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Lot 832
A carved oak overmantel incorporating early panels of bird and lion amongst a Gothic style tracery and interspersed figural stiles above two blind fretwork carved panels, 254 cm wide x 108 cm high CONDITION REPORTS Clearly made up with frame for old panels and therefore shows colour difference throughout the piece. Show signs of wear and tear through with some splitting in places, the two old panels - the lion panel has one section of scroll decoration missing (see image) there a splits to panel due to age. The bird panel has two horizontal splits run across the panel (see images) dirty throughout, rubbing to decoration. Left hand mark is very faded to face and head dress and similar fading to bottom of column, outer edge decoration on both panels very faded and worn, central column / figure and piece missing (see image) and scroll decoration below is split through centre.Parts of figures do not appear to be original and all are applied. Figures with damage and losses. The front has been applied to the back. Panels are missing some raised scroll sections. Vertical and horizontal splits. Various wear and scratches. Possibly Victorian in construction.
Lot 123
AFTER LAURENCE S LOWRY (1887-1976) "Level crossing with LNER steam train", colour print, signed in pencil lower right, 46 cm x 56 cm (ARR) CONDITION REPORTS Generally good. Some small dotted brown marks to the top of the picture. Frame with some marks, scratches and general signs of wear and tear. Appears to be in basically sound condition, although the paper is of a slightly cream colouring suggesting discolouration, although uniform throughout. There is no visible Edition Blind Stamp. Signature in pencil bottom right, appear legitimate. Frame is modern and with minor surface blemishes. The slip has spotting to the giltwork particularly down the left hand side and bottom left corner. Provenance: local private source. (Postage and packing details, including charges/information can be found on our Moore Allen website under "essential information", rough estimate - packing up to £30 inc materials, postage with parcel force approx £30 - approx £60 total, to be confirmed once packed).
Lot 211
A Russian polychrome painted tondo icon, Metropolitan Alexei of Moscow... A Russian polychrome painted tondo icon, Metropolitan Alexei of Moscow curing the Tartar Princess, later 19th century, the blind Taydulla reclining on a bed, with three further figures in attendance, the drapes and bedclothes painted in stylised foliate patterns, 44cm diameter This fascinating icon relates to events of 1357 when the Metropolitan was summoned by Jani Beg, the Khan of the Golden Horde, to cure the blindness of his mother, and in doing this, saved Moscow from a raid. Taydulla granted land for the construction of the Chudov (Miracle) Monastery which was founded in 1358 The monastery remained an integral part of life within the Kremlin's walls until 1918 when following the Bolshevik Revolution, it was closed down. All of its structures were finally dismantled in 1929, as part of the Soviet Union's ongoing policy of state atheism. (Although interestingly, in 2014 President Putin expressed a wish to see the Chudov Monastery rebuilt). It is probable that the icon offered here was removed from the greater complex of the monastery at about the time of its dissolution in the 1920s.
Lot 344
A George III mahogany stool, circa 1780, the tapestry seat above with blind... A George III mahogany stool, circa 1780, the tapestry seat above with blind fretwork legs joined by conforming stretchers, 44cm high, 81cm x 46cm Provenance: Private Collection of the Bagshawe family, formerly of Ford Hall and Snitterton Hall, Derbyshire, see page 97.
Lot 164
A George III mahogany eight-day longcase clock Samuel Bradley, Worcester A George III mahogany eight-day longcase clock Samuel Bradley, Worcester, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and signed SAM'L BRADLEY, WORCESTER to a shaped silver plaque to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn foliate cast spandrels to angles beneath arch centred with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a case with open centred break-arch cavetto cornice incorporating scroll cartouche to apex and foliate scroll pierced blind fret frieze over fluted columns flanking the glazed dial aperture, the plain sides with half columns applied to the rear, the trunk with break-arch caddy moulded crossbanded door flanked by fluted quarter columns over raised shaped panel fronted plinth base with fluted canted angles and moulded shallow skirt incorporating reduced ogee bracket feet, 223.5cm (88ins) high. Samuel Bradley is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1744 until his death in 1783.
Lot 148
A Queen Anne ebonised eight-day longcase clock Etherington, London A Queen Anne ebonised eight-day longcase clock Etherington, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with rise/fall regulation to suspension, the 12 inch shallow break-arch brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Etherington, London to lower margin, with fine pierced steel hands and crisply cast gilt brass Indian mask and scroll spandrels to angles within herringbone engraved outer border, the shallow arch centred with applied arched silver rise/fall regulation scale annotated Slo/Fas and divided 0-60 within fine symmetrical foliate scroll engraved field incorporating basket of fruit and strapwork over festoon to centre and conforming herringbone border to upper margin, the ebonised case with brass ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand over moulded cornice and conforming foliate pierced quadrant frets to frieze and generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with arched apertures and quarter columns set against bargeboards at the rear beneath further rectangular blind frets, the trunk with concave throat above 42 inch rectangular door centred with a brass lenticle, on ogee moulded plinth base applied with two-tier moulded skirt, (case reduced in depth), 259cm (102ins) high excluding finials; 277cm (109ins) high overall. Provenance: By repute formerly at Marston House, Somerset. Literature: The dial of the current lot is illustrated in Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 on page 39 (Fig. 40). George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the oath of allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. George Etherington's work can generally be characterised as distinctive, often impressive and innovative in its decorative form; this very much follows the shift in fashion towards increased scale and heightened decoration which occurred during the Queen Anne period. The current lot is typical of this approach with the very early use of a shallow break-arch dial featuring unusual arched regulation scale within a finely engraved field. The case is also of impressive proportions and was almost certainly made by the same case maker responsible for that accommodating a clock of six week duration by John Lowndes which was sold in these rooms on Tuesday 15th September 2015, lot 204.
Lot 167
A fine and rare George III mahogany table timepiece William Dutton, London A fine and rare George III mahogany table timepiece William Dutton, London, circa 1780 The substantial five pillar single fusee movement with bolt-and-shutter maintaining power and anchor escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to suspension, the backplate engraved with script signature Will'm Dutton, London above pivoted pendulum holdfast bracket , the 7 inch brass break-arch dial applied with circular silvered Roman numeral centre incorporating shaped false bob aperture over repeat signature Will'm Dutton, London , and calendar aperture within Arabic five minutes to outer track, with fine pierced blued steel hands and rococo scroll cast and pierced spandrels to angles beneath arch centred with silvered subsidiary rise/fall regulation adjustment dial flanked by conforming mounts, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over glazed front door with raised mouldings to the aperture and conforming blind break-arch panels to sides, the rear with further glazed break-arch door set within the frame of the case, on cavetto moulded skirt base with squab feet, 38cm (15ins) high excluding handle. William Dutton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to George Graham in 1738 and gained his freedom of the Clockmakers' Company in 1746. In around 1750 he went into partnership with Thomas Mudge, another former apprentice and successor to George Graham, and worked from 148 Fleet Street, London, where the business was to remain through successive generations of the Dutton family. William Dutton was elevated to Liveryman in 1766 and alongside Mudge developed the lever escapement for watches in 1771; shortly after which Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew. The work of William Dutton can be characterised by its distinctive originality, high quality and attention to detail which one would come to expect from a clockmaker who, alongside Thomas Mudge, succeeded George Graham who in turn had succeeded Thomas Tompion. The current lot is a textbook example of the fully developed form of 'triple pad top' top table clock made popular by Mudge and Dutton during the third quarter of the 18th century. When compared with the following lot the subtle evolution of this type of case can be seen; indeed the principal differences are the use of raised mahogany mouldings and break-arch side panels on the current lot opposed brass fillet mouldings to the dial aperture and full-arch side frets on the following example. These differences demonstrate how the Dutton workshop introduced subtle updates to their case design, to ensure that their products appeared up to date and 'modern', without compromising the distinctiveness of their product.
Lot 146
A fine George II japanned eight-day quarter chiming musical longcase clock... A fine George II japanned eight-day quarter chiming musical longcase clock Newman Cartwright, London, circa 1730 The substantial five pillar triple train rack and bell striking movement with anchor escapement regulated by seconds pendulum, the musical train peeling the quarters and playing a choice of two tunes on the hour via a sixteen hammers on eight bells, the 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and applied arched signature plate Newman Cartwright, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and applied female mask and scroll cast spandrels to angles beneath arch centred with A Minuett/A March tune selection dial flanked by dolphin cast mounts, in a black japanned case with domed caddy surmount to the blind fret fronted box upstand over moulded cornice and conforming infill to the quadrants above the break-arch glazed hood door decorated with gilt foliate trails, the sides with rectangular glazed apertures and quarter columns applied to bargeboards at the rear, the trunk with floral spray painted concave throat moulding over break-arch door finely decorated in raised polychrome and gilt with a stag being pursued by hounds within an arcadian Oriental landscape with pavillions, the surround further decorated with foliate trails beneath birds to upper quadrants, the sides painted with full height flowering foliage, on cavetto moulded plinth base with conforming landscape scene to front and applied skirt over squat ogee bracket feet (wear and loss to decoration), 234cm (92cm high). A clockmaker with the name Newman Cartwright does not appear to be recorded in the usual sources however a watch dating to around 1720 by 'N. Cartwright, Lombard Street' (with pierced silver pillars) is noted in Britten, F. J. FORMER CLOCK AND WATCH MAKERS AND THEIR WORK. In addition to this a walnut eight-day longcase clock by Newman Cartwright, also dating to around 1720, was sold at Chorley's, Prinknash Abbey on 24th June 2010 (lot 445) for £3,000 hammer. Finally a record of successful proceedings and notice of a meeting for debtors relating to the bankruptcy of Newman Cartwright 'of Lombard Street, Silversmith and Chapman' is recorded in the Gazette printed in late May or early June 1758.
Lot 72
A French Louis XV style gilt brass mantel clock garniture The movement by... A French Louis XV style gilt brass mantel clock garniture The movement by Samuel Marti, Paris, late 19th century The circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with Brocot type regulation to suspension, the backplate stamped with Samuel Marti, MEDAILLE DE BRONZE roundel to centre over serial number 4 8, the upper left hand margin further stamped with retailer's mark comprising initials V E flanking a honey bee over further number 2720 , the circular white enamel Roman numeral dial with steel moon hands within foliate cast brass bevel glazed hinged bezel, the waisted case with floral spray surmount to the cavetto shaped upstand fronted with diamond lattice panel infill over ribbon crest and generous continuous rococo scrolls to front angles incorporating leafy garland passing beneath the dial and blind lattice fretwork to apron, the sides cast with formal rectangular panels centred with a rosette over diamond lattice infill, the rear with pierced movement access hatch over conforming decoration, on generous integral scroll feet incorporating pendant leaf-cast motif between, 35.5cm (14ins) high; with a pair of three branch candelabra ensuite, each with drip pans and sconces supported by scrolling branches over upright cast as a quiver of arrows and rosette centred rococo scroll outline pedestal base centred with a leafy rosette over blind fret panel infill, on conforming integral scroll supports, each 36cm (14.25ins) high, (3).
Lot 129
A William III walnut and floral marquetry eight-day longcase clock Thomas White A William III walnut and floral marquetry eight-day longcase clock Thomas White, Fairford, early 18th century The five finned pillar inside countwheel bell striking movement with 11.75 inch square brass dial with ringed winding holes, subsidiary seconds dial and elaborate basket of flowers and scroll border engraved calendar aperture to the Ho-Ho bird decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. White, Fairford to lower edge, with pierced blued steel hands and twin cherub and crown cast spandrels to angles, in a case with architectural cornice and blind foliate fretwork frieze above floral trial inlaid hood door, the sides with rectangular glazed apertures, the trunk with conforming leafy trail decorated convex throat above 41 inch door centred with a brass lenticle and decorated with intense figural inhabited symmetrical flowering foliage into an ebonised ground, the surround with stylised scrolling foliage above conforming panel outline plinth base with later skirt base incorporating shaped apron, 220cm (86.75ins) high. Thomas White is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Fairford, Gloucestershire in 1677; he worked from around 1700 continuing presumably until his death in 1748.
Lot 162
A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.
Lot 106
A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant... A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant clockwatch Josias Jolly, Paris, circa 1630 The incomplete oval gilt full plate single fusee verge movement with four shouldered baluster pillars pinned through the backplate applied with fine asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the edge signed Josias, Iolly, AParis , the fine single sheet engraved fire-gilt brass dial with steel hand and centre decorated with scene of the Samaritan woman conversing with Christ at the well within applied silver Roman numeral chapter ring with wheatear half hour markers and fine foliate scroll chased oval surround incorporating a cherub to upper edge over pair of grotesques to sides and a winged cherub mask to lower margin, the two-piece oval section case with delicate leafy wreath engraved decoration to inside of the convex brass front cover incorporating seven-joint hinge block decorated with a winged angel mask opposing conforming fixed convex panel to rear, the waist with gadroon mouldings bordering applied red silk backed scroll pierced and engraved applied silver sound fret collar, the base with inverted finial and clasp opposing pendant cast as a tulip bud to top, (strike train lacking), the movement pillar plate 41mm (1.6ins) by 36mm (1.4ins), the watch 71mm (2.8ins) high to top of suspension post. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Josias Jolly is recorded in Baillie, Watchamkers & Clockmakers of the World as a Master working in Paris 1609-40. Jolly was a Protestant born in Blois whose surviving work shows significant diversity however he is perhaps now best known for a watch with highly decorated enamel case executed by a member the Toutin school residing in the collection of Walters Art Museum, Baltimore (ex. Demidoff collection). The basic oval form of the current lot is reminiscent of an early 'Puritan' watch, of which an example (signed 'Chapelle' and dating to around 1625) is illustrated in Camerer Cuss, T.P. The Country Life Book of WATCHES on page 15 (plate 7). The addition of the fine decorative pierced silver band (between gadroon mouldings) to the waist of the present watch would have served to allow the sound of the hour bell (formerly fitted within the rear of the case) to be heard as well as cater for the demand for decoration from clients not so concerned with Puritan values. Indeed a similar blind engraved border can be seen on timepiece by Robert Grinkin, London illustrated in Camerer Cuss on page 19 (plate 10). The presence of this band indicates that decoration was as, if not more, important than function. Incidentally the timepiece by Grinkin also exhibits very similar engraved foliate wreath border decoration to the inside of the dial cover. The current lot is particularly rare as it was originally made as a clockwatch. Unfortunately the strike train has now been removed however the going train appears to have survived with no obvious signs of alteration and has a particularly fine fusee. The dial is exquisitely engraved and in fine condition; indeed the general overall condition of the watch would make restoration of the strike train eminently viable and rewarding.
Lot 2345
* DAVID ABERCROMBIE DONALDSON RSA RP RGI LLD DLitt (1916 - 1996) THE BLIND LEADING THE BLIND pen and wash, signed 35cm x 36cm Provenance: Purchased at Objets Trouves exhibition, Barclay Lennie Fine Art Limited Note: Among the formal honours received by him were Associate Member and then Academician of the Royal Scottish Academy, and honorary degrees from Glasgow and Strathclyde Universities. In 1977 he was appointed Painter and Limner to Her Majesty the Queen in Scotland. His paintings are in the Royal Collection, in most of the major public collections in Scotland, and in private collections across Britain, Europe, Australia, the United States and South Africa. His work was celebrated in a major retrospective exhibition at the Talbot Rice Gallery in Edinburgh in 1996. Private Scottish Collection
Lot 223
Laurence Stephen Lowry RA (British 1887-1976) - a colour print entitled 'The Beach' signed in pencil with blind stamp to the margin, published in 1973 by Venture Prints Limited of Bristol, image size approximately 26 cm x 51 cm, mounted and framed under glass, with the accompanying print 'Deal' (study for The Beach) signed 'L S Lowry' in blue ink, also bearing blind stamp, Venture Prints Limited 1973, approximately 18 cm x 25 cm, mounted and framed under glass - This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk - Est £3000 - £5000
Lot 1
A Victorian burr walnut library table, the quarter veneered top over two blind drawers on turned and carved end supports with sweeping legs joined by a turned stretcher. h. 72 cm. w. 122 cm, d. 68 cm CONDITION REPORT: Approximately five replacement patches in top. Slight splitting where legs join supports, with one old repair. General wear and tear
Lot 967
A Regency mahogany pedestal breakfast table, ebony line inlad border decoration, later blind drawer, on a turned column, hipped and swept legs with brass casters 71 x 128 x 92cm (28 x 50 x 36in) The end drawer is an addition and not necessarily in keeping. There is a surface scratch to one corner
Lot 612
§ HRH Charles, The Prince of Wales (British, b. 1948) View of Wensleydale from Moorcock numbered 23/295 and initialled and dated in pencil "C '90" lower right lithograph with Royal blindstamp and two other blind stamps 31 x 41cm (12 x 16in) Dirt under glass, a little discolouration in the sky.
Lot 133
AN EPNS PART TABLE SERVICE, c.1930's, makers Robert F. Mosley, Sheffield, for twelve place settings in Chippendale type pattern, comprising table and dessert forks, soup spoons, eleven dessert spoons, pair sauce ladles, three teaspoons, five tablespoons, eight each bone handled table and dessert knives, and four piece carving set, all contained in a mahogany Georgian style serpentine chest of three drawers with slide over, blind fret canted corners on bracket feet, 27 1/2" wide
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