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Click here to subscribeA 20th century pewter crane stood upon branch with frog and reed decoration mounted on wooden base 21cm high with further pewter elephant group, bull, sifter, salt and pepperette, figural bell, Victorian shoe pincushion, boxes, (a lot) Provenance: This lot was part of a collection from The Worshipful Company of Pewterers at Pewterer`s Hall. The pieces forming the collection were either made by members or applicants for membership
William Harrison, Chepstow, An early 19th century mahogany longcase clock, the 12-inch broken arch topped painted dial decorated pastoral coastal landscape above a Roman chapter, seconds and date dials, set Eight-day anchor movement striking bell, the case having broken swan neck pediment over a pair of fluted columns and a plain trunk door, raised on plinth base, 206 cm x 47 cm wide x 23 cm
A late 19th century carriage timepiece by Bolviller of Paris, the enamel dial with Roman numerals and sweep second hand supporting a movement striking on a bell in a cast gilt metal case decorated with figures and fruiting vines, h. 20 cm CONDITION REPORT: Dial with slight staining, surface of case dull, no guarantee as to working order
WWI ODDMENTS, WWI ODDMENTS George V Mercantile Marine Bronze medal to James H Cluness. 1914/15 Star 316. GNR. W. Lloyd. RFA. Victory Medal to 6789, Pte K Pearson, Manch Rgt, Victory Medal to Leuit P R Bell, Victory Medal to 108780, GNR G Smith RA. Victory Medal to 35611, Pte R Ridley, W, RID R. GF to VF.
A Victorian triple-fusee eight-day presentation mantel clock with a carved oak Gothic Revival case of architectural form, with brattished parapet and trefoil lancet arches with figures including the Blessed Virgin and Child and apostles, with crocketed piers at the angles, the movement chiming on a main bell and a further rack of four bells, the dial with applied silver chapter ring, the matted centre bearing the Latin inscription Qui Habitat in Adiutorio Altissimi and the date AD 1901, the clock door carved with In Manibus Sortes Mea and each bracket foot with a Gothic letter, 58cm (23in) high overall. Note: This clock, cased by John Hardman & Co, was presented to their chief designer John Aloysius Pippet (1841-1903) on his retirement
A LATE 19TH CENTURY FRENCH ALABASTER AND GILT METAL MOUNTED MANTEL CLOCK, having ornate case with urn pediment, finials and breakfront design, 8-day Japy type mechanism with locking plate bell strike faced by a Roman enumerated chapter, clock 42cm hi gh, having glass dome with ebonised base, 50cm overall
W. PARKES, WOLVERHAMPTON A LATE 18TH/EARLY 19TH CENTURY OAK 8-DAY LONG CASE CLOCK the hood with moulded pediment, fretted frieze and flank pilasters, four pillar mechanism with rack bell strike faced by a 12" brass dial with cast spandrels and silve red chapter, plain trunk with box base, on plinth, 2.16m high
A 19th Century Bohemian jewel blown glass wine ewer with scrolling gilded decoration on a circular foot, and a pair of matching goblets with bell shaped bowl and knopped stem on a circular base, ewer 35 cm high (3) CONDITION REPORTS All have general wear and blowing / moulding faults scratches, internal flaws. One goblet has a pink bead missing. Wear to gilding. An internal crack to base. The second goblet has a pink bead missing, wear to gilding and internal firing flaws including a small knock to the outside rim to the foot. The ewer is missing seven pink glass beads and has wear to gilding.
A George III silver two handled cup of inverted bell form, the main body with later embossed decoration of roses, daffodils, thistles and shamrock, emblematic of the union, with gilt-washed interior, flanked by S scroll handles and raised on an engraved and beaded circular foot (by John Langlands I and John Robertson I, Newcastle 1788), 17.5 cm high, 18.4 oz CONDITION REPORTS Overall with wear and scuffs, some knocks and dents. Some small knocks and dents.
A brass skeleton clock, the 16 cm diameter pierced silvered dial with Roman numerals, fitted a single fusee movement striking on a bell, 34 cm high, the oval ebonised base applied a plaque J PEACOCK (555), OXFORD ST, under a glass dome, 40 cm high See illustration Condition report Report by JB Please note that Charterhouse do not guarantee the working condition of any watch or clock Skeleton clock has no great age. Condition is commensurate with a new item.
A 19TH CENTURY MAHOGANY LONGCASE CLOCK, the white painted convex dial, signed `Barter` with subsidiary seconds dial and date aperture, with floral spandrels and an eight-day two-train movement striking on a bell, the hood with an arched top and central eagle and ball finials, the dial flanked by fluted columns, 86" high
Joseph Milner Kite (1862-1945) Portrait of a Breton Girl Oil on canvas, 40.5 x 30.5cm (16 x 12") Signed Exhibited:"Peintres Anglais en Bretagne" Exhibition, Musée de Pont-Aven, June - September 2004 No.36 In its relaxed brushwork, radiant colouring, and effect of dramatic sunlight, and its sympathy for its subject, a little Breton girl in bonnet and white collar, this is a quintessential example of one of Milner-Kite's portraits or figure studies, painted most likely at Concarneau in the early twentieth century. Strong sunshine falls upon the neck and shoulder of the girl, highlighting the healthy colouring of her cheeks and the dazzling white (and pink) bonnet and white collar, and casting a shadow on the front of her face. The figure is dramatically set against freely-brushed green foliage, while a little plant grows in front of her, suggesting her immersion in verdant nature. Always striking in Milner-Kite's work is his cheerful palette: vibrant blues, pinks, greens, reds, umbers, siennas and whites. Joseph Milner-Kite (1862-1945) Joseph Milner-Kite was an English artist of the late 19th and early 20th Century who became a long term resident in France, and who was a central figure in the artists' colonies of Pont-Aven and Concarneau in Brittany. He was a friend of several Irish artists, notably John Lavery, and Roderic O'Connor his close contemporary, with whom he became a lifelong friend. His path crossed with many other Irish artists; indeed, he is a key figure in understanding the work of W.J. Leech, Katherine McCausland, Aloysius O'Kelly and Samuel Taylor in Concarneau in the early 20th Century. Milner-Kite developed a vibrant Impressionist style. His Breton work distinctively combines free impressionist brushwork and radiant sunlight, and a 'Fauve' palette, with mid-19th Century Realism, his insubstantial figures casting substantial shadows upon the ground. Milner-Kite was born in Taunton, Devon in 1862, the son of a chemist. He moved to London in 1881, then to Antwerp, where he was a student at the Academie Royale, 1881-83. he spent four seasons in the 'Antiek' class. He was an exact contemporary of Walter Osborne at Antwerp, and is said to have met O'Connor there. In 1883 Kite moved to Paris, studying at the Academie Julian in the atelier of Bouguereau and Laurens. Here he met Lavery. Kite made painting excursions to Normandy to Pont-Aven in 1886, Grez-sur-Loing in 1889, ad lived in Tangiers, 1887-89. He met up with O'Connor in Paris and Grez. In 1889, Kite settled permanently in Paris, living in Montparnasse. During the late eighties, he exhibited in England, and at the Paris Salon, and was an exhibitor at the Salon National in the nineties. In the early 20th Century, Kite and O'Connor were regular habitues of 'le Chat Blanc' cafe in the circle of other expatriate artists and writers, including Gerald Kelly, Somerset Maugham and Clive Bell. Much of Kite's career was spent in Brittany, and he spent severl winters in Concarneau. he painted scenes of the fishing fleet and market of fishermen at work in Breton festivals, as well as portraits and landscapes. Most characteristic of Kite are his informal studies of barefoot girls and fisherboys, standing at the water's edge, casting enticing reflections in the sea ... Undoubtably his relaxed, colourful pintings provided a formative influence on O'Kelly, Taylor and other Irish artists at Concarneau. Kite met up with Lavery in Beg-Meil in the summer of1904, and he retained contact with O'Connor in Paris through the 1920's and thirties. After O'Connor's death in 1940, Kite wrote to his widdow Rennee : ' I always considered him my best friend. I cherished both the man and his talent,' (J. Benington 'Roderic O'Connor' 1992, p.155) Julian Campbell
Jerome Connor (1876-1943) Head of Marjorie Connemara marble, 23cm high (9") Base signed and inscribed "Marjorie" by Jerome Connor Provenance: The Collection of Lewinter Frankl, thereafter in the private collection of gallery owner Nelson Bell, from whom purchased privately by the current owner Exhibited: "The Lewinter Frankl Collection", The Belfast Museum and Art Gallery, March-April 1958, Cat. No. 212 Exhibited: "The Lewinter Frankl Collection", The Belfast Museum and Art Gallery, March - April 1958, Cat. No. 212
Violet Hunt, A Hard Woman: Chapman and Hall, 1895; and eleven other books with decorative boards including Rupert Cheserton, The Quest of the Veiled King: C. Arthur Pearson Ltd, 1911; R. Caldecott (illustrated), Old Christmas from the sketch book of Washington Irving: MacMillan & Co, 1882; Louisa M. Alcott, Little Women and Good Wives:John Heywood, undated; Sarah Grand, The Heavenly Twins: Heinemann, 1904; Mrs Gaskell, Cranford: G. Bell & Sons Ltd, 1921; Luke Tempest, Wolves in the Fold: The Sunday School Union Ltd, undated; Emile Zola, The Downfall: Chatto & Windus, 1896; Mrs Craik, John Halifax, Gentleman: Hurst & Blackett Ltd, undated; Jan Struther, Sycamore Square and other verses: Methuen & Co Ltd, 1932; Mrs Gaskell, Cranford: Chapman & Hall Ltd, undated; Marie E. Wilkins, A Far-Away Melody by Marie E. Wilkins: David Douglas, 1984. (12)
Nineteenth century brass and glass oval mantle clock enamel dial with visible anchor escapement twin train movement striking on bell with a mercury pendulum Executor sale; From the collection of a Bournemouth connoisseur collected by him and his father over the last 50 years 12 x 8 x 6in. (30 x 20 x 15cm)
19th century mahogany longcase clock by Monkhouse of Carlisle, the face with moonphases in the arch, subsidiary second dial and date aperture, twin train movement, striking on a bell with pendulum, winding handle and two weights. PROVENANCE: with original documents of the Monkhouse clock makers and picture of Moorhouse Hall near Carlisle. 89in. (226cm)
18th C cordial glass with opaque air twist stem , on conical foot , etched date to bowl 1758 and another with bell bowl and open twist stem Acquired from Riddetts Auctions Bournemouth Executor sale; From the collection of a Bournemouth connoisseur collected by him and his father over the last 50 years
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