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Click here to subscribeA Victorian gilt metal framed swivel brooch, oval set to one side with hair tied with gold wire, to the reverse with a photographic portrait of a gentleman, 8 by 6.5cm, further brooch set with an agate within a foliate scroll frame, 5 by 4cm, and a third brooch set with a porcelain plaque printed with the bust portrait of an 18th century lady. (3)
A PAIR OF LATE 19TH CENTURY FRENCH PORCELAIN BOTTLE VASES, each polychrome painted and gilt, reserved with a portrait bust on stand on a turquoise ground and with musical instruments to the reverse, within floral garland borders and on a pale blue ground, fitted with twin Chinese style zoomorphic mask and ring handles to the shoulders and on a cast brass base (one broken and repaired) fitted for electricity, the vases 32.5cm high
Alfred Drury RA, (British, 1856-1944), "The Age of Innocence", a late 19th Century patinated bronze shoulder length Bust of a young girl, her hair tied up high and with hair band, her face with a calm expression, the reverse signed A Drury and mounted upon a square green variegated marble socle with plinth base, approx 39cm overall height. Note: The Age of Innocence is probably the best of Drury's many fine studies of children, such as Griselda and Saint Agnes. The marble version was exhibited at the Royal Academy in 1897, and according to M. H. Spielmann, author of British Sculpture and Sculptors of Today (Studio Special Number 1901) 'still further heightened the public appreciation of Mr. Drury's talent. So widely was it appreciated that when the bust was "published" in a small size a very considerable number were bought up at once.'
An unusual George III weight-driven hooded wall clock with automaton Unsigned, probably for the Chinese market, late 18th century The posted countwheel bell striking movement with verge escapement and square section corner posts, the rear of the movement fitted with secondary countwheel for operation of the automaton whilst the clock strikes via a mechanism mounted within the right-hand side of the frame, the 6.5 inch arched dial plate applied with square enamel panel centred with a circular white Roman numeral dial with Arabic quarters within blue ground green leafy spray decorated enamel to spandrels, the arch painted with a landscape incorporating shallow-arch niche enclosing portrait of gentleman in a red jacket which moves aside to now reveal a portrait bust of a Chinese courtier, the whole supported on ball turned feet onto cavetto moulded platform supported from a backboard and fitted with brass feet to resemble a table clock, now with break-arch ebonised hood with brass fillet edged arch-glazed front aperture (with restoration), 34cm (13.5cm) high. The dial of the current lot, with relatively plain Roman numeral centre within tight foliate decorated enamel spandrels incorporating `bright-cut` leaf decoration, is typical of the type often seen on clocks made by leading London makers for export to China. Indeed these features share stylistic similarities to those seen on a more elaborate clock by Perigal sold at Christies, King Street in their sale of MAGNIFICENT CLOCKS 15th September 2004 (lot 16), as well as another by Perigal offered in the same rooms sale of Important Clocks 13th December 2000 (lot 84). The automata is also a feature that would have appealed to the Chinese market and can perhaps be best described as an early English version of the cuckoo automaton seen on later Black Forest clocks.
Lawrence MacDonald, (Scottish 1799-1878), a sculpted white marble bust of a maiden, her head to dexter with hair centrally parted and tied behind, with loose drapery to her dŽcolletage, inscribed `L.MACDONALD. FECIT. ROMAE. 1849` to the truncation at the back, 51cm high MacDonald was a founder member of the British Academy of Arts in Rome, remaining a trustee of the institution until his death. He also contributed regularly to the Royal Academy exhibitions in London. His work was highly regarded from the outset, bringing important commissions from members of the British aristocracy undertaking their Grand Tours; the Duke of Atholl commissioning MacDonald to produce a portrait bust for him in 1822.
A stone composition model of a girl, 20th century, modelled standing holding her dress, on an oval base, approximately 80cm high; a stone composition model of a hound, 20th century, seated, approximately 75cm high; and a stone composition bust of Queen Victoria, 20th century, portrayed in earlier life, 63cm high
Three gilt metal and porcelain mounted parasols, late 19th/early 20th century, comprising one with glazed porcelain handle depicting a maiden with a water jar within a reserve with parcel gilt border, with faceted and foliate engraved socket beneath a conforming pommel terminal, with brown satin canopy, 78.5cm high; the second with spherical porcelain terminal decorated with the bust of a maiden, with gilt metal foliate cast cast mounts, 88.5cm high; the third with porcelain disk terminal decorated with a courting couple, 90cm high; and an enamelled gilt metal mounted example, the base of the handle with inset roundel depicting the head of a dog, 100cm high. (For detail of image see page 14)
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