dating: first quarter of the 19th Century provenance: Turkey Smooth, round, damask blade with strongly bell-mouthed nozzle, featuring a relieved, gilt-inlaid cartouche at the base and an Arabic, gilt-inlaid stamp at the center, the center of the blade featuring a short, gilt-inlaid rib with the edges in the shape of flowers; the frame at the nozzle is gilt as well as the barrel tang. Lock with flat plate marked "LONDON", "LONDONA" and featuring a gilt-inlaid arrow with racemes, hammer en suite; remains of gilding at the pan. The spring with anti-friction system. Wooden full stock with floral engravings and checkered at the neck, brass mounts (the back tang of the trigger guard and the ramrod missing, mechanic to be checked) engraved with floral motifs; two ramrod holders, sideplate consisting of two elements. dimensions: length 51,5 cm.
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dating: late 18th Century provenance: England Smooth, round barrel with octagonal rib, slightly bell-mouthed nozzle, provided with foresight, marked "LONDON", with test bench stamps on the left and small engravings; iron tang; lock with slightly roundish, brass plate, with unclear signature; iron hammer and piston; wooden full stock decorated with white metal inlays depicting spirals; bas-relieved, brass mounts. dimensions: length 34.5 cm.
A VICTORIAN GILT SPELTER AND MARBLE MANTEL CLOCK, the circular dial signed "T. Schiemer Bordeau" with gilt numerals, with an eight day two train movement striking on a bell, the dial set within a classical style ivy clad column flanked by a maiden, on an elaborate slate and gilt base, 26.5" high x 18.25" wide
A GEORGE III LONGCASE CLOCK, the brass dial signed "Simon de Charmes", with subsidiary date aperture and seconds dial, the arch with a central tablet inscribed "W. Hallack, Cambridge", with an eight day two train five pillar movement striking on a bell, the mahogany case with arched top hood, the trunk with tall door flanked by quarter recessed brass stop fluted columns, 92" high. See illustration
A GEORGE III MAHOGANY BRACKET CLOCK by Leroux, Charing Cross, the white enamel dial with Roman numerals, with an eight day two train fusee movement striking on a bell, the waisted case with pine cone finial and twin carrying handles, with brass grille and stringing, 19" high x 11" wide. See illustration
A GEORGE II SILVER GILT CORONATION CANOPY BELL of conventional form with reeded lower section and loop attachment, the engraved inscription reads "One of the bells belonging to the canopy born over King George II at his Coronation. Given to the Lady Eliz. Germain by the Hon. George Berkeley, her brother, one of the Barons of the Cinque Ports", by Francis Garthorne, London, circa 1727, 3.25" high (c.7.4oz). See illustration A small group of Coronation bells survived. The earliest example is thought to have been used at the Coronation of King Charles II in 1660. Two Coronation bells were bequeathed to the nation by Sarah, Countess of Waldegrave. The first is by Francis Garthorne and is hallmarked for 1714/15, however it is engraved "George II 1727". It has been suggested that it was first used at the Coronation of King George I in 1714 and reused at the Coronation of his son in 1727. The collection of the Victoria and Albert Museum also includes bells used at the Coronation of King George III in 1761 and King George IV in 1821. The latter also having been bequeathed by Lady Waldegrave. This bell, used at the Coronation of King George II, is illustrated in M. Clayton "The Collective Dictionary of the Silver and Gold of Great Britain and North America", Woodbridge, 1971, pg. 34, fig. 33b. Provenance: The Hon. George BerkeleyThe Lady Elizabeth GermainPrivate Collection, Dorset
A French brass carriage clock by Richard & Co., Grand Sonnerie with repeat mechanism and alarm, 1969 grams, cased. Height excluding carrying handle 14.3 cm (see illustration). CONDITION REPORT: The clock winds on both trains and is ticking away. It has two gongs and no bell. The alarm mechanism seems to wind correctly. We have not had the repeat mechanism or the Grand Sonnerie mechanism working. The clock face is in generally very good order with no visible damage. There does not appear to be any damage to any of the glass panels. The rear door fits correctly. The original lacquered finish to the clock is perished in places and the outer case certainly requires a clean. The carrying case is in very poor condition and is quite badly damaged.
A George III long case clock by Richard Kenfield, Winchester (1750-90), the 12 inch gilt domed dial with urn and scroll spandrels and Roman numerals, with subsidiary second dial and date aperture, the dome with dolphin spandrels around strike/silent dial, the fusee movement striking on a bell, in later oak case, 198cm
A very rare Steiff elephant skittle with elephant button, circa 1904, of grey velvet, black bead eyes, bone tusks, turned wooden base, original red ribbon with bell and very rare elephant button with S shaped trunk - 7in. (18cm.) high - previously in the Paul Greenwood Collection sold by Christie’s in 2010
An unusual miniature long case mantle clock, Smiths, London, a German miniature mahogany long case clock, late 19th century; a German cuckoo clock, another similar; a late 19th Century German mahogany mantle clock, twin winding holes, Roman numerals, chiming on a bell, presentation plaque for 1900
Early nodding & growling (barking) French Bulldog of flock covered papier-mache construction (named Coco), by Roulets et Decamps, circa 1880, with original glass eyes, 'badger hair' collar and chain lead, original wooden wheel to each paw, growler and mouth in full working order, bell around his neck with 'Lucerne' on it, slight wear to lower jaw, otherwise wonderful condition, detail is excellent showing his rib cage and backbone, such a charming item, height 28.5cm, length 45cm approx.
* VINOGRADOV, SERGEI (1869-1938) Church of St Nicholas. Inner Entrance to the Monastery, signed, also further signed, titled in Cyrillic and numbered “N 39” on the label on the stretcher, further inscribed “razmer bolshoi” on the stretcher. Oil on canvas, 73.5 by 60 cm. Executed in 1928–1929. Provenance: Acquired by the previous owner in the 1930s. Private collection, Switzerland. Thence by descent. Private collection, South Africa. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Possibly, Sergei Vinogradov, Riga, 14 April–5 May 1935, No. 39 (label on the stretcher). Literature: V. Sinaisky, Pskovo-Pecherskii monastyr. Obshchii kulturno-istoricheskii ocherk, Riga, Riti, 1929, illustrated on the cover. N. Lapidus, Sergei Vinogradov, St Petersburg, Zolotoi Vek, 2001, p. 170, illustrated. The paintings by Sergei Vinogradov offered here at auction – Church of St Nicholas. Inner Entrance to the Monastery and Pechersky Monastery. The Belfry – belong to his renowned series of works from 1928 to 1929, dedicated to the age-old and exceedingly beautiful Pskovo-Pechersky Monastery of the Holy Dormition. The artist had long been interested in the subject of the quiet monastic life running its course against a background of old, majestic church architecture. Even at the very outset of his creative journey Vinogradov had painted several canvasses depicting pilgrims in Orthodox holy places: Coming out of Church, By the Chapel (both 1893), Paupers near a Church Wall (1899), In the Monastery Cell (1916). Nor did Vinogradov abandon his beloved churchly subjects after the revolution. Even when the artist set out to the United States with an exhibition showcasing young Soviet art, he took several pictures of monasteries with him. One such work – The Marfo-Mariinsky Convent (1922) – was bought right after the opening of the exhibition by the composer Sergei Rakhmaninov, who in the early 1920s had settled with his family in a house on the Hudson River. When Vinogradov left the United States in 1924, he did not return to Soviet Russia, but based himself in Riga, where he soon opened a studio. His workshop received many eager visitors, and among the students was a well-known professor of jurisprudence, Vassily Sinaisky, who had also come over from Moscow to Riga. The acquaintanceship between these two talented individuals soon grew into friendship, and in the summer of 1928 Vinogradov and Sinaisky set off for neighbouring Estonia to paint the Pechersky Monastery en plein air. By a quirk of fate this ancient Orthodox religious convent had also ended up as a Russian émigré. Under the treaty of 1922, the male monastery of the Holy Dormition was passed over to bourgeois Estonia, thereby avoiding closure and ruination. The monastery, spread out at the bottom of a deep ravine, with most of its cupolas at a lower height than the foundations of its walls, made a very picturesque view. In fact, the monastery had grown out of a cave hermitage (pechora is actually “cave”), where in the 14th century fugitive monks from the Kiev Pechersk Lavra had prayed. The site was on land then subject to a dispute between Pskov and Livonia and was constantly changing hands, so that it was scarcely less dangerous than the territory in the South being ravaged by Tatars. The hermitage gradually expanded, miracles were reported and incorruptible relics obtained. In 1473, the monastery was officially established, and in the 16th century, under Abbot Cornelius, the Pskovo-Pechersky Monastery grew into a mighty fortress, replacing the “morally obsolete” Izborsk. The monks acted as missionaries, christening the local people. By the time of Ivan the Terrible, the monastery, born on foreign soil, had made that very soil Russian. Over the two summers of 1928 and 1929 Vinogradov and Sinaisky prepared an album dedicated to the Pechersky Monastery, reproducing on the cover the painting Church of St Nicholas. Inner Entrance to the Monastery, offered here at auction; other paintings by the artist were also used as illustrations. The book was published in Riga in 1929 to significant acclaim, becoming a bibliographical rarity and bringing its authors great renown. In the footsteps of the publication, Vinogradov had a one-man exhibition in Riga in 1935, held in a hall on Kalpaka Street, where “pictures of the architectural ensemble at the Pskovo-Pechersky Monastery formed a harmonious view”. As newspapers wrote at the time, “Vinogradov is an astonishing artist: whatever he tackles suddenly starts to shimmer and shine. All these canvasses are suffused with joy, affection and delight; this is a world one wants to live in”. There were paintings of the strong monastery walls erected long ago “for the sake of defence”, the old church of St Nicholas standing at the entrance, the monastery ensemble’s chief place of worship wallowing in green foliage – the Cathedral of the Dormition with its blue lazurite cupolas. In some canvasses one can also recognise the ancient bell tower of white stone, which was built in 1523 and is believed to this day to be the largest in the Pskov region. Its impressive masonry, which is easily recognised in Nicholas Roerich’s well-known painting Monastery near Pskov, has often inspired artists captivated by the spirit of old Russia. Vinogradov wrote of working at the Pechersky Monastery: “When entering the monastery I always experienced an astonishing feeling – all modernity, every aspect of “today” fades away completely, and the heart is filled with a glorious delight”. It comes as no surprise that Vinogradov and Sinaisky conceived the Pechersky cycle of works, inspired by their favourite author, Fyodor Dostoevsky, who wrote that culture is the worldly embodiment of a divine principle. In other words, for culture to be preserved, it must have its “holy ground”, a spiritual soil where Christ can descend again. For Vinogradov, the Pechersky Monastery was just such a place.
A gilt brass carriage clock with alarm signed 'Racine & Co.', late 19th century, four bevelled glass panelled obis case, oval glass escapement light to top of case, white Roman enamel dial with subsidiary alarm dial below six, single train movement with alarm bell beneath base, 7¼in. (18.4cm.) high, with key.
A French Sevres style three piece clock garniture, late 19th century, the gilt mounted case with two classical female figure surmounted to arched roof above a red porcelain dial bearing Roman numerals on white ground segments, eight day bell strike movement, a porcelain panel of a recumbent shepherdess with one of her flock inset to lower section, flanked by acanthus scroll pillar to sides of body, on rectangular base with raised acanthus leaf decoration, bracketed corners with roundel design, 14in. (35.5cm.) high, with conforming ovoid urns, 12in. (30.5cm.) high. (3) * Condition: Has original pendulum - stamped with matching no. the movement. Dial not cracked or chipped. Some gilt wear. Both hands slightly bent. No damage to any or porcelain parts. One urn with poorly matched replacement finial. Back of one garniture base dented inwards a little. Dulled gold finish throughout, but around borders in a few places the gilding is much brighter. Two whitish oxidised patches to back of top of clock case. Chip to corner of front left foot on clock.
A French engraved slate and green marble clock garniture, 1870s, the circular 95mm Roman black enamel dial signed 'Van De Lannoy, Lille', framed by a circular gilt bezel with husk decoration, bevelled glazed door with bead work to edge, eight day bell strike movement, encased in square slate and marble body with engraved spear and scroll spandrels augmented with marble corners, surmounted with a marble urn bearing brass scroll handles and bouquet finial on variegated rectangular plinth, lion and ring masks to sides, two rear brass bracket supports, the front with two corner mounted brass lion paw feet, 18½. (47cm.) high, 11in. (28cm.) wide, the garniture completed by a pair of gilt brass urns of elongated ovoid form with sword, rose and quiver relief panels, waisted dodecagon chamfered neck, on brass bracket supports to rear, scrolling front supports, 12½in. (31.7cm.) high. (3)
A French gilt brass figural mantel clock, late 19th century, the enamel Roman dial signed 'F. L. Hausburg A Paris', eight day twin train movement striking a bell, the baroque case with inset marble panels and surmounted by a maiden beside a water fountain, 14½in. (37cm.) high. * Condition: Small enamel flaking from around right hand winding hole and hairline from hole to edge of dial at 3.30. V-shaped flake below other winding hole and a few craze cracks around the six marker. Case in good condition with no damage or losses. Case would benefit from a clean. The pendulum is suspended from two fine steel springs - one is snapped so the pendulum hangs and moves unevenly.
A late 19th century rosewood and marquetry cased mantel clock, by Henry Marc of Paris, graduated scalloped upper section with square strung inlay, over a waisted form trunk, the front inlaid with scallop shell and foliate cartouche, trailing foliate wreath encompassing a pair of Ho-Ho birds, 75mm silvered Roman dial with fine machined decoration, gilt bezel with stepped rope twist machine worked border, signed eight day movement with a silk suspension and locking plate count that sounds the hours and half hours on a bell, arched access panel to rear inscribed with pen and pencil annotations of service history, 9¼in. (23.5cm.) high.
An inlaid slate cased mantel clock, late 19th century, white enamel Roman dial, marked 'Dufet A' Nantes', eight day bell strike movement signed for Vincenti, 1855, within a waisted form central body, with slate and Eretria marble top with bronze covered urn surmount, decorated with rose florettes and thorned stem handles, on wider base bearing Eretria marble inlay, 13in. (33cm.) high, 8¼in. (21cm.) wide.
A Norwegian silver gilt and plique à jour spoon, circa 1920, barley twist stem with floral and foliate terminal to a filigree work bowl with conforming holly-leaf, berry and hare bell decoration, the outer rim with a border of blue and green enamel circles, unmarked, 7in. (17.8cm.) long. * Condition: Two tiny cracks to one flower petal on terminal. Tiny cracks visible under a glass throughout to the clear and sky blue glass to bowl. These are probably from the making.
An Edwardian silver sugar caster, Robert Pringle, Birmingham 1901, inverted baluster form, the pierced bell form cover with spiral twist finial, the body with spiral flute and reeded decoration, on a stepped pedestal foot, 7¼in. (18.5cm) high, weight 6.6 tr.oz. * Condition: Marks good. Bent very slightly sideways on foot. Otherwise good condition.
A pair of George V silver wishbone sugar tongs, Barker Bros., Birmingham 1933, 3½in. (8.9cm.) long; together with an unmarked silver and mother of pearl baby's rattle and teether, 3¼in. (8.3cm.) long. (2) * Condition: - Tongs: Good marks. Good cdn. overall.- Rattle: Glue marks around joint of silver and MOP (possibly repaired). One bell slightly squashed.
A late 18th century Channel Islands mahogany cased half hour striking eight day longcase clock, the foliate engraved arched brass dial signed 'Edouard Renouf, Jersey' to the centre and with engraved subsidiary seconds dial at noon, date aperture at six, silvered Roman chapter ring and Strike/Silent to arch, floral and foliate gilt spandrels, twin train bell strike movement, the case with gilt ball and eagle finials over a stepped arched cornice on fluted columns, the trunk with arched door and moulded corners, on a plain plinth with bracket feet, 89½in. (227.5cm.) high.
A 19th century French rose marble and ormolu three piece clock garniture, Japy Freres signed eight day bell chime movement, no. 520241, within an ormolu drum form case with flaming torch and quiver surmount, the Arabic white enamel dial with painted swags of pink roses, pierced gilt hands, on ormolu mounted rose marble waisted pedestal and wider base, with bronze winged cherub to the right holding a bow, on gilt toupie feet, 13½in. (34.25cm.) high, the matching pedestal urns of ovoid form, with ormolu fruit finals and rams head mounts, 10in. (25.4cm.) high. (3)
A late 19th century French rose marble portico clock garniture, the eight day movement, no. 4326, with outside count wheel bell strike and floral basket pendulum, within a gilt brass drum case with crossed lute and lyre surmount, the white enamel Arabic dial with painted swags of pink roses, signed for the retailer 'Philibert, Caen', behind bevelled glass, on rose marble portico base, raised on gilt toupie feet, 16in. (40.5cm.) high, the matching urns 9¾in. (24.7cm.) high. (3)
A French 19th century tortoiseshell and brass boulle work bracket clock, Samuel Marti, eight day, outside count wheel bell strike movement, no. 15010, matching no. to dial backplate, mask sunburst pendulum, the 5in. engraved gilt dial with Roman cartouche enamel numerals, the pagoda top case with gilt bronze cherub surmount, four urn finials and gilt mask, foliate and floral mounts, the arched and glazed side lock door with decorative mounts of swags and a pair of doves, the clock interior with boulle scroll work back panel and chequered tile effect floor, on tapered foliate feet, 19in. (48.25cm.) high. * Condition: Small edge chip to enamel on numerals X and VIII. Two edge flakes to enamel on V and larger chip to III. Tortoiseshell throughout in good order, with just one small chip to top of front 'roof' section and smaller chip to back edge of left hand panel on 'roof. Small corner chip to back of top of case. Some crazing and craquelure in places to shell. Brass inlay in VG cd., with just minor lifting to right hand side of front 'roof' panel. Interior boulle inlay also VG. Older regilding to all metalwork.
A late 19thC French bronzed spelter and marble clock garniture by Marti, one barrel clock flanked by a seated classical figure, Le Penseur, floral painted enamel dial bearing Arabic numerals, eight day movement, half hour striking on a bell, raised on a rectangular white marble base and four paw feet, 36cm x 16cm x 29cm, and a pair of vases and covers of urn form raised on three goat monopodia, square marble base, raised on paw feet, 33cm high.
A Victorian slate mantel clock, of architectural form, brass dial, black enamelled chapter ring bearing Roman numerals, eight day movement by A Carlhian, Paris, half hour striking on a bell, presentation plate engraved to Mr T Wood, Master Armourer by The Officers and Workmen of HM Gun Wharf, Devonport, September 1885, 26cm x 16cm x 25.5cm.
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123939 item(s)/page