro Deuchino for Antoine Lafréry, 1570.*** First edition of a major early collection of ancient Greek and Roman portraits, busts, inscriptions and coins, edited by Fulvio Orsini (1529-1600), librarian to the Farnese family.
Impressive Victorian architectural oak-cased 8-day bracket clock, by Georg Oram of London, carved case with Corinthian columns, engraved silvered dial with subsidiary dials, Westminster chimes and chime on 8 bells, good quality heavy brass movement, with key and pendulum, overall height 59cm, pediment width 43cmVery small piece of moulding missing from the top of the left-hand column otherwise all in good original condition,
An early 20th Century Egyptian Khayamiya "O Opener of Doors, Open for Us the Best Door", with surādiq appliqued panel, white thuluth calligraphy on red, two-panel door design with floral and architectural motifs, pale green crenelated design on top border, and pale blue on the bottom border, 195.58 x 172.72cms.Provenance: Purchased from Leslie Hindman Auctioneers, 1338 West Lake Street, Chicago, Illinois 60607, 6 May 2016.From the collection of Abdulhamid Alwan (b. 1938), a traditional Arab drum-maker (tabla), originally from Baghdad (https://wisconsinfolks.org/alwan3.htm), and Kim Alwan, Milwaukee, Wisconsin. Notes:A traditional prayer, usually invoked by Sufis such as Naqshabandi Shaykh Muhammad Hisham Kabbani. Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
A hallmarked 9ct yellow gold mounted brooch pin. The brooch set with a Russian oval pictorial hand painted plaque depicting a figure on horseback with foliate and architectural backdrop on a black ground in a gold stepped bezel and rollover clasp verso. Plaque signed. Mount appears to be later addition, hallmarked for London 1989, sponsors for BGCo. Total weight approx 18.6g. Measures approx 6.5cm.
Fendi, a designer three-seat studio sofa of architectural form, with bronze effect linen upholstery, on simple bracket feet, 250 cm x 96 cm, together with a two-seat sofa of similar designComes with applicable fire resistance labelsGenerally good condition with no obvious signs of stains or damage, minor piling to linen commensurate with age, please view photos
Measurements: 29x22x21 cms. Weight 3.2 kg, in fine silver. Writing desk with a silver tray in its color and gilded finish that has four containers with lids and a pedestal in the center topped by a seated sculpture. The tray, rectangular in shape with the four sides slightly curved outwards, shows an edge decorated with plant elements and, on the larger fronts, a cresting at the top followed by another in the lower area creating a symmetrical composition with scrolls, a figurehead on the front and plant motifs, and four monster-shaped legs (leaf foot, elongated body with breasts, long neck, head of a lion or similar and feathered wings). Each of the containers has a circular base on which the monstrous female figures that decorate them rest on their plant “leg” (winged, holding plant motifs in front of their breasts), a bulbous shape and a raised lid towards the center decorated with a band of simple architectural motifs, which is, in turn, topped by a bird hunting a snake. In the center, on a circular and stepped pedestal, there is a tubular pedestal decorated with garlands, vegetal scrolls, venerated shapes and monstrous masks. Sitting on a seat, a human figure is presented dressed in a tunic and cloak, barefoot and carrying some objects, with short uncovered hair. Note that the monsters (sometimes called fantastic bugs) that the piece presents as legs are very similar to those on the writing desk dated around 1847 that has marks from the Royal Silver Factory of Antonio Martínez and that is preserved in the Museum del Prado (Madrid). The masks mentioned on the pedestal are very similar to those presented by “The Allegory of Justice” which was a gift from Medina de Pomar to the Minister of Grace and Justice in 1849 (Museum of Romanticism, Madrid) and which also shows punches by Martínez. This work is clearly inspired by the office of the presidency of the Council of Ministers of the Royal Palace of Madrid (National Heritage, ref. B. 428-9045) made in 1851 by the Real Fábrica de Platería Martínez. Note that the four “putti” or child figures that would surround the central figure do not appear here, that it has a slightly different posture, and that the crests of the tray are different, among other details. Weight: 3174 grams.
Of heavy solid castings, having a flared socket with rounded flange and base, and single circular extraction hole, the architectural entasis stem with square capital and pillar, on a spreading circular base, height 27.4cm, base diameter 14.3cm Literature: For a very similar example, but with tapering pillar, see C. Bangs, 'The Lear Collection' (1995), p. 126, 299, no. 97 ** This item is part of the Christopher Bangs collection **.
JAMES BROWN OF LIVERPOOL; a Georgian inlaid mahogany cased eight day longcase clock, the painted dial with sun and moon phase subsidiary dial above Roman numerals and two further subsidiary dials, the central architectural door flanked by two turned columns, raised on bracket feet, with winding key, pendulum and two weights, height including surmount 240cm.
A large and impressive Victorian brass skeleton clock of architectural form with twin fusee movement striking on bell and applied chapter ring bearing Roman numerals, on oval alabaster plinth base, height 57cm, in associated later case. Condition Report: Tarnishing and wear throughout. Minor chipping to alabaster plinth base, small piece of bent wire behind numeral 4, case is a later example. when wound the clock does run although we offer no guarantee of working order.
A mixed lot of ceramics to include: 2 x architectural form vases by Edith Brack (each signed) one black ribbed glaze (H 29cm) the other pale green (H 29cm); a conical footed stoneware vase with blue on white scale patterned glaze (H 12.5cm); a Studio Danielle wren figurine (H 11cm); a Uig pottery ovoid form vase/candle holder (H 9cm); and a pink pottery teapot with chrome finished insulator. (6) Part of the Bowles Collection.
A GEORGE III BLACK CHINOISERIE JAPANNED EIGHT-DAY LONGCASE CLOCKROBERT POLL, HARLESTON, CIRCA 1760The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with calendar aperture and bright-cut bordered recessed slivered subsidiary seconds disc to the matted centre, within applied silvered Roman numeral chapter ring with Arabic five minute beyond the minute track, with scroll pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a silvered boss engraved Rob't Poll, HARLESTON within herringbone border flanked by conforming mounts, in a black japanned case with gilt repeating scroll decorated box upstand over architectural moulded cornice, stylised torch motif painted upper quadrant panels and break-arch glazed door decorated with gilt foliate scroll to frame and applied with three-quarter columns to front angles, the sides with rectangular windows within leafy spray decorated surrounds and with conforming quarter columns set against bargeboards at the rear, the trunk with concave throat moulding painted with foliate scrollwork panel, over break-arch door decorated in raised polychrome and gilt with Oriental figures and pavilions within an Arcadian garden landscape and complex edge mouldings, within scroll painted surround incorporating upper quadrant panels matching those of the hood, the sides painted with large leafy sprays, the plinth base with decorated cavetto top moulding over conforming landscape panel to fascia, on moulded skirt base incorporating bracket feet with gilt decorated shaped apron between.234cm (92ins) high, 54cm (21.25ins) wide, 28cm (11ins) deep. Robert Poll is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Wissett, Suffolk and Harleston, Norfolk up until 1771. Condition Report: Movement is in dirty condition but was running in the vendors house at the time of consignment. The mechanism appears essentially all original with no visible evidence of alteration. The dial is in good original condition; the finishes have a pleasing age-mellowed appearance. The movement has its original seatboard but there is packing beneath suggesting the movement is not original to the case. The case is generally structurally sound and will respond very well to not a huge amount of work. The top board of the hood is currently detached, the hood columns have some worm damage (localised and non-active). The trunk door has some losses to the original raised decoration and crazing to the surface. The rest of the case exhibits fairly extensive Edwardian restoration with the sides re-panted and the plinth rebuilt incorporating face panel which may be original but with much overpainting. The feet are Edwardian.Generally an attractive example ripe for being 'revived'. Clock is complete with pendulum, two weights, case key and crank winder. Condition Report Disclaimer
A WILLIAM III WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCKJOHN COTTON, LONDON, CIRCA 1695The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 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 stylised sword hilt half hour markers and Arabic five minutes within the outer minute track, with scroll pierced steel hands and winged cherub mask and foliate scroll cast spandrels to angles, the lower margin of the dial plate with engraved signature Iohn Cotton in ye Strande, in a case with later domed caddy superstructure over architectural entablature and hinged glazed dial aperture incorporating floral marquetry decoration to surround and flanked by three-quarter columns to the front angles, the sides with rectangular windows and bargeboards at the rear, the trunk with ebonised ground grotesque mask-centred floral trail decorated convex throat moulding over 41.5 inch rectangular door inlaid with an architectural urn within bird inhabited flowering foliage into an ebonised ground, centred with an oval lenticle and with half-round edge mouldings set into a herringbone inlaid surround, over base with stepped ogee top moulding and conforming floral marquetry panel within herringbone border to fascia, on shallow moulded band and ogee bracket feet.196cm (77ins) high excluding later superstructure and feet, 223cm (88ins) high overall, 48cm (19ins) wide, 25.5cm (10ins) deep. John Cotton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1669, apprenticed to Charles Lowndes in 1683 and gaining his Freedom of the Clockmakers' Company in 1695. Loomes notes that Cotton paid quarterage until 1697 and is thought to have died the following year. His son of the same name was apprenticed to Edward Comins, a shipwright of Woolwich, London. Condition Report: The movement is essentially in working condition with no visible evidence of alteration or noticeable replacements. The mechanism is a little dirty/dusty hence requires a clean and service. The dial is in good clean condition with only a couple of light blemishes to the matted decoration to the centre only. The movement rests on a replacement seatboard with packing to the cheek uprights indicating the movement and dial are not original to the case. The case is structurally sound and retains all its important elements including good long backboard continuing down well into the plinth (has some shrinkage cracking and a couple of small patch repairs to the panel). The sides are also in good condition retaining almost all of their original length. The case has however seen some historic 'updating' and requires overall work. The caddy is a 19th century replacement as is the entablature moulding and hood columns. The sides of the hood have lost their veneers and rear quarter columns. The hood door has one small loss to the marquetry otherwise is in good condition. The throat moulding has some losses/flaking and historic filling to the marquetry, the trunk door also has s a few similar localised losses to the marquetry and some filling mostly to cracks near the top and bottom margins (due to shrinkage between the door panel and the clamps applied at each end). The trunk door lock is a replacement and there is a veneer patch repair to the escutcheon area. The sides of the case have a scumbled stain finish over the original veneers which appear sound; an attempt to clean back this finish has been made to the lower rear right causing patchiness. The base top mouldings have shrinkage cracking and some historic worm damage. The plinth retains its original marquetry panel which is in similar condition to the rest of the marquetry. The lower edge of the plinth appears to have been reduced slightly and applied with later moulding and ogee bracket feet. The side veneers of the plinth re in sound condition; the banding around the front panel has chips/losses and repairs. The plinth is a little out of square in relation to the trunk causing the clock to lean a little when the plinth is stood square on the ground. Otherwise faults to the case are essentially limited to age related bumps, scuffs, shrinkage and a few small localised repairs.Clock is generally a sound restoration project and has a pendulum, pair of brass cased weights and a winder. Condition Report Disclaimer
A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCKWILLIAM UPJOHN, EXETER, CIRCA 1765The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum. The 12 inch brass break-arch dial with bright-cut bordered recessed subsidiary silvered seconds ring and arched calendar aperture to the foliate rococo scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minute beyond the minute track and signed William, Upjohn, EX, ON to lower margin, with scroll pierced steel hands and 'twin-bird-and-urn' scroll cast spandrels to angles, beneath arch centred with a silvered boss engraved with a Ho-Ho bird over banner inscribed TEMPUS FUGIT flanked by conforming dolphin cast mounts, the case with box upstand over break-arch architectural cavetto moulded cornice, scroll-pierced arched fret and hinged glazed dial aperture applied with three-quarter columns with cast brass Corinthian capitals to front angles, the sides with small rectangular windows and quarter columns to the rear edge, the trunk with concave throat moulding over wavy-top caddy moulded rectangular door flanked by rounded angles, on plinth base with ogee top mouldings over raised caddy moulded panel to fascia and bracket feet.227cm (89.5ins) high, 52cm (20.5ins) wide, 28cm (11ins) deep. William Upjohn senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Exeter 1741-87. Clive Ponsford in TIME IN EXETER adds that he lived in a house on South Hill Street and married an Anna Reeve at Holy Trinity Church on 11th September 1736. The marriage produced thirteen children of which at least four sadly died. Their eldest son, Thomas, together with another son, William junior, subsequently followed their father into the clockmaking trade. Ponsford records his death and burial in St Mary Major churchyard on 14th December 1768. Condition Report: The movement is clean working condition wand appears all-original with no visible alteration or noticeable replacements. The dial is also in clean condition but with some slight oxidation to the silvering. The minute hand has been repaired. The movement retains its original seatboard which rests direct on the cheek uprights of the case indicating that the movement and dial are most likely original to the case. The case is generally in very sound original condition however has been repolished at some point which has now aged to exhibit some variances in colour which may benefit from attention from furniture finisher. The caddy probably had a caddy or other superstructure fitted onto the top box and the feet are replacements otherwise faults are very much limited to minor shrinkage and a few historic bumps and scuffs.Clock is complete with Pendulum, two weights, case key and winder. Condition Report Disclaimer
A GEORGE II OAK THIRTY-HOUR LONGCASE CLOCKT. DICKER, SILCHESTER, CIRCA 1745The single-handed posted countwheel bell striking movement with rectangular section steel corner posts rivetted to the brass top and bottom plates and anchor escapement regulated by seconds pendulum, the 10 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markets and signed T. Dicker, Silchester to lower margin, with scroll pierced steel hand and urn-centred scroll cast spandrels to angles, in an oak case with architectural cornice and plain frieze over hinged glazed dial aperture applied with Doric three-quarter columns to angles, the rear edge with matching quarter columns, the trunk with concave throat over rectangular caddy moulded door, on plinth base with cavetto top moulding over plain skirt.202cm (79.5ins) high, 47cm (18.5ins) wide, 26.5cm (10.5ins) deep. Thomas Dicker is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Silchester, Hampshire, 1736-56 before moving to Reading where he worked until his death in 1774. Condition Report: Movement is in relatively clean working condition and appears fundamentally all original. The dial is in good condition with faults limited to a few blemishes to the chapter ring which also has patchy discolouration to the silvering. Movement has later seatboard set on packing pieces indicating that the movement and dial are probably not original to the case. The case presents as being in good visual condition but has replaced backboard and the plinth has been re-faced with plywood fronted by veneers which match the rest of the case very well. Skirt is also a replacement. Clock has a pendulum and weight. Condition Report Disclaimer
A FRENCH EMPIRE ORMOLU MOUNTED ROSSO FRANCIA MARBLE PORTICO MANTEL CLOCKUNSIGNED, EARLY 19th CENTURYThe circular eight-day two train countwheel bell striking movement with anchor escapement regulated by half-seconds disc bob pendulum incorporating silk suspension, the 4.5 inch circular slightly convex white enamel Roman numeral dial with gilt Arabic fifteen minutes within the outer minute track and fine sculpted scroll pierced gilt hands within an engine-milled bezel, the architectural break-arch case with gilt surmount cast as two lovebirds perched on billowing clouds flanked by crisp engine-turned shouldered urn finials, over stepped cavetto cornice incorporating a band of gilt lozenge and bead stringing and with pierced draped cast lambrequin apron mount beneath the dial, raised on two pairs of turned marble columns each with entasis and gilt engine-turned caps and bases, the rectangular plinth base with brass bead bordered upper edges and engine-turned gilt feet.50cm (19.75ins) high, 27cm (10.5ins) wide, 12.5cm (5ins) deep.
AN UNUSUAL CAST LEAD AND BRASS TABLE TIMPIECE IN THE FORM OF A GARDEN SUNDIALUNSIGNED, CIRCA 1900The French eight-day single train going barrel movement with tic-tac escapement regulated by short bob pendulum and vertical take-off for the single hour hand, the 4.25 inch horizontal circular brass dial plate engraved with Roman numeral hour chapters and inner dot minute ring, the centre with decorative solar and lunar masks and hour hand formed as a gnomon with pillar upright and decorated with a sphere within the angle, the cast lead case formed as an architectural octagonal plinth with moulded edge top over conforming stepped skirt base.17cm (6.75ins) high, 15cm (6ins) wide.
AN UNUSUAL MUSICAL THIRTY-HOUR LONGCASE CLOCK MOVEMENT IN A CARVED OAK HOODED WALL CASETHE CHAPTER RING SIGNED FOR JAMES DELANCE, FROME, CIRCA 1695 AND LATERThe posted outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and incorporating a musical train playing a tune every four hours via a 4 inch pinned cylinder operating 14 hammers on a graduated nest of seven bells, the corner posts turned as Doric columns but with square-section shafts to allow screw pivot inserts for the various strike and music work detent pivots, the later 10 inch square brass dial plate with symmetrical stylised foliate scroll engraved centre within applied period silvered Roman numeral chapter ring with stylised sword-hilt half hour markers and engraved I DELANCE, FROME to lower margin, with scroll-pierced steel hand and winged cherub mask and foliate scroll pierced spandrels to angles, now in a carved oak hooded wall case with crest carved as an architectural arcade enclosing figures of armed medieval nobles, over ogee and cavetto moulded cornice and alternating rosette decorated frieze, the hinged glazed dial aperture with foliate trail carved surround flanked by spiral floral trail decorated columns and glazed panels to sides, the bracket with concave throat moulding over frieze applied with panels carved with masks and twin scroll apron, the sides formed as shaped floral decorated brackets and the back panel carved with repeating fan-shaped motifs over shaped pendant.159cm (62.5ins) high, 48cm (19ins) wide, 27cm (10.75ins) deep. James Delance is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam in Frome prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Lawrence Debnam who died in 1683 at the age of 40. Delance is recorded as undertaking work on clocks for Lord Weymouth at Longleat from at least 1694 until 1703. By 1721 Delance had moved to Downton, Wiltshire and was still working in 1736. Although the present lot has a replaced dial plate and evidence suggesting re-working or possibly the addition of the music train, there are many features which are commensurate with the work of Delance and other Frome-area makers of the late 17th century. Condition Report: The movement is complete and essentially in working condition however would most likely require fettling/adjustment and is dusty so would benefit from a light clean. The going train appears original/period except for the escape wheel and pallets. The strike train also appears all original; the hour bell is cracked. The barrel of the music train together with the drive wheel, countwheel, fly and pinions for the two wheels before the fly appear old/period although these two wheels themselves would seem to be later than the rest. One of the rear pivot tabs (for these two wheels and the fly - secured to the underside of the top plate) looks original, the other two are later. The music train horizontal front pivot bar is relatively recent and its layout would suggest that the wheel front pivots may have been integral with the original dial plate (which may account for why it has been replaced). The hammer assembly appears to incorporate early elements (such as the hammer and pivot blocks). All lifting pieces/detents and arbors appear old and essentially in their original form. The trains now run with chains (would have originally been rope. The original dial plate would have been mounted via four dial feet; the lower two are utilised with the current dial plate and the upper left is now used for the later music train front pivot bar. The dial plate is 20th century but with reasonably well-executed faithful-looking engraving The chapter ring appears period; the spandrels are also probably old but have been heavily buffed-up. The hand is also 'period'. The case is late 18th century with late 19th century carved decoration. Generally it is in sound condition with no notable worm damage etc but is somewhat neglected with historic bumps, scuffs etc.Clock is complete with pendulum and two weights. Condition Report Disclaimer
A Victorian silver four piece tea and coffee service by Edward Ker Reid, London 1856 and 1857, octagonal baluster, the tea and coffee pots with angular handles, ivory spacers, flower finials to the domed covers, flower and scroll rims, engraved with fruit swags against architectural panels, each on flower and foliate scroll feet, engraved with a crest and monograms MC to MPJC, the tea pot 23cm (9in) long, the coffee pot 24cm (9 1/2in) high; together with a King's pattern sugar tongs by George Adams for Chawner & Co., London 1857, 2548g (81.9 oz) gross, Ivory Registration Number: D26UIRJ2The crest for Caddel, Cantrell, Cantrill, Carfrae, Cheslin, Clemsby and Crammond
Attributed to Josef Hoffmann, Austrian 1831-1904- Two figures in an Italianate landscape, with a river and classical buildings beyond; oil on canvas, indistinctly signed 'Hoffmann' (lower right), 79.5 x 62.5 cm. Provenance: Property from a European Private Collection. Note: The present work recalls the Arcadian scenes which make up much of Hoffmann's output, with extensive Italianate landscapes populated by figures in Classical dress amongst architectural features and dramatic scenery. This befits Hoffmann's experience designing stage sets for the New Vienna Court Opera in the late 1860s, including for productions of Romeo & Juliet and The Magic Flute. He also later produced landscape murals for the Hernstein Castle, the Palais Epstein, and the Parliament building in Vienna.
Attributed to William James Müller, British 1812-1845- Street scene in Algeria; oil on canvas, 61 x 92 cm. Provenance: Private Collection, UK. Note: Müller studied under James Baker Pyne (1800-1870), and is often considered a central member of the Bristol School of Artists. Müller's most popular works were his Egyptian and Turkish scenes, which were informed by his travels in the Middle East, visiting Greece and Egypt in 1838-39, and Turkey in 1843-44. The present scene exhibits many of the features which define Müller's work, including the darker architectural setting contrasting dramatically with the bright, colourful skies behind, as in his 'Chess Players', which sold at Sotheby's London on 21 March 2001 (lot 88), and his 'Street in Cairo, Egypt', held in the collection of Leeds Art Gallery [LEEAG.PA.1929.0874].
George Sidney Shepherd, British 1784-1862- Ramsgate Harbour; watercolour on paper, inscribed 'RAMSGATE HARBOUR / by George Shepheard [sic.] / designed July '80' to the reverse of the backing board, 8.4 x 21.2 cm. Provenance: Private Collection, UK. Note: Shepherd worked primarily as an architectural and landscape watercolourist, producing illustrations for publications such as John Britton's (1771-1857) 'Architectural Antiquities of Great Britain', and Charles Clarke's (d.1840) 'Architectura Ecclesiastica Londini'.
Henry Charles Brewer, RI, British 1866-1950- Vigo; pencil and watercolour heightened with white on paper, 24.7 x 34.3 cm., together with: British School, 19th century- Study of a ruined portico; pencil and watercolour on paper, 22.7 x 39.7 cm., two (2). Provenance: (both) with Abbott & Holder, Ltd., London. Note: Brewer was born in Bavaria, the son of well-known British artist Henry William Brewer (1836-1903). He went on to study at Westminster School of Art with Frederick Brown (1851-1941), before embarking on travels across Europe and North Africa, visiting Morocco, Spain, Italy, Greece and France. These travels bore an undeniable influence on Brewer's work to follow, with his output consisting largely of vibrant architectural studies of European cities, such as the present view of Vigo in northwest Spain, in which his generous application of white evokes the sun-drenched buildings below.
Circle of Claude-Joseph Vernet, French 1714-1789- Harbour scene with fisherfolk before architectural ruins, a sailing vessel on the water beyond; pencil and grey wash on laid paper, the reverse inscribed 'J. Vernet. 1755.', the paper with watermark 'VI', 28 x 45.1 cm. (unframed). Provenance: Private Collection, UK.
(Grand Tour, Italy.) A late 19th Century photograph album c.1870's-1880's containing 165+ mounted albumen print and other photographs, architectural and topographical views of Belgium, Germany, Austria, Italy, Switzerland, France & England, including Antwerp, Munich, Innsbruck, Venice, Florence, Rome incl. Forum, Colosseum, Spanish Steps, Castel Sant Angelo, St Peters, Arch of Titus etc, Pompeii, Pisa, Lugano, Milan, Lucerne, Strasbourg, Metz, Cologne, Lake District, Oxford, Warwick etc, images various sizes approx 6 x 9cm - 20 x 26cm, majority with manuscript pen & ink calligraphic captions to card leaves of album, 4to (30 x 24cm), contemporary cloth gilt (worn)
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