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Click here to subscribePIEROTTI, ERMETTE "Jerusalem Explored, being a description of the ancient and modern city, with numerous illustrations consisting of views, ground plans and sections, translated by Thomas George Bonney in two volumes, volume 1 text, volume 2 plates, London: Bell and Daldy, 1864, half title to volume 1 repaired, water damage to early plates in volume 2, title page appears to be missing, both volumes re-bound in blue library cloth, folio (2)
A 19th Century French white marble and gilt metal mounted mantel clock, the drum head movement with bell strike and white enamel dial with blue Roman numerals and black five minute markers above a lyre type support and seated figure of a scantily clad woman, break arch base and turned feet, 16" high.
A 19th Century French gilt metal mantel clock, the ornate drum head case with wreath finial, flanked by two putti above a bird's nest and leaf scroll supports, the white enamel convex dial with blue Roman numerals and black five minute markers, inscribed Raingo Fres. a Paris and bell strike, 15 1/2" high.
A mahogany mantel timepiece, the movement signed J. T. Bell, 131 Mount Street, Berkeley Square, No. 14067, with foliate scroll and mask balance cock, convex white enamel Roman dial and steeple case with bun feet, 7 1/2" high and a gilt metal carriage timepiece, the back plate signed B. Lautier, Bath, No. 29840 (both possibly Sedan chair movements) (2).
THOMAS SHAW, LANCASTER, A FIGURED OAK AND MAHOGANY CROSSBANDED LANCASHIRE LONGCASE CLOCK, with long trunk door, the hood with swan neck pediment and freestanding tapered cylindrical brass capped pillars, 33cm brass arched dial inscribed "SIC TEMPUS FUGIT" in the arch, and signed in reserve above "6", centre sweep date pointer, four pillar weight driven eight day movement with rack strike on a bell. 2.25m Note: T.Shaw is recorded as working 1776-1795.
TIMOTHY ROBERTS, OTLEY, A LATE 18th CENTURY YORKSHIRE OAK LONGCASE CLOCK, the rich oak case with long trunk door and flat moulded hood styled without pillars, 30.5cm square brass dial with superior engraving, dummy winding holes and seconds with date wheel (connected), thirty hour pull-up wind movement with four pillars and unusual skeletonised plates, outside countwheel strike on a bell. 2.00m
A matched pair of Victorian silver large vases by Bell & Brasted, by Frederick Brasted, London 1887 and Susanah Brasted, London 1890, each straight-tapered with waved rims, similarly embossed with an acanthus band and a laurel band, leaves, pendant husks and flowers above further acanthus fronds, on a circular plain foot, 45.5cm and 46cm (approx. 18in) high, 3789g (121.75 oz). Visit www.dnfa.com for condition reports.
A Russian silver gilt, garnet and enamel square bell push by Faberge, signed in full, workmaster Michael Perchin, Moscow, pre-1899, 88 zolotniks, with a cabochon garnet push piece on a white translucent guilloche enamel ground with foliate sprays centred by small ruby cabochons, with light green enamel spandrels with seed pearls, the sides with laurel swags and small ruby cabochons on a light green enamel ground, on turned feet, 4.7cm (1 7/8in) wide. Visit www.dnfa.com for condition reports.
A Russian partridge wood square bell push by Faberge, workmaster Vladimir Soloviev, 84 zolotniks, with a cabochon amethyst push piece on a light green translucent enamel ground framed by chased silver parcel gilt bound laurels with arrows at the points, the sides with conforming laurel swags, 4.2cm (1.5in) wide. See McCarthy, Kieran 'Forgotten Faberge', Antique Dealers and Collectors Guide, May-June 2004, pp. 40-42. The use of wood is in keeping with Faberge's principle of using materials for their decorative properties rather than just their intrinsic value. A surprisingly large and varied range of objects were produced in both Moscow and St Petersburg. The author suggests that the wood elements were supplied by the same workshop which made Faberge's fitted retail cases, run by the Finnish woodworkers Kaki, Kamara and Ampuja. Visit www.dnfa.com for condition reports.
A walnut eight day longcase clock, 18th century, the 12 ¥ inch arched brass and silvered dial with convex disc to the arch signed 'Alexander Barclay, Cupa', with centred subsidiary seconds dial and date aperture within a ring of Roman numerals and outer ring of Arabic numerals, with pierced scrolling leaf corner spandrels, the restored five pillar movement striking on a single bell, the caddy top hood with arched glazed door flanked by three quarter turned front corner hood pilasters over a long, arched, feather banded trunk door on a crossbanded box base (lacking feet), 218cm high
A George III oak eight day longcase clock, the 11 inch square brass dial with silver chapter ring signed 'Edward Patrick at Parshore', with centred subsidiary seconds dial and date aperture, the chapter ring with Roman and Arabic numerals, within cherub moulded pierced corner spandrels, the restored four pillar movement with anchor escapement striking on a single bell, the hood with quartrefoil blind fret frieze over a square glazed door between turned front corner hood pilasters (pilasters possibly later), over a narrow ogee moulded crossbanded long trunk door, between short quarter fluted front corner trunk pilasters on a plain box base with later skirting plinth, 206cm high
HORACE HAMMOND, (fl 1920's-1930's), Rural Scene with Farmstead and workhorses, signed J Barclay, watercolour lightened with white, 11 1/2" x 17 3/4", gilt frame. J Barclay was the pseudonym used by this Birmingham artist and illustrator when working in the 1920's/30's, he also painted for a local dealer under the name of A D Bell
AN OAK EIGHT DAY LONGCASE CLOCK by Russel, Lancaster, the four pillar movement with anchor escapement and rack striking on a bell, 14 1/4" arched dial with Roman numerals and secondary dials, the spandrels painted with flowers, the arch painted with a classical maiden in a chariot drawn by two stags, in mahogany beaded case, the scrolled pediment with turned finials on Corinthian columns, arched door flanked by quarter columns, canted panel base and ogee bracket feet, 88 1/2" high
AN OAK EIGHT DAY LONGCASE CLOCK by John Smith, Chester, the four pillar movement with anchor escapement and rack striking on a bell, 13" arched brass dial with chased foliate centre, and silvered Arabic and Roman chapter ring, seconds dial and calendar aperture, the arch with painted rolling moon disc for Lunar scale with inscribed name over, the associated mahogany banded case with broken arch pediment and foliate carved frieze on turned columns and brass finials, arched door flanked by quarter columns, on panel base, 88 1/2" high
A FRENCH ALABASTER AND GILT METAL MANTEL CLOCK, late 19th century, the twin barrel drum movement with outside count wheel striking on a bell, stamped No.389, 3" white enamel dial with Roman numerals inscribed "Bastide Lermont", the arched scroll moulded and waisted case flanked by a seated bronze figure of Moliere, rounded oblong base with inset panels applied with trophies representing music and drama over ribbon and reed and stiff leaf banding, on scroll mounded turned feet, 16 1/2" wide
AN OAK EIGHT DAY LONGCASE CLOCK by Thomas Travis Thorn, the movement with anchor escapement striking on a bell, 12" arched brass dial with Roman and Arabic numerals, the centre chased with flowers and foliate scrolls, seconds dial and calendar aperture, the case with scrolled pediment on turned columns, arched door, panel base and bracket feet, 85 1/4" high
AN OAK EIGHT DAY LONGCASE CLOCK, signed Humphrey Hadley, Birmingham, the four pillar movement with anchor escapement and rack striking on a bell, 12" arched brass dial with silvered chapter ring and matted centre chased with a crown and foliage, calendar aperture and secondary dials, the arch with penny moonphase, the case with stepped flat top, dentil moulded cornice and blind fret frieze on turned columns, canted trunk with arched door, on panel base, 82 1/2" high
A MAHOGANY EIGHT DAY LONGCASE CLOCK by Isaac Burton, Ulverstone, the eight day movement with anchor escapement and rack striking on a bell, arched dial with Roman numerals, the spandrels painted with fan motifs, the arch depicting a moonlit river scene with female figure, secondary dials, the crossbanded case with stringing and parquetry banding, scrolled pediment on turned columns, arched door flanked by quarter columns, canted panel base and bracket feet, 87" high
A FRENCH PINE CASED COMPTOISE LONGCASE CLOCK, 19th century, the twin barrel movement with verge escapement striking on a bell, 8 1/2" white convex enamel dial with Roman numerals and painted with flowers, unsigned, within a gilded pressed metal surround surmounted by a vase of flowers, issuing from foliage with frieze of florettes below, the pine cartouche case with arched and moulded top, pierced spindle gallery below dial, sunburst linticle, on bracket feet, 89" high
AN OAK EIGHT DAY LONGCASE CLOCK by Thomas Hargreaves, Settle, the movement with anchor escapement striking on a bell, 13 1/2" square dial with Roman and Arabic numerals and with calendar aperture, the corners painted with fruit and flowers, the mahogany banded case with scrolled pediment on turned columns, arched door with shell patera flanked by quarter columns, the panel base with inlaid roundel and batwing inlaid corners linked by chequer banding, on bracket feet, 91 1/2" high
AN OAK THIRTY HOUR LONGCASE CLOCK by Neddy Wells, Shepley, Near Huddersfield, the four pillar movement with outside count wheel striking on a bell, 12" square brass dial chased with foliate scrolls, Roman and Arabic numerals and calendar dial, the case with scrolled pediment having brass florettes and turned finials on fluted columns, arched door flanked by quarter columns, panel base and bracket feet, 83 1/2" high
An Victorian carved mahogany wall clock, with a twin fusee movement striking on a bell and a gong, with a 12 inch painted circular dial, flaking, previously inscribed 'PICKFORD, LIVERPOOL', the front with carved foliage and scrolls, parts missing, 22.5in (57cm) h, 21.75in (55cm) w. John Pickford, Liverpool, 1828-1851.
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