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Click here to subscribeA 19th century tole ware tea caddy by W Duxbury, 75 Shudehill, Manchester, later converted to a table lamp, of typical cylindrical form, the cover applied with a gilt Greek key pattern frieze, above a painted panel depicting a harbour scene, 38cm high (excluding light fitting) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A very rare early 18th century pewter and brass-inlaid Italian table clock with six-hour dialFrancesco Papillion, FirenzeThe break-fronted case surmounted by an elaborate cast handle over a stepped caddy top with moulded edges over the architrave with an inset silk-backed blind sound fret, the sides with long glazed panels, on a moulded base and bun feet, the 5 inch silvered dial marked I to VI framed by a minute ring marked in tens for each hour, with single blued steel hand, mounted on an engraved gilt brass dial plate signed in an engraved cartouche within a pattern of strapwork, scrolls and flowers on a matted ground, the small rectangular movement plates united by four baluster pillars pinned through the backplate, with single 'tandem barrel' driving both wheel trains, the going train with verge escapement (the 'scape wheel mounted at an angle) to a short verge bob pendulum mounted on silk within cycloidal cheeks, the strike train sounding on a vertical bell. Ticking and striking, together with a winding key. 49cms (1ft 7ins) high.Footnotes:There is little information about Francesco Papillion. There are only a few signed clocks by him which include a night clock in the Getty Museum and an alarm watch in the British Museum. Archival records in Florence show that Papillion entered the clockmaker's guild in 1705.The six hour clock was used in Italy, especially in the Papal States, until the end of the 18th century, when Napoleon replaced it with the 12 hour system. The six hour, or 'Roman time' started just after sunset with the evening prayers, and worked around the Canonical hours.For further information on this lot please visit Bonhams.com
A first half of the 18th century ebonised table clock with pull cord repeatRichard Peckover, LondonThe caddy top with knopped handle and moulded cornice over circular and shaped side panels on a moulded plinth base, the 7 inch arched brass Roman and Arabic dial with silvered chapter ring with blued-steel hands, the matted centre with recessed oval signature cartouche and mock pendulum aperture, with subsidiaries for date, strike/silent and rise-and-fall regulation, the twin gut fusee movement with pivotted verge escapement rack striking the hours on a bell, chiming the quarters on a nest of 6 bells and hammers, the signature within a symmetrical engraved pattern of rolling foliage. Two labels attached to the inside of the rear door from Hart Bros. Jewellers & Watchmakers, Muswell Hill, London dated 1918, 1936 and 1940. A further circular label is on the left rear door jamb for Steinmann, London no.153. Ticking and striking, sold with a case key and an associated winding key. 47cms (18 1/2ins) high (3)Footnotes:Richard Peckover may have been born in 1685 in St. Giles, Cripplegate parish, London. He was active circa 1700-1754, based in Change Alley from 1735 and the Royal Exchange from 1751. He probably took over Quare & Horseman's business in 1733. He is buried at St Helen's Bishopsgate.For further information on this lot please visit Bonhams.com
A first half of the 18th century ebony table timepiece with interesting provenanceJames Snelling, LondonThe case surmounted by a knopped and foliate handle over an inverted caddy top and moulded cornice, over arched glass side panels on a raised base, with applied label to the rear door, the 5.75 inch signed arched brass dial with Roman and Arabic chapter ring with matted centre and chamfered apertures for the mock pendulum and the date, with blued steel hands, framed by Indian head spandrels, the single wire fusee movement now with a later anchor escapement, the backplate signed 'J. Snelling, London' within foliate scrollwork set within a wide wheatear border. Sold with a winding key and case key. 43cms (16 1/2ins) high (4)Footnotes:James Snelling was active from 1712-1751.A printed label for Jump & Sons, 93 Mount Street, London, is applied to the inside of the rear door with the handwritten name 'Lord Elphinstone'. This presumably relates to a time when the clock was serviced in the early 20th century. It is not known how long it had been in the Elphinstone family at that time. Sidney Buller-Fullerton-Elphinstone, 16th Lord Elphinstone (1869-1955) was a Scottish nobleman who married Lady Mary Bowes-Lyon on 24 July 1910 in St Margaret's Westminster. She was the daughter of Claude Bowes-Lyon, 14th Earl of Strathmore and Kinghorne and the sister of Queen Elizabeth the Queen Mother and godmother to her daughter, Queen Elizabeth II.For further information on this lot please visit Bonhams.com
A fine and very rare late 17th century ebony veneered quarter repeating table timepieceThomas Tompion, Londini Fecit, un-numbered, circa 1680-85Surmounted by a bold facetted foliate-bud handle on internal pommels set on flowerhead mounts, the caddy with four applied foliate scroll mounts set against red silk, the moulded cornice over long rectangular glazed side panels to a moulded plinth base on turned bun feet, the front door with pierced brass sound fret over twin escutcheons to the uprights. The 6 inch square gilt brass dial signed 'Tho. Tompion Londini Fecit' along the lower edge within a single line border enclosing the winged cherub's head spandrels, the silvered chapter ring with five-minute Arabic numerals, minute track and Roman hours divided by meeting arrow-head half-hour markers and inner quarter hour track, the finely matted centre with good blued steel hands, and typical three latched dial feet to the movement.The movement united by six latched, knopped and ringed pillars, the frontplate measuring 15cms x 21cms (6ins x 8.25ins) and cut to accommodate part of the elaborate brass and steel quarter striking train, the larger backplate measuring 16.5cms x 21cms (6.5ins x 8.25ins) cut with an arched aperture to accommodate the protruding hour bell, and further cut for the pivotted quarter striking levers, signed across the centre 'Tho Tompion Londini Fecit' in a rectangle, the lower third of the plate decorated with symmetrical flower heads on stalks emanating from the lower edge, the upper portion of the plate with a further six flowerheads within foliage. The verge escapement mounted on a knife edge and driven by a chain fusee and short pendulum with pear shaped bob. The hours and quarters struck at will by pulling a cord from either side of the case (each repeat cord passing through a brass ferrule), struck on two bells and hammers. 35cms (13 1/2ins) highFootnotes:Jeremy Evans lists only five un-numbered 8-day spring driven timepieces by Thomas Tompion. All are in ebony Phase One cases and all have the bell set into a cut-out aperture in the large backplate. Two emanate from two of the great 20th century collections, the first from The Wetherfield Collection, inventory number 23, which with the added complication of an alarm train sold at Christies, London, June 2011 for £289,000. The second from the Iden collection, (illustrated in Percy Dawson's overview published by the Antique Collectors Club 1987 on page 87) which is now in private hands.The cut out was necessary because at this time Tompion used a backplate that was larger than the frontplate. It is a rare feature, but others are known, the latest known to us dates to circa 1687. R.W. Symonds in his standard work illustrates three backplates with cut-outs for the bell:Figure 174 - the backplate of clock number 22, the angle of the shoulders are comparable with the current lot, however the repeat slots run all the way to the edge of the plate, the signature sits within a full pattern of flowers and foliage. Figure 176 - the backplate of clock number 66 has smaller, shallower shoulders and the repeat is activated via a Z-bar. The engraving is lighter than figure 174 and more comparable to the current lot. Figure 181 clock number 96. A similar engraved backplate with cut-out but a Z-bar repeat system was sold in these rooms and is illustrated in Dzik, 'Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800', 2019, Wild Boar Publications, p.109, Fig.7.10.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A fine and rare late 17th century Chinoiserie table clockGeo Tyler, Popeshead Alley, LondonThe highly decorated case surmounted by a knopped and foliate handle on bold internal pommels, the caddy depicting a pair of figures in a landscape over a balustraded lower section framed by four urn finials, rectangular glass side panels on a moulded plinth base and block feet, the 7 inch square brass dial with silvered Roman and Arabic chapter ring with half quarter markers and fettled blued steel hands to the matted centre with recessed signature plaque and date aperture (now filled), all framed by winged cherub head spandrels, the twin chain fusee movement united by five knopped pillars, now converted to anchor escapement and simple hour strike on a bell, the backplate with single line border framing a symmetrical pattern of foliate scrolls and a harebell lambrequin framing the signature. Ticking and striking, sold with two case keys and an associated winding key. 45cms (17 1/2ins) high (5)Footnotes:George Tyler had premises in Pope's Head Alley, Lombard Street, London until around 1720. He was apprenticed in 1692 through the Clockmaker's Company to Robert Dingley (see lot 76 in this sale) and was a member of the Company 1699-1723.For further information on this lot please visit Bonhams.com
A fine and rare late 17th century ebony veneered table clockHenry Jones, LondonThe caddy top with facetted handle set on internal pommels and centred by tied foliage, each of the four sides applied with repousse gilt brass mounts over a moulded cornice, the sides further set with repousse sound frets above long glazed panels, the front door with four applied mounts over a moulded base raised on brass-mounted bun feet, the 6.25 inch square brass dial with winged cherubs head spandrels framing the Roman and Arabic silvered chapter ring with outer minute band marked in 5s, and inner quarter hour track, the half-hours demarcated by elaborate meeting-arrowheads, the finely matted centre with chamfered date aperture and fettled steel hands, the twin gut fusee movement united by three square-section pillars to the lower half and two knopped pillars to the upper part with knife edge verge escapement with pear shaped bob to the pendulum, the strike train with an engraved silvered outside countwheel centred by a multi-leaved flowerhead, the plain backplate with double line border signed in a shield-shaped drapery cartouche 'Henricus Jones Londini', further mounted with outside barrel ratchets with elaborate stops supported by a shaped and pierced brass spring. 34cms (1ft 2ins) high. Footnotes:Henry Jones (1642-1695) was the son of a vicar and in 1654 he left home for London. He was originally apprenticed to Benjamin Hill but quickly turned over to Edward East. He became a Freeman of the Clockmakers Company in 1663, was an Assistant in 1676 and became Master in 1691. During his thirty year working life he took on fourteen apprentices. In October 1692 he matched Edward Easts contribution of £100 to the Clockmakers Charity for '5 poor widows having Annually the Benefitt thereof Forever'. A study of his work reveals the debt he owed to East's teachings - his early flat-topped table clocks in tall rectangular cases, clocks with engraved fruit corners and night clocks for instance. But however much his work was influenced by his Master, he managed to develop certain personal flourishes that allow his work to stand out from the crowd even today. His use of dotted half-hour markers and heavy engraved lines on movements, and the visible barrel ratchets with elaborate stops mounted on the backplates are just some of the visual cues to his work. An extensive account of the life and work of Jones 'Henry Jones - Clockmaker of London' by C.Stuart Kelley was published in four parts in Antiquarian Horology, beginning Volume 27, No.2, December 2002.For further information on this lot please visit Bonhams.com
A good mid 18th century ebony table clock with pull repeatCharles Clay, LondonThe case surmounted by a knopped handle over an inverted caddy top and moulded cornice, over arched glass side panels on a raised base, the 5 1/2 inch arched brass dial with strike/silent set above the signed Roman and Arabic chapter ring with matted centre and chamfered apertures for the date and mock pendulum, framed by unusual warrior head spandrels, with blued-steel hands, the twin wire fusee movement with replaced verge escapement and rack striking the hours on a bell with pull cord repeat (the quarter repeating train now lacking) the backplate engraved with foliate scrollwork centred by a basket of fruit within a single line border. Ticking and striking, together with 3 case keys. 42cms (16 1/2ins) high (4)Footnotes:Charles Clay was born in Yorkshire and was established as a clockmaker in London by 1716. He is particularly known for his musical organ clocks, examples of which can be found in the British Royal Collection at Kensington Palace and Windsor Castle. His musical clocks were in the form of miniature temples, advertised in contemporary newspapers and tickets were sold for the public to view his pieces. They played tunes from contemporary Italian opera performed in London including those transcribed by George Frideric Handel for Mr Clay's use. He was clockmaker to his Majesty's board of works between 1723 until his death in 1740.A similar design of warrior head spandrel can be found in Cescinsky & Webster, English Domestic Clocks, p.93, image 15.For further information on this lot please visit Bonhams.com
A rare mid-18th century Swiss gilt wood quarter striking table clock with alarm, enamel dial and 'Chevalier de Bethune'-type escapementP. Jaquet Droz, Chaux de Fondsthe caddy top with handle and cone finials over a further four finials, long shaped glazed side windows and a moulded base, the wood gesso-covered and decorated with matting and wriggle-work on turned brass feet, the 7.5inch one-piece white enamel dial with Roman and Arabic numerals, brass alarm-setting disc and blued steel hands, signed in the strike/silent subsidiary dial above XII, framed by well-cast foliate spandrels, the plates united by four turned pillars pinned through the backplate, the two large spring barrels with chain drive to pair of squat fusees, the going train terminating in a Chevalier de Bethune-type escapement with a 'scape wheel of 8 teeth cocked on the backplate now receiving impulse via a shaped steel block set on an arbor with a toothed rack meshing with another (in the style of a mole's foot) mounted on the crutch arbor (the current steel block a probable replacement for the original Chevalier de Bethune pallets), the strike train with high count pinions striking the quarters and hours on a pair of bells via vertical hammers, the alarm with separate spring barrel wound from the rear and sounding on a separate bell with internal T-hammer, the striking and repeating work in polished steel mounted on the backplate. Ticking and striking. 51cms (20ins) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A fine and rare late 18th century satinwood bracket clock with original wall bracketGrant, Fleet Street, London, Number 321The tall arched case surmounted by an urn finial on a caddy over reeded scroll supports with foliate boss terminals, the front with recessed shaped panel, the rear solid door with silk-backed circular sound fret, on a bow fronted plinth, on the matching wall bracket with single shaped support, the signed white enamel Roman dial with dotted minute track and matching hands, the twin chain fusee movement with thick plates united by five heavy knopped pillars, with anchor escapement and rack strike on a bell mounted below the plates, the hammer activated by a brass linkage mounted on the signed and numbered backplate The clock case 34cms (13.5ins), the bracket a further 17cms (6.75ins) high. Total height 51cms (20ins) high.Footnotes:John Grant of Fleet Street was active from 1781 and died in 1810. A similar satinwood clock with enamel dial but no wall bracket is illustrated in Barder, R.C.R. (1993) The Georgian Bracket clocks 1714 – 1830. Suffolk: The Antique Collectors' Club, plate VI/17.For further information on this lot please visit Bonhams.com
BRIAN WALLIS ETC. A copper & tin small dish by Brian Wallis, diameter 11cm. Also, a hammered brass tea caddy. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
TEA CADDY ETC. A black lacquered tea caddy, the lid hand painted with Russian figures taking tea from a samovar. 10 x 8 x 7cm. Also, a playing card box with inlaid decorative panel. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
NEWLYN COPPER. A Newlyn copper tea caddy, embossed with two fish amongst seaweed. Stamped 'NEWLYN'. Height 10cm.Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Three 19th century boxes, the first a rosewood sewing and writing box with inlaid mother of pearl, lift up lid and fall front writing surface enclosing three drawers. 29cm wide, 23cm deep, 28cm high, the second a brass bound burr walnut dome top stationary box. 22cm wide, 11.5cm deep, 15cm high, the third a burr elm (?) tea caddy, as a 'cofre forte' with extensive brass mounts, the interior with two canisters initialled 'B' and 'G'. 26cm wide, 15cm deep, 16cm high(Black and green tea)Condition report: First - 3cm missing piece of moulding to side, metal inlay strip and piece of veneer missing to front. Interior tatty and wornSecond - slight carcass split to one end, reippled venner in places, inside lining has deteriorated and needs restorationThird - good condition, but tarnished brass, and partially lost canister linings
A collection of silver items, to include a George III silver caddy spoon by John Thropp, Birmingham 1809, with pierced filigree style centre, 6cm wide, a Victorian silver sugar caster, possibly Stokes & Ireland, Birmingham 1890, a Victorian vesta case, Birmingham 1896, 5.5cm wide, a George IV cased christening set by John Thropp, Birmingham 1825, a silver dressing mirror, 28cm long, and a silver bookmark of circular form, Edinburgh 1978, weighable 4.4ozt (qty)Condition report: Mirror with knocks and marks rubbed, wear to christening set case with wear to interior and exterior, general knocks, rubbing and wear throughout.
Two silver caddy spoons, by Cooper Bros. & Sons, Sheffield 1979, with Lindisfarne pattern handles; a similar sauce ladle, by Cooper Bros. & Sons, Sheffield 1976; and a pair of caddy spoons, by Mappin & Webb, Birmingham 1969, with fleur-de-lys pattern finials, bearing labels for 'The Design Centre, London'; and a pair of silver caddy spoons, by A. Marston & Co., Birmingham 1973, with shell pattern finials and bowls.
A SILVER IONA CADDY SPOON, the tapered finial with Celtic design, maker's marks for Iona, Alexander Ritchie, silver marks for Edinburgh, length 120mm, approximate gross weight 32 grams (Condition Report:- detail on hallmark and design worn, repair to bowl where it meets the handle, possible replacement bowl)
A COLLECTION OF WEDGWOOD JASPERWARE, mostly pale blue, majority of items boxed, including a tea caddy and cover with portraits, a cylindrical cracker barrel and cover, height 16.5cm, five various boxes and covers, two cylindrical jars and covers, an oval tray, length 25cm, 'Mother plates 1971-1986', boxed Royal Wedding 1981 pin dishes, two bud vases, approximately 37 items (Condition:- vase of conical form has a chipped foot rim and lacks flower holder, a few pieces have painted green dots to the bases)
A BAG OF ASSORTED ITEMS, to include a silver snake bracelet fitted with a lobster claw clasp, hallmarked Sheffield, length 190mm, approximate gross weight 6.5 grams, a white metal butterfly stamped 800, another white metal and enamelled butterfly, a white twist bangle, a pair of white metal and colourless paste set hoop earrings, a compact, pendants, a 'Mappin & Webb' caddy spoon, etc
Lack-Teedose mit Goldmalerei, China, 19. Jhdt. Achtkantige hölzerne Dose mit Schwarzlackfassung auf vier vergoldeten hölzernen Füßen. Umlaufend fein in Gold gemalte Bildszenen in ornamentalen Rahmen. Die Fassung des Deckels berieben, im Inneren zwei gravierte Teedosen aus Zinn mit doppeltem Deckel. Abschließbar, Schlüssel fehlt. Maße 14 x 23,5 x 17 cm.Zustand: II -A Chinese lacquer tea-caddy, 19th century Achtkantige hölzerne Dose mit Schwarzlackfassung auf vier vergoldeten hölzernen Füßen. Umlaufend fein in Gold gemalte Bildszenen in ornamentalen Rahmen. Die Fassung des Deckels berieben, im Inneren zwei gravierte Teedosen aus Zinn mit doppeltem Deckel. Abschließbar, Schlüssel fehlt. Maße 14 x 23,5 x 17 cm.Condition: II -
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