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Lot 250
A Novelty silver, silver gilt and bronze 'Surprise' tree stump, by Christopher Nigel Lawrence, London 1983, limited edition #52/250, the cover formed as an ivy clad tree stump adorned with three clambering elves, under the cover an anthropomorphic family of mice in a room setting, the father mouse presenting gems to his family, mounted on a bronze acorn decorated base,10.5cm high, in fitted leather case. In good condition, the elves to the cover slightly loose fitting
Lot 563
A pair of 19th century Renaissance style bronze candelabra, each modelled with a single putto riding a tortoise or dolphins on circular bases raised on three claw feet (2) 44cm (17in) . Provenance: Presumed to be the Earls of Albemarle, Quidenham Hall, Norfolk, and by descent; The Lady Cynthia Postan
Lot 777
A Coalbrookdale ‘Serpent and Grapes’ pattern cast iron garden seat, grey and white painted, with timber slatts, the ends cast with dog head armrests above entwining serpent supports 77 x 158 x 66cm (30 x 62 x 26in). Literature: A Coalbrookdale ‘Serpent and Grapes’ pattern cast (design no 17597) is number 9 in the Coalbrookdale 1875 Castings catalogue, section 111, page 249. The Coalbrookdale Company was founded in 1709 in the village of Coalbrook. By the 1750s it was the largest iron casting company in the country. From building the world’s first cast iron bridge to pots, pans, drainpipes and of course garden furniture, by the Great Exhibition of 1851 it was employing over 3,000 men and producing 2,000 tons of cast iron a week. In 1849, the company was awarded a gold medal at the Society of Arts for its casting designs. Most of the garden furniture was made between 1850 and 1900. The company produced an extensive range of garden seats and tables which remain very popular today. The 1875 catalogue noted, “The increasing use of iron garden seats has led to the introduction of a number of new designs. For this country wooden seats are generally preferred to iron, and are more suitable, and in most of the newer patterns the staves are fitted in an iron frame, thus forming the entire seat….” The Serpent and Grape design was the second oldest design registered in the Public Record Office in 1844. The 1875 catalogue offered the seat from 3ft to 10ft long and in permutations of painted or bronze finish, oak or iron seat and back.
Lot 139
A Restauration patinated and gilt bronze table oil lamp A Restauration patinated and gilt bronze table oil lamp, circa 1830 and later refitted for electricity, the fitment above a dished reservoir with engine milled edging, raised on three stylised supports each cast as a caduceus fronted shaft, descending from Mercury heads with winged petasus helmets, the feet below with winged sandals, on a triform socle, 43.5cm high overall
Lot 192
A Viennese cold painted bronze model of a cock pheasant, early 20th century A Viennese cold painted bronze model of a cock pheasant, early 20th century, naturalistically portrayed standing, its head turned slightly to dexter, the understand with th 'B' within an urn stamp for Bergman, 20cm high, 34cm long
Lot 196
An Austrian cold painted bronze inkstand cast as a cockatoo, early 20th century An Austrian cold painted bronze inkstand cast as a cockatoo, early 20th century, portrayed standing, with inset glass eyes, the head and neck hinged and opening to a circular aperture within, 29.5cm high, 18.5cm wide
Lot 27
A George III cased set of thirty-four commemorative medallions A George III cased set of thirty-four commemorative medallions, last quarter 18th century, in wax or possibly plaster, coloured to resemble bronze, depicting busts of monarchs and military leaders and representations of sculptural memorials, framed and glazed, the case 28 x 37cm
Lot 131
A German iron and brass hour-striking turret clock Rochlitz, Berlin, circa 1897 The movement of flatbed construction with high count lantern pinions and five-spoke crossings to the brass wheelwork, the going train with Harrison's maintaining power regulated by deadbeat escapement with seconds period wood rod pendulum with large lenticular bob, with crossed-out Arabic five minute setting dial opposing dial take-off and lifting pins for the strike locking detent, the countwheel striking train with single-arbor warning and two-arm fly with adjustable flags, on original wrought-iron stand complete with weights, crank winder, take-off and motionwork for the 31 inch circular gilt on black Roman numeral dial and mushroom-shaped bell with hammer assembly (currently mounted on a wooden frame), the flatbed frame 57cm (22.5ins) wide, 20cm (8ins) deep; the clock on frame 124cm (48.5ins) high by 99cm (39ins) wide by 58.5cm (23ins) deep overall. Provenance: The property of a private collector - purchased in Cologne 1997. Originally supplied for the Schlachthof, Neubrandenburg in around 1897. A file compiled by the current owner containing details relating to provenance and other relevant notes are included with the lot. The firm of C.F. Rochlitz, Berlin was founded in 1824 and specialised in making turret clocks. They were awarded many prizes at the various international exhibitions held throughout the second half of the 19th century including Gold medals at Paris 1900 and St. Louis 1904; Silver at Antwerp 1885 and Berlin 1896, and Bronze at Berlin 1879 and Amsterdam 1883. The firm continued within the ownership of successive generations of Rochlitz family until 1984 when it was acquired by Klaus Lumbeck. The current lot was supplied to the Schlachthof (slaughterhouse) at Neubrandenburg, North Eastern Germany on completion of the building in around 1897/8. During the Second World War the town was heavily bombed by the Allies resulting in the loss of many of its historic medieval buildings; the dial of the current lot bears testament to these dark hours in the form of repaired shrapnel holes. After the War the town became part of the Eastern Germany before reunification brought about much needed investment into the area. The old slaughterhouse was duly restored and converted into a large nightclub; the clock complete with its dial, stand and mushroom-shaped bell was removed at this time. The current clock is remarkably complete and of a manageable size making it the ideal candidate for installation into a clock tower or can be set-up and enjoyed as fine display piece.
Lot 45
A French alabaster and gilt metal novelty mantel clock with conical pendulum The movement by Samuel Marti, Paris, late 19th century The circular eight-day countwheel bell striking movement stamped with S. Marti et Cie, MEDALLE DE BRONZE roundel and serial number 4745, 4 6 to backplate, the dial with open centre revealing motionwork within white enamel Roman numeral chapter ring and with blued steel moon hands set within a gilt bezel and white alabaster shield-shaped housing with surmount cast as a standing putto holding aloft a silk suspended pendulum with star decorated blue spherical bob driven in a rotating conical motion by the movement via a rotating wire crank engaging with a pin at the base, the whole set on moulded shaped gilt-edged platform plinth applied with mounts cast as an easel flanking a lyre to sides, with musical trophy to centre and gilt disc-shaped feet, 37cm (14.5ins) high overall. This type of clock was made popular by Eugene Farcot (1830-96) who started producing such clocks in 1861, his output included some of monumental proportions most probably made for exhibition purposes (see Roberts, Derek Mystery, Novelty & Fantasy Clocks pages 123-130).
Lot 52
A French ormolu and patinated bronze figural mantel clock The movement with indistinct maker's stamp, Paris, late 19th century The circular outside countwheel bell striking movement with anchor escapement regulated by lenticular bob pendulum with Brocot type rate adjustment and obscured stamped roundel ADRIEN COMMO.., FAB. B'TE S.G.D.G., PARIS over number 43 to backplate, the movement contained within a blue painted sphere applied with gilt Roman hour numerals and arrow-form hands beneath surmount cast as a tied quiver of arrows and a flaming torch, set beside a patinated bronze figure of Cupid resting with his bow onto a shaped tall cavetto moulded platform incorporating floral decorated panels and applied with cast lovebirds to centre, on integral foliate scroll cast feet, 28cm (11ins) high.
Lot 55
A rare French Empire ormolu and patinated bronze small figural mantel timepiece 'au négre portefaix' incorporating musical mechanism to plinth The stand signed for Alibert, Paris, early 19th century, the timepiece movement later The later circular movement with gilt Arabic numeral dial and bevel-glazed bezel, in a case modelled as an African American male with glass eyes wearing a rimmed hat, jacket and pantaloons set in a walking pose carrying an envelope and using a cane in his left hand whilst transporting a tied cotton-bale housing the timepiece movement on his back, the rectangular plinth base inset with a panel cast in relief with three cherubs aboard a punt raised on four gilt engine-turned feet, the integral oval outline burr maple veneered stand cut with a groove to take a glass dome cover to top surface and with Swiss made musical mechanism playing a choice of two airs via a 2.5 inch pinned cylinder and a tuned steel comb to interior, the exterior with pull-wind cord to right hand side and mother of pear panel incorporating operating levers annotated Changer and Jouer flanking signature Alibert a Paris to lower margin, on four button-turned feet, the clock 26cm (10.25ins) high; the clock and base 32cm (12.5ins) high overall. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. The form of the current lot is based on a design registered by Jean-Andre Reiche in January 1808 (see Niehuser, Elke FRENCH BRONZE CLOCKS page 149).
Lot 56
A rare French Empire ormolu and patinated bronze figural mantel clock 'au négre portefaix' The movement signed for Stevenard, Boulogne, early 19th century The circular eight-day outside countwheel bell striking movement with anchor escapement, silk pendulum suspension and signed Stevenard a Boulogne over serial number 4775 to backplate, the circular engine-turned silvered brass dial inscribed with repeat signature STEVENARD A BOULOGNE in a downward curve between the winding holes within Roman numeral chapter ring and moulded gilt brass bezel, in a case modelled as an African American male wearing a rimmed hat, pantaloons and with a gourd suspended from his waist set in a walking pose using a cane in his left hand whilst carrying a tied cotton-bale housing the clock movement on his back, the oval patinated bronze plinth base decorated in relief with a monkey seated on a rope between two palm fronds flanked by pairs birds feeding from fruit-filled baskets, on four gilt domed feet (unrestored, pendulum lacking), 36cm (14.25ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. The design of the current lot was registered by Jean-Andre Reiche in January 1808 (see Niehuser, Elke FRENCH BRONZE CLOCKS page 149).
Lot 58
A French Louis XV style ormolu and patinated bronze figural 'elephant' mantel clock Unsigned, third quarter of the 19th century The circular outside countwheel striking movement with anchor escapement regulated by lenticular bob pendulum with Brocot type rate adjustment, the 4.5 inch circular white Roman numeral convex enamel dial with Arabic fifteen minutes to outer track and chased gilt brass hands set within engine-turned bezel, the case modelled as an elephant with head and trunk raised supporting via a rococo scroll cast cradle the movement housed within gilt moulded drum surmounted by a putto wearing a bearskin resting on a rocky outcrop, on stepped red and contrasting Breccia marble base applied with gilt repeating leaf border and compressed bun feet, 40.5cm (16ins) high.
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