Bedeutende und in höchster Qualität gefertigte Empire-Kaminuhr mitfigürlicher Gestaltung von Claude Galle (1759 - 1815)56 x 48,5 x 17,2 cm.Paris, um 1810.Funktionen:Das Werk mit runden Messingplatinen, durch vier Pfeiler verbunden. Ankerwerk mit Pendel an Fadenaufhängung. Vierzehntagegehwerk. Geschwärzte Breguet-Zeiger für Stunden und Minuten. Schlossscheibenschlagwerk für Halbstunden- und Stundenschlag auf versilberte Glocke.Gehäuse:Bronze, vergoldet und braun patiniert, grüner Marmor. Der Aufbau betont vorrangig die skulpturale, bildkünstlerisch hervorragende Leistung als klassizistische Plastik, als das in der Gesamterscheinung untergeordnete Uhrwerk. Die Betonung der beiden Farbwirkungen Braun und Gold verleiht gediegene Eleganz. Der grünfarbene getreppte Sockel in Vert de Mer-Marmor erscheint dabei zurückhaltend, durch die vergoldeten Rundfüße jedoch mit dem Figurenwerk verklammert. Gezeigt ist eine schwarz patinierte Récamière, reich mit vergoldeten Applikationen besetzt, auf der eine bacchantische Mänade auf einem Kissen liegt. Der Körper nur mit einem um die Hüften gelegten Tuch bekleidet. Die Körperhaltung zeigt sie räkelnd, mit hochgenommenen Armen, wobei sie eine große Traube mit Blättern über dem Gesicht hält. Ihr Blick ist verschleiert, nahezu weintrunken wiedergegeben. Zu ihren Füßen ein Tamburin mit Tyrsosstab zwischen zwei Weinkannen am Fußende des Bettes. Dem antiken Thema entsprechend beziehen sich auch die Applikationen an der Vorderseite der Liege auf das Bacchusthema: zwei Panther, die sich an Trauben in einem Korb laben. Es sind die Attributtiere des Weingottes Bacchus, wurde er doch der Legende gemäß von einer Pantherin aufgezogen. Seitlich Panflöten, darunter erscheinen die Masken des gehörnten Pan an den Bocksfüßen der Kline. Ein hochsteigender Bock sowie ein Widderkopf-Rhyton an der Lehne ergänzen das Bildprogramm. Das Uhrwerk im Zentrum unterhalb der Récamière eingefügt. Zifferblatt:Das weiße Emailzifferblatt zeigt römische Stunden und arabische Viertelstunden, über der VI bezeichnet „Le Roy“.Das Thema der figürlichen Darstellung lässt sich auf reiche antike Sagenstoffe zurückführen, die von dem römischen Dichter Ovid überliefert wurden. Dabei spielt die vorgeschichtliche Erfindung der Weinherstellung eine übergeordnete Rolle, etwa die Legenden von Bacchus und Erigone, der Tochter des Ikarios. Hier wird erzählt, Bacchus hätte die Herstellung des Weines verraten, ohne die Folgen der Betrunkenheit zu erwähnen, woraufhin Ikarios getötet wurde. Aber auch ohne diese Vorgeschichte fand das Motiv der trunkenen Mänade im Gefolge des Bacchus vielfach Anregung zu künstlerischer Gestaltung. Und dies auch in der Plastik, in Zusammenhang mit Uhrengehäusen. So hat Clodion ebenfalls eine Bacchusnymphe in Marmor auf einer Liege gestaltet, für eine Musikuhr, die in die Sammlung von Prinz Napoleon in Brüssel kam.Als ein weiteres Vergleichsbeispiel kann eine ähnliche Kaminuhr zitiert werden, gefertigt von Courvoisier & Compagnie, La Chaux-de-Fonds, mit der ebenfalls vergoldeten Bronze von Thomire, Paris (Inv.Nr. IV-693). Die Zuweisung an Thomire basiert auf einem Entwurf im Stockholm National Museum of Fine Arts.Letztlich jedoch verrät uns ein Katalog des Hotel Drouot, Paris (Salle M. Etienne Ader, Lot 121), vom 18. Juni 1848, mit Abb. den Bronzier Claude Galle (1759-1815).Der Uhrmacher unterhielt sein Atelier laut seiner Briefadresse in der Rue Vobert 1 sowie Rue Vivienne 9, wurde 1786 Meister, dann Lieferant für die Ausstattung der Schlösser Fontainebleau, Les Tuileries, Compiégne und Rambouillet. Auch außerhalb Frankreichs belieferte er höchstrangige Auftraggeber, wie etwa das Savoy-Schloss Stupinigi bei Turin oder den Quirinal in Rom. Unter Napoleon I galt er als einer der bedeutendsten Bronzehersteller Frankreichs. Als Hersteller und Distributeur unterhielt er im Jahre 1811 nahezu 400 Mitarbeiter, somit eines der größten Unternehmen. 1806 wurde er anlässlich einer Kunstindustrieausstellung mit einer Medaille ausgezeichnet; für eine figürlich gestaltete Uhr, die sich heute im Museum des Château Malmaison befindet.Nicht allein der Entwurf, sondern auch die hervorragende Fertigung macht dieses Objekt zu einem der markantesten Beispiele des Pariser Empire und ist ohne Zweifel als bedeutend museal zu bezeichnen. Tadelloser Zustand. Das Pendel sowie ein Schlüssel vorhanden.Nicht auf Funktionsfähigkeit geprüft.Literatur:Vgl. Michael Edward Shapiro, Monsieur Galle, Bronzier et Doreur, in: The J. Paul Getty Museum Journal, Bd. 6/7, 1978/1979, S. 57-74.Vgl. Louna Zek, Bronzes d‘ameublement et meubles français achetés par Paul I-er pour le Château Saint Michel de Saint Petersbourg 1798/99, in: Bulletin de la Société de l'Histoire de l'Art Français, 1994.Vgl. Jean Dominique Augarde, Une nouvelle vision du bronze et des bronziers sous le Directoire et l‘Empire, in: L'Estampille - L'Objet 'art, Januar 2005, Nr. 298, S. 62-85. (1350596) (1) (10)Important empire style mantel clock of the highest quality with figural décor by Claude Galle (1759 – 1815)56 x 48.5 x 17.2 cm.Paris, ca. 1810.Functions:The clockwork with round brass plates, connected by four pillars. Lever work with pendulum on silk suspension. Fourteen-day striker. Blackened Breguet hands for hours and minutes. Count wheel striking mechanism for half-hour and hour strike on silver-plated bell.Case: Bronze; gilt and with brown patina; green marble. The design primarily emphasizes the sculptural, an artistically outstanding achievement as a classicist sculpture, while the clockwork is subordinate in the overall appearance. The emphasis on the two-colour effects of brown and gold give an appearance of dignified elegance. The design of the green-coloured stepped base in Vert-de-mer marble seems restrained but is connected to the figurative work by means of round gilt feet. The figurative design features a bacchanalian maenad reclining on a cushion on a black patinated recamier, richly decorated with gilt applications. She is only dressed in a cloth draped around her waist. She is stretching out with her raised arms holding a large bunch of grapes with leaves above her face. Her gaze is hooded, appearing almost intoxicated. A tambourine with a thyrsus between two wine jugs is positioned at the foot of the recamier by her feet. In accordance with this ancient subject, the applications on the front of the recamier also refer to the Bacchus theme: two panthers are feasting on grapes in a basket. They are the attribute animals of the wine god Bacchus, who, according to legend, was raised by a panther. Panpipes are shown on the sides, below the masks of the horned Pan appear on the goat feet of the recamier. The backrest is decorated with a rearing goat and a ram's head rhyton. The clockwork is inserted at the centre below the recamier.Dial:The white enamel dial shows Roman hours and Arabic quarter hours, “Le Roy” inscribed above number VI.The subject of the figurative design can be traced back to rich ancient legends that were handed down by the Roman poet Ovid. The prehistoric invention of wine production plays a major role here, such as the legends of Bacchus and Erigone, the daughter of Icarius. It recounts that Bacchus betrayed the secrets of wine production without mentioning the consequences of drunkenness, whereupon Icarius was killed. But even without this background, the motif of the drunken maenad in the entourage of Bacchus often gave inspiration to artistic expression. And this was also the case for figurative work in combination with clock cases. Clodion also designed a nymph of Bacchus on a couch in marble for a musical clock that came into the collection of Prince Napoleon in Brussels. A similar ma...
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Vergoldete Automaten-Turmuhr mit Glockenschlag, Wecker und beweglichen Figuren der JagdthematikHöhe: 44 cm. Sockelbreite 27 cm.Tiefe: 23 cm.Wohl Augsburg, um 1630.Feuervergoldete Bronze, Eisen, Stahl, Silber und Versilberung.Spindelwerk in Eisen und Eisenschnitt, Federwerke in Stahl, poliert. Federaufzug mittels Schlüssel. Die Seitenwände abnehmbar, wodurch ein Einblick ins Werk und die Federn möglich ist.Das Stundenschlagwerk ist mit den Jagdfiguren des Aufsatzes verbunden, die nach rechts kreisen. Der Viertelschlag ist zudem mit den beiden außerhalb des Pavillons sitzenden Hunden verbunden, die sich beim Schlag auf- und nieder heben. Diese Raffinesse führt eine lebendige Schauszenerie vor, entsprechend einem figürlichen Glockenspiel.Der Aufbau turmförmig, wie bei etlichen berühmten Augsburger Beispielen, auf ebonisiertem Sockel und nochmaliger vergoldeter, floral reliefierter Gehäusebasis, über der sich der rechteckige Turm erhebt. An den Ecken kannelierte Eckpilaster mit Volutenkapitellen und hohen Basen mit prominenter Diamantrustika. Der bekrönende Aufsatz verjüngt sich nach oben, dreiteilig gegliedert. Er setzt mit einem durchbrochen gearbeiteten Gesims an, mit Einblick zu den beiden Glocken. An den Ecken vier pyramidenförmige Aufsätze, dazwischen Baluster, die den runden, zweistufigen Aufsatz umstehen. In der ersten Ebene werden in den Öffnungen Figuren sichtbar, die bei Glockenschlag kreisen - eine Hirschfigur, verfolgt von einem Bogenschützen in Begleitung von Hunden. Daneben beidseits zwei kleine Hunde, die sich beim Glockenschlag anheben. Die Figürchen in Silberguss. Der obere Aufsatz, in Form eines runden Pavillons, enthält im Inneren eine stehende menschliche Gestalt mit Hirschgeweih, die sich dreht. Gemeint ist Aktäon, der mythische Jäger, der durch die Jagdgöttin Diana in einen Hirsch verwandelt wurde. Die bogig durchbrochene abschließende Kuppelkalotte trägt als Bekrönung eine plastische, ebenfalls vergoldete Figur des Gottes Hermes mit geflügeltem Petasos und Flügelschuhen.Sämtliche vier Seiten des Turmgehäuses sind in feiner Graviertechnik mit C-Bögen, Blattvoluten und Blüten dekoriert und mit runden Zifferblättern bzw. Funktionsanzeigen besetzt:An der Vorderseite das primäre Zifferblatt mit eingefasstem Ziffernring, versilbert (dunkle Patina) als 24-Stunden-Kapitelring mit römischen Stunden und 5-Minuten-Intervall-Anzeige. Alarm-Einstellungsscheibe, lateinisch beschriftet für Sonnenaufgang, Mittag und Sonnenuntergang. Die drei Zeiger gebläut.An den Seiten Hilfszifferblätter mit Angabe der zuletzt geschlagenen Viertelstunden und Stunden.An der Rückseite ein weiterer 24-Stunden-Kapitelring, der ebenfalls eine vergoldete Volvelle umschließt, mit Anzeige der Mondphasen, ferner mit Diagramm der ptolemäischen Planeten-Aspekte; die Alarm-Einstellscheibe mit 24-Stundenangabe und lateinischen Bezeichnungen für Sonnenaufgang, Mittag, Sonnenuntergang und Nacht.Ein der vorliegenden Uhr wenigstens im Aufbau sehr verwandtes Beispiel schuf der Augsburger Uhrmacher Matthias Greylach. Nicht auf Funktionsfähigkeit geprüft. A.R.Provenienz:Masterpieces from the Time Museum, Sotheby´s, New York, 2. Dezember 1999, Lot 50.Literatur:Peter Frieß/ Eva Langenstein (Hrsg.), Mechanik aus der Wunderkammer, Die Vorläufer der Computer, anlässlich einer Ausstellung auf der 41. Deutschen Kunst- und Antiquitätenmesse vom 28. November – 4. Dezember 1996, Katalog des Deutschen Museums Bonn - im Gespräch mit Wissenschaft und Technik, München 1996.Jürgen Abeler, Meister der Uhrmacherkunst, Wuppertal 2010.Richard Mühe/ Horand M. Vogel, Alte Uhren. Ein Handbuch europäischer Tischuhren, Wanduhren und Bodenstanduhren, München 1976 (mit Abb. einer Türmchenuhr). (1322017) (11) (†)Gilt automat “Türmchenuhr” with strike on bell, alarm and moving figures with hunting themeHeight: 44 cm.Base width: 27 cm.Depth: 23 cm.Probably Augsburg, ca. 1630.Fire-gilt bronze, iron, steel, silver, and silver plating. The structure is tower-shaped, as are several famous Augsburg examples, on an ebonized base and a further gilt-base decorated with floral reliefs surmounted by a rectangular tower. The corners are decorated with pilasters with volute capitals and tall bases with prominent diamond rustication. The top-most part tapers upwards and is divided into three parts: it starts with an openwork cornice revealing two bells on the inside. There are four pyramid-shaped attachments at the corners, with balusters in between that surround the round, two-tiered top part. The first level reveals cast silver figurines in the openings that circle when the clock chimes: a deer pursued by an archer accompanied by dogs. Next to it on either side are two small dogs, which rise at the chime of the bell. The upper part is shaped like a round pavilion with a revolving human figure with deer antlers inside. This is Actaeon, the mythical hunter who was transformed into a stag by the hunting goddess Diana. The arched, openwork calotte at the top of the dome is surmounted by a three-dimensional gilt-figure of the god Hermes with winged petasos hat and winged shoes.All four sides of the tower housing are decorated with fine engravings with c-shaped arches, leaf volutes and flowers and set with round dials or function displays: On the front the primary dial with a framed numeral ring, silvered (dark patina) as a 24-hour chapter ring with Roman hour numerals and 5-minute interval display. Alarm dial, labelled in Latin for sunrise, noon, and sunset. The three hands are blued.Subdials on the sides show the last struck quarter hours and hours. On the reverse another 24-hour chapter ring, also enclosing a gilt volvelle, showing the phases of the moon, further with a diagram of the Ptolemaic planetary aspects; the alarm dial with 24-hour indication and Latin terms for sunrise, noon, sunset and night. Spindle movement in iron and cut iron, spring mechanisms in polished steel. Spring winding by key. The side walls can be removed, allowing access to the movement and the springs. The hourly striking mechanism is connected to the hunting figures of the top part, which circle to the right. The quarter beat is also connected to the two dogs sitting outside the pavilion, who rise up and back down on each strike. This sophisticated mechanism presents a lively spectacle, corresponding to a figural carillon.The Augsburg clockmaker Matthias Greylach created an example that is very similar to the present clock, at least in terms of the clock's structure. Provenance:Masterpieces from the Time Museum, Sotheby´s, New York, 2 December 1999, lot 50.Literature:Peter Frieß/ Eva Langenstein (ed.), Mechanik aus der Wunderkammer, Die Vorläufer der Computer, on the occasion of an exhibition at the 41st German Art and Antiques Fair, 28 November - 4 December 1996, catalogue of the Deutsches Museum Bonn - im Gespräch mit Wissenschaft und Technik, Munich 1996.Jürgen Abeler, Meister der Uhrmacherkunst, Wuppertal 2010.Richard Mühe/ Horand M. Vogel, Alte Uhren. Ein Handbuch europäischer Tischuhren, Wanduhren und Bodenstanduhren, Munich 1976 (with ill. of a little tower clock).Bodenstanduhren, Munich 1976 (with ill. of a little tower clock).
Italienische BronzeglockeHöhe: 48 cm. Durchmesser: ca. 43 cm.Gießereimarke Fonderia, F. De Poli, in Vittorio.Italien, frühes 19. Jahrhundert.Helle Bronze, gegossen. Breite Glockenform mit sechs am oberen Ende angebrachten Volutenbügeln. Wandung vertikal durch Textilrelieffestons gegliedert, die auf der Schulter durch Muschelungen gerafft werden und partiell mit Maskarons und Blattwerk besetzt sind.Provenienz:Philadelphia Museum of Art, USA.Sammlung John Thompson Morris. Spende 1882 an das Philadelphia Museum of Art mit den Begleitworten: „... if each traveler would bring home an object for the Museum, it would help with the good work. New Yorkers are remembering their museums, and why should not Philadelphians do the same with ours?“ (1350172) (13)Italian bronze bellHeight: 48 cm. Diameter: ca. 43 cm.Foundry mark: Fonderia, F. De Poli, in Vittorio.Italy, early 19th century.Provenance:Philadelphia Museum of Art, USA.John Thompson Morris Collection. Donated to the Philadelphia Museum of Art in 1882.
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)The Answering String A standing female holding a Cithern in the green court of a building by a barred window, figure taken from a study for The Last Sleep of Arthur in Avalonsigned with initials and dated 'E/B/J 18/96' (lower right), signed and inscribed with title (on artist's label attached to the reverse)bodycolour, gold paint and coloured chalk34.2 x 21.5cm (13 7/16 x 8 7/16in).Footnotes:ProvenanceThe artist.With Thomas Agnew & Sons, London.Christie's, London, The artist's studio sale, 16-18 July 1898, lot 22, described as a pastel.Lady Frances Jane Horner (née Frances Jane Graham), 1898-1940. Thence by descent.Private collection, UK.ExhibitedBrussels, International Exhibition, British Fine Art Section, 1897, ex-cat. (according to a label on the reverse, listed as property of the artist).London, Burlington Fine Arts Club, Drawings and Studies by Sir Edward Burne-Jones, 1899, no. 63, described as 'Design in gold and water colours of a female figure, with oriental drapery over her head, standing holding a Cithern [Cithara] in the Green Court of a Building by a Barred Window.' (lent by Mrs Horner).LiteratureWilliam Cosmo Monkhouse, Burlington Fine Arts Club Drawings and Studies by Sir Edward Burne-Jones, Bart, 1899, cat no. 63, p. 15.Fortunée de Lisle, Burne-Jones, 1904, p. 187 (owned by J. F. Horner).Malcolm Bell, Sir Edward Burne-Jones, An Illustrated Record and Review, 5th Edition, 1910, appendix II, p. 132, as 'Unfinished picture' in the Studio sale, Christie's 16-18 July 1898.The present lot is listed in the online catalogue for the Committee of the Burne-Jones Catalogue Raisonné Foundation which can be viewed at www.eb-j.org. Painted in 1896, the figure in the present lot is from a study for The Last Sleep of Arthur in Avalon. As the catalogue notes: 'This figure was first included as an attendant musician in the first composition of The Last Sleep of Arthur in Avalon, she stands to the left of the mausoleum, next to the head of King Arthur. Not using the figure in the later designs, Burne-Jones thought it too good to completely abandon and in 1896 he took it up and made it an independent work.'1A heavily draped female figure, her head covered, stands in an enclosed space beside a building of stone construction and with a single barred window. A woman stands in the foreground holding a dulcimer the strings of which she appears to pluck. The drawing's title – The Answering String – seems to imply that she has found a way to communicate with an unseen person who is held captive in a cell, by striking a note on her instrument and awaiting the reply. The motif of a figure playing a stringed instrument occurs quite frequently in Burne-Jones's output. At the centre of the mural decoration that he made for William and Jane Morris's home, Red House, in 1860 is a man playing some kind of primitive fiddle; while the artist's composition, The Mill (Victoria & Albert Museum, London), begun in 1870, has a figure standing beneath an archway playing a dulcimer at the right side. Perhaps the most immediately familiar image of someone attempting to play an instrument in the context of Victorian art was George Frederic Watts's Hope (various versions, including that in the Tate commenced 1886), where the instrument has only one string remaining and yet which the figure persists in attempting to play. In the last years of his life Burne-Jones completed a number of head studies and figurative compositions of this type using gold paint to make works of the utmost richness and ornamental quality, complete in themselves and intended for display as aesthetic objects. For example, in 1890, he showed a series of 'Designs in Gold' at the New Gallery. Of the particular skill required in the use of gold paint, Burne-Jones told his assistant Thomas Matthews Rooke: 'This gold work must be done very directly – it's an art of itself. I forget how to do it between one time and another, and it's always an experiment'.2The provenance of the present lot is fascinating; when loaned to the posthumous exhibition of Burne-Jones' work at the Burlington Fine Arts Club, the work is listed as 'lent by Mrs Horner'. Frances Jane Horner (née Graham) (1854-1940) was the daughter of the Liberal MP William Graham, who became one of Burne-Jones' most ardent patrons. Graham owned a number of Burne-Jones works, including some early panels from the Briar Rose series. Graham also held an excellent collection of early Italian works, which he would loan to the artist for inspiration. He helped managed Burne-Jones' financial affairs and even oversaw the sale of his paintings. Graham's daughter Frances became a great friend of Burne-Jones; as a child she would accompany her father to the artists' studio. As a young adult, Frances and her father would accompany the artist to exhibitions, theatre events and circuses. 'We went about with Burne-Jones everywhere' she noted. Burne-Jones was fascinated by her, drawing her many times, and bestowing many tokens of his affection upon her: painted caskets, illuminated manuscripts, hand-made Valentines. William and Frances both sat for formal portraits in the late 1870s, and Frances appears as one of the models in Burne-Jones's monumental work The Golden Stairs, which was shown at the Grosvenor Gallery in 1880.3Frances moved within the milieu of the 'Souls', an artistic and intellectual group centred around Mells, the Wiltshire home of the Horner family. The group, described by one member as 'men and women bent on pleasure, but pleasure of a superior kind... looking for their excitement in romance and sentiment'4 contained an extraordinary array of late Victorian politicians and intellectuals, including the Balfour, Wyndham, Grenfell and Asquith families. When, in 1883, Frances married the barrister and heir to the Mells estate John Francis Fortescue Horner (1842-1927)- Burne-Jones was said to be devastated- she became the hostess of this extraordinary circle of socialites. Frances adorned Mells with paintings and gifts from Burne-Jones - not least the 'Orpheus' piano, commissioned as a wedding gift by her father- and continued to support Burne-Jones following her father's death. Frances' daughter Katherine married into the Asquith family, Katherine becoming daughter-in-law of H. H. Asquith, who served as prime minister during the First World War. 1www.eb-j.org.2Mary Lago, Burne-Jones Talking, London, 1981, p. 143.3Charlotte Gere, writing in Edward Burne-Jones, ed. Alison Smith, London, 2018, pp.151-154.4Wilfrid Scawen Blunt, My Diaries; Being a Personal Narrative of Events 1888–1914, part One: 1888–1900, New York, 1923, p.53.We are grateful to the Committee of the Burne-Jones Catalogue Raisonné Foundation for their assistance in cataloguing this work.For further information on this lot please visit Bonhams.com
Dante Gabriel Rossetti (British, 1828-1882)Study for the portrait of Maria Leathart signed with monogram (lower right); bears inscriptions 'D.G. Rossetti (lower right) and 'No.5' (upper right)pencil33 x 27.6cm (13 x 10 7/8in).Executed in 1862.Footnotes:ProvenanceWilliam Bell Scott.Margaret Rae, née Leathart.By descent to her son, Charles Edward Leathart Rae.To his widow, Kathleen Muriel Rae, later Mrs Robert Catto.Thence by descent.ExhibitedLondon, Burlington Fine Arts Club, Pictures, Designs and Studies by the late Dante Gabriel Rossetti, 1883, no. 138 (lent by W.B. Scott).Newcastle upon Tyne, Laing Art Gallery, Paintings from the Leathart Collection, 1968, no. 63 (lent by Mrs R. Catto).LiteratureH.C. Marillier, Dante Gabriel Rossetti, Illustrated Memorial of his Art and Life, London, 1899 no. 355.Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882), Oxford, 1971, vol. I, no. 334B, p. 171.James Leathart, the Newcastle upon Tyne industrialist, had first expressed a wish that Rossetti should paint a portrait of his wife Maria in the autumn of 1862. At that time Rossetti had recently installed himself at 16 Cheyne Walk in Chelsea, and it seems that the first intention had been that Maria Leathart should sit to him there. However, following the usual postponements and prevarications on Rossetti's part, a plan was made that the artist should travel to Newcastle to work on the portrait at the Leathart family home, 14 Framlington Place, and which he did at the end of the first week of December. Rossetti stayed with William Bell Scott, the fellow artist who had first brought Leathart and Rossetti into contact and who lived at 18 St Thomas's Crescent. Rossetti remained in the north for three weeks, returning to London on the 31 December. Rossetti made a number of portrait sketches of Maria, at least one showing her in profile as well as the present study in which she is seen in three-quarters profile facing to the right. At the same time, he embarked on two broadly similar portraits in oil of her: one in which she was shown with her hands resting on the spine of a book, and the second based upon the present drawing showing her with her hair in an elaborate chignon at the back of her head, and showing her dressed in preparation to go out (see figure 1). Very careful attention was given to the treatment of her hands, which are shown resting on the back of a chair. Rossetti took both versions and the preparatory drawings with him when he returned to London, with the oils to be worked on further in the studio at Cheyne Walk. However, early in the New Year of 1863, the artist despaired of getting a good likeness in the first version and decided to concentrate on that in which Maria's hands rest on the chair, depending we assume on the present drawing to capture the particular likeness of the model and her pose, as well as the details of her dress. While still working on the painting Rossetti wrote encouraging letters to Leathart reassuring him that the consensus view among his circle of friends in London was that he had been successful in capturing the likeness of his absent sitter. Making portraits in oil for clients did not come readily to Rossetti and he was habitually nervous of the response that patrons might make to the works they had commissioned. The finished portrait was with Leathart in Newcastle by the 21 January and seems generally to have been enthusiastically received although with certain reservations, with William Michael Rossetti – the artist's brother – responding to William Bell Scott's account of responses to it by saying: '[Rossetti] infer[s] from your phrase that it is voted rather a good picture than a good likeness'. This finished oil has remained in the collections of the Leathart-Rae family.Perhaps recognising that the preparatory drawings were truer to life than the oil, Rossetti announced that he intended to give the two related sketches, of which the present was the second, to Leathart, in some degree as a compensation for any criticisms that may have been levelled against the finished oil. In a letter of 19 January Rossetti explained that he was sending these 'either both for yourself, or one for Scott as you please'. Leathart did in fact pass the present drawing on to William Bell Scott, and so it remained in his possession until at least 1883 when he lent it to the Burlington Fine Arts Club Rossetti Memorial exhibition, and which he eventually returned to the Leathart family by giving or leaving it to James and Maria Leathart's daughter Margaret. Maria had married James Leathart – twenty years her senior – when she was eighteen in 1858, and was therefore twenty-two years old at the time that Rossetti drew and painted her portrait. She was the daughter of a successful soap manufacturer and onetime mayor of Newcastle, Thomas Hedley. Her marriage to Leathart, who himself had gained considerable prosperity from his employment as manager of the St Anthony's leadworks of the company Locke, Blackett & Co, was therefore a dynastic match of two members of the Novocastrian mercantile middle classes. In 1864 the Leathart family moved to Low Fell in Gateshead, where they lived in a fine house called Bracken Dene, and where they brought up their large family and where was displayed the extraordinary collection of Pre-Raphaelite paintings which James Leathart formed, notable among which were works by Ford Madox Brown, John Everett Millais, Edward Burne-Jones and Rossetti himself.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
An 18th century and later small brass lantern clock, English The dial signed 'John Ward Fecit', the rectangular brass four pillar case with urn finials and pierced-scrolled crestings, the strap steel bell with matching urn finial, the 7in Roman dial with floral engraved centre, on ball feet, the steel framed movement with anchor escapement, bob pendulum and weight, the case 14.5cm wide, 38.5cm high Provenance: Albert Gaultier Collection, Newton Old Hall, Newton nr. Tibshelf, Derbyshire
A small mid -to late 17th century brass lantern clock, EnglishWilliam Snowe, Marlborough, b. c1638, d. 1722, (son of Nicholas Snowe)Surmounted by an open bell, with urn finial, between engraved dolphin frets, over four columns, with side doors, on ball feet, the 4.5in wide Roman chapter ring with fleur-de-lys half hour markers, the centre with a floral engraved border, single hand, weight driven movement, bob pendulum; together with an oak wall bracket, the case 11.5cm wide, 27.5cm high, the bracket 16cm wide, 51.5cm highProvenance: Albert Gaultier Collection, Newton Old Hall, Newton nr. Tibshelf, Derbyshire
A rare yew bell-base and ball-knopped pricket candlestickProbably Elizabeth I, circa 1600With broad flange centred by a slender iron pricket, on a ball centred stem, atop a drip-tray, the bell-shaped base with reeded footrim, 23.5cm highProvenance: Aubrey & Brenda Burton, private collection, Stow-on-the-Wold, Gloucestershire, purchased early 1980sFor an English pewter candlestick of comparable form, dated to 1600-20, formerly in the David Little Collection, see Christie’s, London, 1 May 2007, Lot 132. This exceptional pewter 'high-bell' candlestick will be offered for sale in these rooms, ‘The Chapman Collection’, part II, 27 April, 2023.
![FORSTER (E.M.)The Story of the Siren, FIRST EDITION, [ONE OF 500 COPIES], paper toning, uncut in publisher's blue mottled wr](https://cdn.globalauctionplatform.com/02e0bfb0-e8cb-4739-96ed-afc500e35fb5/26425c52-251d-4a06-ae42-afc500e79523/468x382.jpg)
FORSTER (E.M.)The Story of the Siren, FIRST EDITION, [ONE OF 500 COPIES], paper toning, uncut in publisher's blue mottled wrappers, printed label with gold-printed border on upper covers, uneven fading, extremities rubbed [Kirkpatrick A6, first state], Richmond, Hogarth Press, 1920; Howards End, FIRST EDITION, first issue with 'A Stepson of the Soil' featured on last page of the 4pp. of advertisements, half-title, spotting, publisher's cloth, spine worn, hinges splitting, Edward Arnold, 1910--WOOLF (VIRGINIA) Monday or Tuesday... With Woodcuts by Vanessa Bell, FIRST EDITION, 4 full-page woodcuts by Bell, advertisement leaf at end, publisher's cloth-backed decorative boards designed by Bell, rubbed and spotted [Kirkpatrick A5], Richmond, Hogarth Press, 1921, 8vo (3)Footnotes:Provenance: Ray Strachey (nee Costelloe, 1887-1940), Suffragist and politician, ownership signature ('Ray Costelloe') in Howard's End, which was published the year before her marriage to Oliver Strachey, Lytton's brother, in 1911. From a house associated with the Strachey family.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CHURCHILL (WINSTON)An unsmoked cigar, in custom-made oak presentation box with glass top and lined in purple cloth, with handwritten label 'Sir Winston Churchill, K.G., Chequers 14/11/53. LHN', cigar 180mm. long, box 235 x 75 x 40mm.; with signature ('Winston S. Churchill') on a note reading '11th December 1951/ Calculation made for Mr. Churchill!' next to some arithmetic in pencil, on 10 Downing Street notepaper, one page, 8vo (162 x 104mm.), and typed letter signed from Churchill's private secretary ('P.G. Oates') to Mr Norman, returning the aforementioned document ('...The Prime Minister has autographed it as you wished and I now return it to you...'), one page, 4to (187 x 187mm.), 10 Downing Street, Whitehall, 25 November 1953, mounted in one frame, unexamined out of frame, altogether 463 x 272mm.; together with reminiscences of meetings with Attlee and Churchill written by L. H. Norman, nineteen pages in blue biro, and other papers pertaining to the Chequers Trustees Meetings including a typed list of attendees (quantity)Footnotes:A CIGAR FROM CHEQUERS AND A NOTE FROM DOWNING STREET: SOUVENIRS AND PERSONAL REMINISCENCES FROM CHURCHILL'S AUDITOR.The recipient of the cigar and signed note was Leonard Herbert Norman of Price Waterhouse & Co. who acted as Auditor of the Chequers Trust from 1949 to 1957 and was thus required to attend their regular meetings, chaired by the incumbent Prime Minister. The Trust had been set up in 1917 when the estate was donated to the state for the Prime Minister's use by the then owner Sir Arthur Lee. Norman's memoirs, included in the lot, describe his first meeting with Attlee and subsequent meetings with Churchill, Eden and Macmillan. He appears most in awe of Churchill and was much impressed by his attention to detail and his extreme courtesy, despite increasing deafness and a propensity to leave cigars burning in an ash tray during meetings. On 14 November 1953 he attended a lavish lunch hosted by the Churchills at Chequers and describes in entertaining detail how the cigar came into his possession. After attempting (and failing) to keep up with the PM 'drink for drink' during lunch and enjoying wide-ranging conversation '...the cigar box was circulated for the second time I didn't feel equal to smoking another... but I did take one and hastily put it unseen (I think) into an inner pocket and still have it today...'.At the same lunch Norman left a note with Churchill's private secretary which was duly returned a week later signed by Churchill. The Downing Street headed paper had been used by Norman at a Trustees Meeting on 11 December 1951 to make some swift pencil calculations. Under discussion had been the number of weekends spent at Chequers by the previous Prime Minister, Clement Attlee, who was entitled to receive the sum of £15 per visit from the Trust: '...Churchill turned to the secretary and said... 'And how many week-ends is that?' (David Eccles grinned at me & said sotto voce 'Every bloody one I should think')... I was too flustered to be sure of doing a sum of simple division with Churchill looking on so I seized a sheet of 10 Downing Street notepaper lying on a table... at a later date one of the private secretaries obtained Churchill's autograph... (it was 48 weekends)...'.A typed memo recording a conversation with Lord Goddard in 1966 also included in the lot gives a further insight into the generous hospitality on offer at Chequers. After a long dinner, he writes, '...the table was littered with empty magnums of champagne... Sir Winston had drunk about a bottle of brandy and had regaled them the whole time, he rang the bell and demanded whisky and soda. They retired to bed at 4am.... At 9.30am... he had to get up to Downing Street for a cabinet meeting... so he had a light breakfast of a piece of toast and a whisky and soda...'.Provenance: Leonard Herbert Norman; thence by descent to the present owner.For further information on this lot please visit Bonhams.com
PATMORE (COVENTRY)Florilegium amantis, AUTHOR'S PRESENTATION COPY WITH ILLUMINATED TITLE-PAGE, inscribed on fly-leaf to 'Frederick Greenwood,/ From Bertha and Coventry Patmore/ March 25. 1890', the printed title substituted with a fine illuminated one on vellum painted by Bertha Patmore, light blue crushed morocco by Zaehsndorf, gilt lettered spine with raised bands, inner gilt dentelles, g.e., spine slightly faded, 12mo, [George Bell, 1879?]Footnotes:Presentation copy from the father and daughter team of Coventry and Bertha Patmore, who collaborated on a number of specially illuminated volumes. Bertha had shown a talent for art from an early age and her work was greatly admired and encouraged by Ruskin.Provenance: Coventry and Bertha Patmore, inscription to Frederick Greenwood (1830–1909), journalist and man of letters (he completed Elizabeth Gaskell's novel Wives and Daughters after her death in 1865); Helena Watkin, friend of the Patmores; and thence by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
HOLDER (WILLIAM)Elements of Speech: an Essay of Inquiry into the Natural Production of Letters: With an Appendix Concerning Persons Deaf & Dumb, FIRST EDITION, title within double-rule border, woodcut initials and headpieces, licence leaf facing title, some slight crinkling, minor ink mark to D2, contemporary calf, worn with loss to lower cover and spine chipped at foot, joints weak [ESTC R13396; Garrison-Morton 3349; Norman 1087; Wellcome III p.291], 8vo, T. N[ewcomb] for J. Martyn Printer to the R. Society, at the Bell without Temple-Barr, 1669Footnotes:Provenance: William Pugh, 'No. 225 Vol. 1., Esgair, Llanbrynmair 1866', ownership inscription on licence leaf.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A good quality19th century French clock garniture, the clock set in a green marble case mounted with a bronze model of four putto, the base of the cherubs signed Feuchere (French 1807-1852), the white enamel clock face with Roman numerals and twin winding holes to a brass movement striking on a bell, the clock face signed E Vittoz Paris, green marble case with applied gilt metal detail, together with a pair of accompanying bronze and green marble urn type vases, largest piece 51cm high (3)
A PAIR OF SATINWOOD AND SPECIMEN MARQUETRY SEMI ELLIPTICAL SIDE TABLESIN GEORGE III STYLE, 19TH CENTURYEach decorated with twin handled urns issuing bell flower swags to the frieze and banding to the top, stylised flowerhead patera and anthemion terminalseach 79.5cm high, 123cm wide, 49cm deepProvenance: Kenneth Neame, LondonCondition Report: Both table with the marks, knocks, scratches and abrasions commensurate with age and use. The expected old splits and chips. Some minor lifting to veneers and small repairs - see images. Overall tables in presentable order. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Robert Fletcher, Chester, (1780-1820) mahogany and oak eight day long case clock, the hood with reeded pillars flanking a 12 1/2'' painted arched dial with rolling moon, subsidiary seconds, gilt foliate spandrels, the movement striking on a bell, the trunk with reeded pilasters flanking a mahogany banded oak door, above a box base with canted corners and a circular oak panel, raised on bracket feet, height 229cmPlease note our special conditions of sale regarding clocks and watches
John Tilby, London, George III mahogany table clock, circa 1780, the domed top with brass handle, 7 1/2'' arched silvered dial with Strike/Silent to the arch, Roman numerals and outer seconds, signed twin fusee repeating movement striking on a bell, raised on bracket feet, height 43cm, width 30.5cmPlease note our special conditions of sale regarding clocks and watches
Eli Stancliffe, oak eight day longcase clock, circa 1760, the hood with fretwork pediment, 11 1/2'' brass dial with silvered chapter ring, centred with a penny moon date aperture, the movement striking on a bell, the trunk with quarter pilasters and mahogany banded door, over a box base with bracket feet, height 213cmPlease note our special conditions of sale regarding clocks and watches
Matchbox Models of Yesteryear Code 2 issues (1) YCL03 1930 Ford Model A Van "Maple Leaf" - blue body, roof and chassis, chrome parts and 12-spoke wheels; (2) similar but with red van roof, 1 of only 14; (3) YCL04 1932 Mercedes Benz L5 Truck "Bell Canada International" - blue body and roof, chrome 6-spoke wheels; (4) similar but with red cab and van roof, 1 of only 14 - Near Mint to Mint in Excellent to Near Mint boxes. (4)
David BowieA 'Glamour' Souvenir Poster, Pace Minerva, 1981art and photography by Edward Bell, printed by Holmes McDougall Ltd 61 x 91.5cm (24 x 36in)Footnotes:In addition to designing the album sleeve for 'Scary Monsters (and Super Creeps)' Edward Bell painted a picture for himself from the album artwork source material which he titled 'Glamour'. Bowie saw it hanging in Bell's home and asked to buy it. It was subsequently turned into a souvenir poster.ProvenanceThis poster is from the collection of Roger Crimlis, and appears in the books, Cult Rock Posters, Aurum Press Ltd and Pin Ups, Cadiz MusicFor further information on this lot please visit Bonhams.com
Vivienne Westwood & Malcolm McLarenA Worlds End 'Pirate Shirt', 1981off-white cotton smock shirt, with large collar, bell sleeves and buttoned cuffs, with 'World's End' label affixed to the inside collar, accompanied by a letter of provenanceFootnotes:This 'Pirate Shirt' is an important and pivotal piece in Westwood and McLaren's fashion story, since it effectively inaugurated the New Romantic period which gave rise to a host of young British design talent as well as to such world-beating stars as Culture Club, Duran Duran and Spandau Ballet. Having established the Worlds End label – with a logo adapted by McLaren from the flag of the 18th-century privateer-turned-pirate Thomas Tew - and refurbished and renamed their boutique at 430 King's Road, the shirt was featured in McLaren & Westwood's first formal venture into catwalk fashion in the spring of 1981 when they were invited to participate in the London Designer Collection (the forerunner to London Fashion Week) at Olympia by Jeff Banks. The shirt was based on an 18th-century shirt pattern as one of a number of designs taken by Westwood from the historian Norah Waugh's 1964 book The Cut Of Men's Clothes 1600-1900. With men's tailoring not starting in Britain until the end of the 18th century - prior to that 'men's clothes had a distinct dressmaker quality' - McLaren was determined that the unstructured silhouette would lend itself to becoming the focal point of their new direction, 'I could see it being worn as a dress by the young paramour of a pirate captain with his belt, one of his waistcoats and a pair of his sagging buckled boots,' McLaren said in the mid-00s. The shirt also appeared in the first prominent acknowledgement by the wider fashion world of the pair's design work, on the cover and in a tropical photo shoot in British Vogue in May 1981. This issue extended the romantic theme with a profile of Lady Diana Spencer ahead of her marriage to the then-Prince of Wales.ProvenanceGiven to the vendor by Vivienne Westwood on the last day of the Chelsea Town Hall fashion weekend in 1983. Having been the DJ for the weekend, the two met due to the stage being right next to Westwood's stall.For further information on this lot please visit Bonhams.com
David BowieA 'Scary Monsters (and Super Creeps)' Promotional Poster For RCA Records and Tapes, 1980design, artwork and photography by Edward Bell 61 x 122cm (24 x 48in)Footnotes:David Bowie attended Edward Bell's first exhibition in a Covent Garden Gallery in 1980 and was sufficiently impressed to ask him to design the next album sleeve which was required within a week. He also encouraged Bowie to smear his lipstick in pursuit of a more decadent image of Pierrot. The resulting artwork bore the influence of Warhol portraits of the period.ProvenanceThis poster is from the collection of Roger Crimlis, and appears in the books, Cult Rock Posters, Aurum Press Ltd and Pin Ups, Cadiz MusicFor further information on this lot please visit Bonhams.com
A collection of vintage 9ct gold bracelet charms. The lot to include a pair of shoes (hallmarked Birmingham 1966), a lantern charm (hallmarked London 1966), a bell charm (hallmarked London 1966), a cage charm (rubbed hallmark to one bar) and a seal charm set with a carnelian (hallmarked Birmingham 1966). Total weight 29.9g. Seal measures 2cm wide. Bell measures 3.2cm.
A hallmarked silver charm bracelet & charms. The chain comprised of double curb links united by a heart padlock clasp & safety chain. Hallmarked for Birmingham 1980. Charms to include; an articulated squirrel, football, witch on broomstick, hedgehog, imp, twin hearts, bible, church, spinning wheel, well, stone set & enamelled rabbit with carrot, Viking long boat & pierced design bell. Total weight approx 48.4g. Measures approx 18cm.
A QUANTITY OF ASSORTED RAILWAYANA, to include a brass Barkers Ticket Punch No.B6030, working order, bell rings but handle very stiff, well used worn condition, traces of blue paint, with a boxed M.C. Mieth Ticket Punch, working order but very stiff, used worn condition with traces of blue paint, box damaged, a Chloride three aspect Hand Lamp, marked NRS, not tested, used condition with marking and wear, a framed L.M.S. West Midlands to North Wales Half Day Excursions leaflet from 1934, complete and in fair condition has been folded and has some creasing, edge wear and damage, with a worn tan leather bag/satchel stamped with the B.R. logo to front, damage to straps (5)
19th century brass Gothic design steeple skeleton clock, having silvered Roman chapter ring, single fusee movement striking on one bell on a hardwood base with glass dome. Overall 44cm high approx. (B.P. 21% + VAT)Appearing generally in good condition, the base is likely to be a replacement. Includes pendulum and keys. Appears complete, but NOT tested.
Large 19th century single fusee brass steeple Gothic skeleton clock, having silvered chapter ring with Roman numerals, four fleur de lys steeples, lead bob pendulum, the movement striking on one bell. Under a glass dome with moulded swept base on bun feet. Overall 62cm high including dome approx. (B.P. 21% + VAT)
19th century French ormolu mounted walnut veneered balloon shaped eight day mantle clock, having applied foliate decoration, gilded face with ceramic Roman and Arabic numerals, marked to the face 'A Le Roy of Caen'. Glass door to the rear reveals square named movement with No. 583, striking on one bell . Overall 60cm high approx. Very grubby with some wear in places particularly to the naming on the face, but generally honest and undamaged. No pendulum.
Small collection of books relating to the Middle East, cloth bound with gilt decoration to include: Bell, Gertrude Lowthian, second edition, 'Amurath to Amurath', published by Macmillan & Co Ltd 1924, Burton, Captain Sir Richard F, 'Pilgrimage to Al-Madinah and Meccah', two volumes, memorial edition, 1893, published by Tylston & Edwards and Layard, Sir Henry G.C.B, 'Early Adventures in Persia, Susiana & Babylonia', two volumes, first editions, Volume I & II, with maps and illustrations, published by John Murray, Albemarle Street, London, 1887. (6) (B.P. 21% + VAT)All bindings have minor wear and fraying to top and bottom of spines. Hinges strong on all and internally no obvious damage. Layard's have wear to edges of pages on both and an Index stamp with hand written date (probably for a library). All other books have hand written signature of owner in pen. Both Pilgrimage to Al-Madinah and Meccah volumes have back pages with folded corners.
Late 19th century French ormolu rococo style balloon shaped mantle clock, overall decorated with scrolled openwork, gilded shell moulded face with ceramic Roman numerals, glass rear door revealing brass drum movement striking on one bell. 32cm high approx. Complete with key and pendulum. (B.P. 21% + VAT) Rather dusty and grubby, gilding worn in places.
An extremely rare Coalbrookdale Osmunda fern pattern cast iron seatcirca 1870fully stamped Coalbrookdale and with diamond registration stamps, registration number and pattern No 57194cm longSee engravingIn 1708 Abraham Darby took over a blast furnace in Coalbrookdale and established perhaps the most famous of names associated with cast iron, the “wonder material” of the 19th Century, namely the Coalbrookdale foundry. The company was responsible for producing the ironwork that made the famous iron bridge across the river in 1779, the first of its type in the world and which has subsequently been designated a UNESCO world heritage site.In the Mid 19th Century the company decided to add decorative castings to their range of products and the new seats, urns, fountains and ornamental gates won great praise as well as several medals at the Great Exhibiton of 1851. The company employed leading designers of the day such as John Bell and Christopher Dresser. The largely naturalistic seats for which the firms name became synonymous were so popular that production lasted into the 20th Century and even today the designs seem as fresh as when first produced.The design was registered and patented by Coalbrookdale at The Public Record Office on 29th May 1873, and is listed as number 57 in their 1875 Castings Catalogue, Section III, page 261. Due to the omplexity of the casting very few of these seats were ever produced as compared to the more common fern and blackberry pattern seats.The Victorians had a great passion for ferns and this passion was expressed, among other ways, through the production of a wide range of 'ferny' decorative objects made in pottery, glass, metals, textiles, wood, printed paper, stone and other materials.Although the main period of popularity of ferns as a decorative motif extended from the 1850s until the 1890s, the interest in ferns had really begun in the late 1830s when the British countryside attracted increasing numbers of amateur and professional botanists (male and female). By 1855, Charles Kingsley had recognised the prevalent passion for ferns as a phenomenon and in the course of encouraging the study of natural history in his book 'Glaucus', coined the term 'Pteridomania', meaning 'Fern Madness' or 'Fern Craze'. Garden ornamentGarden bench
FRANK WASLEY (BRITISH, 1848-1934) (2)Grand Canal, Venice; Sunset, Venicea pair, each signed 'F. Wasley' (lower left)each 24 x 43cm(2)ProvenanceMangate Gallery, London;Bell Fine Art, Winchester, 2002 from whom acquired by the previous owner;Thence by descentCondition reportBoth sheets are sound and colour strong. A couple of tiny media specks in the sky to 'Sunset, Venice'. Each framed and under glass; unexamined out of frames.
Sixties / Pirate Radio 7" Singles and EPs, approximately sixty-five 7" Singles and EPs of mainly Sixties artists and Pirate Radio records and jingles with artists including The Beatles, Rolling Stones, The Who, Eddie Cochran, Badfinger, The poets, The Doors, Lee Curtis, Ritchie Valens, Little Antony, The Marksmen, Big Bopper, The Niteshades, Vincent Bell and more - mainly less than Excellent condition
French gilt spelter and onyx figural mantle clock, the top with a standing female allegorical figure holding a conch with two cherubs at her feet, the movement stamped JR&Co and Samuel Marti, striking on a bell, 76cm tall.Condition:No key, spring driven,. Movement appears intact but may need an overhaul.Overall good condition, appears undamaged, general wear and tear commensurate with age. Right hand pillar slightly loose.
Rolex. An 18ct yellow gold keyless wind pocket watch, Circa 1970 Cellini, Reference 3727, Case number 3525362 Manual wind movement, mirror finish bronze dial with gold baton hands, bell-shaped case with snap on case back, squared bow, case, dial and movement signed Widest part 32mm (VAT charged on hammer price) Condition Report:The case is in good order with minor surface scratches and no dents. Dial is clean with no visible scratches. Watch runs when wound but it untested for timekeeping. Gross weight 31.18g.Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece.
Five Chinese porcelain items to include two teacups and three plates, Qing, the bell-shaped white teacup with moulded plum flowers, 7.2cm high, the famille rose one decorated with horses in a landscape, the Yongzheng Octagonal famille rose plate decorated with a bird, various flowers, bamboo and rocks in a garden as well as a scroll in the centre, 28cm diameter, a smaller octagonal plate and the third a part of a bigger plate, decorated with Kangxi famille vert picture of fishing scene CONDITION REPORT: octagonal plate has crack with rivet repair running most of the way through it. 10 sided plate repaired with glue from several sections, poor. Circular plate rivet repaired from three sections, poor.
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