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Click here to subscribeBronzeputto, drei Wandkacheln, Eisenschatulle, Medaillon und Empirefragment, 17. - 19. Jh.Putto aus Bronze, in erschreckter Haltung sitzend, H 17,5 cm; drei niederländische Kacheln des 17. Jhs. mir figürlichen und floralen Motiven, je ca. 13 x 13 cm; kleine Eisentruhe mit Messingbeschlägen und einem Porzellaneinsatz 14,5 x 21,5 x 12,5 cm, silberne Medaillon-Anhänger an Kette H 6 cm sowie Zylinderfragment des Empire mit vergoldeten Applikationen, 9,5 cm
Sammlung antike Zahlungsmittel aus Südostasien, zumeist SilberLaos: Zwei Tigerzungen- und ein Bootsgeld (L 9,8 - 10,8 cm); Thailand: ein silbernes Packsattelgeld mit Punzierungen, drei Kugel-Barren, drei silberne Löffel mit getriebenen Münzen als Laffen und Kugelbarren als Griffende (L 9,7 cm), drei hohlgetriebene Thai-Münzen, zwei "Schweinemaul"-Silberbarren sowie zwei burmesische Gewichtstücke aus Bronze
Spannende Sammlung vormünzlicher und anderer Zahlungsmittel aus aller WeltKupfergeld zu 4 3/4 Stuivers der niederländischen "Vereinigten Ostindischen Companie" aus Ceylon, 18. Jh. (L 7,5 cm); ein Silberbarren mit Aufschrift "KARL V" und Datierung 1700 (4,5 x 3,5 cm); bronzene Erdnuss-, Bohnen- und Kaffeebohnen-Münzen aus Asien (L 1,5 - 3,8 cm); kleines quadratisches Silberstück, datiert 1615 (1,4 x 1,4 cm); quadratisches Münz-Gewicht aus Bronze mit Gravur in altgriechischer Schrift, wohl byzantinisch (1,6 x 1,9 cm); sechs chinesische Porzellan-Münzen; mehrere antike Glasperlen, Kaurimuschel, Tierzähne und ein mikronesischer Angelhaken als Zahlungsmittel (L 10 cm); eine Notgeldmünze aus Glas der Firma Ignaz Ginzkey in Maffersdorf, Sudetenland/Tschechien um 1918 (Dm 1,8 cm) sowie die Propaganda-Medaille zum Untergang des Dampfers Lusitania durch ein deutsches U-Boot 1915 (Dm 5,6 cm)
Karel Fron, Jockey & Auge, Bronze von 1989 Karel Fron, *1947 Kuttenberg, 1971-77 Studium an der Akademie der Bildenden Künste in München; lebt und arbeitet in München. Hier: Zweiseitige Bronze, eine Seite mit einer Figur, die andere mit einem großen Auge, goldbraune Patina, monogrammiert, datiert 1989, 12,5 x 13 x 7 cm
Sammlung antike Waffen, Geräte und ein Uhrwerk ab 18. Jh.Pulverflasche aus Tierhorn, Schießpulver-Maß aus Bronze, drei Sichelmesser, ein nordafrikanischer Jambiya, eine Bronzeklinge, eine eiserne Zuckerzange (Kluntjeknieper) zum Zerkleinern von Kandisbrocken, ein langes Tüllenbajonett sowie das eiserne Werk einer Wanduhr
Grosse Schatulle Meissen, 19. Jahrhundert Rechteckiger Korpus mit flachem Scharnierdeckel. Polychrome Malerei mit Goldstaffage. Allseitig reliefierte, figurenreiche Darstellungen im Capodimonte-Stil. Auf dem Deckel Gastmahl des Herodes. Front mit der Amazonenschlacht, Rueckseite mit der Kalydonischen Eberjagd. Auf den Schmalseiten der in einer Fichte haengende Marsyas bzw. ruhende Diana. Deckelwandung mit spielenden Putti. Ornamentierte Montierung aus vergoldeter Bronze. Innen mit rotem Seidenstoff ausgeschlagen. Unterseite blaue Schwertermarke mit zwei Schleifstrichen, Boden flaechig schwarz bemalt. Schluessel fehlt. H. 21 cm; B. 15 cm; L. 28 cm.
An early 19th century patinated and gilt bronze mantel timepieceJohn Beckett, London the reeded drum case set on a concave foliate cast base to a stepped plinth on scroll feet, the gilt Roman dial with dotted outer minute band within an anthemion bezel and matted centre with Breguet style hands, the associated single gut fusee movement with tapering pillars and verge escapement with short pendulum, signed on the backplate within a floral swag cartouche 15cms (6ins) high.For further information on this lot please visit Bonhams.com
A rare mid-19th century French one-piece cased carriage clockBaullier (Père et fils) and Paul GarnierThe typical bevelled glazed case surmounted by a turned handle on baluster uprights with moulded frame on a stepped base with wooden block underneath, the front panel lifting up via an applied knob to allow for winding and hand setting. The silvered one-piece dial with engine turned centre, the Roman chapter ring framed by a watered-silk effect mask, and set with blued steel moon hands. The large twin spring barrel movement with a jewelled English lever platform escapement, the uncompensated monometallic balance with engraved cock, striking on a large flat bell, the backplate stamped Baullier Père et fils and in the centre P. G. Brevete. Ticking and striking. 18cms (7ins) highFootnotes:The Baullier dynasty of clock manufactures were established in 1789. By 1823, the elder Baullier was operating out of 102 Rue du Temple in Paris and advertising as a clock and watch maker. Three years later the firm had become Baullier, père et fils, still operating out of the same location. It seems likely that the younger Baullier was apprenticed to his father, finishing his apprenticeship in 1826. On 15 April 1827, the shop was relocated to 9 Rue Vendôme, and the firm appears to have expanded their offerings to included horological wholesale. Two years later, the firm had expanded again, to include gilt bronze clock cases. Confusingly, they are listed as still operating out of 102 Rue du Temple, as well as 7 Rue Vendôme. Additionally, a clock and watch maker named Baullier was listed as part of the committee for the Parisian 6th district town hall, beginning from this date. Two years after this, a horologist named Baullier served as juror. Sometime before 1836, the younger Baullier appears to have married a woman of very good standing, though as with the rest of the dynasty her first name remains unknown. In 1836, though, she is listed as a wealthy donor to a charity ball, specifically held to raise money for the poor of the 6th district in Paris. Her address is listed as 9 Rue Vendôme. Less then a year later, the name of the firm was changed to 'Baullier, Elder & Co.' and their address was listed as 9 Rue Vendôme. The firm's trades were described as 'clock makers, wholesale orders, gilt bronzes cases and watches of all types'. This title would be in place throughout 1839, though by this point the firm was known by several other names; 'Baullier, elder clockmaker 9 Rue Vendôme', 'Baullier's son & Co. Rue Vendôme', and the first mention of 'Baschet-Baullier 9 Rue Vendôme'. Similar to the Baullier family, Baschet's surname is unknown and very little is known about them. A year later, these titles were all still in use, though Baullier, père et fils 9 Rue Vendôme, had supplanted 'Baullier, Elder & Co.'It appears that Baullier Sr. had transferred the shop to Baullier Jr. and Baschet in 1841, a notice appearing in several trade journals that the latter were now the successors to the former. It is also the first time that Baullier's wife is listed in the trade journals, as a metal engraver working out of 48 Coquillière. Baullier is also listed as working out of this address as a horologist. No mention is given of Baschet trading at this location.Less then a year later, the Baulliers had relocated to 67 Vieux-Augustins, though the shop Baullier and Baschet took over remained at 9 Rue Vendôme. In 1843, mention is again made of a horologist named Baullier serving as part of the committee for the 6th district town hall; it is possibly that the elder Baullier's position on the committee was transferred to his son on the former's retirement, though it is also possible that the younger Baullier had been part of the committee since 1829. This same year, the famed conjuror and horologist began working out of 9 Rue Vendôme (having been at 11 Rue Vendôme the previous year) an address he would work out off until 1846.The following year, the firm exhibited during the 'Industry Exposition of 1844' though their name had again changed, now becoming 'Baschet, Baullier and brother'. They exhibited a selection of pillar clocks and gilt bronze cases. The firm's name was changed in trade journals as well, to 'Baschet, Baullier and brother', with mention being made that all three were the successors of the elder Baullier. In 1846, Baullier and his wife moved to 43 Vieux-Augustins, and the former expanded his offerings to include both horological repair and polishing. The firm expanded in 1847, to offer Carcel lamps (clockwork driven oil lamps) in addition to 'clocks and general horology'. In 1848, Baullier's wife advertised as a jeweller as well as a metal engraver, the couple had also moved again, to 55 Montmartre. Interestingly, Baullier's wife is also referred to as Mme. Hte, likely Madame Haute which was a designation for an aristocrat at the time. Based on her past involvement as a donor to a Parisian ball, it seems that she may have been quite wealthy.In 1849, Mme. Baullier began to specify that she was a metal engraver for horological items, likely meaning an engraver for back/balance cocks, backplates, etc. There is also no longer any reference to the Baullier brother, the firm's name reverting back Baschet Baullier. Two years later the shop would move premises for the last time, to 7 Rue Vendôme. Less then a year later, in Baullier's solo advertisement, working out of 55 Montmartre, he described himself as a shop horologist (a horologist who repairs horological items out of a non-horological shop), possibly indicating his wife owned a jeweller's shop at which he was the horologist. In 1854, the Baulliers were operating out of 49 and 55 Montmartre, moving to 47-49 Montmartre shortly after. In 1856, Baschet, Baullier and Callaud of 7 Rue Vendôme Paris took out a 15-year patent for an 'electric remontoire'. Callaud appears to have been a Parisian horologist who had been working in Paris since at least 1833. As he is only named in the patent, it is possible that he entered into partnership with Baschet and Baullier strictly for the manufacture of clocks with an 'electric remontoir'. The firm continued to advertise in trade journals until 1861, after which point no mention can be found of Baschet Baullier, or Baullier on his own. The advertisements for the Baullier's wife stopped a year previously, and never pick up again. This date, 1860-61, coincides with the very end of the third global cholera pandemic, and the very beginning of the fourth, making it possible that all three manufacturers were victims. In 1884, an obituary was published for Julie Bourlet, née Baullier, a 24 year old horologist. Further, in 1898, a marriage notice is published for Rose-Emilile-Pauline Baullier (no profession) to Jules-Louis-Joseph Abry (watch case manufacturer). What relation these two women have to each other, and the Baullier horologists described, remains unknown.As the clock is marked Baullier, père et fils, the clock would likely have been manufactured between 1826-1840 For further information on this lot please visit Bonhams.com
A fine and rare mid 19th century engraved gilt brass, grande sonnerie striking and repeating carriage clock with chaff-cutter escapement, gilt numerals, original travel case and numbered keyPaul Garnier No. 2228. The frontplate stamped H.L.The one piece case with slender tapering handle on hinged baluster uprights, over large bevelled glass panels, (the uppermost with repeat button passing through the panel), framed by cast moulded members engraved with delicate foliate scrolls, the hinged rear door with shuttered apertures for setting and winding, opening to reveal the punched number along the backplate, repeat numbered on the shaped aperture cover. The white enamel dial with rare gilt Roman numerals and minute track over a gilt Arabic alarm-setting dial, with original tapering, trefoil hands. The spring barrel movement with jewelled chaff cutter escapement with plain three-armed gilt balance, with rack striking and repeating on a pair of nested bells and brass hammers. Signed Paul Garnier Paris on the backplate and further set with selection levers to opt for 'silent or sonnerie' and 'grande sonnerie and petite sonnerie' , the frontplate stamped H.L. for Holingue Freres. Contained in the original tooled leather travelling case with brass catches and central swing handle, the interior with bespoke recess to accept the original numbered gilt key. 18cms (7ins) high. Footnotes:Provenance:This clock was the property of William Eve, mayor of Stoke Newington 1902-1903, and could well have been in his family ownership since new. The Holingue family, also sometimes spelt Hollingue, were generational clock manufacturers, whose workshop was thought to have been established by Jean-Baptiste Holingue in Saint-Nicolas-d'Aliermont, possibly in the early 19th century. It was taken over by his two sons, Jean-Francois and Louis, around 1845, or possibly a bit earlier. It appears there was a period when Jean-Francois, presumably the elder of the two brothers, was running the workshop on his own and trading under the name of Holingue fils. This period seems to have begun around 1845, when Holingue fils is mentioned in a civil service journal, and continued at least until 1849, when Holingue fils were awarded a Bronze Medal at the Universal Exposition of that year. The workshop was only mentioned as manufacturing clock movements. It is known that Louis and his partner had a son, Louis Albert, around 1848, which may explain his initial absence from the workshop. It has been suggested that Holingue fils briefly partnered with Emile Martin to form Holingue et Martin, possibly just to exhibit together in the 1851 Exposition. Both workshops were based in Saint-Nicolas-d'Aliermont, but this potential partnership couldn't be verified. By 1855, however, Louis seems to have joined his brother, as the workshop had been renamed to Holingue frères. They were advertising as 'makers of rough movements, carriage clocks, 8-day clocks, alarm clocks, etc.' and reference was also made to the bronze medal won in 1849.A year later, at the 1856 Universal Exposition, they received an honourable mention and seemingly had expanded their offerings to include regulators, chronometer blanks, calendar complications, and telegraph movements. In 1857, they listed their business simply as makers of movements, and this description continued until at least 1864. Whether they had stopped producing chronometer blanks, telegraph movements, etc. or they felt it unnecessary to advertise the breadth of their output is unknown. The workshop did exhibit in the Rouen Exposition of 1857, and their entry was described as a 'perfected movement' which struck the quarters and alarm on a carillon. In 1875/76 Louis Albert, Louis' son, appears to have sold the workshop to Drocourt, which was one of the main firms they supplied movements to. It is likely that this sale was due to Louise Albert not wanting to take up the family workshop; he had married in Paris, in 1870, to Victor Reclus' daughter, Henriette Clarisse Amélie Reclus. As the Reclus family had a workshop in Paris and a home in the Parisian suburbs, it is understandable that Louis Albert would not relish the prospect of taking on a workshop in Saint-Nicolas-d'Aliermont. It remains unknown if either his father or uncle were alive when the workshop was sold. Drocourt continued to supply rough movements to the Holingue frères former customers, in addition to using the old stock in his own clocks.The following firms and workshops are all known to have used movements by Holingue frères: Moser, Paul Garnier, Moise Bollviller, Drocourt, Leroy et Fils, Athanase Bourdin, Dent, and Victor ReclusNormandy Association (1856) Annuaire des Cinq Départements de la Normandie. Paris: Derache. p.504.Extence, L. (2022) Holingue frères: An Engraved Gorge Carriage Clock with Subsidiary Dials. Available at: https://www.extence.co.uk/1440-holingue-gorge-carriage-clockFrench Empire (1846) Bulletin des Lois de la République Française. Nos. 793-820. Paris: Imprimerie Royale. p. 498.Bères, É. (1850) Liste des Exposants Auxquels Ont Été Décernées des Recompenses. Paris: G. Gratiot. p. 262.Wotruba, T. (2020) 'Carriage Clocks Identified with Dent and Paris in Their Signatures', Antiquarian Horology, Vol. 41 (1), pgs. 68-75.Extence, L. (2019) 'Story of a Carriage Clock', Horological Journal, Vol.161 (11), pgs. 462-463.Firmin-Didot, A. (1855-1863) Annuaire-Almanach du Commerce, de l'industrie, de la Magistrature et de l'Administration. Paris: Ambroise Firmin-Didot.Willot, B. (2018) Victor Reclus, Inventeur et Homme de Cœur. Available at: https://polmoresie.over-blog.fr/2017/09/victor-reclus-inventeur-et-homme-de-coeur.htmlExtence, L. (2014) Pierre & Alfred Drocourt: An Exhibition of Carriage Clocks. Available at: https://www.extence.co.uk/_files/ugd/401715_28a0b07365c34b97bf1b22c078f5417e.pdfBordeleau, P. (2020) 'Les Grands Moments de l'Horlogerie Française', Collectionner Des Horloges Anciennes. Available at: https://clockworks-horloges.com/300-histoire/307-france/For further information on this lot please visit Bonhams.com
A good mid-late 19th century French brass table regulator with perpetual calendar and moonphasePhilibert Bally, Paris, and Japy Frères No. 1855The concave cornice over two glazed sides and glazed doors, raised on a moulded brass base. The Roman dial with Breguet style hands and recessed centre with visible jewelled Brocot escapement, signed Pert Bally Paris, the lower dial displaying phases of the moon, month, day, leap year indication and date, personifications of Spring and Autumn painted in delicate colours to either side, all dials sunk into the florally engraved brass mask. The twin spring barrel movement with visible jewelled Brocot escapement, and outside countwheel striking on a bell, the backplate stamped 1855 above the stamps for Philibert Bally and Japy Frères. Striking the half and full hours with a winding key and three bar gridiron pendulum. 42cms (16.5ins) highFootnotes:Antoine-Philibert Bally is first recorded in 1844 at the National Exposition in Paris. It is not known where he served his apprenticeship. In August 1847, he took out a patent for a new method of cutting anchor escapements. He is noted as working out of number 25 Notre Dame de Nazareth at this point. He exhibited at the National Expositions in 1849 and 1851; he also took out another patent in the latter year for his 'étouffoir économique', roughly translated as an 'affordable damper/extinguisher'. In the patent, he is recorded as still working out of number 25 and described simply as a Parisienne horologist. Less then a year later, Bally had taken out another patent, for a mechanical perpetual calendar. He had apparently moved to number 26 and was described as a clock and watch maker. Interestingly, he took the patent out together with Dumouchel, who was described as a Parisienne horologist working out of number 4 Rue de Bretagne. Based on the descriptions, it is possible that Dumouchel had the basic idea for the calendar, and Bally was able to supply the practical knowledge which turned the theory into reality, though this remains speculative. This partnership, if that is what it was, does not appear to have produced more patents; in 1853 Bally took out a patent on his own for a repeating alarm clock, presumably including the new mechanism in his exhibit at the National Exposition of that year. The alarm clock would sound the hour at the appointed time, and then repeat the hour every five minutes until turned off. He is again described as a Parisienne horologist, working out of 25 Notre Dame de Nazareth. This patent seems to have attracted notice; over forty years later, Bally would be grouped together with the likes of Brocot and regarded as an original and inventive horologist. Bally exhibited at the 1855 National Exposition, and his next patent was taken out in 1857, for an eccentric remontoir; unfortunately, the details of this remontoir are not known. His address was listed as 46 Rue de Bondy; it seems likely he moved at some point between 1855-1856. Bally next exhibited at the 1861 exposition, possibly winning bronze, though this is not confirmed. He was still working at 46 Rue de Bondy in 1864, when he patented a new method for turning tallow into stearic acid. Stearic acid has been used as a foodstuff, but also in candle and soap making, the latter most endeavour possibly being how he came upon the method as a working horologist. In this same year, he was advertising the shop as Maison Philibert Bally and boasting a wide range of bronze statues and clock cases, all types of pendulum clocks, candelabras, wood sculptures and a number of different horological curiosities. In April of 1864, he exhibited his stock to the public over two days, before auctioning off a significant amount of it between 25-29 April. The auction appears to have been significant as catalogues were even printed; Catalogue des modèles et surmoulés en bronze de la Maison Philibert Bally, fabricant de bronzes d'art et d'horlogerie. It is unclear if the auction was to divest excess stock or indicated financial need on Bally's part.In 1865, it appears that Bally took out another patent, for a device to improve the precision of bottle making. Unfortunately, no address is listed in the patent application, the application itself being taken out by Vinck, in 33 Boulevard St.-Martin. In 1867, a patent was taken out for an 'Advanced pendulum balance', with Vinck again listed as the representative. This same year, Bally exhibited at the National Exposition, possibly with the pendulum balance. The following year, Bally patented a new type of grande sonnerie movement and his address was listed as 14 Rue d'Aboukir. It appears that this was Bally's new shop, though exactly when he moved in is unclear.In 1872, he took out a patent, again with Vinck's representation, for a new type of candle-lit night clock. This patent was apparently quite a success; Bally was mentioned in an 1875 horology book as one of the preeminent makers of such clocks, the author dismissively noting that Bally 'even made pretensions toward regulating them'. In 1877, a novel bed was patented by a Bally, working out of 83 Rue du Faubourg Saint-Honoré. It cannot be confirmed if this was Philibert, if so, it would suggest another change of address. If this was Philibert, it would be the last patent he took out, as he seems to have died sometime around 1877. One of his patents, the improved bottle making device, came up for renewal in 1879. The renewal was filed by his wife, who was noted as 'the widow Bally'. As there are no other patents filed under Bally's name after this point, or any advertisements placed in trade journals after 1876, it seems likely that he died around this time.The Revue Chronométrique would later remember Bally, around the turn of the century, as a skilled horological innovator, writing several paragraphs about his repeating alarm patent. Regulators appear to have been a preference for Bally; an ebony regulator by him was sold in a house sale in 1892. In the catalogue, the regulator is described simply as being from 'chez Bally'.Firmin-Didot, A. (1857-1880) Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration. Paris: Firmin-Didot frères.(1864) Catalogue des modèles et surmoulés en bronze de la Maison Philibert Bally, fabricant de bronzes d'art et d'horlogerie. Paris: Renou et Maulde.Requier, C. (1898) 'Les Réveils a Répétition', Revue chronométrique: journal des horlogers, scientifique et pratique, No. 496, pg. 11.Anquetin, M. (1875) L'horlogerie : des montres en général, de ceux qui les font, de ceux qui les vendent, de ceux qui les réparent et de ceux qui les portent. Paris: Modeste Anquetin, pg.129. Ministère du Commerce (1851-1880) Catalogue des brevets d'invention. Paris: J. Tremblay.(1864) Le Constitutionnel: Journal politique, littéraire, universel, 19 April, pg. 2. Mannheim, C. (1892) Catalogue des objets d'art et d'ameublement, faïences italiennes et autres, porcelaines de Saxe, de Sèvres, de Chantilly, de Chine et du Japon. Paris: E. Ménard et Cie.La Nature (1905) 'Calendrier Perpétuel Automatique', Revue chronométrique: journal des horlogers, scientifique et pratique, No. 581, pg. 220.National Center for Biotechnology Information (2023) PubChem Compound Summary for CID 5281, Stearic Acid. Available at: https://pubchem.ncbi.nlm.nih.gov/compound/Stearic-Acid.For further information on this lot please visit Bonhams.com
Belle-Epoque Skulpturenleuchter 2-flg.; Bronze, teilw. patiniert. Vollplastische Darstellung eines venezianischen Mohren als Träger für Leuchtmittel mit vasenförmigen Tüllen. Unterhalb reliefierter Sockel. H. 35 cm.A French partly patinated bronze Belle Epoque candlestick.Frankreich. Ende 19. Jh.
Feine Empire-Salonlampe in der Art von Pierre-Philippe Thomire4-flg.; Bronze, vergoldet. Über konkav eingezogener Basis leicht konischer Podestsockel mit erhaben reliefierten Feuerschalen und Nereide auf vollplastisch gestalteten Sphinxen. Vollplastische Darstellung einer Viktoria in antikisierendem Gewand mit Blütenfeston. Oberhalb davon ausgehend godronierter Rundschaft als Träger für Balusterelement mit reliefierten Maskarons sowie geschwungenen Leuchterarmen aus vollplastischen Adlern. Zylinderförmige Tüllen. Elektrifiziert. Rest. mit Erg.; H. 150 cm.Pierre-Philippe Thomire (1751-1843) zählt zu den bedeutendsten Bronziers seiner Epoche. Nach der Machtübernahme Napoleons war seine Werkstatt maßgeblich an der Neuausstattung der Paläste mit repräsentativen Objekten im neuen Zeitgeschmack beteiligt. Die Arbeiten des Untermehmens sind geprägt von einer reichen Variationsbreite und höchsten Qualitätsmaßstäben.Vgl. hierzu: Ottomeyer/Pröschel, S. 660. A French gilt bronze salon lamp in the style of Pierre-Philippe Thomire. Restored with later additions.Frankreich. Paris. 1. Hälfte 19. Jh.
Two Bronze Horse Heads on Marble Plinths Late 19th century pair of bronze horse busts on stepped sienna coloured marble plinths28cm highBronze heads in good order with a few small blemishes likely from production. Marble bases have some small chips, all are photographed in the additional images. No large losses or cracks.
A PAIR OF REGENCY EGYPTIAN REVIVAL BRONZE AND PARCEL ORMOLU TABLE OIL LAMP BASES in the manner of Thomas Hope, with face mask friezes, slender fluted columns each on three Bacchic paw feet, 35cm high See Hope, Thomas, 'Drawing Room Candelabra' in Household Furniture and Interior Decoration, 1807 (pl.6)Provenance: The Estate of the late John Rollo Somerset-Paddon, formerly of Chalk Newton House, Maiden Newton, Dorset, thence by descent.
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