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Lot 190
A late 19thC French ebonised striking carriage clock, by Henrymarc a Paris, rectangular enamel dial bearing Roman numerals, twin barrel movement with bell strike, the case of conventional form, with interior label to the back for T Cox Savory & Company, importers, 47 and 54 Cornhill London, with key, 20cm high, 15cm wide.
Lot 31
Beautiful small copper bracelet featuring tribal symbols with the Native American Thunderbird in the middle. Stamped Copper by Bell on the inside. It measures approximately 5"L around the inside with a 1" gap. Manufacturer: Bell Trading PostCountry of Origin: United StatesCondition: Age related wear.
Lot 574
‡ HELEN BRADLEY MBE (1900-1979) oil on board - 'Oh where, Oh where can Gyp and Barney be!', lady with a lantern and children at play, inscribed on card verso detailing the 1906 occasion when Helen and Aunt Mary returned from a walk without the pet dogs, signed and dated 1972, 28.5 x 24cmsProvenance: private collection CardiffAuctioneers Note: Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her late sixties. Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following the Second World War, Tom's work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. This she did, and the resultant portrait proved to be an important turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail. It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street's Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as 'The Jolly Granny' and 'England's own Grandma Moses' (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen's Birthday Honours, but sadly died before her investiture.Comments: Card reads, 'Oh where Oh where can Gyp and Barney be? We had been on a lovely walk that afternoon with the dogs romping along and enjoying themselves, but when we got near home they were not with us. We had our tea and still they did not come, so Aunt Mary lit the storm lantern and took George and me with her to see if we could find them. She asked some boys playing in Dove Street, if they had seen two little black dogs, "No Missus we haven't" they said, so sadly we had to return home without them and the year was 1906. Helen Layfield Bradley'. Framed, ready to hang.
Lot 197
A Louis XVI style gilt bronze cartel clock by Japy & Cie The enamelled 4 1/2in dial with Roman and Arabic numerals, the twin-barrel movement striking on a bell, with outside countwheel; surmounted by a classical urn, flanked by pierced grilles backed by red silk and flanked by trailing leaves and berries, with Apollo mask below and sunburst pendulum, marked on the rear and dated 1876, numbered 161 and 56, 60cm high. Provenance: Purchased J.J Allen Antiques Gallery, April 1984.
Lot 1375
A 19th century Adam Revival mahogany library bookcase, arched cresting carved and applied with a sunflower and bell husks, nulled capital above a pair of glazed doors enclosing eight adjustable shelves, the projecting base with a pair of panel doors, each enclosing a further adjustable shelf, plinth base, 261.5cm high, 171.5cm wide, 42.5cm deep
Lot 2082
A George III mahogany longcase clock, 30cm arched silvered dial inscribed Fredk Miller (Frederick Miller), London, Roman and subsidiary Arabic numerals, subsidiary seconds dial, twin winding holes, eight day movement striking on a bell, the case quite plain, 223.5cm high, 48.5cm wide, 23.5cm deep, c.1815
Lot 2250
A 19th century French Louis XVI style porcelain mantel clock, 7.5cm white enamel dial inscribed with Roman and subsidiary Arabic numerals in blue, eight day movement striking on a bell, the case as a columnar pedestal, moulded with tied ribbon and laurel swags, surmounted with putti and doves, rectangular panel beneath dial painted with lakeside scene, 43cm high, c.1880
Lot 2253
A late 19th century French Louis XVI Revival gilt bronze cartel wall clock, 15.5cm circular enamel inscribed with Roman and subsidiary Arabic numerals, twin winding holes, eight day movement striking on a bell, the backplate numbered 1426, the case cast with urn finial with loose ring goats head handles suspending laurel swags, 68cm high, 31cm wide
Lot 2272
A late 19th century brass figural mantel clock, 9.5cm enamel dial inscribed J&L MOLE, 36 NEW ST., BIRMINGHAM, Roman numerals, twin winding holes, eight day movement striking on a bell, the case cast with a military figure, probably Jacques Nompar de Caumont, 1st Duke of La Force, 61cm wide, c.1890
Lot 2288
A George III mahogany repeating bracket clock, 17.5cm arched brass dial with silvered chapter ring and cartouche inscribed John Ward, London, Roman and subsidiary Arabi numerals, Strike/Silent, date aperture, twin winding holes, eight-day verge fusee repeater movement striking on a bell, engraved backplate, the pagoda top case with brass carrying handle, 48cm high, c.1765
Lot 2292
A George IV Lancashire mahogany longcase clock, 34cm arched brass dial inscribed EDMD SCHOLFIELD, ROCHDALE, Roman and subsidiary Arabic numerals, engraved to the centre with Royal coat of arms, date aperture, rolling moon phase to arch, painted with courting couples, twin winding holes, eight day movement striking on a bell, the case with swan neck pediment, 242cm high, c.1825
Lot 2293
A George/William IV oak and mahogany longcase clock, 33cm arched painted dial inscribed W. Davenport, ASHBOURNE., Roman numerals, subsidiary seconds dial, date aperture, twin winding holes, eight day movement striking on a bell, the case with swan neck pediment, 226.5cm high, 59.5cm wide, 26.5cm deep, c.1830
Lot 2294
A Regency satinwood crossbanded mahogany longcase clock, 33cm arched painted dial inscribed John Morrell, Whitby., Roman and subsidiary Arabic numerals, subsidiary seconds and calendar dials, the arch with rolling moon, twin winding holes, eight day movement striking on a bell, the case with fretwork swan neck pediment, shaped rectangular door to waist flanked by inset Corinthian quarter-columns, 238.5cm high, 56cm wide, 27.5cm deep, c.1820
Lot 2295
A Victorian mahogany longcase clock, 35cm circular dial inscribed Thos Moore Derby, Roman numerals, subsidiary seconds and calendar dials, twin winding holes, eight day movement striking on a bell, the case carved and applied with a shell and acanthus, 221.5cm high, 59cm wide, 30cm deep, c.1865Thomas Moore worked at 4 Queen Street, Derby between 1855-1876
Lot 2296
An 18th century Oxfordshire Quaker longcase clock, 30.5cm arched brass dial inscribed Richard Gilkes, Adderbury, Roman and subsidiary Arabic numerals, date aperture, the centre with typical motif of concentric circles, thirty-hour posted birdcage movement striking on a bell, the plain case with arched hood and long door to waist, 225cm high, c.1750
Lot 2306
A 19th century American walnut shelf clock, 15cm painted dial inscribed with Roman numerals, twin-winding holes, eight-day movement striking on a gong and bell, arched case, the door reverse painted with a named view of Quarr Abbey [Isle of Wight], flanked by turned pilasters, 44cm high, c.1880
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123896 item(s)/page