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Lot 680
A 19th century mahogany longcase clock, the arched hood with rope twist columns, above a short trunk door enclosed between rope twist columns above a box base and bracket feet, the dial painted with ships to the arch and spandrels, with Roman numerals, seconds subsidiary dial and calendar aperture inscribed William Jones, Brynmawr, the eight day movement striking on a bell, 227 cms high.
Lot 773
German Teddy Bear: white wool plush, clear and black glass eyes, inset short mohair face mask with pronounced muzzle, black stitched nose and claws, pink stitched mouth and tongue, short mohair ear lining, swivel head, long body, jointed limbs, felt pads, card-lined feet with short mohair tops, wearing red leather collar with bell, possibly Moritz Pappe, 1930's 600mm, general wear
Lot 72
Dorothea, and Clorinda, after John Bell, Minton, published circa 1847 and 1848 respectively, with green glazed elements, each seated on a rocky outcrop on a shaped flat plinth, Dorothea with Minton moulded mark, the Felix Summerly and "John Bell" cartouche, registration lozenge, Clorinda incised "John Bell February 1848", date cypher for 1872, each 33cm high Dorothea incorporates a registered diamond indicating that this design was registered at the Patent Office on 4th October 1847.
Lot 81
Miranda, after John Bell, Shape 245, Minton, circa 1850-70, as a young scantily clad woman seated on rocks gazing to sinister, a large seashell amongst lapping waves at her feet, incised "Bell Miranda", 38cm high A similar figure is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.145, pg.90. Miranda, shown by Minton at The Great Exhibition 1851, executed for The Art Union of London and in production over many years. Miranda is one of a series of literary heroines modelled by Bell, following the success of Dorothea. Miranda is the daughter of Prospero in Shakespeare's The Tempest.
Lot 83
Babes in the Wood, (simplified foliage version) after John Bell, Minton, Shape 218, circa 1852, as two children asleep amongst foliage, a bird at their side, impressed ermine mark and "N218 1/52", 30cm long See illustration A similar figure is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.75, pg.63. This group was exhibited by Minton at The Great Exhibition 1851. One of the models was bought by Queen Victoria. The marble original was exhibited at the 1842 RA, and is now in the Norwich City Museum. The subject is taken from the old English ballad Babes in the Wood, included in Percy's Reliques (1765). There were two versions of this model, one with more developed foliage (this example being the simplified foliage version).
Lot 84
Prayer, after John Bell, designed for Summerly's Art Manufactures, circa 1847-9, as a kneeling child in prayer, applied cartouche mark including "John Bell" and "FS" monogram, and registered diamond, 23.5cm high; together with An Associated Blue Glazed Plinth, with indented angles, gilded on the front "Belief" See illustration A similar figure is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.89, pg.66. The figure is described as shape 198, and is a companion figure to Belief (and the plinth on which Prayer stands is thus associated).
Lot 90
The Octoroon, after John Bell, Minton, dated 1868, the standing nude slave girl gazes pensively downwards to sinister, by a draped pedestal, impressed "Minton", indistinct year cypher, possibly 1875, titled and incised "John Bell Sept 1868", 43cm high A similar figure is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.126, pg.82, where it is described as Shape 450. The marble original, now in Blackburn Town Hall, Lancashire, was exhibited at the 1868 RA, and at the International Exhibition 1871. One of a series of slave girls by Bell, probably based on the Greek Slave by Hiram Powers. An octoroon is a person of mixed blood who is one-eighth negro.
Lot 136
A Group of Five Relief Moulded Jugs, unknown factory, circa 1860, comprising three similar graduated moulded with Bacchanalian infants (one with Britannia metal cover), and impressed mark "J&MP Bell & Co", a similar example, and a large "game bird" jug with greyhound handle, the largest 30cm high
Lot 348
A Pair of Electroplated Two-Branch Three-Light Table Candelabra, 19th century, with central slightly raised fluted campana nozzle and pan flanked by conjoined C scroll outswept branches, on "candlestick" stems and weighted bases with beaded rims, bell mark (Sheffield), 53.5cm high See illustration
Lot 1281
Attributed to Augustus Edwin John R.A., P.R.P., R.Cam.A., N.E.A.C., L.G. (19th/20th century) A Lady Seated Reading beside a Fire Above an Estuary, another figure standing nearby Oil on canvas board, 30cm by 40cm (11 3/4in by 15 3/4in) The present work is extremely similar in style to some of John's plein air work, which was often partially done on the spot and later finished in the studio. The work is tentatively attributed to the painter as there are no traces of a signature or inscriptions and sadly no provenance exists. A parallel can also be drawn to the hand of Vanessa Bell (nee Stephen), who was also a figurative painter and painted still life subjects too. She also designed carpets, pottery and book jackets and was the daughter of Sir Leslie Stephen and elder sister of Virginia Woolf. See illustration
Lot 1423
A Boulle Striking Mantel Clock, signed Hry Marc, Paris, circa 1880, case with boulle front with pendulum window and ebonised sides, 4-1/4-inch white enamel dial with Roman numerals, twin barrel movement with outside countwheel striking on a bell, backplate stamped "Hry Marc, Paris", 37cm high See illustration
Lot 1424
A Gilt Metal Striking Mantel Clock, circa 1880, the case surmounted by winged cherub holding bow and arrow upon the drum shaped case, raised on the back of a large gilt metal bull, red rectangular marble base raised upon claw feet, rectangular ebonised base, 5-inch cast dial with individual enamel Roman numeral cartouches, twin barrel movement with striking on a bell, 64cm high See illustration
Lot 1425
A Gilt Metal Striking Mantel Clock, circa 1850, the case with a classical winged figure resting, the rectangular base with applied metal mounts and upon turned feet, 3-inch white enamel dial with Roman numerals, twin barrel movement with outside countwheel striking on a bell, silk suspension, backplate stamped "Gillion Etablissement De Paris 1832", 36cm high See illustration
Lot 1426
A Brass Skeleton Striking Mantel Clock with Passing striking, circa 1880, twin fusee movement with anchor escapement, half hour passing striking on a top mounted bell and striking the hours with a hammer on a coiled gong, skeletonised movement plates with the front plate depicting a cathedral, 5-1/4-inch white enamel Roman chapter ring, movement raised upon white marble base, (glazed dome missing), 60cm high See illustration
Lot 1431
A Fine Porcelain and Ormolu Striking Mantel Clock, retailed by Lister & Sons, Newcastle, circa 1880, the imposing case with a large dark blue vase shaped porcelain body decorated finely throughout with gilt scrolled decoration, ormolu mounted mask sides supported either side of the base by figures, base with porcelain panels depicting cherubs and floral decoration, 4-inch porcelain dial with Roman numerals, dial centre with floral decoration and signed by retailer, twin barrel movement with striking on a bell, movement backplate stamped by retailer and "J.B.D" numbered "31515117", raised upon a purple baize gilded plinth, 53cm high See illustration
Lot 1432
A Brass Lantern Clock, signed Edward Stanton, London, circa 1695, 6-1/2-inch chapter ring with engraved floral dial centre, single steel hand and central alarm disc, the posted movement with "later" conversion to anchor escapement, countwheel striking, the case with slender tapered corner columns, turned feet, turned finials and pierced frets, top mounted bell, iron back and spurs (missing), 40cm high (later alterations) See illustration
Lot 1438
A Mahogany and Brass Inlaid Striking Bracket Clock, circa 1830, the case with arched top and decorated with brass inlay to the front, carrying handles and glazed panels to the sides, rectangular shaped plinth upon brass ball shaped feet, 8-inch white painted dial with Roman numerals, twin fusee movement with anchor escapement and striking on a bell, 43cm high See illustration
Lot 1439
A Mahogany Striking Bracket Clock, circa 1830, the case with gadrooned top and turned ball finial, small canted corners and pull repeat cord to the side, rectangular plinth raised upon turned feet, 8-inch painted dial with Roman numerals and indistinctly signed, twin fusee movement with anchor escapement and striking on a bell, movement secured by brackets, 46cm high See illustration
Lot 1441
An Ebonised and Brass Inlaid Chiming Table Clock with Calendars, signed James McCabe, No.2826, early 19th century, the arched case with brass stringing and arched top surmounted by a pineapple finial, inlaid canted corners flanked by carrying handles and pierced sound frets to the sides, rectangular plinth upon brass turned feet, 8-1/2-inch white painted arched dial with Roman numerals, strike/silent above 12, the arch with two dials for day of the week and date, twin fusee movement with anchor escapement, eight hammer striking the quarters on to a nest of eight bells and a further hammer striking the hours on a large bell, movement backplate signed and numbered, movement secured by brackets, 63cm high See illustration James McCabe was a fine maker and is recorded as working at Cheapside and Royal Exchange, London between 1778 until he died in 1811. His business was continued under the same name by his sons Robert and Jeremy until 1883.
Lot 1442
An Oak Thirty Hour Longcase Clock, signed Joseph Butterworth Fecit, circa 1740, the ebonised oak case with caddied top, shaped trunk door, plain rectangular plinth with feet and skirting "missing", 11-inch square brass dial with chapter ring signed, matted dial centre with arched date aperture, "later" hands, four pillar movement with anchor escapement and outside countwheel striking on a bell, 211cm high See illustration
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123896 item(s)/page