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Lot 1146
An Empire style six light black and gilt metal mounted chandelier, early/mid 20th century, pierced shell surmounted corona above circular platform decorated with pierced and stylised gilt metal acanthus leaves and supporting gilt metal swan heads with bell shaped shades, 74cm wide. (It is the buyer`s responsibility to ensure that electrical items are professionally rewired for use).
Lot 1288
A late 18th century North Country oak longcase clock, mahogany cross banded, having an associated 12-inch square brass dial with Roman and Arabic silvered chapter ring inscribed Robert Sadler London, seconds subsidiary dial and date aperture, decorated foliate scroll and cherub mask spandrels and set 8-day anchor movement, striking bell. The case with broken swan neck pediment flanking a globe and dart finial over plain column supports and an arch topped trunk door, raised on box base and shaped bracket feet, 210cm high x 47cm wide x 25cm deep.
Lot 1300
A 19th century French clock garniture in the manner of F Moreau, having painted Arabic enamel dial, set eight day movement striking bell, the case titled `Premier fruits` and mounted a figural study of young girl, raised on a rouge marble base with toupee feet, 44cm high, together with a pair of urns, 35cm high, (3).
Lot 1303
Fourier, Paris, a 19th century French onyx and ormolu mounted clock garniture, the clock with Roman and Arabic enamel dial, the eight day movement striking bell, the case of architectural form with composite columns raised on scroll feet, 36cm high, together with a pair of candelabra, 49cm high (It is the buyer`s responsibility to ensure that electrical items are professionally rewired for use).
Lot 1311
R A Lieutaud Paris, a mid 19th century French marble and ormolu mounted mantel clock, having Roman and Arabic enamelled dial, set eight day cylinder movement, striking bell, signed Etienne Paris, the case decorated with laurel and hunting trophies in saltire, raised on toupee feet, 31cm high x 20cm wide
Lot 1337
A 19th century French white marble and ormolu pendule, having Arabic enamelled dial set 8 day cylinder movement, the count wheel striking bell. The case with floral urn finial upon a drum case supported by amorini, raised on plinth base decorated trophies in saltire, spreading feet 46 cm high 26cm wide x 14cm deep.
Lot 1339
An early 19th Century Scottish mahogany longcase clock, ebony line inlaid, having Roman and Arabic silvered dial with outer minute track, set 8-day anchor movement, striking bell. The case with architectural pediment above a shaped trunk door flanked by chamfered corners, raised on plinth base, 192cm high x 44cm wide x 25cm deep
Lot 1344
Joshua Wilson, London, an 18th Century pine longcase clock, the 11-inch broken arch topped dial set Roman and Arabic chapter ring, seconds subsiduary dial and date apeture, within foliate spandrels, the 8-day anchor movement striking bell. The associated case with pilaters to hood, above a plain trunk door, raised on plinth base, 203cm high x 39cm wide x 22cm deep
Lot 254
A George II silver tapering coffee pot by Thomas Moore II, London 1752, with a bell finial to the domed cover, a later fruitwood double scroll handle, the spout chased with acanthus leaves and on a circular moulded spreading foot, 22cm (8 1/2in) high, 640g (20.6 oz) gross. From the collection of Laurence W. Hodson (1863-1933) and descendants, thence by descent.
Lot 259
A Queen Anne silver straight-tapered chocolate pot by Thomas Timbrell & Joseph Bell I, London 1711, Britannia standard, the detachable ball finial secured by a chain and pin, the domed cover with cut-card decoration and a volute thumb piece, the curved spout with a hinged cover and issuing from cut-card decoration, the wooden handle at right angles to the spout and with cut-card decoration to the mounts, on a moulded skirt base, engraved with an armorial, 24.5cm (9 3/4in) high, 795g (25.55 oz) gross (marked near handle, cover bezel, finial and pin). Engraved with an unidentified impaled cartouche of arms.
Lot 1155
Eleven fish knives and eleven fish forks, with plated blades and with loaded silver handles, with an oak case, a tea kettle with a stand, a coffee pot, two teapots, a small rose bowl, a milk jug, a small brass bell, a pair of sugar tongs, two twin handled bowls, three napkin rings, a small vase, a condiment set with a stand, an egg cup stand with two egg cups and sundry.
Lot 398
BRONTË, Emily.- Haute-Plainte (Wuthering Heights). Traduit de l`anglais par Jacques et Yolande de Lacretelle. Préface de Jacques de Lacretelle de l`Académie française.Paris, Gallimard, nrf, (16 juillet 1937).In-12°.Relié par René Laurent : plein maroquin janséniste vert sapin, dos à nerfs, doublures bord à bord de maroquin lavallière à cadres géométriques faits de listels entrelacés en cuir brun ou blanc cassé et de filets dorés, gardes de même maroq. lavallière, doubles gardes de papier marbré vert et or, tranches dorées sur témoins, couv. et dos cons. Sous chemise à petits rabats en demi-maroquin vert foncé à bandes. Sous étui bordé (chemise de protection et étui défraîchis voire abîmés mais reliure en parfaite condition).Édition originale de cette traduction. L`édition originale anglaise parut à Londres en 1847 sous le pseudonyme de Ellis Bell mais elle ne fut traduite en français qu`en 1892 par Teodor de Wyzewa sous le titre "Un amant". Cette traduction était, selon de Lacretelle, "timide et écourtée" contrairement à celle de Frédéric Delebecque parue en 1925 qui était d`une "fidélité scrupuleuse qui ne mérite que des éloges" (cfr Préface) mais plus assez moderne. Unique tirage numéroté limité à seulement 35 ex. sur Lafuma-Navarre dont 10 h.c. (n° 19).Enrichi d`une lettre autographe signée de Jacques de Lacretelle, Paris, 7-8-1937 : il précise que sa traduction est intégrale et que, si son titre est différent de celui de "Les hauts de Hurlevent", qui appartient à Delebecque, il "constitue une interprétation de W.H. [Wuthering Heights], une création toute personnelle, […] reprendre [celui de Delebecque] et m`en servir eut été un plagiat". Notons que par la suite, d`autres traducteurs proposèrent des titres tels que "Les Hauts des Quatre vents" (Drover, 1934), "La maison des vents maudits" (El. Bonville, 1942), "Heurtebise" (M.F. Monod et N. Ph. Soupault, 1947), "La maison maudite" (M. Turner, 1948), "Les hauteurs tourmentées" (G.M. Bovay, 1949), "Les hauteurs battues par les vents" (G. Baccara, 1950), "Hurlemont" (S. Monod, 1963), etc. Provenance : Raoul Simonson (ex-libris en veau vert). Très bel exemplaire dans une superbe reliure triplée.
Lot 634
Edward Bell, British fl 1794-1807- "Horatio Lord Nelson Nelson Duke of Bronte KB", after Sir William Beechey RA, publ by Jeremiah Freeman; mezzotint, 68x43cm: Charles Turner, British 1773-1857- "Thos Wm Coke Esq", after Sir Thomas Lawrence RA, publ 14th July 1814 by J & W Freeman 2 London Lane Norwich; mezzotint, in a glazed early 19th century gilt composition frame, bears label; for Thompson, 26 St James`s Street London, 67x38.5cm: Richard Earlom, British 1743-1822- "Robert Pointer", after Samuel de Wilde, publ 1811 by Laurie & Whittle, London; mezzotint, inscribed in pencil, in a glazed 19th century rosewood veneered reverse profile frame, 45x34.5cm., (3) Provenance: From the collection of The Estate of the Hon Christopher Lennox-Boyd
Lot 816
Vanessa Bell, British 1879-1961- "Amaryllis with Cat"; oil on paper laid down on board, c.1958, stamped VB in a circle on the reverse of the board, inscribed label to the reverse, 63.5x40cm, (may be subject to Droit de Suite) Provenance: The Bloomsbury Workshop, London: Property of Mrs Garnett, according to the labels attached to the reverse
Lot 1588
19th Century French gilt brass and red stained tortoiseshell buhl mantel clock, the waisted case with gilt brass mounts, the circular dial with Roman cartouche numerals, the two train movement striking on a bell, mounted on a gilt wood plinth and housed beneath a glass display dome with ebonised base
Lot 110
A Bassett-Lowke ‘O’ gauge clockwork Great Western King class 4-6-0 tender locomotive. ‘King George V’, RN 6000. In lined Brunswick green livery. With bell to front buffer beam, vacuum pipes and tail lamp to tender. QGC, frames require re-securing to body and the locomotive would benefit from some light restoration.
Lot 209
A WW11 RAF airfield scene/diorama. ‘Battle of France 87 Sqn late 1939’, No.21. Comprising 3 Hurricanes standing on a French airfield, with pilots, ground crew, crew hut, bell tent and Citroen Traction Avant car. Nicely made and detailed. With wooden box. See the-saleroom.com for picture. VGC See Plate 5
Lot 94
A 19th Century Louis XV style marquetry mantel clock, with gilt metal mounts and finials, surmounted by an allegorical figure, with circular dial above a mount depicting Apollo in his chariot, fitted an eight-day bell striking movement, 89cm (35") high/see illustration Condition Report: The gilt classical finial is loose and the top platform has blistered veneer to both sides. pitting to side panel, slight blistering to base and back door faded; movement half hour striking the back plate numbered 786, no makers name or mark
Lot 100
A late Victorian dome topped bracket clock, the arched brass dial with subsidiary fast/slow and chime dials with three-train eight-day movement, chiming in eight bells, the ebony veneered case with Corinthian columns and ormolu mounts, 75cm (29.25") high/see illustration Condition Report: This clock is 75cm (29.5’’) high; the brass mount to the top is incomplete, missing a finial as are the brass plates to the top corners, right hand return moulding also missing; case and metalwork in original condition, needs cleaning; bell chime out of sync, Cambridge chime out of sync, chime silent lever missing, clock at present working.
Lot 102
A mid 19th Century French ormolu and spelter mantel clock, surmounted by a seated figure, Dick Whittington, the stepped plinth with band of lotus leaves on a chased scrolling base with silk suspension and eight-day movement striking on a bell, the movement signed J. Charles, Paris, on an oval musical box base, playing two airs with pull cord wind, 49.5cm (19.25") high overall (glass dome missing)/see illustration
Lot 140
Thomas Girtin/The Interior of Exeter Cathedral/signed lower left Girtin/watercolour and bodycolour on paper, 44.5cm x 61cm (17.5" x 24") *NOTE: THIS LOT IS SUBJECT TO VAT ON THE HAMMER PRICE, AS WELL AS ON THE BUYER'S PREMIUM Provenance: James Moore, FSA (1762-1799); by descent in the Moore-Miller Collection; Christie's 25th February 1916, lot 65 (bt. Leggatt); Private collection, England/Exhibited: Royal Academy, 1798, no.538 (Inside of Exeter Cathedral); Manchester, Art Treasures Exhibition, 1857, no.74; London, The Burlington Fine Arts Club, 1875, no.44/Literature: Gentleman's Magazine, 1803, vol. LXXIII, p.187; CF Bell, 'Fresh Light on some Water-colour Painters of the Old British School', Walpole Society, vol. V, 1917, pp.76-77; T Girtin and D Loshak, The Art of Thomas Girtin, London 1954, p.208/Note: This watercolour, among the largest in existence by Thomas Girtin, was shown at the Royal Academy in 1798, a fruit of his tour of Devon in 1797. It was bought by the Cheapside linen-draper and keen antiquarian James Moore, one of Girtin's earliest patrons, descending in the Moore-Miller family until sold at Christie's in 1916./From 1791 to 1795 Girtin worked for Moore, translating his pencil drawings of gothic cathedrals and monuments into more sophisticated watercolours. Girtin based his first important Royal Academy watercolour of 1794, Ely Cathedral (Ashmolean Museum, Oxford), on a drawing by Moore. The following year he showed at the RA his first independent watercolours of medieval cathedral façades, Peterborough Cathedral and Lichfield Cathedral./The interior of Exeter Cathedral reflects Girtin's interest in the sublimity of gothic architecture, an interest paralleled in contemporaneous watercolours by Turner. The play of light on the intricate interior is achieved by means of broad, translucent watercolour washes in blues, greys and buff, with delicate details added over them in a deeper brown with a fine brush tip. Girtin on his 1797 tour experimented with the use of Chinese white (gouache) highlights, evident here in the sunlit ribs of the nave and the east window. The radical playwright James Holcroft, who met Girtin in Paris in 1802, commented that the artist 'delighted in and had studied the Gothic'. The present watercolour, rare in Girtin's work in showing the interior of a building, invokes both the soaring grace and the monumentality of these testaments to Faith./Our thanks go to Susan Morris for confirming the attribution of the painting and writing the footnote/see illustration Condition Report: The paper has gone a little brown and the white shows up more than intended other wise in good condition
Lot 285
A pair of Japanese Arita style hounds, possibly Samson of Paris, each dog sitting forward with red, black and brown patches and with a bell to the collars 38cm (15") high, see illustration Condition Report: Arita style dogs , we don’t think these are Japanese please see www.simonchorley.com The front left paw of one of the hounds has been restored please see images
Lot 254
A Chinese silver model of a sectional basket, Wang Hing, Hong Kong, of four stacking sections with carry handle, a model teapot, also Wang Hing, a model opium pipe etc, total weight approximately 135gm Condition Report: Sectional basket: some wear and dents Basket on stand: stand made up of a Kwang-Tung Province coin marked 1 Mace and 44 Candareens Opium pipe: condition fair, but may be missing accessories Bell on stand: marks to legs indistinct, condition fair Teapot: condition good Total weight approximately 135gm
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123939 item(s)/page