Felix Sandoz, London, a bronze and marble fusee mantel clock: the eight-day duration, double-fusee movement striking the hours on a bell, the round white enamel dial having black Arabic numerals, blued steel hands and signed by the maker Felix Sandoz, London, sitting between two black marble pillars with flat ormolu urns to the top and surmounted by an ormolu eagle on a further black marble plinth, the base of white marble with an ormolu frieze set to the front depicting classical figures with the whole standing on decorative ormolu feet, height 41cms.*Biography Felix Sandoz is recorded as working in London in circa 1800 and may well have been the maker of the same name who originated from Chaux-de-Fonds, Switzerland sometime after 1758, where the large family were well-known clockmakers, including his grandfather David who made a clock which he gave to the town.
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Richard et Cie, Paris, a gilt metal and porcelain clock garniture: the eight-day duration movement striking the hours and half-hours on a bell, the backplate stamped with the trademark of the movement maker Japy Freres et Cie, along with the maker's mark for Richard et Cie, the initials R. C. either side of a winged serpent, and numbered 2114, the blue shaped porcelain dial having a white chapter ring with black Arabic hour numerals and painted decoration depicting a female mask within a scroll, with floral decoration and decorative brass hands, the gilt-metal case with flying pillars to the sides, with matching blue porcelain decoration and a matching panel to the lower front, the domed top with further decoration depicting a jester's head and surmounted by a floral finial, with cast mounts to the front, sides and top, with a pair of matching decorative painted blue porcelain side pieces having applied female head mounts to each piece, dolphin mounts to the base, the case and side pieces each stamped with the casemaker's name Mourey, height 40cms (clock) 33cms (side pieces).* Biography Richard et Cie of Rue de Bondy 32, Paris, were one of the most well known makers and retailers of clocks, with a showroom in Cannon Street, London.
Robert Sutton, Stafford, a moonphase longcase clock: the eight-day duration movement striking the hours on a bell with a wood rod to the pendulum, the thirteen-inch break-arch brass dial engraved to the solid centre with the maker's name Sutton, Stafford and with cast brass female-head corner spandrels, the chapter ring engraved with black Roman numerals, large Arabic five minute numerals, with decorative blued steel hands and a sweep seconds hand, the arch showing the date and phases of the moon to a finely painted disc showing two moons, with a landscape picture to one side and a seascape to the other unusually depicting a sailing and steam ship, a feature seen on another Staffordshire moon disc, the mahogany case with finely fluted free standing pillars to the trunk and hood, a shaped top to the door, with three shells inlaid to the frieze above the door and further shell inlay to the four corners of the base and to the plinth below the trunk pillars, the swan-neck pediment to the hood fronted with three panels of blind fretwork, with side blocks, a ball-and-spire brass finial and brass paterae, the case standing on cabriole bracket feet, height 236cms.* Biography Robert Sutton is recorded as working from circa 1769 when he took John Chambley as an apprentice followed by William Gilbert in 1779. Various watches were recorded stolen from his premises in 1774 and 1781. He is known as a maker of fine longcases, with one in particular being an exceptional musical example with the dial showing the saint's days, holy days and the Gods of the four seasons along with an annual calendar.Another example, with a wooden movement showing the influence of the great John Harrison who had previously worked in the area, is on display at The Collection, Art & Archaeology in Leicestershire where it is stated: Although influenced by Harrison, Sutton remains an outstanding craftsman and innovator in his own right. Reference: Joseph McKenna, Clockmakers & Watchmakers of Central England, Mayfield Books, 2002.The rear of the moon disc and the frontplate of the movement are both signed, one scratched, the other punched, by the clockmaker Thomas Pear of Stafford who is recorded as working at 4, Marston Road, Stafford, from before 1880 until at least 1896 and beyond. This mark would indicate that he carried out some repairs/restorations on this clock.
A lacquered longcase clock: the eight-day duration movement striking the hours on a bell, the twelve-inch painted break-arch dial having black Arabic numerals and subsidiary seconds and date dials, the corners and arch painted with gilt and green floral decoration on a black ground, with decorative gilt-brass hands, indistinctly signed to the centre, possibly Blyth, …mouth, the associated black lacquered case having a flat-top hood with gilt-wood capitals to the three-quarter hood pillars, with raised giltwood Oriental decoration to the trunk door and base and further decoration to the case, height 209cms.
By Jas ShoolbredA late Victorian mahogany and brass mounted hall stand:, with reeded urn and bell topped finials, fitted with six brass hooks to the front and two further hooks to the sides, having a central brass three quarter baluster galleried shelf and with four division brass umbrella stand below, with iron drip tray, 56cm (1ft 10in) wide, 192cm (6ft 3 1/2in) high.
![* Clifford Cyril Webb [1895-1972]- Seahouses,:- linocut in colours signed, inscribed and numbered 1/20 in pencil along the bo](https://cdn.globalauctionplatform.com/80f622ab-2de0-4dce-b64b-a8ff00aff9bf/fa73ebbf-041d-420d-d112-0a314311e85f/468x382.jpg)
* Clifford Cyril Webb [1895-1972]- Seahouses,:- linocut in colours signed, inscribed and numbered 1/20 in pencil along the bottom margin image size 38.5 x 53cm. * Clifford Webb was born in London. He enlisted into The Wiltshire Regiment in 1914 serving at Mons, Gallipoli and Mesopotamia, was Mentioned in Despatches, wounded and then gained a commission and promotion to Captain in The India Army [1917-19]. He studied at Westminster School of Art under Walter Bayes and Bernard Meninsky. In the mid-1920s he began lecturing in drawing at Birmingham School of Art and later lectured and taught drawing and engraving at St Martins and Westminster Schools of Art. He first exhibited in 1925 with the Artist Craftsmen's Group, held his own show in 1926 at the Ruskin Galleries in Birmingham and in 1927 organised The Modern Group's third exhibition, borrowing work from Vanessa Bell, Duncan Grant and Paul Nash. He specialised in engraving and etching contemporary landscape and animal subjects illustrating a number of books, notably for the Golden Cockerel Press and Arthur Ransome's Swallows and Amazons and Swallowdale.
1936 Berlin Olympics Porcelain Bell Housed in its Original Box, superb example of the porcelain bell produced by Staatliche Porcelain company Berlin. Complete with the original porcelain bell clanger and wooden stand. Relief to the front of Berlin Olympics emblem and the reverse Brandenburg Gate. The card box remains in very good condition overall with image of the bell and “OLYMPIADE BERLIN 1936”. Excellent un-damaged example.
66x Shipping Lines & Naval Related Tunic Buttons, various periods, mounted onto collectors card display mounts with identifications below. Including Eagle Oil & Shipping Co Ltd, African Royal Mail, Allan Line, Shaw Savill & Albion Co Ltd, British & African Steam Navigation Co, Union SS Co of New Zealand, T&J Brocklebank Line, Cunard SS Coy, H Hogarth & Co, Port Line, Trinity House, Furness Line, Blue Star Line, Leyland Line, Aberdeen Line, Dominion Line, Bell Bros & Co, Rangoon Customs, Monarch Steamship Co, Hong Kong & Shanghai Banking Corporation, Manchester Ship Canal, Northern Light House, Dublin Packet, Liverpool Seamans Home, Cable & Wireless Ltd, Trinity House Pilot, Northern Rhodesia Customs, plus others. All with shanks to the reverse and in generally good condition. (66 items)
A Vintage Home-Made Wooden Station for O Gauge or Gauge I, incorporating some 'Wenebrik' components (windows and door, with liberal embellishment by Bassett-Lowke posters and signs, overall length including ramps approx 31", fitted with lights and electric bell, F-G, some minor repairs needed
A George II Sterling silver caster, by Samuel Wood, London 1735of plain baluster form, domed cover with pierced alternating panels of scrolls and pierced dots, bell shaped finial, on spread circular baseHeight: 15 cm. Weight: 146 gramsCatalogue Note:Samuel Wood (Stafford, England 1704 – Southgate 1794)Born c. 1704, son of George Wood late of Carswell in the County of Stafford gentleman deceased, apprenticed to Thomas Bamford 7 June 1721 on payment of £15. Free, 5 March 1730/?1. His first mark entered as largeworker, 3 July 1733. Address: Gutter Lane by Cheapside. Livery, April 1737. Second mark undated, between September 1737 and August 1738, same address. Third mark, 15 June 1739. Court, May 1745. Moved to Foster Lane, and fourth mark entered, 15 July 1754. Fifth mark, 2 October 1756. Warden 1758-60, and Prime Warden 1763. Appears as plateworker, Southgate, in the Parl. Report list 1773. Heal records him as plateworker, Gutter Lane, 1733-40; and Southgate (?St.Paul’s Churchyard), 1773. That Southgate was, however, the northern suburb is clear from his obituary (below). Elizabeth, daughter of Samuel and Elizabeth Wood, baptized 30 May 1738 at St. Vedast; Foster Lane is presumably his child. No others appear recorded. Wood’s obituary in ‘The Gentleman’s Magazine’, 6 October 1794, paints the picture of a stalwart character: ‘at Southgate aged 90 of a second paralytic stroke, Mr. Wood, goldsmith of London. His daughter married Mr. Howitt, mercer of London whose only daughter is married to Mr. James Moore of Cheapside. For the last two years of his life he used to ride to town every week, to transact business at Goldsmith’s hall, being the father and oldest member of that company.’ Through his apprenticeship to Thomas Bamford, who himself had been bound to Charles Adam, Wood came of a continuous line of specialist caster-makers and in turn trained both Jabez Daniell and Robert Piercey (q.v.), both clearly established also in the same line of production. Wood’s cruets and individual casters, to judge from the very large number surviving, must have been produced on a wholesale manufacturing basis, but are, no less for that, of a uniformly high standard and one of the most attractively designed smaller items of plate, without which no reasonably equipped table of the eighteenth century appears to have been complete.Samuel Wood was born 1704, and in 1721 was apprenticed to Thomas Bamford who had been bound to Charles Adam. Wood came from a continuous line of specialist castor-makers. According to Arthur Grimwade so many were produced and were of such a ‘uniformly high standard and one of the most attractively designed smaller items of plate, without which no reasonably equipped table of the eighteenth century appears to have been complete’.The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email
A Charles X French bracket clock, the eight-day movement striking on a bell and signed Lesieur, the gilt metal face depicting a sea battle, with Roman numerals, within an ormolu figural case modelled as a dolphin, on an oval plinth with swag and ribbon frieze and moulded acanthus leaf borders, on bun feet, h. 42 cm CONDITION REPORT: Provenance: purchased from Christies in 1993- Sacombe Park Sale from King Street, London. Included in a Phillips Inventory in 1998.
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