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Lot 353
Early 19th-century mahogany cabinet or dressing table, bow front accommodating one shallow and two deep drawers, all standing on four turned legs.width 110cm (43"), depth 52cm (20"), height 81cm (32")Condition report: Some wear markings to the surface of top (see photographs), original ring pull handles, overall condition good.
Lot 192
A selection of early 20th century silver frames, to include a square frame with bow detailing by Henry Matthews, pair of circular frames and three others (6).Condition report: Overall condition fairRectangular engraved frame - Sanders & Mackenzie, Birmingham, 1918 - dents to frame, splits to wood, repair work and tape to stand, hallmarks legible, 14 x 20.3cmRectangular frame, curved top - Charles S Green & Co Ltd., Birmingham, 1917 - dents to frame, with hoop fitting for wall hanging, stand removed, 16 x 23cmSquare frame, bow top - Henry Matthews, Birmingham, 1906 - dents to frame, splits to one side, marks legible, silk backing worn, stand with repair work but in good order, 19 x 17.5cmCircular frames - hoop fittings for wall hanging, one with replacement wire, dents, scratches etc. Marks worn, some illegible, diameters 10.5 and 11.5cm
Lot 1457
A pair of Bow figures of a Shepherd Piper and Dancing Shepherdess c.1756, his pipes tucked under his left elbow, a dog recumbent at his feet, she holding her skirt up to dance, a lamb resting by her side, both raised on low pad bases applied with flowers, a small amount of restoration, 14.5cm. (2) The likely source for these Bow figures is probably the similar figures produced at Derby, although they in turn were probably borrowed from Meissen.
Lot 1493
A Bristol (Richard Champion) teapot c.1772-75, printed in black with La Terre to one side, a lady standing in a garden setting beside potted plants with a man kneeling at her side, the reverse with flowering plants and small scattered sprigs, the cover lacking, 21.2cm across. Cf. Norman Stretton Collection, Phillips, 21st February 2001, lot 146 for a similar teapot with cover. The print is taken from a set of the Elements after Boucher, engraved by P Aveline, and can also be found on Bow and Worcester porcelain. It may relate to Richard Holdship.
Lot 94
William Lionel Wyllie, R.A. (British, 1851-1931)A destroyer ramming a German U-boat, WW1 signed 'W.L.Wyllie' (lower right)oil on canvas38.5 x 76.6cm (15 3/16 x 30 3/16in).Footnotes:This scene almost certainly depicts the celebrated occasion when on 8th February 1917 the British L Class destroyer, HMS Liberty (Lieutenant Commander PWS King) caught the German minelaying submarine UC 46 (Oberleutnant zur See Friedrich Moecke, Iron Cross 2nd) on the surface as the latter attempted to avoid the Dover Barrage which had been set up off the Goodwin Sands for just this very purpose: to further restrict submarines attempting to transit the English Channel. The ram was successful and the submarine's final resting place was re-established by the UK Hydrographic Office in 2009 as on the south east corner of the Sands, mid-Channel between Dover and Calais. There were no survivors from this boat who in her four wartime patrols (she had only first commissioned in September 1916) was credited with ten sinkings, either by torpedoing or by the mines she is reported to have laid. Lt Cdr King was appointed DSO for this sinking. The present work is full of detail, for example those on the upper deck and bridge of Liberty are seen to be wearing duffel coats as befits a cold February day, and yet it avoids being over worked. One can see something of the lowering sky, the bow wave and wash of the speeding destroyer and the periscope of UC 46 as, now horribly aware of her likely fate, she desperately attempts to out-manoeuvre her persecutor. Smoke belches from Liberty's funnels, a tatty war-worn white ensign and commissioning pennant at the fore streaming in the wind, bows up, stern tucked down and wash rolling out as the captain rings on for maximum revolutions to give him that little bit of extra speed.For further information on this lot please visit Bonhams.com
Lot 54
Peter Monamy (London 1681-1749)The venerable HMS Eagle making ready to sail from her offshore anchorage, probably at the Nore oil on canvas83 x 122.5cm (32 11/16 x 48 1/4in).Footnotes:ProvenanceAdmiral Sir John Peter Lorne Reid GCB CVO (1903-1973), Bolton.Private collection, UK.Whilst not a retrospective in the accepted sense, this work depicts an elderly 3rd rate, a vessel seemingly from an earlier age, past her prime and in her twilight years. The overly high stern, in conjunction with the elegant side windows of her stern galleries, are both features more typical of the ships-of-war dating to the reign of Charles II and the navy of Samuel Pepys during his hugely influential tenure as Chief Secretary to the Admiralty. Notwithstanding her outward appearance however, the vessel is clearly flying the new 'Red Ensign' introduced into the fleet after the Act of Union with Scotland in 1707 and which alone confirms her longevity. Almost certainly one of Pepys's celebrated 'Thirty Ship Programme' of 1677, a surprisingly large number of those ships (built between 1678 and 1680) were still in service in 1707, although by then all of them would have been altered, repaired or, in some cases, completely rebuilt to reflect the continual ravages of the sea, battle damage or to incorporate periodic changes in armament. As the largest 'class' within the 1677 Programme, the twenty 3rd rates - of which Eagle was one - have since been described by some naval historians as 'the best-looking sailing ships ever completed', but attempting to name a specific vessel within the twenty is complicated by the fact that 'the individual ship design was in each case left to the builder.'It is usual to identify these majestic ships by a careful study of their highly ornate stern carvings which usually include either royal ciphers, regal initials, or other similarly characteristic details. Unfortunately, this handsome bow view robs us of those clues although the distinctive side panes of the stern gallery windows shown here are strikingly similar to those featured on the splendid but short-lived Coronation, a large 2nd rate launched at Portsmouth in 1685. It is interesting to speculate therefore that this vessel might also be a Portsmouth-built ship which narrows the field considerably and offers up two possibilities, namely the Eagle and the Expedition. Of the two, the more likely candidate is the Eagle which, having been repaired and reconditioned at Chatham in 1699-1700, then served with distinction during the War of the Spanish Succession, mostly in the Mediterranean, and was part of Sir George Rooke's fleet which famously took Gibraltar in 1704. By 1707, Eagle was in Sir Cloudesley Shovell's squadron in the Mediterranean which, whilst returning home for the winter, was wrecked on the Isles of Scilly on 22nd October that year due to faulty navigation. This error resulted in one of the most spectacular disasters in the long history of the Royal Navy and this painting may well be a memorial to the loss of a fine old ship and all those who perished in her.Peter Monamy was born in London in 1681, the youngest son of a Guernsey man. Throughout his career he was heavily influenced by the works of Willem van de Velde, the Younger and other North European, Dutch and French masters. Monamy was himself a collector of Van de Velde's drawings and these influenced his development as a maritime painter resulting in numerous commissions from mercantile and naval patrons, including the famous Channel Island's naval families, the Durrels and the Saumarezs. In 1726, he was elected a Liveryman of the Company of Painter-Stainers, to which he presented a very large painting of the 'Royal Sovereign at anchor' which still remains in their collection. Although his paintings usually depict actual ships, they rarely record specific events as, up until 1739, his career coincided with a long period of peace. From the 1730s until his death, Monamy was at the centre of London's artistic life and was a friend and companion of Hogarth, sometimes collaborating with the celebrated younger artist. Despite his many commissions however, he was never particularly prosperous and also painted decorative pictures specifically for commercial galleries and dealersFor further information on this lot please visit Bonhams.com
Lot 234
Two Butler & Wilson crystal set dress necklaces to include a necklace having a yellow metal double chain with having a suspended bow brooch below (chain measures 72cm, pendant measures 7cm) together with a yellow metal flat linked chain having a sun face design pendant suspended below (chain measures 74cm, pendant measures 7cm). Both in original boxes.
Lot 193
A Victorian silver Kings pattern tea caddy spoon by Mary Chawner, London 1839, with a shell design bow, 12.5cm long and a George III silver Old English pattern sauce ladle by Randall Chatterton, London 1800, 18.5cm long, each engraved with a family crest, combined weight 95g. Condition: both worn
Lot 37
Y A FINE REGENCY MAHOGANY FLAT-TO-THE-WALL BOWFRONTED MERCURY STICK BAROMETERA. and H. Fraser, London, early 19th centuryWith swan neck pediment and cavetto cornice over rectangular bow-glazed silvered Vernier scale calibrated in barometric inches with the usual observations beneath signature A. & H. Fraser, LONDON, the ebony line-edged trunk of the same bowed profile incorporating Vernier setting squares to throat over inset bow-glazed mercury tube Fahrenheit and Reaumur scale thermometer within moulded ebony surround, the base with turned half vase cistern cover flanked by ebony vertical line strung canted angles over cavetto moulded underside incorporating level adjustment screw at the base of the cistern vase.99cm (39ins) high. A. And H. Fraser are recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from 3 New Bond Street, London, in 1816.Condition Report: The tube is filled with mercury but there is an airlock in the column. The scales have a patch of discolouration towards the left hand margin otherwise are in good condition. The case is missing a 'button' to one of the swan neck pediment scrolls and a small section of ebony moulding to the left hand side of the base (beneath the cistern) otherwise instrument is in fine condition with other faults very much limited to slight age related bumps and scuffs. Condition Report Disclaimer
Lot 174
A FRENCH GILT METAL AND PORCELAIN MANTEL CLOCK GARNITUREThe movement by Pinchon Fils, Paris, circa 1875The eight-day countwheel bell striking movement with anchor escapement regulated by pendulum cast with a female mask to bob and incorporating Brocot type regulation to suspension, the backplate stamped PINCHON, FILS AINE, PARIS to centre and numbered 783 to upper left, the dial with landscape painted centre within blue-ground gilt bordered Roman numeral cartouche chapter ring, with gilt spade hands within egg-and-dart cast bezel, the gilt spelter and porcelain case with two-tone blue and gilt gadroon panel capped twin handled urn surmount incorporating polychrome floral panel to waist, over ribbon bow crest to the drum housing the movement flanked by cornucopia and floral finial adorned side projections supported on four columns with leafy caps and bases and gilt-bordered two-tone blue porcelain shafts with pendulum swinging between, the base with shaped panel inset with an arch-shaped blue-bordered landscape painted with a river landscape within leafy scroll borders over conforming feet, on original moulded giltwood plinth, the candelabra side pieces each with central sconce flanked by four scrolling branches over twin handled baluster upright and stepped shaped porcelain panel fronted base with scroll feet over original giltwood plinth, (3).The clock and candelabra 48cm (19ins) high overall, the clock 23.5cm (9.25ins) wide, 14cm (5.5ins) deep.
Lot 127
AN AUSTRIAN ORMOLU MOUNTED EBONISED GRANDE-SONNERIE STRIKING MANTEL CLOCK Unsigned, circa 1830The four pillar triple train short duration movement with anchor escapement regulated by rosette-cast bob pendulum with silk suspension, and sounding the quarters on a coiled gong followed by the hours on a second larger gong at every quarter hour or on demand via a pull trip repeat function, the 5.5 inch circular gilt brass dial with small concentric enamel calendar ring to the geometric engine-turned centre within Arabic numeral enamel chapter ring, with steel spade hands set behind hinged engine-turned brass convex glazed bezel, the rectangular case with alabaster and gilt metal urn-shaped finial to the tablet upstand over convex-shaped upper side angles, the fascia applied with rosette and laurel-bow cast mounts around the dial and with oval lenticle surmounted by and eagle with outstretched wings flanked by further leafy sprays beneath, the sides with further lyre cast mounts, on generous skirt bass applied with leaf-moulded gilt gesso upper mouldings and figural cast apron mount to front, on generous gilt paw feet. 46.5cm (14.25ins) high, 28cm (11ins) wide, 15cm (6ins) deep.Condition Report: The movement appears complete and fundamentally original with no obvious visible evidence of alteration or significant replacements. The mechanism is in working condition however the strike work is currently out-of-sync with the hands and as the movement is in somewhat dirty/neglects condition a clean and overhaul is advised. The dial has has some chipping/losses to the inner calendar ring at its two attachment points, the chapter ring has several hairline cracks and the winding holes have adjacent wear to the gilding. The case is in sound condition although the finial may be incomplete and there is evidence (a few vacant 'pinholes') that there was an ormolu mount fitted over the dial at some point. The front left foot has been repaired; the right is missing a toe and the rear left is incomplete. The rear of the skirt has some historic worm damage; this infestation is no longer active and the damage is not structural. Faults to the case are otherwise limited to light to moderate bumps, scuffs, shrinkage and wear commensurate with age and use.Clock has pendulum but no winding key. Condition Report Disclaimer
Lot 161
A RARE FRENCH GILT BRASS, BRONZE AND ROSSO FRANCIA MARBLE NOVELTY AUTOMATON TIMEPIECE 'THE OARSMAN'Andre Romain Guilmet, Paris, retailed by Dibdin and Company, Limited, London late 19th centuryThe circular eight-day movement with inverted tic-tac escapement positioned to the lower edge of the mechanism connected via a cranked horizontal crutch to the figure of a sailor with a paddle standing towards the bow of the vessel suspended from crossover springs allowing it to oscillate back and forwards acting as a compound pendulum, the movement backplate stamped with inverted MEDAILLE D'OR, A R, GLT, B'TE, S.G.D.G. PARIS trademark, the 2.5 inch circular silvered Arabic numeral dial indistinctly inscribed with retailer's signature DIBDIN & CO LTD, 189 SLOANE STREET, SW 1 to centre and with blued steel spade hands set within canted bezel, the case finely modelled as a single-masted sailing vessel with drum housing the movement tied amidships beneath the rear spar, with gilt bulwark rail, rudder and bowsprit and the hull set within naturalistic ocean setting onto the stepped marble plinth with canted gilt pad feet.41cm (16ins) high, 38cm (15ins) long including bowsprit, 16.5cm (6.5ins) wide. Provenance: The Selwyn Demmy Collection. Purchased from Christies, King Street, sale of Important Clocks and Marine Chronometers including a Fine Collection of Industrial, Automata and Astronomical Clocks 4th July 2007 (lot 82) for £4,800. Andre Romain Guilmet was born on the 10th of December 1827 in La Ferte-Gaucher, France. He was a credited as a watchmaker and inventor who specialised in producing novelty and mystery clocks for which he applied for a number of patents for designs. Amongst his other Patents was that for a bicycle where the driving chain was set below the seat. He is best known for his 'mysterieuse' figural clock with glass pendulum, this takes the form of a woman holding pendulum in her outstretched hand and arm over a marble base containing the clock below. The pendulum is impulsed by the mechanism underneath her that moves the figure imperceptibly from side to side (see following lot). Guilmet's industrial series of clocks, which includes the current lot, features automated clocks in the form of windmills, lighthouses, automobiles, boats, steam hammers, boilers, etc. Another 'oarsman' automaton timepiece is illustrated in Roberts, Derek Mystery, Novelty and Fantasy Clocks, Schiffer on page 254, (figure 22-1); and a further example was sold at Sotheby's New York The Joseph M. Meraux Collection of Rare and Unusual Clocks, 28 June 1993, (lot 54).Condition Report: Movement is in clean working condition with no evidence of alteration or significant replacements. The dial has some light surface rubbing/scratching causing some of the retail signature to be lost otherwise is in good original condition; the glass/crystal is no longer present. The case is generally in fine original condition with only very slight discolouration and wear to the original gilt and patinated finishes. The marble has a small filled corner chip to the rear upper right hand edge of the base as well as a few very small edge chips otherwise is in fine condition. Timepiece is complete with integral winding key and figural pendulum. Condition Report Disclaimer
Lot 181
A FRENCH ORMOLU FIGURAL MANTEL CLOCKThe movement stamped for Achille Brocot, Paris, circa 1875The circular eight-day two train striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to escapement and stamped with AB star trademark over numbers 5344, 11, the circular white enamel Roman numeral dial with blued steel hands within repeating bead cast bezel, the break-arch top case with surmount cast as Amor standing with arms resting on his bow and pineapple finials over cavetto moulded cornice and fluted pilasters flanking the dial, the sides with lions mask ring handles and the rear stamped with repeat serial number 5344, on ogee moulded skirt base applied with rosette to apron over lions paw feet, with original giltwood plinth.The clock 35cm (13.75ins) high, 19cm (7.5ins) wide, 13.5cm (5.25ins) deep; including the giltwood plinth 39.5cm (15.5ins) high overall. Provenance: The Selwyn Demmy collection. Achille Brocot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1817 and died in 1878. The Museums Victoria (Australia) website notes that Achille patented several improvements in clock mechanism escapements, and invented the 'Brocot Suspension', an adjustable pendulum spring which enabled time keeping to be regulated by altering the length of the pendulum suspension spring by a key turned in the dial. He also introduced a jewelled deadbeat escapement, sometimes called a visible escapement as it was often mounted in the middle of the dial. Achille was awarded a first class medal at the Paris Exhibition in 1855, and in 1856 was appointed Treasurer to La Société des Horlogers in Paris. He published a "Calculation of the Wheels by Approximation" in 1862. His sons Achille and Paul continued the business following Achille senior's death 1878. The firm was taken over by rival clock maker Gustave Gibaudet in 1889. Condition Report: Movement is in working condition however is lacking its bell (bell stand is present), a clean and overhaul is advised as the mechanism is a little tarnished/neglected in appearance. The dial has some light scratching to the surface between the VII and VIII numerals otherwise appears to be completely free of noticeable faults. The case is in fine original condition with strong well executed gilding and faults limited to patchy discolouration/oxidation in places. The clock is securely attached to the giltwood plinth which is also is in good original condition with faults limited to gilt rubbing and fading/wear to the velvet lining applied to its upper surface.Clock has pendulum and a winding key but is lacking its bell. Condition Report Disclaimer
Lot 190
A FINE VICTORIAN CARVED MAHOGANY FUSEE WALL TIMEPIECEBenjamin Lewis Vulliamy, London, dated 1851The four columnar pillar single chain fusee movement with plates measuring 6 by 5.25 inches and half deadbeat escapement regulated by 14 inch pendulum with very heavy brass bob stamped with serial number 1905 and T-bar suspension, the backplate inscribed VULLIAMY, LONDON, No.1721, the 12 inch circular silvered brass Roman numeral dial signed B.L. VULLIAMY, CLOCK MAKER TO THE QUEEN, LONDON, AD. 1851 to centre and with blued steel hands, the circular case with substantial front door carved with a laurel wreath tied with a ribbon bow at six o'clock enveloping a moulded glazed wooden bezel with gilt concave insert to interior, the drum-shaped case behind with pendulum access to underside, (unrestored, lacking access flap to base).48cm (19ins) wide, 51cm (20ins) high, 19cm (7.5ins) deep. Provenance: The Estate of Lawrance Hurst. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); however his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion. The Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy work books still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067. There is also a third surviving Vulliamy workbook, relating only to repairs and servicing dating to the period 1846-53. Interestingly this volume records at least sixty five clocks being in the possession of the government 'Office of Works' and another forty being in the possession of Queen Victoria at Buckingham Palace. Roger Smith in his article titled Vulliamy Clock Numbering, A Postscript, published in Antiquarian Horology Vol. 21 No. 5 (September 1994), used surviving data in the records of the British Horological Institute at Upton Hall and known documented examples to compile a graph from which unrecorded clocks can be fairly accurately dated. The current lot benefits from being dated (hence serves useful datum point with regards to the dating Vulliamy clocks) and is unusually signed with Benjamin Lewis's initials together with 'Clock Maker to The Queen'. Interestingly the date of clock corresponds to the year of the 'Great Exhibition' which, when considering the embellished signature coupled with the particularly decorative case, does beg the question as to whether the current lot was intended for exhibition purposes.Condition Report: Movement is in dirty/neglected condition but is complete and all-original with minimal noticeable wear. To clarify the serial number of the pendulum matches that of the movement (1905). The dial has overall heavy patchy discolouration and wear to the silvering however all engraving is strong and clear. One of the dial feet screws is a replacement. The hands are probably not original.The hinge for the bezel/surround is lacking its screws/fixings for attachment to the case behind hence is currently loose. The carved border is lacking most of one loop to the ribbon bow, the other loop has a small section missing and there are a few small historic chips/losses to the tips of some of the laurel leaves as well as some slight shrinkage cracking. The circumference of the case has some wear/chipping to the veneer at the rear edge as well as shrinkage cracking due to slight/moderate movement of the segments that make up the curve sections in the carcass beneath. There is bruising around the brass top hanging hoop, the base has evidence of being fitted with a second brass loop for attaching to the wall, this is now incomplete. The base also has a rectangular aperture for a door/flap which is now missing. The case finish is generally very dirty/discoloured otherwise faults are limited to age related bumps, scuff and shrinkage.Timepiece has a pendulum but no winder or case keys. Please ask the department for additional imagesCondition Report Disclaimer
Lot 36
Y A FINE EARLY VICTORIAN MAHOGANY BOWFRONTED MERCURY STICK BAROMETERA. Abraham, Liverpool, mid 19th centuryWith concave-sided upstand and cavetto cornice over rectangular bow-glazed silvered double Vernier scale flanking the large-bore tube each calibrated in barometric inches with the usual observations beneath inscription Yesterday, Noon to upper left opposing signature A. Abraham, Liverpool to upper right, the ebony line-edged trunk of the same bowed profile incorporating twin Vernier setting squares to throat over applied glazed mercury tube Fahrenheit and Reaumur scale thermometer with ogee moulded crests to the upper and lower rails, the base with turned half vase cistern cover flanked by ebony diamond lozenge line strung canted angles over cavetto moulded underside incorporating level adjustment screw.94.5cm (37.25ins) high. Abraham Abraham (and Company) are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from several addresses in Liverpool 1817-75. Banfield describes them as 'important makers' who exhibited at the Great Exhibition at the Crystal Palace in 1851.The current lot is provided with two scales to allow change in barometric pressure to be recorded as designed by Admiral Fitzroy for his 'storm barometers' which he devised in around 1857. Condition Report: The tube is filled, the column will rise when the instrument is tilted but stops just short of the top of the tube indicating that there is a small amount of air present. The silvering to the scales has oxidised hence now have a mellow pewter-like tone otherwise they are in fine original condition with both Vernier slides in working order. The thermometer also has some even overall mellowing/discolouration to the silvering otherwise is in fine original condition. The case is missing three very short runs of mouldings around the top edge of the base moulding to the left just beneath the cistern cover; the cistern also cover has a small hairline crack otherwise case is in fine condition. Condition Report Disclaimer
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