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Lot 2918
A good Jugendstil German mantel torsion clock, circa 1910, the mahogany case with applied Art Nouveau copper mounts, with foliate and whiplash ornament, the movement stamped 'Patent Angemeldet' height 31cm.Condition report: It is unknown if the clock was working, but it does appear to function when briefly set up.There is nothing obvious missing, but we are unsure if all is complete, it would possibly have sat under a glass dome?.There is a split to the door, but no other noticeable damage.
Lot 2920
A walnut marquetry longcase clock, the early 18th century eight day movement signed 'Nat(haniel) Seddon at St James's London', with subsidiary seconds dial and calendar niche, five pillar movement, the door and trunk inlaid with a flower filled urn and a bird, the dial 30.5cm (12") square, height 199cm.Condition report: We would consider the clock movement and case to be a marriage. The backboard extends above the hood.The hood has repainted gilt terminals and the columns are stained, the hood and case have patches and areas of refinishing and is fairly heavily varnished. The old hand written label appears to state that the clock was purchased in Newquay and is dated in a different hand 1796.We have not seen the clock working. Please see the numerous extra images on David Lay website.Complete with two weights, pendulum and key.
Lot 2921
A William IV mahogany bracket clock, the dial signed Saunders, Dorchester, with twin fusee movement, the case with swept foliate cornice, pierced brass side grilles and on ball feet, height 43.5cm.Provenance:Michael Trethewey. A Gentleman of Taste.We are delighted to be selling in this sale and over forthcoming sales, items from the estate of the collector Michael Trethewey. Michael had an unerring eye for quality. He was a frequent visitor to these auction rooms, an elegantly dressed, unassuming man who bought well and had a singular passion for old school antiques.We are honoured to be handling his estate and as well as the items in this antiques sale we will be selling further pieces from his extensive collection in our June 17th Jewellery, Silver & Watches Sale and across our range of upcoming specialist sales.
Lot 263
AN EDWARDIAN MAHOGANY MANTLE CLOCK with Art Nouveau style marquetry inlay, the enamel dial with Arabic numerals, 21cm high; and another Edwardian mantle clock in balloon shaped case, 23cm high (2) Condition Report : both with keys. balloon cased clock has some damage to dial at 6 o'clock and 2 o'clock, but is currently working; other clock with broken spring Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 264
A ROSEWOOD CASED MANTLE CLOCK with mother-of-pearl inlaid decoration, 16.5cm wide 23cm high Condition Report : movement loose within case. pendulum but missing gong, movement not working. Case in good condtion Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 267
A GEORGE III 8-DAY LONGCASE CLOCK the (unsigned) enamel dial with subsidiary date and seconds dial, moon phase to the break arch, the spandrels painted with figures, in a mahogany case with satinwood inlay and crossbanding, marquetry inlaid Brittannia motif to the trunk, 54cm wide 235cm high, The clock has a pendulum with intact suspension spring and cast iron bob, and pair of cast iron weights. Condition Report : generally good, missing feet through ,movement not tested Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 51
A Chester Hallmarked Silver Cased Openface Pocketwatch, the dial with black Roman numerals and seconds subsidiary dial (lacking all hands), the movement signed "E Wise Manchester", within cae with vacant cartouche, Chester 1890; together with a Fanfar openface pocketwatch, the (cracked) white dial with black Arabic numerals, inside stamped "Brevet 28106" "D.R.P. 150253", within gun metal (rusted) case; a travelling alarm clock, a lighter, travel razor and a multi function folding pocket knife.
Lot 397a
An antique early 20th Century Edwardian 8 day longcase Grandmother clock (smaller Grandfather clock) having a brass ornate face with Roman numeral chapter ring and faceted hands below a Tempus Fugit plaque. Pendulum and chime presentThe measurements are approximately as follows; height 170cm, 22cm width and 18cm depth.There are some slight scratches to the rear and base. The glass is in tact, the hinges work well. Overall it's generally in good condition.
Lot 962
GYSBRECHTS, FRANCISCUS1649 Antwerpen - um 1677Titel: Trompe-l'oeil eines Vanitas-Stilllebens mit Uhr und Totenschädel auf einem Regal an einer Wand, daneben Malutensilien. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 143 x 99cm. Bezeichnung: Schwach lesbar signiert unten links auf dem Zettel: F. Gijsbregt. Rahmen/Sockel: Rahmen. Ausstellungen:"Mémoires du futur. La collection Olbricht". La Maison Rouge, Paris, 2011/2012;"Lebenslust & Totentanz", Kunsthalle Krems, 2010.Provenienz:Sammlung Jacques Heinrich Bassenge sr., Dresden 1812-1840;durch Erbschaft an Jacques Heinrich Bassenge jr., Dresden 1840-1893;durch Erbschaft an Friedrike Bassenge, Dresden 1893-1901;durch Erbschaft an Johanna Held, Dresden 1901-1923;Auktion Sotheby's, Amsterdam, 07.05.2008, Lot 37;Rafael Valls, London 2009;Sammlung Prof. Dr. Thomas Olbricht, Essen, erworben 2010.Das vorliegende Gemälde ist dokumentiert in der Datenbank des RKD, Den Haag, unter der Abb.Nr. 205299.Franciscus Gysbrechts war vermutlich der Sohn des Malers Cornelis Norbertus Gysbrechts. Gesichert ist, dass er 1649 in Antwerpen getauft wurde und dass er bei dem älteren Künstler gleichen Namens lernte, eng mit diesem zusammen arbeitete und ihn wohl auch auf Reisen an den dänischen Hof begleitete. Beide Gysbrechts waren berühmt für ihre überaus raffinierten Trompe-L'oeil-Gemälde.Das vorliegende, von Franciscus Gysbrechts signierte Gemälde bringt den sicheren Standpunkt des Betrachters in vielerlei Hinsicht ins Wanken. Auf der ersten Ebene stellt es eine Holzwand im Atelier dar: Ein an einer Holzwand befestigtes Bord mit darauf liegenden Mal-Utensilien führt den Betrachter in den Arbeitsraum des Künstlers. Der halbrunde obere Abschluss des Gemäldes mit dem gemalten blauen Vorhang ist später hinzugefügt. Auf dem Bord steht ein üppig mit verschiedensten Elementen staffiertes Vanitas-Stillleben, das seinerseits Trompe-l'oeil-Qualitäten besitzt: Die Gegenstände in einer steinernen Nische sind so plastisch gemalt, dass sie nicht nur in den Bildraum des (gemalten) Ateliers, sondern auch in den des realen Betrachters zu ragen scheinen. Ähnliche Farbigkeiten und Stofflichkeiten in den verschiedenen Bildebenen verschränken diese raffiniert. Ein Spiel mit Sein und Schein. Dies führt wiederum zu der inhaltlichen Ebene des im Gemälde gemalten Bildes. Vielfältige Objekte führen vor Augen, dass die Welt der Sinne und des irdischen Reichtums flüchtig und eitel ist. Zeit, Vergänglichkeit und Tod soll der Betrachter sich vor Augen führen, wobei die Krone aus Getreidehalmen, die der Schädel trägt, auf die Eucharistie und das eigentlich anzustrebende ewige Leben hindeutet.Mit dem "Gesamt-Gemälde" stellt Franciscus Gysbrechts somit auch die flüchtige Kunst der Malerei mit all ihrer Raffinesse selbst in Frage und fordert den Betrachter auf, seine realen und geistlichen Standpunkte dauerhaft zu hinterfragen.Erläuterungen zum KatalogFranciscus Gysbrechts Niederlande Niederländische/ Flämische Schule 17.Jh. Originale Vanitas-Stillleben Gemälde Atelier GIJSBRECHTS, FRANCISCUS1649 Antwerp - ca. 1677Title: Trompe-l'oeil of a Vanitas Still Life with Clock and Skull on a Shelf on a Wall, Next to it Painting Utensils. Technique: Oil on canvas. Mounting: Relined. Measurement: 143 x 99cm. Notation: Signed faintly bottom left on the note: F. Gijsbregt. Frame/Pedestal: Framed. Exhibitions:"Mémoires du futur. La collection Olbricht". La Maison Rouge, Paris, 2011/2012;"Lebenslust & Totentanz", Kunsthalle Krems, 2010.Provenance:Collection Jacques Heinrich Bassenge Sr., Dresden 1812-1840;Inherited by Jacques Heinrich Bassenge Jr., Dresden 1840-1893;Inherited by Friedrike Bassenge, Dresden 1893-1901;Inherited by Johanna Held, Dresden 1901-1923;Auction Sotheby's, Amsterdam, 07.05.2008, Lot 37;Rafael Valls, London 2009;Collection Prof. Dr. Thomas Olbricht, Essen, acquired 2010.The present painting is documented in the database of the RKD, The Hague, under the ill. no. 205299.Franciscus Gysbrechts was probably the son of the painter Cornelis Norbertus Gysbrechts. It is certain that he was baptised in Antwerp in 1649 and that he studied under the older artist of the same name, worked closely with him and probably also accompanied him on journeys to the Danish court. Both Gysbrechts were famous for their extremely refined trompe l'oeil paintings.The present painting, signed by Franciscus Gysbrechts, shakes the viewer's secure point of view in many ways. On the first level, it depicts a wooden wall in the studio: A shelf attached to a wooden wall with painting utensils lying on it leads the viewer into the artist's working space. The semicircular upper end of the painting with the painted blue curtain was added later. On the shelf is a Vanitas still life lavishly staffed with a wide variety of elements, which in turn has trompe-l'oeil qualities: the objects in a stone niche are painted so vividly that they seem to project not only into the pictorial space of the (painted) studio, but also into that of the real viewer. Similar colours and similar materials in the different picture levels intertwine them in a sophisticated way. A play on being and appearance. This in turn leads to the level of content of the picture painted in the painting. Multiple objects demonstrate that the world of the senses and earthly wealth is fleeting and vain. Time, transience and death are to be brought to the viewer's mind, whereby the crown of corn stalks worn by the skull points to the Eucharist and the eternal life that is actually to be striven for.With the "total painting", Franciscus Gysbrechts thus also questions the ephemeral art of painting itself with all its sophistication, and challenges the viewer to permanently question his real and spiritual standpoints.Explanations to the Catalogue
Lot 547
An Irish Victorian oak cased long case clock, the eight day movement with circular enamelled dial and Roman numerals enclosing a subsidiary seconds dial and inscribed "Dobbyn & Son Dublin", 53 cm wide x 27 cm deep x 123.5 cm highCondition ReportPendulum present but no bob weight on it. Three weights present - one of which has no hook. Clock face has crazing to the paintwork and the paintwork to the interior wooden frame is flaking. Various chips, knocks, etc to the case. Chip to the wood on the base bottom left and there is a crack to the wooden moulding on the hood base - left hand side as well as various other knocks, bumps, etc. Some signs of old worm particularly to the moulding on the glass front and at the bottom of the hood. Height 212 cm.
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