A Regency brass mounted mahogany bracket clock in the manner of Thomas Hope The movement by Joseph Mason for retail by William Alexander, the case attributed to Banting and France, London, circa 1825 The five pillar twin fusee bell striking movement with anchor escapement, trip hour repeat and signed Wll,m. Alexander, London within a foliate oval cartouche to the border-engraved shouldered backplate, the pendulum with calibrated slider for regulation and conforming concentric engraved decoration to the lenticular bob, the 7 inch circular convex white painted Roman numeral dial with repeat signature WILL’M ALEXANDER, LONDON to centre within cast brass bezel milled with continuous scroll design, the case in the Romano-Egyptian taste with brass pineapple finial to the gadroon carved upstand incorporating brass mounted cavetto moulded collar and flanked by honeysuckle carved ‘acroteria’ finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply carved horizontal fluted infill to angles and shaped brass fillet inset fielded panel beneath dial, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets, on panel fluted panel inset skirt base with stylised fan carved feet, 51cm (20ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Provenance: The property of a private collector. Formerly (in 1926) with George Boniface Souter, the grandson of a major tenant farmer on the Goodwood Estate who died in 1952. Purchased privately from his widow by a collector in 1971, who subsequently sold it, again privately, to the current owner. Behind the dial is the scratched inscription Jos’h Mason, London, Manufacturer who is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working from 2 Walbrook Place London 1832-9. William Alexander is recorded in Baillie, G.H Watchmakers & Clockmakers of the World as working from Newington Causeway, London in 1825 and in Loomes as working 1828-44. The movement and bell bear detailed service inscriptions indicating regular work undertaken by the Hunter family, clockmakers of 136 High Street, Clapham from 1828-74, with two further dates up to 1896 by different makers based in Brixton. The case of the current lot belongs to a group of around a dozen known examples which share the same basic form and dimensions differing only in detail. Perhaps the earliest from the series is an example by Atkins & Son formerly in the possession of Marquesses of Bristol, sold by Christies, King Street ‘Ellerslie House’ 24th May 2001, lot 65. The 1st Marquis of Bristol employed the firm of Banting, France & Co. to supply furniture for Ickworth, Suffolk including the State bed which shares similar details such as the anthemion carved ‘acrotoria’ finials with the Atkins & Son clock and the current lot. This coupled with the presence of the stamped B.F. initials on the case of the current lot suggests that Banting & France were the makers of this particular form of case, probably on a special order basis. The case design with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrates the strong influence of Thomas Hope who, in his 1807 book Household Furniture.., published designs considered to be the height of fashion at the time. When considering his designs for smaller pieces of furniture such as for ‘Recesses in the shape of ancient hypogea’ (see Hope, Thomas Household Furniture pl. XXVII, no. I) the inspiration for the form of the current lot can clearly be seen.
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A Queen Anne ebonised eight-day longcase clock William Tomlinson, London, early 18th century The five finned pillar inside countwheel bell striking movement with 11 inch square brass dial with subsidiary seconds dial, foliate engraved calendar aperture and ringed winding holes to the matted centre within an applied Roman numeral silvered chapter ring with Arabic five minutes, stylised sword hilt half hour markers and signed W. Tomlinson, London to lower edge, the angles with twin cherub and crown pattern spandrels, in a case with moulded cornice and three quarter columns to hood, concave throat and rectangular door centred with a brass edged lenticle, on plinth base with moulded skirt (case re-ebonised), 206cm (6ft 9ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. William Tomlinson is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as gaining his Freedom of the Clockmaker’s Company in 1699, he was believed to be a Quaker thought to have first worked at the Dial and Three Crowns, Birchin Lane near the Royal Exchange and later in White Hart Court, Gracechurch Street. He is thought to have died around 1750.
A George III mahogany crossbanded oak eight-day longcase clock with moonphase James Whitworth, Lussley, circa 1780 The four pillar rack and bell striking movement with calendar aperture, rolling moonphase and signed J. WHITWORTH, LUSSLEY to the ho-ho bird and foliate scroll engraved centre within an applied silvered Roman numeral chapter ring with leafy half hour markers and Arabic five minutes, the angles with female mask and scroll cast spandrels, the case with ogee-shaped caddy upstand above free-standing columns to hood and shaped top crossbanded door flanked by quarter columns to trunk, on panel-banded plinth base with squat ogee bracket feet, 207cm (6ft 9.5ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. James Whitworth is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Lussley, Lancashire circa 1775.
A William III walnut and floral marquetry eight-day longcase clock Charles Gretton, London, late 17th century The five finned pillar inside countwheel bell striking movement with anchor escapement and 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with unusual half hour markers based upon stylised sword hilt design and Arabic five minutes within the narrow outer track, the angles with winged cherub head and scroll cast spandrels, the lower edge signed Charles Gretton, London, in a walnut and floral marquetry veneered case with moulded cornice and later blind fret frieze above ebonised spiral twist turned three-quarter columns to the floral trail decorated aperture of the formerly rising hood, the trunk with concave throat moulding over rectangular door decorated with three shaped panels of bird inhabited floral marquetry on a dark ground within a walnut field with oval lenticle and crossbanded outer border, the sides with line bordered crossbanded panel veneers, the plinth base similarily veneered, with shallow skirt and compressed bun feet (case with some restoration), 191cm (6ft 3ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Charles Gretton is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being born circa 1649, he was apprenticed to Humfrey Downing in June 1672 and gained his Freedom of the Clockmakers` Company in 1672. Gretton was first thought to have worked from The Ship in Fleet Street until around 1685 where he is recorded `in Fleet Street over against Sergeants Inn Gate`. He was made Assistant of the Clockmakers` Company in 1689, Warden in 1697 and Master in 1700. He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of which went on to become famous makers in their own right. In 1701 he put £50 forward to the Clockmakers` Company in order to establish a trust to assist the orphans of deceased members. The life and work of Charles Gretton is currently receiving detailed attention by Dennis Radage and Warner Meinen for a forthcoming publication.
An important Charles II ebonised thirty-hour longcase clock William Raynes, York, circa 1678 The four finned and latched pillar outside countwheel bell striking two-handed movement with original anchor escapement and seconds pendulum fitted with a butterfly thumb-piece and small subsidiary bob for fine regulation, the 10 inch square gilt brass dial with calendar aperture to the delicate symmetrical flowerbud and foliate engraved centre, within an applied silvered Roman numeral chapter ring with early pattern fleur-de-lys half hour markers and small Arabic five minutes to the outer track, with fine pieced steel hands, the angles confidently engraved with leafy sprays and with signature Will. Raynes in Yorke to lower edge, the ebonised pine caseof fine mellow colour with moulded cornice above plain frieze and spiral twist columns to hood, convex throat moulding and rectangular long door with unusual octagonal glazed lenticle to trunk, on plinth base with bun feet, 202cm (6ft 7.75ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Provenance: The property of a private collector. Exhibited TIME & PLACE English Country Clocks 1600-1840 The Antiquarian Horological Society at The Museum of the History of Science, University of Oxford, 25th November 2006- 15th April 2007 exhibit number 10. William Raines (Raynes) is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being apprenticed in London to William Almond in November 1653. He gained his Freedom in January 1660/61. He initially worked from Butcher Row, East Smithfield taking on two apprentices; Joseph Sumner (in Jan. 1663/64) and William Beadle (in Jan. 1667/68). He is last recorded working in London in 1672 when it is thought that he moved up to York. He died in 1694 from a fall from his horse whilst returning from York to his home in nearby Gilling. The current lot appears to have survived in remarkably original condition. The movement retains all of its original wheelwork including the escapement, however as one would expect is showing some signs of wear. The backcock casting (complete with small casting fault) is a known London pattern used on other clocks of the period including an unsigned example with similarities to the work of John Wise senior illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 pages 59-63. The dial engraving echoes London work of the period although slightly differs in detail and feel to London practice, however is finely executed and is now complemented by the fine mellow colour of the dial itself. The calendar employs an engraved wheel rather than a calendar ring, this is perhaps one of the earliest examples of this detail (which became common practice in later Northern clocks) and allows the calendar aperture to placed higher up within the centre of the dial. The case is a very rare survivor as the pine construction makes it prone to dilapidation. The base is intact and, as with the rest of the case, of fine mellow colour. The trunk has a rare octagonal lenticle -often seen on cases housing movements by Edward East. The hood was originally of the rising variety (an easy restoration as little appears to have been altered) but may have originally had a crest. As the current lot can be confidently dated to the latter years of the 1670`s, it is reasonable to suggest that it is perhaps the earliest surviving longcase clock to be made in York.
A Charles II eight-day longcase clock with 9.5 inch dial Joseph Knibb, London, movement and dial early 1670’s, the case later The six finned and latched pillar movement striking the hours via an outside countwheel on a domed bell mounted above the plates, with typical Knibb single-footed pendulum suspension block and formerly with bolt-and-shutter maintaining power, the 9.5 inch square gilt brass latched dial with calendar aperture and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes within the outer track, with fine pierced and sculpted blued steel ‘Oxford’ pattern hands and winged cherub head cast spandrels to angles, the dial plate with line engraved border interrupted by signature Joseph Knibb Londini fecit to lower edge, now in an ebonised and partly ebony veneered case with triangular pediment above Corinthian three quarter columns to the rising hood, convex throat mouldings and raised triple panel applied rectangular door to trunk, the sides with conforming raised panels, on plain plinth base with shallow moulded skirt, (movement and dial with some alterations and replacements), 190 cm (6ft 3ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Provenance: Property of a private collector, believed to have been acquired by the Money family in the 1930’s through John Hooper’s maternal grandfather, a Cambridge graduate, clock collector, and Head of Latin at Whitgift School, Croyden, thence by descent to two maiden aunts living in Shirley, Surrey. Subsequently by private treaty to the vendor. Joseph Knibb was born in 1640 and apprenticed to his cousin Samuel in around 1655. On completion of his apprenticeship in 1662 he moved to Oxford whilst his cousin Samuel is thought to have moved to London. Joseph initially struggled to trade due to restrictions placed by the City which were only relaxed on payment of a fine in 1668. In around 1670 Joseph moved to London presumably to take over the workshop of his cousin Samuel who died at around this time. He first worked from the Dial in Fleet Street, later moving to the Clock Dial near Charing Cross in 1693. Joseph sold-up the London business in 1697 retiring to Hanslop in Buckinghamshire where he died in 1711. Joseph Knibb’s work often demonstrates his inventive but elegant and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking systems such as Dutch, Roman, and double-six grande sonnerie as well as long duration clocks. The basic format and layout of the current lot is directly comparable to other examples with 9.5 inch dials made soon after Joseph Knibb’s move to London. One such example is in the British Museum’s collection (ex Iden collection) which, in addition to basic layout, shares other details such as positioning of the movement pillars and dial feet, profile and shaping of the original surviving latches, and the shaping and positioning of the bell stand and foot. The dial of British Museum example was made without subsidiary seconds or calendar, as both the seconds and calendar rings on the current lot are replacements it is probable that it was also originally made without these features. Interestingly the dial plate of the current lot is of heavier gauge than normally encountered, thickening towards the centre. However other examples are known, in particular a ting-tang quarter striking example made by Joseph Knibb whilst he was still working in Oxford, which is illustrated and discussed in Dawson, Drover & Parkes Early English Clocks pages 121 & 123 where the authors note ‘Oddly for a Knibb, the dial plate is exceptionally thick, particularly in the middle’. Another related clock is in the St Edmondsbury Borough Council (Gershom Packington) Collection, this shares the same pattern of chapter ring with the current lot and was made with a subsidiary seconds dial but not a calendar aperture. Both the British Museum and St. Edmondsbury clocks are housed in ebonised ‘architectural’ cases. A third comparable example, which was formerly the property of Admiral Byng, is extensively illustrated in Lee, Ronald The Knibb Family, Clockmaker’s Plates 13, 39, 100 and 151, (also illustrated in HUYGENS’ LEGACY The Golden age of the Pendulum Clock pages 138-9). This example shares the same pattern of pendulum suspension block casting with the current lot and the British Museum movement, but is housed in an elegant walnut case (as is another further example which was sold at CHRISTIE’S Important Clocks 11th July 2003 lot 79).
A fine George II ebonised quarter chiming table clock Thomas Hunter, London, circa 1730 The substantial six finned-pillar triple fusee movement chiming the quarters on a graduated nest of six bells and striking the hour on a further bell, with verge escapement and rise/fall regulation, the backplate profusely engraved with foliate scrolls around a central cartouche signed Thomas Hunter, LONDON surmounted by an allegorical figure of a Classical warrior, the 7.5 inch brass break-arch dial with false bob aperture and polished oval reserve with repeat signature within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes, the lower angles with gilt female mask and scroll cast spandrels the upper angles with silvered subsidiary Strike/Silent opposing regulation dials, the arch with further silvered calendar ring with matted centre and flanked by conforming ho-ho bird inhabited foliate cast spandrels, the inverted bell top case with gilt brass carrying handle and cast vase finials above foliate scroll pierced break-arch side frets bordered by fine raised ebony mouldings, the front door with conforming mouldings to dial aperture and pierced frets to upper quadrants, on moulded base with squab feet, 48cm (19ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Thomas Hunter senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Fenchurch Street, London 1744-99. The current lot shares many details with fine examples by the leading London makers made during the formative decades of the 18th century. The movement with its relatively robust construction, finned pillars and allegorical figure engraved backplate is reminiscent of the work of Quare or DuChesne. The dial, with its subsidiaries in the upper spandrel area, again echoes Quare and DuChesne, whilst the calendar in the arch was perhaps made popular by Windmills. The case with its fine quality mouldings and elegant proportions compares with those housing movements by makers such as Delander or even George Graham (although Graham preferred rectangular dials). The subtle contrast between the relatively complex decorative dial and the simple refined elegance of the case of the current lot is particularily pleasing. The clock appears to be in good original condition with the dial in particular being of fine mellow colour.
A rare George II longcase clock of month duration with year calendar and equation of time John Topping, London, circa 1730 The 10 finned pillar rack and bell striking movement with integral Y shaped extensions to the plates to accommodate the rise/fall regulation and strike silent functions, with further raised central section for the anchor escapement with small diameter `scape wheel and indirect drive via a contrate wheel from the going train planted within the main body of the movement, the 12 inch wide brass break-arch dial with recessed triangular silvered signature plate John Topping, London, MEMORY MASTER above further shaped sector for the silvered year calendar with equation of time to the matted centre, within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes, the lower angles applied with fine Indian mask and scroll cast spandrels the upper with subsidiary regulation and Strike/Silent dials, the arch with large diameter silvered seconds ring centred with a recessed silvered star flanked by conforming mounts and with engraved infill beneath, the case now veneered in mahogany with moulded cornice above three-quarter columns and break-arch side windows to hood, convex moulding to throat and rectangular trunk door now applied with the original brass hinge straps to the exterior, on plinth base with moulded double skirt, (case reveneered and with alterations), 233cm (7ft 8ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Provenance: The family of a private collector. John Topping was born in 1677 and was apprenticed to William Grimes, gaining his Freedom of the Clockmakers` Company in 1698. Topping appeared to have specialised in producing longcase clocks to this pattern as at least two other examples are known. The first, housed in a walnut case with mirror door to the trunk, is illustrated and discussed in Robinson, Tom THE LONGCASE CLOCK pages 230-1, the second, housed in a tortoiseshell lacquer case, is illustrated in Roberts, Derek British Longcase Clocks pages 76-7. A third example, with an apparently identical dial but signed by Francis Gregg (once in the Wetherfield collection) is also illustrated by Robinson (on page 232). The presence of the third example signed by Gregg suggests that both makers had a close working relationship, with Topping probably supplying the movement and dial for Gregg to sign and retail. In addition to these examples there are perhaps two further related eight-day clocks signed by Topping known, these display similar dial layouts but incorporate a spherical `Hallifax` moon to the arch and have centre seconds. Complex dial layouts of this type appear to have been fashionable during the formative decades of the 18th century, with wealthy clients wishing to express their status with increasingly innovative and complex clocks housed in exotic cases. Some makers such as William Scafe, and perhaps John Topping, took it upon themselves to specialise in producing clocks to satisfy this demand. The presence of the equation of time within the year calendar on the current lot would enable the correct local mean time to be set from a sundial as the adjustment required for any given day of the year is clear to see. In the days before electronic communication this was the only way the time could be set with a reasonable degree of accuracy (in the absence of a local `public` timekeeper). The reason why Topping chose to sign his clocks with the phrase `Memory Master` appears to be a mystery.
A George III mahogany bracket clock Eliezer and James Chater, circa 1770 The five pillar twin fusee bell striking movement with verge escapement and backplate engraved with a pagoda within elegant rococo scrolls, the 7 inch brass break-arch dial with calendar aperture and shaped recessed silvered nameplate Eliezer & Jam`s Chater, LONDON to the matted centre within an applied Roman numeral chapter ring with Arabic five minutes, the angles with scroll cast spandrels beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, the case with hinged brass carrying handle and button finials to the bell-top upstand above circular side windows over concave-topped original foliate pierced rectangular sound frets to sides and conforming frets to the upper quadrants of the front door, on moulded base with shaped apron and squab feet, 47cm (18.5ins) high excluding handle. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. James Chater senior is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmaker`s Company 1718, gaining his Freedom in 1726 and dying in 1762 Baillie lists him as an `eminent` maker. He had two sons, James junior (admitted 1746, Free 1753 worked until 1785) and Eliezer (Free 1751, Liveryman 1766, Master 1772 died 1777). James junior and Eliezer are thought to have formed a partnership after the death of their father in 1762.
A George III brass mounted mahogany quarter chiming bracket clock James Chater and Son, London circa 1760 The six pillar triple fusee movement with verge escapement, chiming the quarters on eight bells and striking the hour on a further bell, the backplate engraved with basket of flowers and delicate rococo scrolls within a decorative border, the 8 inch brass break-arch dial with applied silvered Roman numeral chapter ring with Arabic five minutes and rococo scroll cast spandrels, the arch with twin subsidiary STRIKE/SILENT and CHIME/SILENT dials with shaped signature plaque Jam’s Chater & Son, London to upper margin and rococo scroll engraved infill, the inverted bell top case with five brass vase finials above brass fillet and cast quarter fret inset front door flanked by female caryatid applied canted angles, the sides with brass carrying handles over brass break-arch side frets cast with figures and scrolls, on conforming moulded skirt base with acanthus cast scroll feet, (case with some repairs), 55cm high (1ft 9.5ins) high excluding finials, 62 cm (2ft 0.5ins) high overall. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. James Chater senior is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmaker`s Company 1718, gaining his Freedom in 1726 and dying in 1762 Baillie lists him as an `eminent` maker. He had two sons, James junior (admitted 1746, Free 1753 worked until 1785) and Eliezer (Free 1751, Liveryman 1766, Master 1772 died 1777). James junior is thought to have worked in partnership with his father from 1753-62 later forming a partnership with his brother Eliezer (see previous lot).
A Queen Anne walnut eight-day longcase clock Samuel Stevens, London circa 1705 The five finned pillar inside countwheel bell striking movement with foliate engraved calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with fluer-de-lys half hour markers, Arabic five minutes and signed Sam’u. Stevens, London to lower edge, the angles with Indian mask and scroll cast spandrels with foliate scroll engraved decoration between, in a case with moulded cornice above three-quarter pilasters to hood, concave throat and quarter veneered burr walnut and herringbone banded trunk door centred with a lenticle, with crossbanded sides and on plinth base with moulded skirt (with some restoration), 224cm (7ft 5ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Samuel Stevens is recorded in Loomes, Brian The EARLY CLOCKMAKERS of Great Britain as being born in around 1678, apprenticed to Edward Stanton in 1671 gaining his freedom of the Clockmaker’s Company in 1680. In 1682 he was reprimanded by the Clockmaker’s Company for taking-on unofficial apprentices, at this time he was listed as working from Grub Street. Records appear to cease after around 1715.
A late 18th century mahogany long case clock the hood with 3 brass ball and spire finials, swan neck pediment with brass paterae, satinwood and shell inlaid frieze and having full turned side columns, the trunk with full length door with ogee arched top and boxwood bound rosewood crossbanding, the base inlaid and on bracket feet, having arched painted dial with vignette depicting a Scotsman to the arch, 8 day movement striking on bell, height 85"
A Herend circular Vase, with pierced rim, the centre decorated in iron red with a floral spray, within a gilded and iron red compartmentalised border; together with a further Herend Model of a shoe; a set of six gilded and enamelled ornamental Spoons; three further Models of shoes; and a small Coalport Table Bell
Impressive Victorian silver plated three branch candelabrum in the Queen Anne-style with bands of gadrooned decoration standing on a circular base. Three reeded branches terminating in gadrooned edged drip pans, supporting bell shaped nozzles with separate gadroon decorated sconces. The centre with a single candle holder and cover terminating in a flame finial. Approximately 50cm overall height
Pair of contemporary silver candlesticks of bell shaped form standing on domed circular bases (Birmingham 1965), 8.5cm overall and another pair of contemporary silver candlesticks of bell shaped form with reeded decoration standing on circular conical basis (Birmingham 1973 Assay Office Bicentenary), 7cm overall
Nineteenth century French bronze and black marble mantel clock in the form of a classical column with bronze rams heads and wreath and bow decoration surrounding a black and gilt dial surmounted by a bronze and gilt classical urn with ornate vine garlands and two fauns playing pipes. Detachable cover with pine cone finial, French eight day movement striking on a bell signed Vencenti & Cie, 43cm overall
![[Crouch (Nathaniel)] “R.B.” Admirable Curiosities fourth edition englarged engraved frontispiece 5 plates 3pp. ad](http://lot-images.atgmedia.com/SR/35796/2810833/102-2011126151615_468x382.jpg)
[Crouch (Nathaniel)] “R.B.” Admirable Curiosities fourth edition englarged engraved frontispiece 5 plates 3pp. advertisements at end contemporary ownership inscription to endpaper frontispiece becoming loose torn at top edge lightly soiled contemporary calf chipped and rubbed joints cracked lower board becoming loose 12mo for Nath. Crouch at the Bell [1685]. *** An account of earthquakes tempests fires murders etc around the British Isles. Scarce only 4 copies listed in libraries on ESTC.
Woolf (Virginia) Between the Acts 1941; The Moment and Other Essays 1947; Flush A Biography illustrations 1933; The Years 1937; The Death of the Moth 1942 first editions original cloth the first two with dust-jackets by Vanessa Bell worn at ends the first with two tears to base repaired the second worn at fore-edge and darkened the rest with faded spines 8vo & 4to (5)(5)
A pair of Wood & Sons Arras pattern vases, circa 1917, decorated with pomegranates flowers and bell flowers against a blue/green ground, designed by Charlotte Rhead, black printed pattern name, 19cm high (at fault) (2) See Bernard Bumpus, `Collecting Rhead Pottery`, Francis Joseph, 1999, pg 36 plate 12, where one of these vases is illustrated.
A George III oak eight day longcase clock the 13inch arched brass and silvered dial signed `Evan James Dolgelley` within an inner ring of Roman numerals, outer ring of Arabic numerals and cherub moulded pierced corner spandrels under a rolling moon showing Welsh figures within an extensive landscape, the four pillar movement with anchor escapement striking on a single bell, the hood with swan neck pediment over an arched hood door flanked by fluted front corner hood pilasters with gilt metal capitals over an ogee arched short trunk door with replacement brass key escutcheon between front corner quarter fluted pilasters raised on a planked box base and short shaped bracket feet, 228cm high
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123939 item(s)/page