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Lot 1087
A VICTORIAN SLATE AND GILT METAL MANTEL CLOCK, the serpentine dial with visible "brocot" escapement and two train eight day movement striking on a bell, the dial in a circular mount above a pendulum window and two gilt metal columns, above a conforming frieze, 18" high x 15" wide, with twin flanking ornaments with conforming decoration, each 10.5" high x 7" wide
Lot 408
An 18th century and adapted oak longcase clock, the flat top hood with dentil moulding flanked by turned pillars with brass capitals, the trunk with arched panel door and flanked by canted corners over a plain base and bracket feet, the 10" brass dial with silvered chapter ring and Roman numerals and Arabic five minutes, signed 'W. Porthouse, Penrith', and with silvered plaque engraved 'Nicholas and Mary Lowes, 1748', within gilt mask spandrels, with associated four pillar movement with anchor escapement and striking on a bell. 215cm high
Lot 658
An ebonised Arts & Crafts mantel clock, the top with three quarter balustrade, the square dial enamelled with Arabic numeral tablets, the spandrels with roses, the centre with bell flower pendants and leafage, bevelled glazed door, skirted plinth with blue enamel panel of butterfly, flowerheads and leafage, eight-day movement striking on a coil, 38cm high overall, Circa 1880
Lot 661
A French three piece white marble clock garniture, the clock with cylindrical drum shaped case surmounted by a winged infant and framed by a ribbon tied top, the white enamel dial with Arabic numerals and floral swags flanked by eight cone finials, the breakfront rounded top with beaded and lappet cast borders above nine white marble tapered pillars with foliate cast capitals and vasular cups, the conforming base with panels of foliate guilloche on cast toupie feet; the pair of four branch candelabrum with conforming white marble columns and circular feet on an incurved square base with conforming panels, eight-day movement striking on a bell, clock 47cm high, candelabrum 43cm high, Circa 1860 (faults)
Lot 662
A longcase clock of architectural proportions, the brass dial pierced to the top with vertical bars with veneered wooden plaque behind the chapter ring, Roman numerals, the centre dial with shaped fret cut inner dial and subsidiary seconds dial, the case with simulated brickwork, the top with arched bell tower, further towers flanking, the case with porticos and niches, the glazed door with simulated keystones and flat tracery with sand blast textured glazed panels, the top bearing brass plaque inscribed Made by W. Keegan AD 1988, three weight five tube striking movement, the base with classical arcaded pillar gallery, 288cm high approx., 90cm wide approx.
Lot 663
A George II black painted longcase clock, the arched dial inscribed John Thompson, London, within an engraved circle flanked by a pair of mythical horse and scroll cast spandrels, the brass chapter ring with Roman and Arabic numerals, matted centre dial, cherub pierced spandrels, the hood with pair of ebonised pillars, the arched trunk door with gold painted ovolo moulding, 196cm high (extensive faults, old restorations, newer restorations, reduced); together with a box inscribed Black Grandfather Clock containing a number of items relating to this particular clock including: cogs, bell striker etc.
Lot 690
A 19th Century postman's alarm, the circular white face with pale pink chapter ring, Roman numerals, brass alarm dial and pierced blued steel hands, the mahogany stained beech frame convex moulded, the movement striking on a bell with pair of fir cone weights, 28cm diameter overall, Circa 1860
Lot 691
A lantern clock of conventional design with arched frame supporting the bell with tall spire finial, the foliate engraved and blacked plates pierced above a circular chapter ring, Roman numerals, the centre inscribed Thomas Moore, Ipswich, 39cm high; fitted in a later oak wall stand with applied gold painted pierced white metal panels, 20th Century
Lot 696
A German ebonised mantel clock of waisted Rococo form, the front inlaid in engraved brass, tortoiseshell, mother of pearl, pink and blue enamel, scrolls and leafage, the white enamel dial with Roman numerals, gilt metal bezel, French movement striking on a bell, 43cm high, Circa 1870 (faults)
Lot 697
A French painted giltwood clock of waisted cartouche form, the case with floral carved pediment above floral filled panels, the front with ribbon tied foliate pendant, the white enamel dial inscribed Dutertre, a Paris, Arabic numerals, pierced brass engraved hands, eight-day movement striking on a bell, beaded milled bezel, conforming floral painted panel under, scrolling legs, 44cm high, Circa 1880
Lot 698
A French ormolu and marble mantel clock, the movement contained within a circular fronted waisted square pedestal, a seated figure of Minerva flanked by ewer and shield, she holding a spear in her left hand and branch in her right, oval white marble plinth, the waisted base ornately cast with mask and scroll headed cartouche and mythical beast scroll legs, the dial with enamel tablets and Roman numerals, blued steel hands, eight-day movement striking on a bell, Circa 1860 (faults)
Lot 699
A 19th Century bronze mantel clock, the movement contained within a rock flanked by a classical figure of a sculptor with fragment at his feet, holding a chisel in his left hand and mallet in his right, the white enamel dial with blue Roman numerals, pierced blued steel hands, eight-day movement striking on a bell (bell missing), the rectangular stepped base cast egg, dart and laurel, the Sienna marble plinth with applied ribbon tied oak leaf and sculptural trophy, the angles boldly cast as acanthus wrapped paw feet, 53cm high, 47cm wide max., Circa 1850
Lot 8
VICTORIAN ROSEWOOD DROP DIAL WALL CLOCK the two train key wind movement striking on a bell, the 11.5 inch dial with Roman numerals, two front winding holes, pierced steel hands, hinged moulded brass bezel, the octagonal rosewood hood with mother of pearl inlaid decoration, the pendulum window flanked by later carved fruit vine ears, approximately 67cm high
Lot 799
Aviation/RAF, original Air Ministry Fire Bell from Bentley Priory RAF Station. Nickel/bronze metal with King's crown above impressed 'A.M.' lettering & 1937 date mark. Originally overpainted in red but now bear metal with some slight signs of repainting. Complete with clapper & knotted rope pull. Provenance - bell presented to Station commander following fire at the site in late 1970's. Written provenance can be provided by vendor to successful bidder if required. (1)
Lot 194
A 19th Century French Chinoiserie Mantel Clock: Ormolu case, depicting a stylised Chinese couple dressed in finery, drinking tea, supported on a panel depicting a Chinese boat on river by buildings, ornate scroll base with five panels of locust, Ho-Ho birds etc. Eight-day French movement striking on bell (no pendulum) H51cm x W42cm x D13cm
Lot 199
An Impressive Large 19th Century French Ormolu Mantel Clock: In the form of two Neo-Classical seated women and Cherub. The clock with ornate garland and ribbon detail in onyx housing, on grey marble base, inset with panels of filigree masks and Cherub frieze. Standing on six beaded bun feet. The 8-day movement by Mougin striking half hours and hours on bell, dial with Roman numerals and outer chapter ring in Arabic numerals. H 65cm x W 45cm x D 18cm CONDITION REPORT: Perfect working order
Lot 205
A Mahogany Sheraton Revival Wellington Chest by Edwards & Roberts: The rectangular top inlaid with an oval shell paterae, above seven drawers inlaid with scrolling acanthus, with right bar locking mechanism inlaid with pendants of bell flowers, lion mask round handles, top drawer impressed 'Edwards & Roberts' H 111cm x W 59.5cm x D 40cm CONDITION REPORT: Minor loss to the crossbanded satinwood veneer to the edge. Structurally sound, with oak drawer liners with green baize fitted to interior of drawers. Clearly stamped Edwards & Roberts to the top drawer, original lock present. Minor losses to plinth base
Lot 479
A 19th Century combination gold thimble and scent bottle in ivory case, the plain thimble with initialled frieze ‘MP’, seated over a miniature glass scent bottle, complete with stopper and gilt screw top, the ivory case with circular base below a bell shaped cover, 5cm high, 3.6cm max dia.
Lot 45
Mauchline ware – sewing – five pieces comprising a cylinder crochet case (Gwrych Castle, North Wales) 9cm, a bell form tape measure, tape within (Marine Drive, Ormes Head, Llandudno) a needlebook (S. John’s Ch, Newton, Porthcawl) another incorporating pin cushion (Penmaenmawr) and a notelet case (The Lake Llandrindod Wells). (5)
Lot 411
An oak Lancashire George III longcase clock, the 34cm dial, with Roman chapter with Arabic minutes numerals, floral spandrels, white moon phase within main chapter painted with bucolic scene, subsidiary date dial , pierced gilt hands, signed Hodghon[sic]/Preston, eight- day movement striking on a bell, the hood with mahogany frieze, turned pilasters, shaped door, flanked by plain quarter columns, canted angles to base, 199.4cm high The blundered signature relates to Thomas Hodgson of Preston was working in the later decades of the 18th century and is thought to have been related to the Hodgson clcokmakers of Lancaster.
Lot 660
‡SIR LAWRENCE BURNETT GOWING CBE (1918-1991)Mare Street, Hackney, 1937oil on canvas28 x 36 in (71.2 x 91.4cm)Exhibited:The Storran Gallery, Piccadilly, London 1938 The Ashmolean Gallery, Oxford 'Members of the Euston Road Group' May-June 1941 no.17 Royal Academy of Arts, London 'British Art in the Twentieth Century' Jan-April 1987, no.162 Musee D'Arte Moderne, Paris. 'Annees 30's en Europe' Feb-May 1997Literature: Bruce Laughton. The Euston Road School. Scolar Press. 1986 (col. ill plate 7)For another London view by the artist cf. 'A view of Wellington Square (Chelsea)', sold Bearne's, Hampton and Littlewood, 4th Sept 1991Laughton wrote that 'Mare Street Hackney' was the best known work that Gowing executed while a pupil at the Euston Road School in 1937/38. It was painted over the winter of 1937-8 as the artist recorded 'mostly before Christmas'. 'Mare Street, Hackney' was exhibited as one of the 'Fifteen Paintings of London' shown at the Storran Gallery, Piccadilly in October 1938, in the company of other works by founding members of the School including William Coldstream, Victor Pasmore and Claude Rogers. Claude Rogers is said to have referred to the painting with affection as 'Lawrence's Tram'.The painting features a no 31 double decker London tram car negotiating a bend in the main street of the Borough of Hackney. It was singled out by Clive Bell in his review of the Exhibition as 'the surprise of a surprising Exhibition'. Recognising it as a significant work by a student of the School, Clive Bell wrote in 'The Statesman and Nation' in November 1938 that if 'Rogers is sensitive, Gowing is supersensitive' by which he meant the delicacy of Gowing's perception of colour.Laughton also noted of the painting 'The artist's apprehension of the subject and place is highly lyrical- in spite of the ostensible drabness of the venue, he paints it as a Venetian might have painted The Grand Canal. But the light is not that of Venice. Grey and Shadowless, it gives the houses of predominantly yellow-grey London brick, dense and tangible surfaces within their sharp silhouettes. Against these grey planes unusual details such as the white lozenge of awning over a shop front, the odd geometric structures of the red and ochre tram,and the two non-conforming house facades (a cream by a red) stand out with increased luminosity'. The various foot passengers, and the belisha beacons (introduced by Mr Hare-Belisha, Minister of Transport in Neville Chamberlain's Government of 1938) are recorded with a provision surely inspired by Coldstream and comparable to the details in the latter's 'St. Pancras Station' which was also displayed in the 1938 Exhibition.Claude Rogers noted in his Memoirs that the Tram itself was slightly 'askew' in the road, a feature which pleased him because compositionally it acted as a stabiliser to the thrust of the orthogonal lines in the picture. 'On the skyline every black chimney-pot is measured in relation to its stack, point by point. the sky is pale and of a grey transparency, giving the whole illumination a feeling of the kind of clarity that occurs after rain' (Laughton, op. cit)The painting also had a profound impact on Graham Bell, one of his fellow artists in the Euston Road School. In the early war years when the prospect of a German victory in Europe loomed, Bell reproduced 'Mare Street, Hackney' in a late 1940 edition of The Studio. He included it within an article that he termed 'Art in the Island Fortress, a survey of contemporary British Art from Walter Sickert and Ethel Walker to Graham Sutherland and Lawrence Gowing'
Lot 658
‡The following three lots are sold on the instructionsof Shrewsbury College of Arts and TechnologyROBERT MEDLEY, CBE. RA. (1905-1994)Red Street Scene with Figuresoil on canvas30 1/2 x 40 1/4 in (77.4 x 102.3cm)Exhibited:Robert Medley Retrospective Exhibition, paintings, drawings and sculpture 1928-1963. Whitechapel Art Gallery, London November-December 1963, no 6'Red Street Scene' is mentioned in the Whitechapel exhibition catalogue - "1938. Painted Red Street Scene, a more social-realist picture with expressionist-caricature elements of distortion and 'artificial' invented colour" and (he) "began to feel the need to eliminate elements of fantasy from his work. Medley feared sentimentality and started to mistrust surrealist fantasy"'Robert Medley Exhibition' 1984 no.10. Museum of Modern Art, Oxford. The frame bears a 'Contemporary Art Society. Art Exhibitions Bureau, London'label on the reverse.For a smaller study for the painting in this auction.cf Dreweatts & Bloomsbury Auctions, Oct 2014. lot 342 Medley included in the 39th Exhibition, New Burlington Galleries, London. Oct-Nov 1937 , ,no.38 a painting titled 'Men, Women and Children talking and Playing'. 50 gns.He was however also working on a number of other paintings at this time. In the same year 1937, Medley exhibited six pictures including 'Tenement Buildings' and 'Jokers' at Agnews Robert Medley studied at the Byam Shaw and RA Schools, London in the early nineteen twenties, and later in Paris from 1926-1928. In the period 1929-1934 he worked with both Duncan Grant and Vanessa Bell. He showed with the London Group from 1929 becoming a Member in 1937. As art Director of the Group Theatre 1935-1939 he designed the settings and costumes for a number of Productions. In 1938 he won the commission to paint the safety curtain for the Old Vic , and from about the same time he was working on another street scene known as the 'Butcher's Shop'.
Lot 121
A collection of eight hunting and fishing knives, to include an unmarked WWI Fairbanks-Sykes style fighting knife, the tip rounded, blade 16.5cm, no scabbard, two knives by Bell of Sheffield, each with compacted leather disc grip, a Stag antler dagger, three Bowie style knives, and a short bayonet
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123896 item(s)/page