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Lot 670
A good pair of early 20th Century stained wood and floral upholstered Armchairs of large proportions in William and Mary style, elongated shaped arms with circular handle terminals above bobbin turned supports, the front legs with bobbin turned and square blocks, and each with 'H' form stretcher and conforming high turned front stretchers
Lot 2258
An early 20th Century oak Eisteddfod armchair, Towyn 1902 With an arched cresting rail inscribed and dated 1902 above a panelled back centered with a lozenge enclosing leaves and a flower head embraced by bobbin supports with acorn finials rectangular open arms raised upon mushroom knopped bobbin supports, board seat above a channelled frieze raised upon bobbin turned legs plain rear legs of square section with a loose seat cushion 127cm high, overall width 63.5cm, depth 53cm.
Lot 2259
An 18th Century oak side table The rectangular moulded three plank top above a frieze drawer engraved brass escutcheon later handles raised upon bobbin and reel turned legs joined by plain stretchers shaped feet, 69.5 x 80 x 53.5cm CONDITION REPORT: The rectangular moulded top surface scratching and ring marks with some colour deterioration, underside of top renewed glued blocks to support the top, turned supports in good condition, usual wear to cross stretchers, the back two turned legs has been replaced, side stretchers appear original however some unusual wear on the edges, replaced handles to frieze drawer.
Lot 2353
A rare pair of Victorian rosewood childs chairs Each with bobbin and reel baluster backs enclosing three turned spindles, padded leaf velvet seats, raised on slender turned tapering vase shaped legs with baluster feet, 40x31x27cm, and a Victorian walnut and bead work footstool centred with a rose, raised on bun feet, 28cm (3).
Lot 183
A fine and well documented Charles II brass lantern clock George Newton, Seend, dated 1677 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear and with unusual configuration of strike lifting with the warning lifting detent arbor positioned on the opposite side of movement from the countwheel locking detent arbor, the dial engraved with a central five-petal rose enveloped by stylised floral trails issuing from a vase positioned just above six o'clock, with pierced steel hand within applied Roman numeral chapter ring with simple wheatear half hour markers, the upper angles engraved with signature George, Newton incorporating date 16, 77 the lower angles decorated with leafy sprays, the highly distinctive frame with one-piece column turned corner posts beneath foliate pieced frets incorporating arcaded galleries to lower edges and dolphin engraved decoration to front, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and on acorn-turned feet, 43cm (17ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67; and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 9 pages 42-5 (where the movement is extensively illustrated). The life of George Newton of Seend is documented by C. Thomas in his article GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE published in the winter 1980 issue of ANTIQUARIAN HOROLOGY (vol. XII no. 4) pages 420-6. Thomas notes that George Newton was born sometime between 1600 and 1610 and was the eldest son of blacksmith Richard Newton from whom inherited the family business in 1625. In 1666 the famous diarist John Aubrey (1626-97) visited George Newton to discuss local iron ore deposits writing: "I went to the Smythe, George Newton, an ingeniouse man, who from a blacksmith turned clock maker and fiddle maker, and assured me that he has melted of this oare in his forge which the oare of the Forest of Deane will not do". Other contemporary entries dating between 1664 and 1679 note his service as churchwarden at Seend and Brian Loomes in LANTERN CLOCKS & Their Makers records Newton's marriage to Susan Harris in 1670. It would seem that George Newton's clockmaking activities primarily focussed around church clocks as noted in the records of various local Parishes including Steeple Ashton (1636-9), Melksham (1652-71) and Trowbridge (1674) which refer to his attention to the maintenance of existing clocks. In 1673 George Newton was contracted by the churchwardens of St. Thomas a Becket, Salisbury, to supply a new clock at a cost of £20 10s., with an additional 5s. paid up-front (presumably for expenses already accrued). The clock was duly installed later the same year and was subsequently attended to by Newton for which he received a further payment of £1 1s. 6d. in 1680. It is perhaps testament to George Newton's skills as a blacksmith and clockmaker that he was chosen to supply a clock for St. Thomas a Becket, as this Parish church in central Salisbury was the designated place of worship for the local Salisbury guild of blacksmiths and metalworkers. George Newton died in 1681 leaving the forge to his son (also called George) who appeared not to share his father's aptitude for clockmaking as no clocks by him are recorded; he died intestate in 1699 at the age of 53. Of George Newton only four lantern clocks by him are documented with possibly a fifth residing in a private collection yet to be published. The three other well documented examples can be found in the following sources: Clock dating to around 1645 signed GEORG NEWTN MEE FESET illustrated in Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS (exhibition catalogue, Lewes 2003) exhibit 7, pages 22-3; and Darken, Jeff (editor) HOROLOGICAL MASTERWORKS English Seventeenth-Century Clocks from Private Collections exhibit 4, pages 20-1. Clock dating to around 1650 signed GEORGE NEWNTON AT SEENE illustrated by Thomas. C. GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE - ANTIQUARIAN HOROLOGY vol. XII, no. 4 pages 420-6; and White, George English Lantern Clocks page 219 figs. V/12 and V/13. Clock dated 1660 with highly unusual concentric calendar and 'penny-moon' lunar indication to dial inscribed George Newton, 1660 to front fret illustrated in Hana English Lantern Clocks pages 52-4 Plates 5-7. When considering the four well known surviving lantern clocks by George Newton the first observation is that his frame castings appear unique to him and of two differing types. The first type loosely echoes the London first period pattern often favoured by John Cattle (and later adopted by early Bristol makers such as Thomas Browne) with rounded 'bobbin' details at the junction between the pillars and the plates. This pattern of frame is used for the first two examples listed above and perhaps denotes an earlier phase of Newton's work. The second type of frame casting appears to be an evolution incorporating ¬orn' feet (as seen on first/early second period London work as well as the other type of standard frame used by Thomas Browne) and tall 'multi-knop' finials similar to those on Newton's earlier frames but more closely related to frames by later Chew Valley and Bristol makers such as John Clarke and Thomas Veale (see the following two lots). This 'later' pattern of frame is first used for the 1660 clock with calendar dial (as illustrated by Hana) and again for the current lot; the fifth unpublished clock by Newton also has this type of frame. From this it would be reasonable to suggest that George Newton 'updated' his design of frame castings at some point during the 1650's. A common feature shared by all the surviving clocks by George Newton is their generous use of brass and the fact that they are of larger heavier proportions than most lantern clocks of the period. The lack of any evidence of a hanging hook or spikes being fitted to any of his clocks suggest that they were all intended to either stand on a wall bracket or on/within a 'longcase', probably wise when considering the inherent additional weight of these clocks due to his generous use of materials in their construction. Newton's engraving is also very distinctive and evolved over the years often including delightful touches such as the naive dolphin decoration incorporated into the front fret of the current lot. The manner in which each clock is signed perhaps also illustrates the fact that even a highly skilled artisan such as George Newton was not always fully literate. Both the earlier clocks demonstrate inconsistency in spelling and problems with the 'N's which appear to be engraved as mirror images. However, by the time he engraved his name onto the fret of the 1660 clock with calendar dial he seemed to have mastered his signature. The current lot appears to have survived in remarkably original condition retaining its original escapement and side doors. The layout of the strike train is unusual in that the warning/lifting detent arbor is positioned to the left hand side of the movement (as seen on pre-pendulum clocks with separately wound trains) whilst the countwheel locking detent and arbor has been moved over to the opposite side, hence requires lifting by the warning detent via a cross-over piece. Darken and Hooper in English 30 Hour Clocks comment that Newton may have intended the current lot to have a balance escapement but changed his mind half way through building it - from this it is suggested that this may be his first verge-pendulum clock.
Lot 138A
The Works of James Thomson in Two Volumes. Volume 1 containing The Seasons and his other poems. Printed for J. Rivington and Sons, T. Payne and Sons. London: 1788. 1 vol.Literary Interest. 12mo. Vol. 1 of 2 only. [2], xxiv], 403, [1]pps. Crisp Frontis of Thomson in addition to 4 superb engravings of the seasons; Britannia, Liberty, & Castle of Indolence respectively. Binding instructions to rear. Full contemporary tree calf. Light rubbing and scuffing to boards & spine. gilted motif and compartments to spine. Previous owner's inscription to ffep. Text is clean & bright. A handsome copy. Plus "De Natura", by T. Lucretius Carus. Edited by Usher Gahagan. T.p. engraved. 6 plates incl. frontis. Pub., L. Typis J. Brindley, 1749. 12mo. Excellent condition. [2]. My Lodger's Legacy; Being Comic Tales in Verse, Tim Bobbin, 1819. London: C Chapple. Scarce 1st Ed. Copac locates only 7 copies in the British Isles, none in Ireland. 12mo. Later 3/4 calf, and marbled boards, with half titles to spine. Somewhat rubbed.
Lot 139
GEORGE IV FLAME CUT MAHOGANY BUFFET, the moulded oblong top with bobbin and reel and cushion moulded frieze above a concave open shelf and conforming platform base, tied by acanthus capped fore column supports and raised on acanthus carved scroll front feet, 34 1/2" (87.6cm) high, 37 1/2" x 23 1/2" (95.2cm x 59.7cm), (top cracked and panels missing to the back)
Lot 89
LATE SEVENTEENTH CENTURY AND LATER CARVED OAK WAINSCOT CHAIR, the scroll top rail carved with a pair of fire breathing serpents above a panelled back with central mask enclosed by foliate scrollwork, over a flat fronted solid seat, enclosed by downswept arms with baluster turned supports and raised on bobbin and reel turned front supports tied by conforming stretchers, 49" (124.5cm) high
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19185 item(s)/page