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Lot 1162
An early 19th Century gilt brass mantle clock by Raingo Frerre, Paris, having a drum movement striking on a bell, the rococo influenced case surmounted by four putti dancing and playing musical instruments, and having two inset porcelain plaques decorated with further putti, 43 x 18 x 34 cm, (lacking pendulum and a putto's horn)
Lot 577A
A Bell Epoque diamond and sapphire snowflake brooch, having four precious white metal fronds each set with three old cut diamonds (each approximately 2 mm), separated by a yellow metal cross having five blue sapphires (approximately 3 mm) and punctuated by a further four diamonds, mounted on a yellow metal bar having pearl set terminals, (tests as high carat gold), 5.36 g, 50 x 22 mm
Lot 4413
Books, to include: Ecton, 'A State of the Proceedings of the Corporation of the Governors of the Bounty of Queen Anne for the Augmentation of the Maintenance of the Poor Clergy', London, 1719; 'State Tracts: Being a Collection of Several Treatises Relating to the Government, Privately Printed in the Reign of King Charles II', London, 1689 (rebound); 'A Collection of the Several Statutes and Parts of Statutes Now in Force, Relating to High Treason', London, Charles Bell, 1709. (3)
Lot 4467
French rouge griotte marble mantel clock, late 19th Century, of arched form, on stepped moulded base, the white enamel dial with Roman numeral chapter ring, with two winding arbours, the polished brass movement stamped JBD, with bell strike, pendulum and key, label to interior for the Clock clinic restoration company, 23cm high
Lot 395
A late 17th/early 18th century walnut and oyster veneered longcase clock, the five pillar two train movement with anchor escapement striking on a bell, the 12'' square brass dial inscribed No 12, having a silvered chapter ring inscribed Josh Wilson, London, enclosing a calendar aperture and subsidiary seconds dial within a typical hood with three quarter pilasters and the trunk with a panel door having a pendulum aperture, h203cmAlterations and restoration
Lot 398
James Day London, Georgian mahogany inverted bell top bracket clock, with eight day twin train verge fusee movement striking on a bell, five pillar movement with strike silent. Back plate engraved with swag and flowers. 7'' wide silvered arch dial with strike silent.Dimensions 11'' x 19.5''( top handle extended) x 7''Provenance Sotheby's London 1979 Lot 216 ex Piers Benson Browning collection.James Day recorded in London 1766Lovely original restored clockCONDITION:Lovely original restored clock
Lot 399
William Frederick Strigel, London, inverted bell top twin fusee verge ebonised bracket clock. Two train five pillar fusee movement striking on a bell, back plate engraved with flowers and swags, 6 '' arch dial with strike/silent and regulation dials with pull repeat, silvered chapter ring, silvered nameplate. Date calendar to dial, rococo spandrels, contained in an ebonised fruitwood case with brass feet, pineapple finials and trim. Dimensions 11 x 19'' (top of handle) x 7 1/2 '' deepSold Sothebys 1997 Lot 488Strigel recorded as working in London in 1759
Lot 400
John McGregor, Wick (Scotland). Twin fusee bracket clock in mahogany case. Early Victorian, 7 1/2 '' silvered arch dial with strike/silent in the arch moon hands. Five pillar anchor escapement fusee movement striking on a bell with strike/silent and regulator pendulum. Partly engraved back plate, full repeat. Contained in a mahogany case with brass inlay, brass fish scale fretwork, silk to sides, brass ball finials to top with brass carrying handle, glazed rear door, Dimensions 11" x 18'' (top of handle) x 6 1/2 ''John McGregor recorded in Wick (Scotland) in 1837Lovely restored conditionCONDITION:Lovely restored condition
Lot 403
Robert Green, Edinburgh. Eight day longcase clock with 12'' steel arch brass dial with silvered boss inscribed R Green Edinburgh, surrounded by dolphin spandrels. Eight day movement striking on a bell calendar and date wheels. Contained in a mahogany case. Hood with reeded columns with brass caps, swan neck pedimentDimensions 89 x 20 x 10''Good condition, movement not testedCONDITION:Good condition, movement not tested
Lot 404
Whithurst (Whitehurst), Congleton. Thirty hour longcase clock with 11'' square brass dial single hand. The centre engraved with a single flower surrounded by leaves. A thirty hour rope driven movement striking on a bell. Oak case with glass centre (bulls eye) on trunk door. Hood has turned plain pillars. The hood sides are glazed, Dimensions 80 x 20 x 9''Purchased from Hadfield clocks.Whitehurst was the start of the famous family of clockmakers noted for fine clocks
Lot 407
Richard Gilkes, Whitchurch. Thirty hour hooded wall clock with alarm. 10'' brass dial with silvered chapter ring and alarm disk. Floral engraving to centre of dial. Small thirty hour steel pillared movement with alarm striking on a bell, movement plates 3 x 4 1/2''. Contained in an associated oak case/hoodMovement/dial in good original condition. Case appears to be associated but looks in keepingCONDITION:Movement/dial in good original condition. Case appears to be associated but looks in keeping
Lot 23
WW2 Royal Navy Collection of 4 Signed First Day Covers and Personal Account of Able Seaman George Deacon Who Served With HMS Ajax. Signatures include Rear Admiral Rodney Sturdee on Battle of River Plate FDC, Cdr EW Sykes and Lt Cdr PHG Richardson on Battle of River Plate FDC, Mervyn J Salter on Battle of North Cape FDC, Vice Admiral Sir Lancelot Bell Davies on HMS Norfolk FDC. Good Collection. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 35
World War II Lancaster multi signed 10x8 colour photo signed by 18 Bomber command veterans such as W O Jack Baldwin, Wg Cmdr John Bell, W O Jim Brookbank, W O Ron Brown, Fl Lt Ken Joe Dagnall, Sqd Ldr Tony Iveson, FLT Lt Harry Parkin and Geoffrey Whittle DFM. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 58
WW2 RAF Nine Dambusters Signed Chris Ward 1st Edition Hardback Book Titled 5 Group Bomber Command. Signatures include Tony Iveson, John Bell, Tom Bennett, Murray Valentine, Basil Fish, Ken Jenkinson, Frank Tilley, Benny Goodman and Colin Cole. 264 pages. Spine and Dust-Jacket in Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 59
WW2 RAF Benny Goodman, John Bell, Sydney Grimes, Frank Tilley, Charles Avey, Bernard Maybey, George 'Johnny' Johnson and Mary Stopes-Roe Signed 1st Edition Hardback Book Titled M-Mother by Jenny Elmes. Spine and Dust-Jacket in Good Condition. 270 Pages. Good Overall Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 116
WILLIAM BELL SCOTT H.R.S.A., L.L.D. (SCOTTISH 1811-1890) THE BARGE OF THE FAIRY MAB Inscribed with title and address and 'Government School of Design' on a contemporary label verso, feigned arched top, oil on canvasDimensions:61cm x 51cm (24in x 20in)Provenance:Provenance: Careston Castle, Brechin, AngusExhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1845, no.175Note: O, then, I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men's noses as they lies asleep; Her wagon-spokes made of long spinners' legs, The cover of the wings of grasshoppers, The traces of the smallest spider's web, The collars of the moonshine's wat'ry beams, Her whip of cricket's bone; the lash of film…— Mercutio in Romeo and Juliet, Act I, scene IVWilliam Bell Scott was born in Edinburgh in 1811, the son of the engraver Robert Scott (1777-1841) and younger brother of the painter and poet David Scott (1806-1849). He trained in fine art at the Trustees’ Academy, a forerunner of Edinburgh College of Art. In 1837 he moved to London, where he soon developed a connection with a group of painters known as ‘The Clique’ who met to sketch together. ‘The Clique’ was founded by the renowned fairy painter Richard Dadd in the late 1830s, and co-alesced around a rejection of high art and a belief that their work should not conform to academic ideals. Bell Scott formed a friendship with Dadd, and they collaborated on illustrations for Samuel Carter Hall’s ‘Book of British Ballads’ (1842). The group disbanded in 1843 after Dadd was diagnosed insane and institutionalised at Bethlem for killing his father during a psychotic breakdown.In 1843 Bell Scott was offered the position of Master of the Government School of Design at Newcastle-upon-Tyne, where he would remain for the following twenty years. He nevertheless maintained a relationship with the Pre-Raphaelites in London, and contributed poetry to their journal ‘The Germ’. He was close to William Holman Hunt and, in particular, Dante Gabriel Rossetti, whose family championed his work.Bell Scott is best-known for his history paintings. In 1854 he was commissioned to paint a series of works depicting the history of Northumberland for Wallington Hall, the Morpeth home of his most valued patron Lady Trevelyan. Five years later he met Alice Boyd of Penkill Castle, Ayrshire, while she studied in Newcastle. The relationship became close, and from the 1860s Scott lived with Alice Boyd and his wife Letitia in a ménage à trois between Scotland and London until the end of his life. Following her brother’s death in 1865 Alice became the owner of Penkill, and Bell Scott spent several years in the 1860s painting the staircase with a series of frescos illustrating James I’s poem ‘The Kings Quair’.‘The Barge of the Fairy Mab’ was exhibited at the Royal Scottish Academy in 1845, and pre-dates Bell Scott’s Pre-Raphaelite associations. The Fairy Queen Mab is glimpsed through lily petals glowing in the moonlight, being transported on a barge formed from lily pads. Her hair falls in flowing golden tresses and she holds a long red wand, which she directs towards a spider spinning silken threads, as her wide eyes gaze upwards towards the web. The Fairy Queen and several of her attendants are unclothed, with a sensuous allure of form that could not have been freely expressed in a traditional Victorian genre or history painting. The intense jewel-like colour draws the eye towards the heart of the composition, as does the detailed rendering of the elf-like creatures, insects, bugs and leaves. Even the delicate threads of the web are beautifully illuminated. The scene is enclosed within leaves and grasses, through which fairies make their way, with bright star-like torches on their heads, past a swan nestled in the background. There is joy, humour and mischief in the rendering of Fairy Queen Mab and her entourage, and it is a delight to glimpse into this fantasy.Queen Mab is a mischievous yet benevolent figure. In ‘Romeo and Juliet’ she is referred to as the fairies’ midwife, who delivers sleepers their innermost fancies in the form of dreams. In Victorian Britain a great fashion for fairy painting co-incided with a resurgence of interest in Shakespearean plays such as ‘The Tempest’ and ‘A Mid-Summer Night’s Dream’, in which fairies feature as characters. The popularity of the fairy genre is seen as a reaction to the societal and environmental changes being wrought by industrialisation and the expansion of the suburbs. Viewers sought escapism from the changing world through mystical, spiritual and fantastical scenes and images of the natural world. The fairy genre is rare in Bell Scott’s oeuvre, yet in ‘The Barge of the Fairy Mab’ he has created a charming example of Victorian fairy painting at its best.
Lot 162
◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH WHITE JUG AND PEARS Signed, oil on canvasDimensions:18in x 16in (45.7cm x 40.7cm)Provenance:Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 2 September 1998, lot 1479, as ‘Still Life with Pears (The White Jug)’Portland Gallery, LondonExhibited: London, Portland Gallery, The Scottish Colourists, 14 June-19 July 2002, no.52London, Portland Gallery in association with The Scottish Gallery, Edinburgh, S. J. Peploe (1871-1935), 7-29 November 2012, no.18, Ill.col.p.29.Note: Still Life with Jug and Pears of c.1925 reveals Peploe’s mastery of the still life genre, which came to maturity in his practice during the 1920s. He summed up his dedication to the theme, even beyond the landscapes and portraits for which he is also celebrated, in 1929, when he declared: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’[i] The still life was the primary focus of the work made in his longest-serving studio, at 54 Shandwick Place in Edinburgh’s West End. Peploe moved there in 1917 after it was vacated by his friend, the artist James Paterson and maintained it until a move to nearby Castle Street in 1934. The Director of the National Galleries of Scotland, Stanley Cursiter, described it thus: ‘the room had a large, high and well-placed window. The scheme of decoration was…kept in a very light key and he surrounded himself with brilliant colours.’[ii] As Roger Billcliffe has explained: ‘Peploe set himself as a target the perfect still-life painting. It had been his first love and his first serious achievements had been in still-life. His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them.’[iii] A sense of this dedication is clear in a description of visiting Peploe in his studio by his niece, Margery Porter: ‘How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.’[iv] Alongside a cast of cherished objects, including jugs, plates, bowls and various lengths of fabric, Peploe would introduce flowers or fruit to his still lifes according to the season. The apples and pears of Still Life with Jug and Pears would suggest that it is an autumnal painting. This caused some consternation amongst the purveyors of such produce, as explained by Cursiter: ‘When he selected his flowers or fruit from a painter’s point of view he presented a new problem to the Edinburgh florists. They did not always understand when he rejected a lemon for its form or a pear for its colour and he remained unmoved by their protestations of ripeness or flavour.’[v] Still Life with Jug and Pears contains all the hallmarks of Peploe’s work of the mid-1920s as he developed from the highly-complex and high-pitched still lifes of earlier in the decade and progressed towards the more raw and expressive style of the early 1930s. There is an overall feeling of dignity in the arrangement, subtle palette and natural lighting of this painting. The depiction of the pears in the foreground is a masterclass in perspective, whilst the warm tones of the apple to the right provide the colour focal point of the composition. Peploe’s enduring interest in the work of Paul Cézanne is clear, for example in the strength of form created by defined planes of colour, particularly in the fruit. Deliberately distinct brushstrokes convey shadow and reflection. The arrangement of objects is asymmetrical yet perfectly balanced, presided over by the jug. The edge of the table on which they are presented is aligned to the lower horizontal plane of the canvas, as Peploe skilfully plays with notions of reality and representation. Moreover, the cropping, such as of the dish on the left, suggests the space beyond the table and the frame. Peploe was to explore these concerns further in works such as the related and slightly later Still Life with Jug and Grapes (The Courtauld, London, acc.no. P.1992.XX.1). In this painting, the same jug has taken centre stage in the foreground, drapery plays a more significant role on the table-top and Peploe has extended the sense of distance by including a covered chair in the background. The poise and classical simplicity of Still Life with Jug and Pears has given way to a less polished vigour. Still Life with Jug and Pears dates from a particularly propitious period in Peploe’s career. During the 1920s his reputation was cemented in Scotland and spread to London, Paris and New York. He had regular solo exhibitions at The Scottish Gallery in Edinburgh and La Société des Beaux-Arts in Glasgow. When the latter business merged with the Lefèvre Gallery in London in 1926, Peploe’s work was also shown there. In 1923, paintings by Peploe, Cadell and Hunter were shown at the Leicester Galleries in London and again in 1925, joined by the work of John Duncan Fergusson. The four artists were celebrated in an exhibition at the Galerie Barbazanges, Paris in 1924, from which a painting by Peploe was acquired for the French national collection. In 1927, he was elected a full member of the Royal Scottish Academy and the Tate acquired one of his still lifes, meaning that he was represented in the British national collection. In 1928 a solo exhibition of his work was staged at the C. W. Kraushaar Galleries, New York and a room was dedicated to his work in the newly extended Kirkcaldy Museum and Art Gallery. Corsan Morton, Curator at Kirkcaldy, summed up Peploe’s achievements of the period in his catalogue foreword: ‘It is in his still lifes, his arrangements of flowers, fruit, utensils and so on, that he has of late years achieved a very definite personal style of great beauty, which places him in a class by himself…He handles with distinction everything he touches.’[vi] [i] As quoted in Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of his Work, Edinburgh 1947, p.73.[ii] Cursiter, op.cit., p. 41.[iii] Roger Bilcliffe, The Scottish Colourists: Cadell, Fergusson, Hunter, Peploe, London 1990, p.51.[iv] As quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23.[v] Cursiter, ibid., p.55.[vi] As quoted in Cursiter, ibid., p.63.
Lot 28
Minimalismus - - Larry Stuart Bell. (1939 Chicago). o.T. aus: In Barcelona. 1989. Farblithographie auf Velinkarton. 76 x 56 cm (76 x 56 cm). Signiert und nummeriert. - Kanten punktuell etwas bestoßen. Sehr guter Zustand. Prachtvoller Druck der formatfüllenden Darstellung in leuchtender und kräftiger Farbigkeit. Eines von 75 Exemplaren. - Aus der Suite "In Barcelona" aus dem Portfolio "California". Hrsg. v. Ediciones Polígrafa, Barcelona. Druck Polígrafa Obra Gráfica, ebd.- Fortwährend untersucht Bell die Eigenschaften von Licht auf Oberflächen. Indem er mit der Beschaffenheit verschiedener Oberflächentexturen und ihrem Bezug zum Raum experimentiert, entwickelt er eine Vorgehensweise voller Spontaneität und Intuition. Die Farblithographien seiner Barcelona-Serie sind von Transparenz und Verdichtung geprägt. Innerhalb der Druckgraphik bot ihm die Lithographie die Möglichkeit, viele dünne Farbschichten übereinander aufzutragen und so verschiedene Tonwerte, Farbübergänge und -deckungen zu kreieren. Colour lithograph on wove cardboard. Signed and numbered. Edges isolated bumped. Very good condition. Splendid print in bright, strong colours of the full-size depiction. - One of 75 copies. - From the suite "In Barcelona" from the portfolio "California". Piblished by Ediciones Poligrafa, Barcelona. Printed by Ploígrafa Obra Gráfica,ibid. - Bell continually explores the characteristics of light on surfaces. Experimenting with the nature of different surface textures and their relation to space, he develops an approach full of spontaneity and intuition. The color lithographs in his Barcelona series are characterized by transparency and compression. Within printmaking, lithography offered him the possibility of applying many thin layers of color on top of each other, creating different tonal values, color transitions and coverages.
Lot 144
Turkey.- Ramsay (Sir W. M.) & Gertrude L. Bell. The Thousand and One Churches, first edition, half-title, plates and plans, some folding, illustrations, ex-library with label, ink-stamps to title and title-verso and occasional blind-stamps, bookplate, later buckram, small faint abrasion mark to spine foot where label removed, 1909 § Bell (Gertrude L.) Amurath to Amurath, second edition, half-title, frontispiece, plates and illustrations, folding colour map at end, marginal tear not affecting image with neat tape repair, previous owner's ink signatures to front free endpaper, bookplate, original decorative cloth, slight bumping to corners and spine extremities, 1924, 8vo (2)⁂ The first is relatively scarce with only one copy currently available on vialibri.
Lot 73
Africa.- Hohnel (Lt. Ludwig von) Discovery of Lakes Rudolf and Stefanie, 2 vol., first edition, translated by Nancy Bell, half-titles, portrait frontispiece, 35 plates and illustrations, 2 folding maps, both strengthened at margin on verso, scattered spotting, scattered spotting, previous owner's pencil signature to half-titles, bookplate, original pictorial cloth, slight bumping to corners and extremities, [Czech p.78], 8vo, 1894.
Lot 140
A tall Roman olive green glass unguentarium Circa 3rd-4th Century A.D.With an out-folded rim, the tall slender neck constricted where it joins the body, the bell-shaped base pushed in to form a high dome, with pontil mark, 25.6cm high Footnotes:Provenance:C.A. Hessing Collection. The Nico F. Bijnsdorp Collection (NFB 126), acquired from the above on the 14 June 2002.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 152
A Roman streaky aubergine glass jug Circa 4th Century A.D.With bell-shaped body and trefoil lip, a green trailed handle and an applied collar at the base of the cylindrical neck, 12.4cm high Footnotes:Provenance:C.A. Hessing Collection, coll. no.57. Anonymous sale; Bonhams, London, 22 September 1998, lot 226 (unsold).The Nico F. Bijnsdorp Collection (NFB 088), acquired from C.A. Hessing on the 3 May 1999.Published: Sheppard & Cooper Ltd, Glass: The Eighth Wonder of the Ancient World, London, 1994, p.14, no.75.Kunsthandel M. Zilverberg, Archaeology-Ancient Coins, Amsterdam, Spring 1999, no.108.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 28
An Early Apulian black-glazed bell krater Circa 5th Century B.C.With a reserved lower body, base, and band of laurel beneath the rim, 32cm highFootnotes:Provenance:With Dr Christoph F. Leon, Basel.Acquired by the present owner from the above on the 15 October 1998.For further information on this lot please visit Bonhams.com
Lot 160
Sir Lawrence Gowing CBE RA, British 1918-1991 - Cleo, 1946; oil on canvas, inscribed on the reverse 'L Gowing', 76.5 x 64 cm (ARR) Provenance: with David Gault (according to the label attached to the reverse of the frame); private collection Exhibited: Arts Council of Great Britain, London, 'Lawrence Gowing Retrospective', 1983 (under the title 'Beryl (Judith)' with correct title handwritten in pencil) (according to the label attached to the reverse of the frame) Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Condstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.
Lot 1211
A George III oak longcase clock with thirty hour movement striking on a bell, the 12-inch square dial with silvered chapter ring and centre inscribed 'John Johnson Halesworth', cornered with cast and pierced gilt foliate spandrels, the hood with glazed door above a rectangular trunk door, plain base and stepped plinth base, height 201cm, with pendulum and weight (alterations). Note: John Johnson is a recorded clockmaker working 'near the market place' in Halesworth, Suffolk, circa 1770s until his death in 1789.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1181
A late Victorian brass skeleton clock with eight day single fusee movement striking on a bell, the white painted skeletonized chapter ring with black Roman hour numerals, the pierced frame with bell surmount, on an oval white marble base and giltwood stand, height 39.5cm, with pendulum and associated glass dome.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1198
A late 19th century French ormolu and Sèvres style porcelain mantel clock with eight day movement striking on a bell via an outside countwheel, the circular enamelled dial with blue Roman hour numerals and black outer Arabic minutes, inscribed 'Raingo Fres a Paris', the case with flower surmount above a pair of doves and foliate scrolls, inset with turquoise bordered porcelain panels painted with Cupid and flowers, on a similarly decorated integral stand, height 40cm, with pendulum and key.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1218
An early 19th century oak longcase clock with thirty hour bell strike movement, the 12-inch painted breakarch dial with subsidiary seconds and date aperture and inscribed 'JN Watson Pocklington', the hood with swan neck pediment and glazed door, above an arched trunk door, plain base and shaped apron, height 216cm, with pendulum and weight (alterations and some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1162
A late 19th/early 20th century lacquered brass four glass mantel clock with eight day movement striking hours and half hours on a bell, the white enamel circular chapter ring with Roman hour numerals, the rectangular case with bevelled glass panels, on a plinth base, height 31.2cm, with pendulum, winder and key (repaired chip to dial).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1158
A 20th century Chinese cloisonné and brass cased carriage alarm clock, the movement striking hours and half hours and repeating on a bell, the dial with Roman hour numerals and centre seconds above alarm dial with Arabic numerals, the case with swing handle above a bevelled glass front and turquoise ground cloisonné panels, filled with polychrome foliate scrolls, height 19cm, with winding key.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1176
A late 19th/early 20th century French lacquered brass four glass mantel clock with eight day movement striking hours and half hours on a bell, the backplate stamped 'R & C Paris & London 5166', with mercury compensated pendulum, the two piece enamel dial with black Roman hour numerals and visible escapement, the case with bevelled glass panels, height 30.2cm, with winding key.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1185
An early 20th century gilt lacquered brass and mahogany cased calendar bracket clock, the brass four pillar twin fusee movement with verge escapement striking hours and repeating on a bell, the 7-inch brass breakarch dial with rolling moon to arch above a matt centre and silvered chapter ring with black Roman hour numerals, outer Arabic minutes and inner date ring, inscribed 'James Cuthbert London', the arched case with carrying handle above pierced fret panels to the arched top, flanked by four urn finials, four turned columns and glazed doors and sides, on a mahogany plinth with brass bracket feet, height 37cm, with case key.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1217
A George III oak and mahogany crossbanded longcase clock with thirty hour movement striking on a bell via an outside countwheel, the 13-inch brass breakarch dial with painted British Navy ship to arch above a silvered chapter ring and centre with date aperture and faux winding holes, inscribed 'Brough Workington', the hood with broken arch pediment and glazed door, the trunk with arched door and fluted corner columns, on a canted corner base and ogee bracket feet, height 221cm (alterations and some faults), with pendulum and weight.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1189
A late 19th century French gilt metal mounted boulle and red tortoiseshell mantel clock with eight day movement striking on a bell via an outside countwheel, the backplate stamped 'C.J & Co', the white enamelled circular dial with blue Roman hour numerals and outer black Arabic minutes, the case inlaid with foliate scrolls and with gilt metal scroll mounts and glazed lenticle, height 32.5cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1209
A Victorian mahogany longcase clock with eight day movement striking hours on a bell, the 13-inch painted breakarch dial with cavalry soldier automaton to arch above black Roman hour numerals, subsidiary seconds and date aperture, inscribed 'George Cooper Scarborough', all cornered with further cavalry soldiers, the hood with broken arch pediment, glazed door and turned columns, the trunk with shaped door and turned columns, on a canted corner base and bracket feet, height 234cm, with pendulum and two weights. Note: George Cooper is a recorded clockmaker working at George Street and Thomas Street in Scarborough between 1858 and 1869.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1204
A late 19th century American walnut drop dial wall clock with eight day movement striking on a bell, the 12-inch painted circular dial with Roman hour numerals, the moulded circular walnut surround above a glazed lenticle and bowed apron, height 70.5cm, with pendulum and winding key.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1202
An early 20th century French rouge marble and spelter mantel clock with Japy Frères eight day movement striking on a bell, the dial with black Arabic hour numerals, the rouge marble plinth case surmounted with a patinated spelter figure of a flower maiden, raised on foliate scroll feet, height 60.5cm, with pendulum and winding key.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1195
A late 19th century French brown patinated bronze, ormolu and white marble mantel clock, the eight day movement with silk suspension and striking on a bell via an outside countwheel, the backplate stamped 'Roblin a Paris', the circular white enamelled dial with blue Roman hour numerals and indistinctly signed, the case surmounted with a figure group of a seated courting couple above the white marble breakfront plinth with applied ormolu foliate scrolls and swags, on foliate toupie feet, height 43.5cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1170
A Regency mahogany bracket clock with eight day twin fusee movement striking on a bell, the 8-inch painted convex dial with strike/silent indicator above black Roman hour numerals and inscribed 'WM Welch Kingston', the backplate similarly signed, the brass inlaid case with pineapple finial above four recessed panels to front, flanked by a pair of brass foliate and drop ring handles above pierced fret panels to sides, on a plinth base and brass ball feet, height 49.5cm, with pendulum and mahogany and brass wall bracket. Note: William Welch (I) is a recorded clockmaker working in Kingston, Surrey, between 1828 and 1851.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1173
A late 19th century ormolu mounted white marble mantel clock with eight day movement striking on a bell, the enamelled circular dial inscribed 'Deniere FT de Bronzes a Paris', the backplate similarly stamped, the case with urn surmount above foliate scrolls and arched pediment above scallop shell, flowers and mask, on foliate cast feet, height 56cm, with pendulum and winding key.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1206
A late 19th/early 20th century gilt metal mounted marble portico clock with eight day movement striking on a bell via an outside countwheel, the circular enamelled dial with Roman hour numerals, the case with gilt lion surmount above four columns and serpentine plinth, height 38.4cm, with sunburst pendulum, together with a pair of gilt metal and alabaster urn cassolettes on plinth bases, height 20.8cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1214
A George III oak and mahogany crossbanded longcase clock with eight day movement striking on a bell, the painted breakarch dial decorated with a seated girl, a dog and rabbits, inscribed 'Jas Slater Uttoxeter', the hood with three brass finials, the trunk door inlaid with a conch shell patera, height 234cm, with pendulum, two weights and winder.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1180
A Regency rosewood bracket clock with eight day twin fusee movement striking hours on a bell, the 8-inch circular painted dial with black Roman hour numerals and inscribed 'Mason Colchester', the arched case with brass inlaid decoration and recessed panel to front, flanked by a pair of gilt brass rosette and loose ring handles above pierced fret panels to sides, on a plinth base and ball feet, height 49.2cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1231
A 19th century mahogany regulator style longcase clock with eight day movement striking on a bell, the 12-inch brass dial with subsidiary seconds and date aperture, inscribed 'Henry Lamport Plymo Docks', the domed top case with glazed door and sides, mirrored back and panelled base on bun feet, height 192cm (alterations and faults, lacking pendulum and weights).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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