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Click here to subscribeJ. Hudson, Nottingham, an oak longcase clock: the thirty-hour duration movement striking the hours on a bell and having a twelve-inch square painted dial with black Roman numerals, decorative corner spandrels, date aperture and decorative brass hands, the oak case with mahogany crossbanding, the hood having turned pillars with cast-brass capitals and surmounted by a swan-neck pediment with a cast-brass ball-and-spire centre finial, height 212cm.
Philip Avenell, Farnham, a lacquer longcase clock: the eight-day duration movement striking the hours on a bell with decorative steelwork to the bell stand and having a twelve-inch break-arch brass dial with a raised silvered chapter ring engraved with black Roman numerals and Arabic five-minute numerals to the outer aspect, the dial centre having a subsidiary seconds dial, date aperture and engraved with floral decoration and the maker's name within a cartouche Philp. Avenell, Farnham, with cast-brass c-scroll spandrels to the four corners and decorative blued steel hands, the arch having a Strike/Silent dial with matching spandrels, the black lacquered flat-top case having raised Oriental chinoiserie decoration to the arched trunk door, base and hood, with the hood having quarter pillars, height 204cm.* Biography Philip Avenell is recorded as working in Farnham, Surrey circa 1765 before moving to London in circa 1775 where he died in 1809.
Ainsworth Thwaites, London a slim oak longcase clock: the thirty-hour duration movement having a verge escapement and striking the hours on a bell with an outside countwheel with the six-inch break-arch brass dial having a raised chapter ring engraved with black Roman numerals and Arabic five-minute markings to the outer aspect, with c-scroll and rococo engraved decoration to the centre, corners and arch and blued steel hands, the arch having a round boss engraved with the maker's name Aynsworth Thwaites, London, the slim oak case having a shallow arch to the trunk door, a flat-top hood with wood pillars and a plain base standing on bracket feet, height 185cm.* Biography Aynsworth (sometimes Ainsworth) Thwaites is recorded as being apprenticed in 1735 and a member of the Clockmakers' Company from 1751 until 1880 working in Rosoman Row, Clerkenwell. His son John, apprenticed 1772, went into partnership with George Jeremiah Reed to form the well-known clockmaking firm Thwaites & Reed.
John Sweeby London, a mulberry, walnut and seaweed marquetry longcase clock: the eight-day duration movement having finned pillars and striking the hours on a bell with an inside countwheel, the twelve-inch square brass dial having a raised silvered chapter ring engraved with black Roman hour numerals, Arabic five-minute numerals and decorative half-hour markings, the matted dial centre having ringed winding holes, a raised silvered seconds dial and a date aperture with engraved surround, with blued steel hands and cherub-head cast-brass corner spandrels, engraved either side of VI o'clock with the maker's name John Sweeby Londini fecit, the flat-top walnut case inlaid having shaped marquetry panels to the trunk door and a round lenticle glass and inlaid marquetry to the trunk, base, hood and convex throat moulding, with the tapered hood pillars having cast brass capitals, with ebonised mouldings, complete with brass bund weights, height 211cm.*Biography John Sweeby (Sweby) is recorded as having been apprenticed to William Speakman in 1663 and a member of The Clockmakers' Company from 1671 until 1690.*Notes Reference Brian Loomes Watchmakers and Clockmakers of the World, Pub. NAG Press 1988.
George Ellis, Oaken Gates, an oak and mahogany longcase clock: the thirty-hour duration movement striking the hours on a bell and having a painted twelve-inch break-arch dial with black Roman numerals, date aperture, decorative gilded brass hands and decorated with rural buildings to the four corners and arch, the oak case with mahogany crossbanding and panels, the fluted quarter columns to the trunk having cast-brass capitals, the hood with a swan-neck pediment and fluted pillars, the panelled base standing on bracket feet, height 214cm.*NOTE The height of the clock is 214cm and not 124cm as described.* Biography George Ellis is recorded as working in Oaken Gates, Shropshire from circa 1842 until at least 1850.* Notes Reference. Douglas J. Elliott Shropshire Clock & Watchmakers Pub. Phillimore & Co Ltd 1979.
A signed Nicolas Trudgian Aviation Sketchbook, signed by various Bomber Command Veterans to the title page and throughout, including Wing Commander John Bell MBE DFC, Warrant Officer Ken Reed, BBMF Honours Sqn Leader Tony Pickering, Sgt W T Clard, Eric Clark, Air Commodore John Ellacombe, Dambuster Pilot Benny Goodman, Murray Valentine (Vagnolini), Air Commodore John Langston, Bomb Aimer John Aldridge and many more, together with another signed book Voices in Flight The Dambuster Squadron by Colin Higgs & Bruce Vigar, signed Benny Goodman (2)
A 19th century Persian brass coffee pot has bell shaped hinged lid with pierced triangle decoration, Parrot beak with hinged cover, S shape handle, and Middle East oriental carving and inscriptions to the body and underside. Along with a pair of hand made copper measuring spoons. Measures 21cm tall.
A FRENCH, EARLY 20TH CENTURY MARBLE CASED GARNITURE DE CHEMINEE the case of simple form with floral mounts, the enamelled dial with arabic numerals and flanked by classical urns, the urns and clock all standing on turned bun feet, the clock striking the hours and half hours on a bell, 19cm wide x 11cm deep x 27cm high
A RARE 19TH CENTURY FRENCH BRASS QUARTER REPEATING CALENDAR CARRIAGE CLOCKwith Garnier 'Two-Plane' or 'Chaff Cutter' escapement, hinged handle, foliate engraved case and silvered Roman dial with alarm setting hand together with day, date and month indicators, the clock striking the quarter hours and the alarm on a bell, numbered 1458 to the backplate and case but unsigned, 11.5cm wide x 10cm deep x 20cm high
A WILLIAM IV ROSEWOOD TABLE CLOCK the arching case surmounted by a stepped pediment with brass carrying handles and silk backed brass panels to the sides, the painted dial with roman numerals beneath a strike silent indicator, the case with decorative brass stringing, the movement striking the hours on a bell, 33cm wide x 19.5cm deep x 60.5cm high
A 19TH CENTURY FRENCH MAHOGANY PORTICO MANTEL CLOCK with gilt engine turned Roman dial, twin train drum movement with outside count wheel bell strike, the stepped top case over plain columns with gilt brass capitals, plinth base and bun feet, 49.5cm high, complete with decorative cast pendulum and later key
A LATE 19TH CENTURY FRENCH ORMOLU AND MARBLE MANTLE CLOCK the drum case surmounted by cupid holding his bow, the enamel dial with arabic numerals and painted with floral swags, the movement with count wheel striking on a bell, the marble plinth with applied mounts and on turned feet, 18.5cm wide x 9cm deep x 29.5cm high overall
A 19th century Black Forest walnut mantel clock. Naturalistically carved with a cockerel, hen and a hare amidst foliage and with a rockwork base. Having enamel Roman numeral markers and housing an 8 day cylinder movement striking half hourly, 50cm. With key and pendulum. No bell. Hare missing his right ear. Minor chips and cracks to the case. Time function running. Right hand barrel ratchet needs addressing.
An early 19th century French Neo-Classical style gilt bronze mantel clock of urn form and raised on a rosso antico marble plinth and with toupie feet. With enamel dial signed Gaston Joly, a Paris,. With 8 day two train cylinder movement striking on a bell 46cm high. One foot detached. No pendulum. Bell glued on. Bezel glass lacking. Some chips to the dial.
An Edwardian oval silver jewellery casket, William Comyns, London 1907, the hinged tortoiseshell inset cover pique decorated with a classical roundel and bell-flower swags and ribbon pendants enclosing a velvet lined interior, 9cm wide, a similar mounted circular glass dressing table jar, London 1914, with screw-off cover, 7cm diameter and a similar mounted heart shape brush, Birmingham 1927 (3).
A reproduction early 18th century style cream and gilt painted arched top mirror, leaf scroll and bell-flower carved, 97cm high x 43cm wide, a small Victorian walnut and parquetry frame overmantel mirror, 71cm wide x 41cm high and a George III style pedestal table, the serpentine shape top, on a turned ebonised pillar and tripod base, 52cm wide x 40cm deep x 75cm high (3).
Furnival Sheffield; a George III oak longcase clock, the moulded broken swan neck pediment with brass orb finials, brass mounted free standing fluted pilasters, the arched long trunk door flanked by fluted quarter columns, on a panelled base, the 12.5" circular brass dial with Roman and Arabic numerals, the twin train movement striking on a bell, 214cm high, with key (2).
A Victorian wall clock, altered, with an arched floral painted wooden dial, the weight driven movement striking on a bell, 39cm high, inscribed on the back board and a pair of Delft hexagonal blue and white vases, painted with panels of buildings and a figure within trellis borders with moulded fruiting vines above and below 28cm high, adapted as table lamps (3).
Scott Perth: a Regency mahogany satinwood crossbanded boxwood and ebony strung longcase clock, the arched hood with broken swan neck pediment and brass orb and spire finial, freestanding rope twist columns, the arched long trunk door between ropetwist quarter pilasters, the 13" painted dial with figure panels, subsidiary seconds and calendar dials, the twin train movement striking on a bell, the pendulum painted with a house in a highland landscape, 230cm high.
Football Colin Bell 10x8 signed colour photo pictured Maine Road stand named after the City legend. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Wurlitzer Style 153 Duplex Military Band OrganWurlitzer Style 153 Duplex Military Band Organ from the Jerry Doring Collection in excellent condition. For Three-Abreast Carousels and Open-Air Dance Pavilions – this is what the advertisement said, and this Military Band Organ is truly one of the best. Restored by Dana Johnson, Louis Suieveld and the case by John Maxwell. The organ is equipped with a duplex long roll mechanism, which allows it to play music without interruption. With over 160 pipes, full percussion, 16 bell bars and swell shutters for volume control it is really a little gem. Comes with 60 multitune rolls. Rudolph Wurlitzer, North Tonawanda, N.Y. USA, Approx. 1920. 216 x 272 x 109 cm. Sold and shipped from Los Angeles. Viewing by appointment only.
A French gilt metal neo rococo clock garniture, late 19th century, comprising a mantle clock with pierced rocaille mounts, ivory enamelled dial, with bell and movement, with pierced acanthus mounts and scale pattern panels, flanked by a pair of two light candelabra with acanthus branches and foliate nozzles, on pierced rocaille base, the clock 40cm high
WALTER RICHARD SICKERT (1860-1942) 'Study for The New Home' c. 1908, oil on canvas, 34.5cm x 24cm . Provenance: Formerly the property of Vanessa Bell (1879-1961). Then Angelica Garnett (1918-2012) . Sold Christies, 21st November 1969, lot 92 (titled ‘Seated Girl’). Anthony d’Offay, London. Sold Sotheby’s, 14th November 1984, lot 40 (titled ‘Study for The New Home’) Private Collection, Wiltshire.Literature: Wendy Baron ‘Sickert, Paintings & Drawings’ p.369, catalogue number 350.2, listed as ‘Coster Girl by a Fireplace’, Yale University Press, 2006.The title of this work is borrowed from the larger painting, first exhibited by Sickert at the New English Art Club in the summer of 1908 as ‘The New Home’, a painting that was the key work in a sequence featuring the ‘two divine coster girls’ whom Sickert described in a letter written early in 1908 to his friend, the American-born painter, Anna Hope (Nan) Hudson,. As Sickert told Miss Hudson, his models were dressed “in the sumptuous poverty of their class, sham velvet &c. They always wearing for everyday dirty, old, worn clothes, but Sunday clothes. Extraordinary lives. Men, who live on them, now & again hitting them with ‘ammers, putting poisonous powders on cakes, trying to cut their throats, drugging their whisky &c.”. The two models were usually painted separately, the ‘New Home’ model with a round face, while the model in the in the misleadingly titled L’Americaine (Tate) has a slimmer face. The painting offered here, along with another small oil sketch of the two Coster girls together, has an interesting history. The Bloomsbury artist Vanessa Bell discovered them in Sickert’s old studio at 8 Fitzroy Street after Duncan Grant had moved into the space in 1920. Presumably, she told Sickert about her find and he – ever careless about the after life of his paintings – told her to keep them. The paintings were inherited by Angelica Garnett, Vanessa Bell’s daughter, and were included in her sale at Christie’s, 21 November 1969.Duke's are grateful to Wendy Baron for confirming the authenticity of this work, and for providing the additional information above.
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