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Lot 161
A French Marble Striking Mantel Clock, 19th century, surmounted by a gilt bronze eagle, 4-inch dial with Roman numerals, twin barrel movement with an outside countwheel striking on a bell, silk suspension36cm highCase with small chips in parts to the marble, gilt metal surfaces are slightly discoloured in parts, later dial is discoloured, movement plates are stained and discoloured, movement needs cleaning, pendulum is missing.
Lot 190
A 19th Century French gilded brass and champlevé enamel (cloisonné) carriage clock. Pagoda top with raised central urn flanked by bell finials. Glass panel to front with Roman Numeral chapter ring and faceted hands. The sides decorated with portrait miniatures. French movement to the interior. Measures approx; 19cm tall.
Lot 76
A group of five glass wine drinking glasses comprising a bell shaped bowl with large bladed stem, trumpet shaped example with cylindrical stem and circular foot, Lalique manner example, tapered bowl example with cylindrical stem & circular knops along with another coupe type example. No visible signs of damage or repair. Measures approx; 19cm tall.
Lot 593
Duncan Grant (1885-1978), lithograph on handmade paper, Partridge and Grouse, 35cm x 25cm, mounted, glazed and framed. From Eight Lithographs, a suite oflithographs in a limited edition of 250 published by Millers of Lewes in 1945, in which Vanessa Bell and Duncan Grant each had two lithographs. This is from edition number 18 of 250. Copy original contents sheet attached
Lot 158
Law.- Trials.- A Collection of the several Statutes, and Parts of Statutes, Now in Force, relating to High Treason, and Misprision of High Treason, 2 parts in 1, initial imprimatur leaf, light damp-staining to foot, front free endpaper loose, contemporary morocco, gilt with arms of Queen Anne, slight bumping to corners, g.e., Charles Bill, and the Executrix of Thomas Newcomb, 1709 § Gurney (Joseph) The Whole Proceedings on the Trial... Thomas Walker of Manchester..., title upper margin torn away supplied in paper, spotting to a few initial ff., modern half calf, Manchester, for T. Boden,1794 § The Declaration and Confession of Robert Watt..., small ink ownership inscription to title, light scattered spotting, modern cloth, Bell & Bradfute, 1794; and c.70 others, eighteenth and nineteenth century, trials and law, v.s. (c.70)
Lot 238
Bible, New Testament. Novum Testamentum, edited by FHA Scrivener, title in Greek and Latin, text in Greek, ?proof copy with numerous manuscript notes in the ?editor's hand, some ff. at end slightly damp-stained, original morocco-backed cloth, defective and damp-stained, lacks spine, sm. 4to, Cambridge, Deighton Bell, 1865.⁂ Frederick Henry Ambrose Scrivener (1813-91), biblical scholar.
Lot 296
Private Presses.- Holland (Lord) Eve's Legend, number 37 of 300 copies, hand-coloured plates and illustrations by Hester Sainsbury, bookplate of Pamela and Raymond Lister founders of the Golden Head Press, faint staining to endpapers, original decorative boards, a little rubbed, bumping to corners and extremities, 1928 § Phipps (Howard) Ebble Valley, one of 300 copies, signed in pencil by author, folding frontispiece, plates and illustrations, original pictorial boards, housed in original slipcase, The Whittington Press, 2007 § Areopagitica: A Speech of Mr John Milton for the liberty of unlicensed printing to the parliament of England, one of 400 copies, original buckram, Deighton, Bell & Company, 1973 § Boccaccio (Giovanni) Amorous Fiammetta, one of 550 copies, colour plates, original limp green vellum, faint spotting, faded spine, contemporary cardboard slipcase, rubbed and bumped, The Mandrake Press, 1929, previous owner's neat blind-stamp towards end of each vol.; and others private presses, v.s. (38)
Lot 334
An Elizabeth I bronze mortar, attributed to William & Alice Brend Foundry, Norfolk (fl.1586-1634), circa 1600 With four lug handles, two rounded and two of flattened form, spaced by an inverted letter 'T' stamp with a background of foliate tendril design, 17cm across handles, 14.5cm diameter, 11cm high Provenance: Roderick Butler Collection Literature: This mortar is Illustrated Michael Finlay, 'English Decorated Bronze Mortars & Their Maker's', p.87, fig. 155. The author notes that the inverted 'T' was probably used purely for decoration. This very distinctive decorative alphabet was used by William & Alice Brend on a bell, the second at Earsham, Norfolk, in 1593.
Lot 38
A rare Elizabeth I small bronze mortar, by an unidentified foundry, possibly of Norwich, dated 1598The everted rim and base cast with cords, the body with individual letter stamps 'AN???' , further indistinct stamps and the date 1598, with two small lug handles, one pierced, rim diameter 12cm, height 7.8cmLiterature: See Michael Finlay, 'English Decorated Bronze Mortars and Their Makers' (2010), p. 3, p.88 (no.158), for a Norwich mortar cast with a portrait medallion of Elizabeth I, three times, and with a single lug, formerly in the author's and John Douglas Collections. The author speculates it may have been made to commemorate Queen Elizabeth I's visit to Norwich in 1578, where she was greeted at St. Stephen's gates by the City Waits, who, with a peal of bells 'cheerfully and melodiously welcomed Her Majesty into the city' (P Cattermole, 'Church Bells and Bell-Ringing, A Norfolk Profile' (1990) p. 17.Provenance: Doughton Manor, Doughton, Gloucestershire
Lot 462
A group of 17th/18th century cast bronze alloy crotal bells, EnglishAll spherical with loose clappers, to include two small 17th century examples, both with maker's hammer mark in a shield, largest diameter 5cm; an 18th small example by William Gwynn, Aldbourne, Wiltshire; another by unrecorded maker 'WW', diameter 6.4cm; an example by maker 'IP' or 'PI', a very small crotal bell with worn decoration, diameter 2.8cm, an example by Robert Wells, Aldbourne, Wiltshire and a large example with dot relief decoration, diameter 7.5cm, (8)Literature: These pack horse bells were made in graduated sets. See Schiffer, 'The Brass Book', p. 100, fig.b, for an illustrated example, No. 6, by Robert Wells.
![VIRGINIA WOOLF: KEW GARDENS, ill Vanessa Bell, Richmond Hogarth Press, 1919 second edition [500], 2 wood cut illustrations as](https://cdn.globalauctionplatform.com/d0ec2406-3ed7-4541-b523-af8600f80bd6/bac59ac9-7bfa-4a02-b404-afad00a6c3e5/468x382.jpg)
Lot 178
SIR JOHN DALRYMPLE: MEMOIRS OF GREAT BRITAIN AND IRELAND FROM THE DISSOLUTION OF THE LAST PARLIAMENT OF CHARLES II UNTIL THE SEA-BATTLE OF LA HOGUE, London, printed for W Strahan and T Cadell, Edinburgh, A Kincaid and J Bell and J Balfour, 1771-73, second edition, 2 vols, 4to, contemporary calf worn, top boards detached, rear boards loose, armorial book plate of Lord Grey de Wilton (2)
Lot 199
JAMES WILSON KING: THE WAR-SHIPS OF EUROPE... REVISED AND COLLATED THROUGHOUT WITH ADDITIONAL NOTES BY AN ENGLISH NAVAL ARCHITECT... Portsmouth, Griffin & Co, 1878, first edition, 24 plates including 2 folding as called for, original pictorial cloth gilt plus SIR WILLIAM CUSAC-SMITH: OUR WAR-SHIPS, London, Kegan Paul Trench & Co, 1886, first edition, original blind stamped cloth gilt, plus SIR EDWARD JAMES REED AND EDWARD SIMPSON: MODERN SHIPS OF WAR WITH SUPPLEMENTARY CHAPTERS AND NOTES BY JAMES DOUGLAS GERROLD KELLEY, London, Sampson Low Marston Searle & Rivington, 1888, first edition, 18 plates, many text ills, original pictorial cloth gilt plus HERBERT JAMES GILBERT CORBETT: NAVAL GUNNERY, London, George Bell & Sons, 1897, first edition, 12 plates, may text ills, original blind stamped cloth gilt plus LEWIS RANSOME FREEMAN: STORIES OF THE SHIPS, London, John Murray, 1919, first edition, original cloth, d/w, (small part losses) (5)
Lot 265
Manner of Nina Hamnett (1890-1956) Two women with babyinscribed to the reverse oil on canvas86cm x 81cm Provenance:The collection of the late Eric Stevens, removed from Hampstead, LondonSale; Cheffins, Art & Design, 11 October 2018, lot 363Widely known as the ‘Queen of Bohemia’, Welsh artist, writer and authority on sailors’ shanties, Nina Hamnett was a Vesuvius of both talent and character.Born to a military family in Tenby, Wales, Hamnett enjoyed a privileged childhood, attending a private boarding school on the Kent coast and later in Somerset. However, her father’s dishonourable discharge from the army and his subsequent employment as a taxi driver appears to have been a seismic event in Hamnett’s early life. Although she was able to continue her education, due to financial support from other family members, her father’s change in circumstance allowed Hamnett to liberate herself from the constraints of middle-class expectations and affectations. A lady, she claimed, was the last thing she ever wanted to be.After training in London, in 1914 Hamnett moved to Montparnasse, Paris, to attend the academy of Marie Vassilieff. In Paris, Hamnett dedicated herself to hedonism and became close friends with a number of influential cultural figures, including Modigliani, Picasso, and Cocteau. Tales of this fiercely vibrant and openly bisexual sybarite soon spread back to England and upon her return she was invited to work at the Omega Workshop with Bell, Fry and Grant where she produced a number of textiles, murals, furniture and rugs.Although prodigiously talented, Hamnett was a reluctant artist with a baffling disregard for her own artistic gifts. She received robust advice and encouragement from both Sickert and Fry, who were amongst her most ardent supporters. Revelling in her reputation as a libertine, however, Hamnett often chose pleasure over artistic rigour and as such, her output suffered. Indeed, this is noted in her seminal memoir Laughing Torso (1932), which recalls a number of carousals across Paris and Fitzrovia, including dancing for Satie, hiding from Modigliani and singing shanties to Cocteau. Hamnett’s life was cut tragically short in 1956 when she fell from the window of her Paddington flat. Accounts of this incident vary with some claiming that she was impaled on the railings below. Whether the fall was a tragic accident, a drunken stumble or a deliberate act remains in question.The present lot is an excellent example of Hamnett’s works which are typified by their contemplative qualities and their meditations on everyday life. Although quiet and still, one can imagine that her sitters have a fully realised internal life.
Lot 277
§ Simon Bussy (1870-1954) An Asian Fairy-bluebirdsigned with monogram and dated 40 (lower left)oil on board26.5 x 21cmProvenance:Purchased directly from the artist by Pamela, Lady Glenconnor (1903-1989)by whom gifted to Anne, Lady Glenconner (1932-)and by descent within the family to the present ownerBorn to a family of shoemakers in Dole, France, during a period in which the provincial bourgeoisie classes were rapidly expanding, Simon Bussy was the first in his family afforded the opportunity to liberate himself from the restrictive shackles of the family trade. Although an accomplished painter of portraits and landscapes, it is for his small-scale studies of animals, particularly those of birds and reptiles, that Bussy is perhaps best known today.As a young man, Bussy was awarded a scholarship to study at the local drawing school, before travelling to Paris to study under Gustave Moreau at the École des Beaux-Arts. Whilst he gained valuable experience under Moreau, the Symbolist works of his mentor were of little consequence to Bussy, who cited Japanese prints and the works of painters, such as James Abbott McNeill Whistler and Edgar Degas, as his primary influences.After a successful solo exhibition at the hugely influential and innovative Galerie Durand-Rue, in 1901, Bussy left Paris for London. Upon his arrival in the city, Bussy was quickly introduced to the fashionable Bohemian scene by his friend and fellow artist, William Rothenstein. It was during this time that Bussy was introduced to Dorothy Strachey, who, in 1903, would become his wife. As a novelist in her own right and as the sister of Lytton Strachey, Dorothy and Simon were closely associated with the Bloomsbury Group and would often host members, including Vanessa Bell and Duncan Grant, at their marital home, Le Souco, in Roquebrune, near Monaco.Alternating between Roquebrune and London, it was in the United Kingdom, specifically at London Zoo, where Bussy is known to have created most of his animal studies. Discussing these works, Bussy wrote: “Every work is an invention, a poetic composition, not only decorative. In the animals I paint and in the environment around them there is no element that has not been the subject of a patient observation”. Indeed, through his bold and confident presentation of colour, simplification of form and space and the meticulous and nuanced interpretation of the character of each animal, the present lots demonstrate the seamless confluence of the formal and the more ineffable and totemic qualities that have made Bussy’s works so collectable.The board with a light layer of surface dirt and some negligible accretions (mostly isolated to the lower left quadrant). Paint layer appears in good order overall, though there are some networks of very fine cracks largely located to the sky and buildings. Colours appear bright and strong. See additional images.
Lot 1324
Good French Empire ormolu and green vein marble two train mantel clock, the Japy & Co movement striking on a bell, the 4.25" dial within a drumhead casing under a rectangular table scattered with various artefacts and implements, a robed lady reading a book seated to the side, upon a stepped marble base, 15" high overall, 14" wide (pendulum and key)
Lot 1353
Good French black marble and figural mystery two train mantel clock, the movement stamped with the GLT (Guilmet trademark logo), no. 1583, with outside count wheel and striking on a bell, the 4.25" black marble dial within an ornate egg on dart cast bezel, the stepped case surmounted by a bronzed robed maiden holding aloft the pendulum with bevelled glass bob bearing the no. 1816 stamped to the base of the figure and on the metal foot attached to the clock top, the sides fitted with engraved lions head handles and the front sgraffito with scrolling foliage, 24" high (pendulum) * This clock is sold with a copy of the German magazine Tijdschrift dated June 2002, 02/2 which has an identical clock featured on the front cover.
Lot 1356
Good English mahogany double fusee verge bracket clock with six pillar movement, the 6.75" brass arch dial signed John Herbert Dort on an arched silver plate to the matted centre with false pendulum bob and calendar apertures, enclosed by a silver chapter ring and surmounted by a moon phase to the arch, the six pillar movement with verge escapement and fine foliate engraved back plate, striking the hours and half hours on a bell, within a stepped case surmounted by an inverted bell top, four finials and carrying handle, 19.5" high (pendulum and door key)
Lot 1365
English ebonised and ormolu mounted double fusee verge basket top bracket clock, the 7" square brass dial signed M.Crockford, London on the silver chapter ring at six o'clock, enclosing a matted centre with false pendulum bob and calendar apertures, the five pillar with movement with pull repeat striking the hours on a large bell and the quarters on to smaller bells, the finely foliate engraved back plate also signed Matt Crockford, London, within a stepped case surmounted by a two tier basket top pierced with cherubs and foliage, also with eight turned brass finials and an ornate carrying handle, 19.25" high (pendulum and key) * The movement has been overhauled but the quarter striking is blocked. It has also been converted back to verge. ** The maker Matt Crockford of London is recorded as working between 1693 and 1718
Lot 1504
Good French brass and marble four glass two train mantel clock, the Japy Freres movement with outside countwheel striking on a bell, the 4.25" painted white dial within an ornate bevel glazed stepped case with stepped case with applied gilded foliate mounts, upon a marble base and surmounted by a classical fluted two handled urn, 15" (pendulum & key)
Lot 1505
Dutch blue and white pottery balloon shaped two train mantel clock, the S. Marti movement striking on a bell, the movement back plate stamped Maple & Co., Paris, the 3.75" convex white dial within a balloon shaped case decorated to the front with a traditionally dressed couple in a rural landscape and overall with scrolling foliage, 15.5" high (pendulum & key)
Lot 1507
French ormolu and marble pillar two train mantel clock, the 4.25" white enamel dial signed Caillouel Hger...á Paris, within an ormolu drumhead casing, the movement with silk suspension and outside countwheel striking on a bell supported upon black and white marble pillars to the rectangular beaded and ormolu mounted base, surmounted by two ornate ormolu lyre pillars and a floral urn finial, 20" high (pendulum and key)
Lot 1508
French porcelain two train mantel clock, the Pons movement with silk suspension and outside countwheel striking on the hour and half hours on a bell stamped no. 1166, the 3.5" silvered dial within an ornate decorated case painted with a romantic cartouche beneath the dial and with similar painted decoration to the back, the sides painted and gilded with stylised flowering foliage on a black ground, supported upon a canted stepped base decorated in relief with a continuous band of foliage, surmounted by a flat pediment, 12.5" high (pendulum)
Lot 1513
French Boulle two train balloon mantel clock garniture, the 3.5" white dial signed Mouillard, Le Mans, the Mougin movement with outside countwheel and striking on a bell, within a gilt metal mounted balloon shaped case, 14" high (pendulum and key); also with a pair of matching twin light candelabra, 9" high
Lot 1520
Good French gilt metal and porcelain mounted two train mantel clock, the Japy Freres movement striking on a bell, the shaped porcelain dial plate painted with a courting couple in a garden beneath the chapter ring, within an ornate scrolling foliate and pierced case surmounted by a classical urn, 15.5" high (pendulum and key)
Lot 1535
French ormolu Empire mantel clock emblematic of music, the 3.25" white enamel dial inset into a classical pillar surmounted by a lyre and attended to one side by a standing robed figure playing a harp and to the other with musical instruments fastened to a shaded pole, the movement with outside countwheel, silk suspension and striking on a bell, upon a stepped plinth and cone feet, 14.25" high (pendulum and key)
Lot 1536
Good French ormolu and white marble two train lyre clock, the 3.5" gilded dial with Roman cartouche enamel numerals and within twin paste set bezels, the movement with outside countwheel striking on a bell and the pendulum swinging to operate the outer bezel and sunburst mask above, within a white marble case applied with gilded foliate mounts, 15.5" high (pendulum and key)
Lot 1539
Good French black marble and bronze mounted two train mantel clock, the Mougin movement stamped Ate Le Roy...Caen no. 1133, with outside countwheel striking on a bell, the 3.75" cream dial with raised Arabic cabochon numerals, within a stepped case surmounted by a bronze caddy top repousse with foliage, four turned urn finials and a carrying handle, 15.25" high (pendulum and key)
Lot 1541
French bronzed and black marble two train figural mantel clock, the Japy Freres movement striking on a bell, the 3.75" black marble dial inset into a classical pillar attended by a robed standing lady holding a portrait pendant, upon a stepped rectangular base, 20.5" high (pendulum and key)
Lot 1542
Good French bronze and black marble two train figural mantel clock, the Vincenti movement with outside countwheel striking on a bell, the 3.75" white dial inset into a pillar surmounted by scrolls and attended by a reclining bearded robed scribe, upon a rectangular stepped base with rounded ends, 16.25" high (pendulum and key)
Lot 1831
Good Dutch walnut eight day longcase clock with various complications, the 14" rounded arched dial signed Jan Henkels on the wide silvered chapter ring under six o'clock, enclosing a gilded and foliate engraved centre with calendar work and moon phase apertures, also with a subsidiary seconds dial, over a recessed automata featuring windmills, sailing boats and figures fishing before rural painted scenes, the movement striking the hours on one bell, the first quarter past with one stroke on the same bell, the full hour at half past on another bell, also the quarter to the hour on the same bell, the calendar work is automatic for a thirty-one day month needing to be corrected for other months by pushing round the date ring, the large windmill only operates whilst the clock is striking, the case with foliate carved beaded waisted door, fitted with an oval bronze overlaid figural cast lenticle and also inlaid with a vase of flowers and a reserve of musical instruments, the bombé base with a central foliate inlaid reserve enclosed by boxwood lines and the hood surmounted by a wavy moulded foliate carved cornice and caddy top with blind foliate fret carved frieze, 93" high (pendulum, two weights and winding key)
Lot 2033
Interesting and unusual two train Comptoise clock movement rehoused into a contemporary walnut case, with rectangular chapter ring supported upon four tapering legs and surmounted by a bell under a pulley arrangement, 50" high (contemporary pendulum and two weights) *This clock was re-cased by Artisan Creation Ferre from Colmar (see their website)
Lot 2320
French style grey marble and gilt metal mounted two train portico mantel clock garniture, the movement with outside countwheel striking on a bell, the 3.5" white painted dial within a drumhead casing, supported upon four offset pillars to a rounded base, surmounted by a classical urn, 16.5" high; also with a matching pair of side urns, (pendulum and key)
Lot 2322
French green onyx and gilt metal mounted two train mantel clock garniture, the Mougin movement with outside countwheel striking on a bell, the 3.25" cream painted dial inset into a pillar over a stepped base and surmounted by a kneeling Cupid, 13.5" high (pendulum and key); also a pair of matching two light candelabra, 11.25" high
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123896 item(s)/page