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Lot 154
EILEEN FITZPATRICK BERRY (TWENTIETH CENTURY) SALFORDIAN ARTIST - OIL PAINTING ON LARGE 'D' ENDED PANEL GIRL IN LEATHER JACKET SEATED BEFORE A SIGN 'PUNK 80' 5'1" HIGH X 3' WIDE AND TWO OIL PAINTINGS BY SAME ARTIST VIZ BUST PORTRAIT OF A WOMAN IN DENIM JACKET 26" X 18" SIGNED AND DATED 1980 AND STUDY OF A CABBAGE 2' X 3'3"
Lot 122
Classical design plaster bust, Burmantofts type hanging jardiniere, Victorian Jackfield type jug, Staffordshire 'Tibet' ginger jar, tapestry depicting pheasants, Victorian and later ceramics and metal ware in two boxes Condition Report Click here for further images, condition, auction times & delivery costs
Lot 506
A 9ct gold mounted rectangular shell cameo depicting a female bust with ringlets in her hair, cameo 3 cm x 2.3 cm, on a 15ct gold fine chain, an 18ct gold mounted oval shell cameo ring as a classical head in profile, size N/O, another shell cameo ring in 9ct gold mounts, size N/O and another white on black cameo ring in gold coloured mounts, size O
Lot 3124
A Louis XVI Revival rectangular photograph frame, containing a bust-length portrait of Nicholas II of Russia within a watered purple silk mount, the borders of the frame cast with scrolls of leaves flanked both sides by beaded bands, ribbon-tied cresting with trophies and laurel, easel back, 24.7cm high, 16.2cm wide, late 19th century
Lot 387
Lorenzo Corelli , a sculpted white marble bust of a young girl Lorenzo Corelli (Italian, ca.1855- ca.1920), a sculpted white marble bust of a young girl, portrayed looking straight ahead, her short cut hair adorned with a floral wreath, with further flowers and foliage across her breast, inscribed 'Lot Corelli, Firenze 1883' to the reverse, atop a white plaster socle with square base, 41cm high
Lot 114
A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris, circa 1700 The rectangular twin barrel movement with four shouldered baluster turned pillars pinned through the backplate signed Ducoroy AParis to lower margin, the strike train with scroll pierced detent gates and high position countwheel for sounding the hours and half hour on a bell mounted within the superstructure of the case, the 8.75 inch circular twelve-piece cartouche numeral dial with centre incorporating cast decoration of seated musicians within chapter ring with enamel Roman hour numerals and rococo scroll cast borders and every minute numbered to outer track, the engraved cut brass and red stained shell marquetry veneered case with cast Roman Emperor bust surmount and gilt urn finials applied to the ogee shaped upstand veneered with foliate strapwork and with acanthus corner mounts over foliate cast frieze emerging from the sides of the gilt cavetto moulded arcade inlaid cornice, the front with heavy cast break-arch glazed bezel enclosing lyre and laurel infill beneath dial within floral trail and panel inlaid surround, the canted front angles applied with fine scroll-cast allegorical male terms and the angled sides with brass bordered rectangular windows over swollen marquetry decorated lower sections, the base with generous gilt brass scrolls flanking shaped apron centred with a lions masked adorned with palmette headpiece, on knopped feet, 71cm (28ins) high. A clockmaker with the name Ducoroy appears not to be recorded in the ususal sources however an 18th century French clockmaker with the name Mynuel Duccoroy is mentioned in Wilson, Cohen, Ronfort, Augarde and Friess EUROPEAN CLOCKS IN THE J. P. GETTY MUSEUM on page 176.
Lot 158
A fine inlaid oak architectural floor-standing lantern clock case Unsigned A fine inlaid oak architectural floor-standing lantern clock case Unsigned, possibly Bristol, circa 1700 The hood with inverted breakfronted dentil moulded open-centred shallow arch tympanum incorporating geometric parquetry decorated blocks to frieze flanking infill panel inlaid with triple spire motifs over triangular arched aperture bordered by pilaster uprights flanked by shouldered pilasters incorporating panel inlaid plinths, the sides with conforming articulated dentil cornice over double line banded panel, the trunk incorporating Roman Doric column mouldings with capital inset with rosettes to frieze over rectangular double line banded door set within the frame of the case and conforming complex pilaster base, the sides with further double line banded panels, on plinth base with geometric band to upper surface of the complex top mouldings over diagonal star inlaid front and generous skirt base, 217cm (85.5ins) high ; with an incomplete lantern clock, attributed to Benjamin Willoughby, Bristol, circa 1700 , the two-handed posted countwheel striking movement with anchor escapement, finely detailed one piece 'Bristol' pattern uprights with integral finials and feet, and domed bell bearer (lacking dial, frets, doors, backplate, one finial, pinion of report for countwheel, weight and pendulum), 33cm (13ins) high, (2). According to the vendor the incomplete lantern clock included in the current lot was formerly fitted with an unusual dial signed for Benjamin Willoughby, Bristol. The dial was apparently matted with an engraved rose at the centre and applied with a Roman numeral chapter ring; regrettably it appears that this dial has now been lost. Benjamin Willoughby is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed in London to Robert Dingley in 1676 before moving to Bristol where he worked from Small Street presumably until his death in 1709. The highly unusual architectural form of the hood of the lantern clock case in the current lot can be compared to that of a three-month longcase clock by Thomas Tompion residing in the collection of the British Museum (Museum number 1958,1006.2159). The movement of this Tompion longcase is numbered 132 which would date it to around 1688, however the dial incorporates an arch engraved with a bust of Queen-Anne. This suggests that the dial plate was altered along with the hood during the first decade of the 18th century. From this it would be appropriate to speculate that the current lot also dates to the first decade of the 18th century due to the strong stylistic similarities between the two. In addition to the complex architectural pediment to the hood the trunk of the current lot also incorporates accurately observed Roman Doric column mouldings which again demonstrate a high degree of architectural enlightenment by the maker. The inlaid decoration is unusual being very laborious in its execution requiring the surface to be cut back and sections inserted.
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