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Click here to subscribeA VICTORIAN SCOTTISH RECEPTION OR TABLE BELL on a hunting theme with foxes, dogs, horse`s heads, dead game & hunting scenes around the body, resting on lion mask feet by Edward & Sons, Glasgow 1889; 6" (15 cms) high; 22.3 oz gross (metal innards)Condition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A MIXED LOT: A dessert spoon, crested by Hester Bateman, London 1780, a Continental pale blue enamelled bell push, a Victorian mounted ivory pickle fork by George Unite, Birmingham 1860, a modern Spanish swizzle stick in the form of a golf club; the bell push 2.2" (5.2 cms) long (4)Condition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
MONA HOPTON BELL (Fl.c.1903-1920) THE GREEN PARASOL Signed, oil on canvas laid on board 73 x 54cm. * The sitter was a Liverpudlian flower seller. Provenance: By direct descent in the family of the artist. ++ Needs a light cleanCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A MATCHED SET OF TWELVE GEORGE III TABLE KNIVES with two different masks on the terminal, gadrooning & graduated bell flowers, steel blades, by two makers (WA & an indistinct script mark), London c.1775 (12)Condition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A CARRIAGE CLOCK dial white enamel, movement repeating, with cylinder escapement striking on a bell, the backplate signed Bolviller a Paris, case with moulded edges, the edges and back door engraved with foliate scrolls, 5 1/4ins. (13cms.) highCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A CARRIAGE CLOCK dial white enamel, signed Martin Baskett & Cie, a Paris, movement lever escapement, striking on a bell, the backplate also signed, case gorge, engraved with stylised foliage on a matted ground, lift-up engraved rear panel, 5ins. (12.5cms.) highCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
AN ORMOLU CARRIAGE CLOCK dial white enamel with sweep seconds hand and subsidiary alarum dial, movement repeating, lever escapement, motion works on the backplate, alarm on bell and striking on a gong, 6ins. (15cms.) highCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A MAHOGANY BRACKET CLOCK dial cream painted, movement arched backplate, striking on a bell, case stepped, the front flanked by turned pilasters beneath bold florettes, on paw feet, 22 1/2ins. (57cms.) wideCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A BOULLE FACED MANTEL CLOCK dial ormolu with blue and white enamel numerals, movement drum, signed A. Bernoud, Paris, striking on a bell, case inlaid with brass foliate scrolls on a red tortoiseshell coloured ground, complete with matching plinth, 17ins. (43cms.) high overallCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A BLACK SLATE TABLE REGULATOR dial white enamel with exposed jewel escapement, movement drum, mercury pendulum, striking on a bell, case architectural with gilt metal corbel mounts, 21ins. (54cms.) highCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
AN ORMOLU MANTEL CLOCK of Louis XVI inspiration, dial white enamel, signed Mappin & Webb Ltd., movement drum striking on a bell, case set with bleu de roi panels, the sides with bold rams masks, 6 3/4ins. (17cms.) highCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A GILT SPELTER AND TURQUOISE "SEVRES" MANTEL CLOCK dial painted with a central floral and bird roundel, movement drum, striking on a bell, case architectural surmounted by an urn, 17ins. (43cms.) high, together with a giltwood plinth and glass domeCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A LARGE BLACK MARBLE MANTEL CLOCK dial white enamel, movement drum, signed Howell James & Co., London and Paris, striking on a bell, case fluted drum with green serpentine bezel and glazed back door, 14 1/2ins. (37cms.) highCondition reports are available via the ‘View Complete Catalogue’ link at www.lawrences.co.uk
A quantity of Royal Albert Old Country Roses pattern tea wares (in unused condition) comprising teapot, milk jug, sugar bowl, covered sugar bowl, six cups, six saucers and a cake plate together with a vase of shouldered form with flared neck, a further slender vase and a bell with heart shaped handle in the Old Country Roses style
A selection of brassware to include a pair of candlesticks in the Georgian style with baluster tapering stems, a trivet of rectangular form with pierced geometric detail raised on banded iron supports, a brass temple type bell in the Chinese style with chased decoration raised on stained timber framework with associated hammer, etc
A 19th century brass inlaid domed cased bracket clock, the painted dial with Roman numerals to a twin fusee two train four pillar movement striking a bell, flanked by twin lion mask ring handles on ball feet - Height 43 cm Condition report: The case has minor splits and veneer loss and normal wear for its age
Attributed to H Bell & Co, brass folding guinea and sovereign scale, circa 1820, with double turn, within a mahogany fitted case with applied instruction labels to base, 14.1cm, and Thomas Simmons, a plated brass rocker balance, circa 1818-1833, the poise stamped with a crown, to weigh and gauge sovereigns and half sovereigns, within a cap end cardboard case with trade label for `T Simmons, improved sovereign balance, to weight and gauge sovereigns and half sovereigns …`, 9.4cm See Weighing Coins by Michael A Crawforth, page 52, figure 20, for a similar example. H Bell & Co also sold scales to John Whitley to retail under his own name
ORDNANCE SURVEY - (Central Nottinghamshire), 6 inch to mile series, 33 sheets, each folded on linen within marbled wrappers. (30 x 44cms. approx.) some outline colour, contained in 3 cloth boxes - with relevant map & James Bell (Nottingham O.S. agent) labels. (ca. 1905?) * includes most the City of Nottingham
A Caughley saucer dish, possibly a bread and butter plate, circa 1776-95, transfer printed in the Bell Toy pattern below a single blue line rim, unmarked, 22cm diameter (firing flaws and chip to rim) Ex J&S Wyatt Collection paper label. See C&WP, page 25 for a discussion on this design where the following is surmised, 'This design was one of the earliest employed on Caughley porcelain, for it is found on the mug dated 1776 in the Victoria and Albert Museum. The subject was re-used by the Coalport partners on their post-1799 hard paste porcelain. The original name of this pattern was probably 'Image', for which there are a number of references to in the Chamberlain/Caughley accounts'.
A Caughley teapot and cover, circa 1780-85, transfer printed in blue with the Bell Toy pattern, of plain, globular form, with double indented loop handle, the cover with plain knop, printed S mark, 16cm high See The Ironbridge Gorge Museum Trust's, 'A Bicentenary Exhibition of Caughley Porcelain, c.1772-1799', hereafter referred to as CBE, page 40, plate 419 for a teapot in the same pattern.
A pair of Caughley tea bowls, transfer printed in underglaze blue with the Mother and Child pattern, with associated three urns in landscape print and blue line to edge, unmarked, 8cm diameter (2) See C&WP, page 26, for a discussion of this pattern's similarity to another Caughley pattern, the 'Bell Toy', where the author notes the main difference between the two is that the Mother and Child design has a child holding aloft a small clover-leaf shaped hand-fan, rather than a bell toy.
A Coalbrookdale cast iron plaque, dated 1887, with bronzed finish, the first from a series of plaques taken from Henry Wadsworth Longfellow's poem, 'The Village Blacksmith', inscribed with the plaque's title, 'Under the Spreading Chestnut Tree', signed 'B Creswick 1887', framed, plaque measures 40.5cm x 25.5cm Poem: Under a spreading chestnut-tree The village smithy stands; The smith, a mighty man is he, With large and sinewy hands; And the muscles of his brawny arms Are strong as iron bands. His hair is crisp, and black, and long, His face is like the tan; His brow is wet with honest sweat, He earns whate'er he can, And looks the whole world in the face, For he owes not any man. Week in, week out, from morn till night, You can hear his bellows blow; You can hear him swing his heavy sledge, With measured beat and slow, Like a sexton ringing the village bell, When the evening sun is low. And children coming home from school Look in at the open door; They love to see the flaming forge, And hear the bellows roar, And catch the burning sparks that fly Like chaff from a threshing-floor. He goes on Sunday to the church, And sits among his boys; He hears the parson pray and preach, He hears his daughter's voice, Singing in the village choir, And it makes his heart rejoice. It sounds to him like her mother's voice, Singing in Paradise! He needs must think of her once more, How in the grave she lies; And with his hard, rough hand he wipes A tear out of his eyes. Toiling,--rejoicing,--sorrowing, Onward through life he goes; Each morning sees some task begin, Each evening sees it close Something attempted, something done, Has earned a night's repose. Thanks, thanks to thee, my worthy friend, For the lesson thou hast taught! Thus at the flaming forge of life Our fortunes must be wrought; Thus on its sounding anvil shaped Each burning deed and thought. See photocopied page which shows unframed versions of these plaques designed to be used within furniture.
An Edwardian Sheraton revival mahogany standing corner cabinet, satin wood cross banded, with galleried top above a frieze with foliate patterai and bell flower marquetry, over an astragal bar glazed door enclosing three shelves and decorated with a festoon of flowers, raised on square tapered legs. H.169cm W.78cm
A mid 19th century French Sienna marble pendule portique, gilt metal mounted, the portico surmounted by spread eagle and having an enamelled Arabic dial with outer minute track, set eight day cylinder movement with count wheel strike on bell, signed C.M.V.B., the movement flanked by a pair of Corinthian columns and raised on a Serpentine plinth base with flared feet. H.52cm W.36cm. Together with a pair of gilt metal mounted and amphora urns. H.34cm
Lamb of Manchester. A mid Victorian exhibition quality thuya wood and parcel ebonised break front library cabinet in the Aesthetic taste, foliate box wood inlaid, having a baluster spindle gallery above two glazed doors, enclosing three adjustable shelves, flanked by a pair of fielded panelled cupboard doors and pilasters, the lower section fitted four frieze drawers over a pair of fielded panelled cupboard doors, decorated with urns and bell flowers, flanked by four fluted composite order plasters and two mirrored niches, raised on a plinth base. H.190cm W.200cm Footnote: Lamb of Manchester was founded by James Lamb (1816-1903), one of the leading cabinet makers in Manchester. Acclaimed for his dedication to high quality construction and artistic design, used only the finest materials and workmanship. His designers included Alfred Waterhouse, Bruce Talbot and Charles Bevan, who said he was the most aesthetically advanced furniture craftsman outside London at the time. Lamb of Manchester laid the foundations for the Arts and Crafts furniture movement. Lamb's exhibition quality "antique" cabinets were exhibited at the London exhibition of 1862 where Lamb displayed work by W.J.Estall and Hutues protat.
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