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Lot 312a
A 20th Century Persian Islamic bronze vase of bulbous form culminating in a trumpet form neck having raised white metal and copper decoration having detailed foliate decoration with arabic writing to the sides, raised on a footed base, together with a cylindrical brass water cup engraved with birds and a brass pot pourri bowl having a pierced lid and engraved decoration to the sides.
Lot 425
A W & T AVERY LTD BRASS BEAM SCALE ON MAHOGANY BASE WITH PANS WITH SEVERAL BRASS WEIGHTS, EARLY 20TH C, A BOXED SET OF HERALD MODELS OF FIGURES FROM THE BALLET, C1950, AN ONYX ASHTRAY MOUNTED WITH A COLD PAINTED BRONZE TERRIER, AN EARLY 20TH C CONTINENTAL PORCELAIN CUSHION SHAPED DECORATIVE BOX, GLASS LAMPWORK ANIMALS, ETC
Lot 141
Two early 20th century bronze medallions, one with the head of Aphrodite to one side and two athletes to the obverse, inscribed Swift Run Ners, 3" dia and the other a Hermon MacNeil bronze Society medallion, relating to the Hopi with runners, each holding snakes in their hands and to the obverse, tribes people, inscribed Hopi, 2 7/8"dia
Lot 163
A Regency ormolu and patinated bronze figural mantel timepiece Unsigned but probably by Baetens, London, circa 1825 The 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. The frontplate of the current lot is finely scratch-engraved with the inscription Edward Tupman, May 6th 1840. The Tupman family were another firm of clockmakers and retailers based in nearby Great Russell Street, Bloomsbury. This is probably a repairer’s mark recording the ‘first service’ of the clock perhaps by the same business who supplied/retailed the timepiece a decade or so earlier.
Lot 178
A fine and impressive Louis XVI style ormolu figural mantel clock with centre seconds and concentric calendar The movement by Pierre-Honoré-César Pons and bearing signatures for Ferdinand Berthoud, Paris, circa 1830 The circular four pillar two train outside countwheel bell striking movement with the pillars pinned at the rear, the five-wheel going train with fine pinwheel deadbeat escapement positioned to the centre of the backplate with depth adjustment to the pallets, fine beat screw to crutch and regulated by half seconds disc-bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with Pons, MEDAILLE D’OR, 1827 roundel over engraved initials B Y and stamped number 1 9, the lower edge also boldly engraved in a downward curve Ferdinand, Berthoud AParis and the left hand edge further stamped 200, the 7.5 inch circular convex enamel dial polychrome painted in the manner of Coteau inscribed Ferdinand Berthoud, AParis to centre within concentric red Arabic numerals for date of the month within chapter ring with vertical Arabic numerals and gilt fleur-de-lys half hour markers, the outer track annotated with the months of the year and their length in French within concentric band polychrome painted with oval panels representing the signs of the Zodiac with fine gilt foliate decoration between, with steel centre seconds hand, scroll-pierced gilt minute and hour hands and snakehead/tail hands for the calendar, set behind a hinged convex glazed gilt brass bezel cast with guilloche scroll decoration to surround, the fine substantial sculpted ormolu case cast with cherubs and lovebirds within billowing clouds enveloping the dial draped with floral sprays and with bows, quivers and trumpets applied around the swept panelled foot, the D-ended plinth base inset with crisply cast basket of flowers centred foliate scroll infill to the oxidised ground apron panel flanked by floral festoon swags to the conforming curved end sections, on six cast toupe feet, 66cm (26ins) high. Provenance: Brocket Hall, Hertfordshire Pierre-Honoré-César Pons was born in Paris in 1773 and after studying with the Jesuits in the rue Mouffetard he went to train under the eminent clockmaker Antide Janvier. Unfortunately the unrest of the French Revolutionary period disrupted his training but he was recommended by Janvier to the prestigious Lepaute family who took him on in 1798. Pons completed his training under the Lepautes and developed an interest in precision horology; in 1803 he opened his own workshop rue de la Huchette, near the Place Saint-Michel. In order to satisfy the financial demands of running a workshop, whilst taking time to work on the development of precision horology, Pons acted as supplier of movements to many the eminent horologists of the period such as Berthoud, Breguet and Lepine. During this time he developed several escapements and created improved wheel-cutting and pinion polishing machines. With the encouragement of Ferdinand Berthoud in 1804 Pons presented his ‘Observations sur l’échappement libre’ to the Academy of Sciences where it was praised by the jury and the Academy congratulated him.Around this time the French clockmaking town of Saint-Nicholas d’Aliermont was in crisis due to the collapse of the industry. Napoleon’s minister responsible for Fine Arts, Industry and Commerce, the Count de Champagny, ordered the Académie des Sciences to find someone suitable to turn the industry around. Honoré Pons was approached as he had the necessary skills and had developed the tools and practices most appropriate for the task. After a period of reluctance he accepted on the basis that the state will pay him a generous amount for his machines as long as they were installed and used in the Saint Nicholas workshops. By 1808 Pons was producing fine quality ‘blanc-roulants’ for an affordable price which received high praise from makers such as Breguet and recognition by the Academie in their report to Napoleon Bonaparte.Over the following decades Honoré Pons expanded the Saint Nicholas operations and became a principal supplied of movements to the Parisian clockmaking trade from his premises in Paris’s rue de la Barillerie on the île de la Cité. In 1827 he was awarded a gold medal and in 1839 was awarded the Croix de la Légion d’Honneur by King Louis Philippe. In 1846, at the end of an illustrious career, pons sold his firm to Borromée Délépine and retired, living in an elegant Parisian mansion at 20, rue Cassette. The movement of current lot is a faithful and beautifully made clock made in homage to one of Honoré Pons mentors, Ferdinand Berthoud. It is interesting to note that a second clock of exactly the same appearance is in in the collection of the Chateau de Compeigne; it is not known whether this other example also has a movement by Pons or an original mechanism by Berthould. The case of the current lot is beautifully cast and hand finished in bronze doré with visible evidence of hand tooling and burnishing commensurate with the finest products of the Louis XVI period. From this it is perhaps appropriate to speculate that the present clock falls into one of two camps. The first is that the case is a contemporary ‘twin’ of the example in the Chateau de Compeigne but now houses a re-made movement by Pons signed in a similar manner as the original. The second is that entire clock was made in around 1830 as either a very expensive commission or as a ‘tour de force’ to demonstrate that Parisian clockmaking trade were still able to produce examples equal (or better) than those made before the revolution.
Lot 180
A fine French Empire ormolu and breccia marble figural mantel clock ‘Homage to Josephine’ The movement by Marchand, the case possibly by Pierre-Philippe Thomire, Paris, circa 1805 The circular two train bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the 5.25 inch circular white enamel Roman numeral convex dial signed Marchand, Paris to centre with concentric date-of-the-month between the hour numerals and minute ring and with Arabic five minutes to outer track, with scroll pierced and engraved gilt hour and minute hands and steel calendar hand set behind hinged convex glazed cast gilt brass bezel, the case surmounted with a seated Classical female harpist with a flaming gueridon at her feet opposing winged Amour with quiver of arrows slung over his shoulder and gesturing towards a manuscript inscribed Bouton de rose next to an X-frame table with book resting on top, the dial with elaborate draped lambrequin cast with tassels beneath flanked by stepped D-ended plinth, the upper stage panel-cast with stylised Grecian masks flanked by alternating palmette and foliate scroll decoration to ends over breakfronted marble lower stage applied with mounts cast as putto terms holding aloft floral wreaths over gilt fillet moulding, on platform base with cast bun feet, 46.5cm (18.25ins) high. The movement of the current lot is probably by Charles-Frédéric Marchand who is recorded in Tardy DICTIONNAIRES DES HORLOGERS FRANCAIS as becoming a Paris maître in 1777 and working at Rue St. Martin the following year. Pierre-Philippe Thomire (born 1751) was one of the most important bronze casters of 18th century France, and was later granted the title Ciseleur de l’Empereur (chaser to the Emperor) by Napoleon Bonaparte. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770’s began working with Louis Prieur. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres. Thomire retired in 1827 and died in 1843. The design of the current clock was inspired by a poem entitled ‘Bouton de rose’ (rosebud), by Constance-Marie de Théis, Princess de Salm-Dyck (1767-1845). Published in 1785 in the Almanach des Grâces the poem became famous during the latter part of the 18th century, when it was set to music by the composer Louis-Barthélémy Pradher (1782-1843). The popular singer Pierre-Jean Garat (1762-1823) sang it in fashionable Salons, dedicating it to the beauty of Josephine, the wife of the future Emperor Napoleon.
Lot 184
A fine French Empire ormolu figural mantel clock ‘Hercules’ Gentilhomme, Paris, early 19th century The eight-day circular two train countwheel bell striking movement with anchor escapement regulated by a disc bob pendulum with silk suspension, the circular white enamel Roman numeral dial signed Gentilhomme, Palais Royal a Paris to centre and with steel moon hands within a fine milled gilt bezel, the case cast as the bearded Hercules standing draped in the Nemean lion skin resting his right hand on a substantial wooden club and supporting his left elbow on a tree stump housing the movement and dial whilst holding forward the golden apple of the Hesperides, The plinth base applied with mount cast as a trophy incorporating mask centred lion skin, bow and quiver flanked by canted angles decorated with snake entwined arrows and with laurel wreaths to sides, the lower edge with simple gilt skirt over substantial cast lions paw feet, 48cm (19ins) high. Gentilhomme is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Paris circa 1810/25 whilst Tardy in DICTIONBAIRE DES HORLOGERS FRANCAIS lists them as working from Galerie de Pierre circa 1810-20. An almost identical clock can be seen in Niehuser, Elke French Bronze clocks on page 64 and a similar model in Ottomeyer, Hans and Peter Proschel, Peter Vergoldete Bronzen on page399.
Lot 115
A French gilt brass carriage clock with push-button repeat and alarm Henri Jacot, Paris, late 19th century The eight-day two train gong striking movement with silvered platform lever escapement and alarm sounding on the same gong, the backplate stamped with H.J. parrot trademark and numbered 15334 to the lower left hand corner, the rectangular white enamel Roman numeral dial with blued steel moon hands over alarm setting dial to lower margin, the frosted gilt bevel-glazed corniche case with hinged carrying handle, 14.5cm (5.75ins) high excluding handle; with a leather covered outer travelling case. Henri Jacot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working from 31 Rue de Montmorency, Paris as well as possibly having a factory in Saint-Nicolas-d’Aliermont. The business was awarded Bronze Medals at the Paris ‘Exposition’ in 1855 and in London 1862; Silver in Paris 1867, 78 and 89 and Gold, again in Paris, 1890. Henri Jacot senior died in 1868 and was succeeded by his nephew of the same name. The business is thought to have continued until around 1920. Please note: As an addendum to the above footnote the information provided by Allix and Bonnert relating to the business being succeeded by Henri’s nephew of the same name is incorrect. Research undertaken by Leigh Extence has revealed that after his death in 1868, Henri's business was continued by his brother Julien who was actually only 'keeping the bench warm' until his son, and Henri's nephew Albert, was able to take over and move the concern forward in 1874.
Lot 185
A fine Louis XVI style Sevres porcelain inset ormolu cartel clock and matching aneroid barometer en suite Bearing signatures for Martinout, Paris and Passemant, au Louvre, circa 1870 The clock with circular eight-day two train bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with S. Marti et Cie, MEDAILLE DE BRONZE roundel over number 7 2, to the lower edge and A.C roundel over further number 2671 to left hand margin, the 6.5 inch convex white enamel Roman numeral dial inscribed Martinout, AParis to centre and with Arabic five minutes to outer track, with scroll pierced and engraved brass hands set behind bayonet fitted convex glazed repeating acanthus cast bezel, the case with finely painted oval porcelain panel of a cherub in flight holding a barometer within decorative gilt and blue ground border, and cast surround modelled as ribbon tied vine stems issuing fruiting sprays draped around the guilloche scroll bordered dial, the base with inverted break-arch panel incorporating curved gadroon cast upper border and inset with a panel with a another cherub with a globe and surveyor’s instruments within conforming blue ground border and fine repeating lappet leaf cast surround terminating with inverted acanthus leaf crest and pineapple pendant finial; the barometer with concealed aneroid mechanism and circular convex white enamel register inscribed PASSEMANT, AU LOUVRE to centre within concentric scale calibrated in barometric inches and with weather observations in French to outer track, with blued steel pointer set behind convex glass fitted with a central brass recording hand, the case matching that of the clock with the upper porcelain panel similarly painted with a cherub in flight holding a telescope and the lower with another observing a globe, each 67.5cm, (26.5ins) high. A cartel clock and matching aneroid barometer of the same pattern as the current lot (but this time with the clock inscribed for Louis Montjoye, Paris) were sold at Christies New York sale of The Alexander Collection:French Furniture, Boxes & Porcelain 30th April 1999 (lot 178) for a premium inclusive $51,750.
Lot 177
A fine French Louis XV ormolu mantel clock Louis Jouard, Paris, mid 18th century The five knopped pillar two train bell striking movement now with Brocot deadbeat escapement for regulation by pendulum with Brocot rating adjustment to suspension, the backplate with canted angles, crossed out countwheel annotated for the hours and signed Jouard AParis across the plate beneath, the 6.75 inch circular white enamel Roman numeral dial signed JOUARD, A PARIS to centre within dark cobalt blue numeral hour ring and Arabic five minutes to outer track, with fine scroll pierced and engraved gilt brass hands set behind hinged convex glazed cast gilt bezel, the heavy case cast in the full-blown Louis XV rococo manner with a figural surmount modelled as the juvenile Diana with quiver of arrows perched within a generous asymmetric scroll issuing a floral trail over pair of finely chased eagle wings flanking the dial at the rear, the front with bold sweeping foliate rocaille scroll enveloping the left hand side of the dial and continuing down and across to merge with the substantial right hand front support issuing generous stylised leafy sprays and a floral trail, the left hand side with bold sculpted S-scroll support beneath the dial continuing down to form the foot, the rear with further asymmetric pair of scroll supports and glazed hinged cover for the movement, 60cm (23.5ins) high. Louis Jouard is recorded in Tardy DICTIONNAIRES DES HORLOGERS FRANCAIS as becoming a Paris maître in 1724 and is noted as a ‘Horloger de la ville de Paris’ in 1739. He was appointed Jure in 1741 and Garde 1742-69. His workshop was located at Rue de la Monnaie 1746-49 then Rue St-Germain I’Auxerrois until 1772. He is believed to have trained or worked in the workshop of Jacques Cogniet (1661-1731) and his son Jean-Baptiste Cogniet (d. 1726) who were at rue de la Monnaye (where Jouard was also listed in September 1724). When J-B Cogniet died Jouard married his widow Marie-Ursule Prévost and in so doing took over Cogniet’s business. The current lot is essentially a perfectly formed example of Louis XV ormolu mantel clock. The finely cast, chased and burnished bronze doré case demonstrates a feeling of movement and tautness only achieved by the most confident of modellers through the combination of abstracted foliate scrollwork, floral sprays and in the case of the current lot, eagle wings.
Lot 181
A fine French Empire patinated bronze, ormolu and Siena marble figural mantel clock Louis Mallet, Paris, circa 1820 The two train eight-day bell striking movement with anchor escapement regulated by disc bob pendulum with Brocot type regulation to suspension, the circular white enamel Roman numeral dial signed L’s. Mallet, h’s de S. A. R. M. J’r le duc d’orleans to centre with blued steel moon hands and outer minute track within crisp egg-and-dart cast surround fitted with convex glazed hinged bezel, the case with movement inset into a gilt plinth surmounted by a globe standing on a stack of books and oil lamp over fine cast anthemion inset mounts to quadrant areas around dial flanked by a pair of figures modelled as seated putto conversing, the base hewn from a solid block of Siena marble applied with a central bronze panel relief cast with putti performing academic pursuits flanked by crisply cast trophy mounts emblematic of the Arts and Sciences, on integral skirt base applied with lappet leaf cast ogee moulding to top edge and on block feet, 49cm (19.25ins) high. Louis Mallet is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS was working from 1810-30 in the Rue J.-J. Rousseau and later at the Rue Neuve des Petits-Champs.
Lot 119
A French gilt brass carriage timepiece Henri Jacot, Paris, late 19th century The eight-day movement with silvered platform lever escapement and backplate stamped with H.J. parrot trademark over serial number 10256 to the lower left hand corner, the rectangular white enamel Roman numeral dial with blued steel spade hands, the frosted gilt bevel-glazed corniche case with hinged carrying handle, 14.5cm (5.75ins) high excluding handle. Henri Jacot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working from 31 Rue de Montmorency, Paris as well as possibly having a factory in Saint-Nicolas-d’Aliermont. The business was awarded Bronze Medals at the Paris ‘Exposition’ in 1855 and in London 1862; Silver in Paris 1867, 78 and 89 and Gold, again in Paris, 1890. Henri Jacot senior died in 1868 and was succeeded by his nephew of the same name. The business is thought to have continued until around 1920.
Lot 144
A fine silvered and gilt brass grande-sonnerie striking cariatides carriage clock with push-button repeat and alarm Probably by Henry Jacot, Paris, late 19th century The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement and alarm sounding on the smaller gong, the dial with rectangular silvered mask enclosing recessed circular white enamel disc with green line rosette centre within cartouche Roman numeral chapters and entwined scroll half hour markers, with blued steel spade hands over conforming subsidiary alarm setting dial to lower margin, the bevel-glazed frosted gilt break-arch cariatides case with hinged reeded carrying handle over thick curved top glass to pediment inset with a cast silvered laurel wreath to tympanum, The cornice with reeded band over, Classical female term applied canted angles, on conforming reeded band decorated ogee moulded base with stepped skirt, the underside with G’de Sonnerie/Silence/P’te Sonnerie selection lever, 18cm (7.25ins) high excluding handle. The current lot can be directly compared to an example attributed to Henry Jacot illustrated in Roberts, Derek CARRIAGE and other Travelling CLOCKS on page 107 (Fig. 6-44) where the design of the dial is noted as ‘typical of his work’. Another clock by Jacot in a case of identical form is illustrated in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development page 172 (Plate VII/24) as well as on the rear of the dust jacket. Henry Jacot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working from 31 Rue de Montmorency, Paris as well as possibly having a factory in Saint-Nicolas-d’Aliermont. The business was awarded Bronze Medals at the Paris ‘Exposition’ in 1855 and in London 1862; Silver in Paris 1867, 78 and 89 and Gold, again in Paris, 1890. Henri Jacot senior died in 1868 and was succeeded by his nephew of the same name. The business is thought to have continued until around 1920. Please note: As an addendum to the above footnote the information provided by Allix and Bonnert relating to the business being succeeded by Henri’s nephew of the same name is incorrect. Research undertaken by Leigh Extence has revealed that after his death in 1868, Henri's business was continued by his brother Julien who was actually only 'keeping the bench warm' until his son, and Henri's nephew Albert, was able to take over and move the concern forward in 1874.
Lot 355
λ A Flemish ebony cabinet on chest, decorated with ripple mouldings and raised panels, the hinged lid revealing an Italian reverse glass painting of the Nativity above a vacant interior, above a pair of panelled doors, the insides with ivory stringing and formerly inset with paintings, enclosing an arrangement of sixteen ripple moulded rosewood lined drawers inset with hardstone panels, comprising: six 17th century Italian Florentine pietra dura panels, probably from the Opifico delle pietra dure, inlaid with various stones with birds and flowers, with eight pietra paesina 'landscape' panels and six further paesina panels with fossilised plants, two heightened with hardstones and the natural details marquetry inlaid to form leopards, all flanking a central pedimented pull-out section with two drawers and tortoiseshell Solomonic columns, with gilt bronze capitals, and applied with six further pietra paesina panels and faceted lapis lazuli cabochons, the hinged door with five further landscape panels to the back, revealing a mirrored interior with an ebony and ivory parquet floor, with two further drawers, the whole section pulls out to reveal a bank of six rosewood secret drawers above a slide, the bottom right drawer with a printed description of the cabinet, possibly from an early 20th century auction sale or dealer's catalogue, inscribed 'A HANDSOME FLEMISH CABINET, of ebony, with folding doors above, each painted with classical subjects in oils inside and enclosing numerous drawers, inlaid with landscape marble and Florentine mosaic, twisted columns in the centre, and folding doors enclosing drawers below. Formerly in the possession of Napoleon I.', the later conforming base with a pair of doors enclosing twelve panelled drawers, on a plinth base, with substantial gilt bronze side carrying handles to the top, 17th century and later, 180cm high, 122cm wide, 59.7cm deep. Provenance: From the collection of Sir Thomas Jackson, 1st Baronet (1841-1915), Gilford Castle, County Armagh, N. Ireland. Sir Thomas was involved in the creation of HSBC and was appointed third Chief Manager of the bank in 1876. He lived in Shanghai and Yokohama in the late 19th century and his statue still stands today in Statue Square, Hong Kong, in front of HSBC's headquarters. This fine cabinet with its decorative hardstone inlays includes an unusual material called pietra paesina or 'ruin marble' which is a sedimentary rock comprising of mainly compacted limestone and clay. It is almost exclusively found in Tuscany where the Medici Opificio delle Pietre Dure of Florence has used the stone since 1588. In Renaissance Europe it was highly regarded and in much demand from the Royal courts. In 17th century France it was prized by Cardinals Richelieu and Mazarin. It has an almost painterly quality and the designs created by the natural veins of impurities within the rock give the impression of crumbling cities, landscapes, mountains and seascapes.
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