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Click here to subscribeVictorian walnut and inlaid side cabinet, circa 1860, having an inlaid foliate frieze in satinwood and harewood, two shaped glazed panel doors opening to a velvet lined interior with a single shelf, flanked by cast gilt brass foliate appliques, raised on a plinth base, width 110cm, height 107cm, depth 33cm
Victorian mahogany salon cabinet, circa 1890, shaped triple mirrored back carved with cornucopia and with two small shelves, over a bow fronted base with two astragal glazed cupboard doors and two blind fretwork small drawers, flanking an open cupboard, with an open shaped shelf beneath, French cabriole legs, width 120cm, height 198cm, depth 41cm
Edwardian mahogany and rosewood banded bookcase cabinet, retailed by H F Thomas, Eastgate Street, Chester, having a moulded cornice over two astragal glazed doors opening to three adjustable shelves, the base fitted with two short drawers with brass laurel leaf ring handles, over two inlaid recessed panel cupboard doors opening to a further shelf, raised on tapered square section legs, width 93cm, height 206cm, depth 53cm
Edwardian mahogany and inlaid bow front music cabinet, circa 1900, the back with an oval mirror and a single shelf over a bow front base with a single drawer and a recessed panel cupboard door, opening to sliding shelves, all raised on tapered square section legs, width 59cm, height 130cm, depth 38cm
Victorian Period - Twin Handle Rectangular Shaped Shop Display Oak Cabinet For Cigars ( Table Top ) The Front Glass Panels to Door Opens to Reveal 3 Ornate Brass Handle Pull out Drawers with Brass Carrying Handles to Sides of Cabinet. The Whole Making a Wonderful Period Cabinet, with Superb Patina and All Aspects of Condition Excellent. Measurements Height 13.75 Inches - 34.90 cms, Width 7.1/8 Inches - 17.60 cms & Depth 6.5 Inches - 16.25 cms.
A fine and rare William III table clock movement and dial with pull-quarter repeatJohn Knibb, Oxford, circa 1695The five latched baluster turned inside rack and bell striking movement with plates measuring 7.125 by 5.125 inches and verge escapement regulated by short bob pendulum and pull-quarter repeat on a graduated nest of three bells, the backplate finely engraved with tight Ho-Ho bird inhabited repeating foliate scrollwork around a central signature John Knibb, Oxford, the 6.875 inch square brass dial with ringed winding holes and herringbone chamfer engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed John Knibb, Oxford to lower margin, with fine scroll-pierced sculpted steel hands, winged cherub mask spandrels to angles and N/S strike/silent selection lever above twelve o'clock, (unrestored, lacking backcock). John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop (most likely to his former Oxford-based apprentice Samuel Aldworth) before moving to Hanslop in Buckinghamshire where he made a few clocks prior to his death in 1711. During his career John Knibb became a high profile figure within the City of Oxford being a member if the City Council from 1686, a Bailiff in 1688 and then twice Mayor in 1698 and 1710. He also held positions of Alderman and Keykeeper. On his death in 1722 he was recorded as being of Smith Gate in the Parish of Holywell and was buried in that Parish at St. Cross church. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph's larger concern in London. The strong similarities between John's best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City off Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were connected, they generally worked separately to supply clocks to differing groups of clients. The current lot is a fine example of a 'phase IV' movement and dial belonging the final fully-developed design of table clock produced by John Knibb during the mid to late 1690's. The mechanism itself is particularly well built with typical 'Knibb' baluster pillars, delicate wheelwork and finely executed internal rack striking mechanism. The engraved decoration to the backplate is notable in that the composition of Ho-Ho bird inhabited repeating leafy scrolls around a signature cartouche incorporating a small grotesque mask and basket of fruit at the apex in that it can be directly compared to that of a magnificent silver mounted table clock by Thomas Cattell illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS... on page 236 (Figure 13.22). Indeed the strong similarities between the engraving of the Thomas Cattell clock and the current lot would suggest that they were executed by the same hand in a style that would have been at the height of fashion at that time. Exploring the engraving further throws-up strong similarities with designs seen on the backplates of a handful of important clocks by Thomas Tompion; most notably that of the celebrated 'Selby Lowndes' grande-sonnerie clock (no. 217 circa 1693) illustrated in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS on pages 388-91. Interestingly Evans, Carter and Wright attribute this engraving to 'G155' with a suggestion of Bartholemew le Maire being a possible candidate for this work cited on pages 177-78.The dial of the present movement exhibits the increased level of decoration seen on 'phase IV' clocks by John Knibb. These include ring-turned decoration to the winding holes and herringbone engraving to the canted recess of the calendar aperture - a preferred detail often seen of examples of John's work. The design of the hands are unmistakably 'Knibb' and remain essentially unchanged from those seen on clocks made a decade or so earlier. Although essentially in unrestored condition the current lot appears to have survived in particularly good original condition with the escapement appearing essentially unaltered (with the possible exception of the backcock fixings) therefore presents as rare opportunity for restoration. The lack of a case is a shame, however as the form of a Knibb 'phase IV' case is well documented (see Lee, Ronald The Knibb Family, Clockmakers pages 92 and 93 for example) a replica can no doubt be constructed by a suitably skilled cabinet maker enabling this fine clock from the 'Golden Age' of English horology to be 'brought back'.
A selection of hand-sawn English walnut and other veneers For use in clock case or cabinet restoration Including five burr walnut panels with approximate average measurements of 24 by 18 inches; four figured walnut lengths approximately 38 by 6 inches; eight figured olive wood panels approximately 34 by 12 inches; eight lengths of sycamore 65 by 10 inches, together with an assortment of mahogany and other timbers in varying similar sizes and numerous offcuts, (qty).
A walnut vertical Buffet type cabinet music box with 11 inch discsBarnett Henry Abrahams, St. Croix and London, late 19th centuryWith steel framed large going barrel movement set behind a glass panel beneath vertical silver painted cast iron bed incorporating a 5 inch tuned steel comb and respective series of star wheels engaging with pierced projections in the steel tune disc secured over the mechanism by a pivoted latched arm and driven by a toothed wheel engaging with perforations to the rim of the disc at the base, the upper section of the cast bed cast with 'THE BRITANNIA, *B.H.A.*, ST. CROIX.LONDON', the case with turned finials and balustrade gallery over ogee cornice and fretwork frieze to entablature and a pair of book-matched veneered crossbanded and line inlaid doors applied with Britannia and Royal Warrant transfers, on moulded skirt base incorporating winding square and PLAY/STOP lever to right hand side over turned feet, 77cm (30.25ins) high; with twelve discs. Barnett Henry Abrahams was born in 1839, he was initially a dealer in music boxes but by 1857 had emigrated to Switzerland where he founded a musical box manufacturing business. In 1895 he established himself in Sainte-Croix and started to manufacture disc music boxes, many of which were for the British market and hence labelled 'The Britannia'. The business had a London address at 133/135 Houndsitch and was continued after Abrahams death in 1902 by his sons until around 1915.Condition Report: Movement is a little dirty/oily but is in full working condition with no visible damage to the steel comb and plays at an appropriate speed with good strong sound. The case has a triangular veneer chip approx. ¾ inch across to the outside edge of the crossbanded border of the right-hand front door and some smaller chips to the top edge of the cornice projection as well as some slight veneer lifting to the centre behind the ebonised gallery. The transfers to the front door are a little worn as is the ebonised finish to the mouldings around the base, otherwise case is in sound original condition with only relatively minor bumps, scuff, and other faults commensurate with age and use. There is a winding crank included with the lot. Condition Report Disclaimer
Two of three volumes of the Turner Galleries 'One Hundred and Twenty Engravings' published by Virtue and Company A/F, together with a Queen Anne style walnut chair, together with a mahogany jardinière stand and a corner cabinet, a quantity of framed prints and a small quantity of booksLocation: Porters/LWM/LWB
A mixed lot comprising an early 20th century ebonized occasional chair with rattan seat, together with two bolts of 20th century fabric, a modern Linda Fey Powell print, a brass framed wall mirror, a Nelson First Farewell print, a modern mahogany stained wall display cabinet, a vintage Phillips record player A/F and three pairs of curtains
Fine 19th century French ebonised, ormolu and pietra dura breakfront side cabinet, the acanthus moulded ormolu frieze above three single panel doors, the centre door with pietra dura urn of flowers and foliage in relief, the flanking doors with similar ribbon tied clusters of fruit, flowers and foliage, each within ormolu bands and flanked by caryatid stiles on shaped plinth base with scrolls and centre mask, a roman figure on each end panel. H117.5cm W215.5cm D45.5cmDamage to top blisters, missing veneers - see photosBlemishes to cabinet doors, some small cracks and pieces missing etcScuffs and missing veneers where the doors openBase scratched, missing veneers and gouge to sideEnd panels - brass inlay lifted and small section missing. Veneers raised and splits - see photos.Key present.
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