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Click here to subscribeJapanese Antique Samurai Edo - Period Katana Tsuba of Large Size, Soten Kinko - Sukashi Mokka Gata Shape, Inlaid on Both Sides with a Sage Feeding a Monkey, Picked Out In Silver and Bronze Highlights, Worn Consistent with Age and Use, Fully Signed by the Japanese Maker - Please See Photos. Size 3.5 x 3 Inches.
Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2''. Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.
A French Louis XVI ormolu mounted Gris St Anne marble mantel clock with concentric calendarSigned for Martinet, London, late 18th centuryThe circular two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum, the circular white enamel Roman numeral dial signed Martinet, LONDON to centre and with puce Arabic date-of-the-month concentric calendar track within Arabic five minutes to outer track, with pierced and engraved hour and minute hands and steel calendar indicator within bead-bordered gilt brass hinged convex-glazed bezel, the break-arch case with generous laurel tied quiver and torch cast surmount to the gilt gadroon moulded platform upstand over draped laurel trails to arch and acanthus side mounts to shoulders, the front with symmetrical scroll decorated recessed panel flanked by husk stop-fluted uprights beneath dial and generous floral conucopiae mounts to sides, on D-ended inverted breakfronted plinth base inset with laurel trails to centre and sides and applied with rectangular rosettes over the substantial gilt squab feet between, 47cm (18.5ins) high. Hubert Martinet is a fine but enigmatic clockmaker who was active both in London and Paris during the 1770's and 1780's. Although little is recorded of his specific activities it is known that he worked as both a horloger and a mercier and was probably a descendant of the Martinot clockmaking family the first of whom was Gilbert Martinot who is recorded as clockmaker to Henry III in 1572.Hubert Martinet is perhaps best known for his magnificent musical automaton elephant clock of 1774 which resides in the at Waddeston Manor. Martinet is also mentioned by Geoffrey de Bellaigue as a marchand-bijoutier of another elephant clock formerly in the Rothschild collection; this example being a rare gilt bronze and Meissen porcelain example signed Gudin on the dial. In addition to these Bellaingne also mentions Trois pendules d'Eléphant finies 5000 (livres) included in an inventory of Martinet's stock drawn up after bankruptcy on 7th June 1777. One of these, featuring a white porcelain elephant ridden by a black mahout and surmounted by a Turk, had previously belonged to the marquis de Béringhen. Condition Report: The movement is in relatively clean working condition with no visible evidence of alteration except for the 19th conversion from silk pendulum suspension to Brocot type with regulation. A clean and overhaul is advised as clock appears not to have been in use for a while (despite being in clean condition). Dial has some slight chipping around the right hand winding hole, the edge of the dial at 1 o'clock also has some slight chipping and there are several very slight radial hairlines within the outer margin of the dial. The provision of a regulation square at the apex above XII numeral has required some slight removal (crescent-shaped section) of enamel to create clearance.Case is generally in good condition with noticeable faults limited to one of the small gilt mounts applied to the flutes of the pilasters (below dial to left) lacking as well as half of the section of laurel to the right hand side skirt panel and a section of ribbon (around the cornucopia) to the right hand side. The overall colour and crispness of the mounts are fine with minimal wear/degradation to the finish and the marble appears free from visible cracks or repairs and has minimal edge wear/chipping.Clock has pendulum but no winder. Condition Report Disclaimer
A French Louis XVI patinated bronze, ormolu and white marble figural mantel clock Jaques Gudin, Paris, late 18th century The circular two train countwheel bell striking movement with anchor escapement and silk pendulum suspension, the circular blue on white enamel Roman numeral dial signed J'ques Gudin, AParis to centre and with gilt Arabic five minutes to outer track, with fine scroll pierced and engraved gilt hands set behind hinged gilt brass convex glazed bezel cast as the Ouroborus snake, the case with patinated bronze surmount cast as a seated figure of Urania with gilt triple-star head dress gesturing with compass towards a globe on which she is resting, over rectangular white marble plinth housing the movement and applied with foliate spandrel mounts around the dial set next to a stack of books draped with cloth, on breakfronted white marble skirt base with gilt bead moulded upper edge over apron panel relief cast with putti undertaking artistic pursuits flanked by foliate rosettes and the sides with guilloche scroll panels, on gilt toupe feet, 55cm (21.5ins) high. Jacques Jerome Gudon is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as becoming a Master of his trade in 1769 and dying in 1789. Condition Report: Movement is in relatively clean working condition with no visible alterations or losses (except for the pendulum). Although in running condition a clean and overhaul is advised. The dial has some light chipping around the right hand winding hole otherwise is in good condition with no other visible faults. The case is in fine original condition retaining original gilding (with only slight discolouration and wear) and fine patination to the bronze. The headcrest of the figure has one bent star otherwise mounts appear undamaged. The marble is in the solid (rather than built in many sections onto plaster) so clock is heavy. There are some very small edge chips which are only visible on close examination. Clock does not have a pendulum or winder. Condition Report Disclaimer
A fine and rare French Empire ormolu and patinated bronze mantel clock in the form of a teapotFournier horologer, Grenoble, the case by Claude Galle, Paris, early 19th century The circular eight-day two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension, the circular white enamel Roman numeral dial signed Fournier h'ger, a Grenoble to centre, with Arabic quarters to the outer minute track and sculpted gilt brass hands within fine engine-turned gilt cast bezel, the case modelled as a cylindrical teapot with fruiting bud finial to the ogee cap surmount decorated with burnished anthemion motifs onto a finely matted ground over a stepped canted gilt collar, the dial flanked by a shaped fluted handle incorporating stylised leafy scrolls opposing conforming upswept tapered burnished spout decorated with matted flutes and terminating with a grotesque hippocanthus mask, on generous gilt skirt base incorporating complex engine-turned top mouldings over four bun feet, 25.5cm (10ins) high. The Fournier family of clockmakers can be traced back to the 1740's with Louis Fournier being recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a second generation Parisian clockmaker appointed a Master of his trade in 1748. Subsequent generations worked in Paris throughout the 18th and early 19th centuries including a C.L. Fournier during the Empire period. Another member of the family, Stanislaus Fournier (a former apprentice of Lepaute), is also recorded as emigrating to New Orleans in around 1840. From the inscription on the dial it would appear that the Fournier family also had an outlet in Grenoble which was probably most likely supplied directly from their workshops in Paris. Of the very few known examples of this model at least two are signed for Claude Galle, Paris confirming that the cases were made in in his workshops; this includes an example in the highly important collection of the Musee Francois Duesberg at Mons. According to the Royal Collections website Claude Galle was one of the leading bronzeurs of his day and he created numerous gilt bronzes for the Royal and subsequently Imperial household. Born at Villepreux near Versailles, he was apprenticed to the fondeur, Pierre Foy at rue du Four. In 1784 he married Foy's daughter and after the Foy's death, took over the workshop and built it into one the finest of its kind, eventually employing about 400 craftsmen. In 1786 he became a maitre-fondeur and in the same year received the first of many commissions from the Garde-Meuble to furnish the royal palaces. Galle moved the business to Quai de la Monnaie (renamed Quai de l'Unit?) and from 1805 traded from 60 Rue Vivienne.Condition Report: Lot 145Movement is in good original unrestored condition with no visible evidence of alteration or significant replacements. The going train is in working order although as movement is dirty/neglected a clean is required. The mainspring of the strike train is compromised (broken or detached from its anchorage within the barrel) in addition to this the first wheel of the strike train now spins on its arbor hence will require re-securing before strike train will operate (probably came loose when the spring failed). The strike train otherwise appears to be in sound condition.The dial has an extremely light small hairline crack to the centre near the III numeral (can only be seen on very close examination) and some very light wear/fritting to the enamel around the winding holes otherwise is in fine original untouched condition.The case is in very good condition with the only noticeable blemish being a very small bruise to the bezel at 12 o'clock. The gilding has minimal wear and only a few spots of discolouration (most noticeably the rear foot). The patinated section (the body of the teapot) is in fine condition and is of nice greeny brown colour.Clock is complete with pendulum and winding key. Condition Report Disclaimer
A French Louis Philippe patinated, silvered and gilt bronze equestrian mantle clockDupont, Paris, circa 1840The circular two train countwheel bell striking movement with anchor escapement and Brocot-type regulation to the pendulum suspension, the foot of the backcock stamped DUPONT, A PARIS and the lower margin stamped with serial number 2194, the circular silvered Roman numeral dial with radial engine-turned decoration and steel moon hands set within generous acanthus decorated reeded bezel, the case with surmount finely cast in patinated bronze as a standing racehorse set on a naturalistically cast gilt platform, over silvered plinth with reeded top moulding and generous acanthus scroll cast mounts flanking the dial, on skirt base with gilt repeating leaf top moulding and scroll feet, 49cm (19.5ins) high.Condition Report: The movement is in relatively clean working. A clean and overhaul is advised as clock appears not to have been in use for a while (despite being in clean condition). The dial is in good condition but id a little dirty and tarnished revealing 'shadows' from earlier painted numerals suggesting that at some pint the dial has been cleaned, re-silvered and numerals reinstated. The case is generally in good condition although the front and rear panels have been pushed in a little at the lower margins (should be straightforward to rectify). The bronze is in fine condition with nice patination/colour. The silvering to the case has overall tarnishing discolouration as well as spots/runs of moisture damage. The original gilding survives but is rubbed/discoloured in places and has some touching-in with paint to the principal mouldings of the plinth.Clock unfortunately does not have a pendulum or winding key. Condition Report Disclaimer
A Regency ormolu and patinated bronze figural mantel timepieceUnsigned but probably by Baetens, London, circa 1825The circular four columnar pillar eight-day single chain fusee movement with anchor escapement regulated by a lenticular bob pendulum, the 3.5 inch circular white enamel Roman numeral dial with Arabic fifteen minutes to the outer minute track and steel moon hands within a gilt serpent scale milled bezel, the case with surmount cast as an eagle perched on a ball and ribbon-tied oak leaf crest draped over the apex of the drum housing the movement, cradled on honeysuckle decorated scroll supports applied to a relief floral garland decorated upstand flanked by a pair of figures each cast as recumbent Classical females reading a folio, the base applied with Satyr masks flanked by conforming floral swags, raised on engine-turned toupe feet, 32cm (30.5ins) high. Several models of this timepiece sharing the same castings, form and specification are known signed either by Joseph van Baetens, F.Baetens or just Beatens who were a family firm of bronziers who also produced timepieces. Working in a similar vain to the Vulliamy family they were based at 23 Gerard Street, Soho, and according to Baillie, G.H. (in Watchmakers & Clockmakers of the World) were active around 1832. An identical timepiece was sold in these rooms on Tuesday 2nd October 2019 (lot 163) for £1,900 hammer.Condition Report: Movement is in working condition and appears all-original however a clean and overhaul is advised. There is a non-original pendulum with the clock which is lacking its suspension spring. The dial appears to be in fine condition however on close examination (particularly from an angle allowing light to reflect off the surface) very light surface cracks and undulations in the surface can be seen indicating that the enamel has been restored. The hands are in good condition. The case appears to be in fine original condition retaining original gilding with only light edge rubbing and patchy discolouration in places most noticeably around a join in the casting of the floral drape mount over the dial. There are also signs to the rear of the same of steady pins being soldered to each side at the 10 and 2 o'clock positions.Timepiece has a pendulum and winding key. Condition Report Disclaimer
Four automobile aneroid barometers/altimeters, an anti-submarine patrol timer and a ship's trim spirit level Various makers, first half of the 20th centuryThe barometers comprising two similar white on black dialled models each with concentric scale calibrated in barometric inches within adjustable outer altimeter scale, the first calibrated 0-10,000 feet and signed NEGRETTI & ZAMBRA, LONDON, 18866 to centre, the second unsigned and calibrated 0-6,000 feet; the third larger with silvered scale incorporating adjustable 0-10,000 altimeter scale and inscribed S. SMITH & SONS LONDON to centre and the fourth signed for G. VIALLET, MARSEILLE and calibrated for centimetres of mercury within altimeter scale divided 0-24, 9cm (3.5ins) diameter; the timer of WWII British Royal Navy issue, Admiralty Pattern No6 ASDIC Anti Submarine Patrol Stopwatch, inscribed WALTHAM, U.S.A., ADMIRALTY PATTERN No. 6 to centre within concentric scales marked in both yards and seconds for indicating half the speed of sound in seawater in seconds, with winding and start/stop/reset function to crown and engraved PATT. 6 over large MOD broad arrow and designation U11782 to rear, 57mm (2.25ins) diameter, the ship's trim spirit level with curved tube set within circular ceramic scale calibrated for degrees of list over Royal Navy crown insignia, mounted with heavy glazed phosphor bronze bezel onto a wooden back panel, diameter 13cm (5ins), (6).
A GOOD JAPANESE MEIJI PERIOD PARCEL GILT BRONZE OKIMONO OF A BASKET WEAVER, attributed to "Miyao Eisuke", the man in a striding pose holding his basket and weaving tool, his traditional robe with gilt highlighted decoration, fixed to its original gold lacquer decorated hardwood base, 26cm high x 15cm wide.
A GOOD QUALITY 18TH / 19TH CENTURY CHINESE BRONZE TWIN HANDLE CENSER, the body of the censer with carved decoration depictin g dragons chasing pearls, phoenix birds in flight amongst clouds and with Buddhist and precious objects,, with twin moulded handles and triple foot, the base with a four character guangxu mark, 14cm x 18cm.
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