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Click here to subscribePROBABLY SWAROVSKI: A PAIR OF CUT GLASS TWELVE BRANCH CHANDELIERS (2)20th Century85cm wide; 46cm highCondition report: One missing a central drop and at least eight other drops. The other missing at least four drops Both will require rewiring and PAT testing prior to use.. Dirt and dust. They do not currently work. Believed to be crystal.
A CHARLES X PALAIS ROYAL ORMOLU MOUNTED AND CUT GLASS CASKET OR BOX (2)Coleridge Collection, Circa 1825Of rectangular form with slightly domed hinged lid above engine-milled rim and foliate swagged cornucopia mount, with ‘Anthony & Marietta Coleridge Collection’ label, 11.5cm wide; 6.5cm high; Together with a French gilt-bronze mounted figure of a winged Cupid support mounted on a hob-nail cut base, 19th Century, 15.5cm highProvenanceTheAnthony & Marietta Coleridge Collection
AN EMPIRE PARCEL-GILT AND BRONZE BRÛLE-PARFUM (3)Coleridge Collection, With winged swan mount supporting a cut-glass bowl, with ‘Anthony & Marietta Coleridge Collection’ label, 19.5cm high; Together with a gilt-metal mounted gilt-brass table bell, surmounted by a bird, 15cm high; and a gilt-metal mounted and pearl mounted fob watch holder, mounted on an marble base modelled as a tasselled cushion, possibly Italian, 19th Century, 21cm highProvenanceTheAnthony & Marietta Coleridge CollectionChristie's, South Kensington, 15 December 1994, unknownlot (the perfume burner).Condition Report:Brule-parfum: central hanging chain is broken and missing a small section; general marks and wear consistent with age and use; glass bowl loose in its gilt-metal mount.Table bell: evidence of small solder repairs notably to the base of the gilt-metal above the marble; marble base with knocks and scratches consistent with age and use; lacking screw to fix the bell to the base.Fob watch holder: Wear and discolouration throughout including verdigris to the base of the ‘shell’ ; holder loose on the marble base; marks and wear throughout.
A PAIR OF CUT GLASS, GILT-BRASS AND PORCELAIN CANDLESTICKS (2)Circa 1790With van dyke nozzle and drip pans suspended with pale yellow pear shaped drops around a blue and gilt decorated porcelain egg, raised on square porcelain drums and gilt-brass square bases supported on four ball supports, 35cm highMinor chip to the edge of on of the nozzles. Some variance in the size of the drops with possibly some replacements
A PAIR OF CUT GLASS, GILT-METAL AND BLUE JASPER CANDLESTICKS (2)Late 18th/19th centuryEach van dyke nozzle and drip pan hung with pear shaped drops, the blue jasper drums, probably Wedgwood, decorated with classical figures, raised on circular bases, 28.5cm highOverall in good condition with minor nicks to extremities
A VICTORIAN SILVER MOUNTED GLASS CLARET JUGWith a facet cut starburst motif to the base, height 20cm, London 1893Condition Report:Possible repair to the base of the handle. No thumbpiece to the cover, possibly by design as no evidence of loss or breakage. Small knocks and scratches throughout.
A GROUP OF PLATED WARES (7)Comprising; a pair of table candlesticks, height 23cm, a hinge lidded jug, the lid mounted with a George II halfpenny, a square tray, a cut glass salad bowl and a pair of cut glass handled salad serversCondition Report;Candlesticks; Plating worn on one candlestick, the other candlestick in good conditionLidded jug; plating is largely down to the copper, hinge pin starting to come out at one end, coint to lid is rather worn.Square tray; size 34.5cm across, some tarnishing, would benefit from cleaningGlass salad bowl; some scratches to the underside, otherwise no cracks, diameter of salad bowl 21.5cmSalad Servers; faceting to the handles is quite worn, the ends of the handles are both chipped, no cracks to glass handles, plating in good condition
Silver mounted claret jug, George Betjemann & Sons, London 1907, domed hinged lid, 'C' scroll handle, ovoid body, circular foot, 25cm.Condition report:No significant damages. The silver aspect remains good, no shape distortion and the hinged cover sits well on the mount when closed. The thumb rest and handle are not misaligned. The hallmarks are slightly rubbed but still discernible. The glass body has some random pinpoint nicks to the cut edges but no heavy chips or evidence of polishing. Some surface scratching to the exterior and interior.
English flute, slice-cut conical bowl, over a razor-edged top knop, lemon squeezer base, chipped, 14cm; two ale flutes, each with domed bases, 19cm; wine glass, rounded funnel bowl, lightly fluted, top knopped multi-airtwist stem, chipped, 15cm; and a slender cordial glass, funnel-shape bowl, multi-series airtwist stem, folded foot, 18cm. (5)Condition report:English flute, lemon squeezer base - a 3mm chip to the exterior rim. Chipping to all corners of the baseTwo ale flutes, domed bases - each with spot inclusions to the bowls, some annealing lines, one with a 2mm chip to the underside of the foot rimWine glass, fluted bowl - shallow 1mm chip to the exterior rim, and a 1cm length of chipping to the underside of the footCordial glass - some light surface wear and marks but generally ok, no chips
Y A FINE FRENCH GILT FRETWORK AND PORTRAIT MINIATURE INSET GRANDE-SONNERIE ALARM CARRIAGE CLOCKUNSIGNED, PARIS, CIRCA 1900 The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement regulated by sprung split bimetallic balance and alarm sounding on the smaller gong, the backplate stamped with serial number 342 to the lower left hand corner, the dial with circular white enamel Roman numeral disc decorated with concentric repeating polychrome floral swags to centre and with Arabic five minutes to outer track, with gilt trefoil hands set within a fine bright-cut engraved and pierced foliate scrollwork rectangular mask incorporating conforming subsidiary enamel Arabic alarm setting dial to lower margin, the gilt brass bevel-glazed anglaise riche variant case with spiral reeded baton to the hinged carrying handle over thick top glass, complex moulded inverted breakfront cornice and fluted frieze, the angles with twist-reeded three-quarter columns with Corinthian capitals and the sides with fine foliate pierced and engraved frets incorporating oval line delineated panel enclosing fine portrait miniatures of Marie Antoinette opposing Madame Elizabeth each executed on ivory set behind a convex glass, the rear with bevel-glazed door, on generous cavetto over ogee moulded inverted breakfront skirt base incorporating shallow block feet, the underside with G'de Sonnerie/P'te Sonnerie/Silence selection switch; with a Morocco covered outer travelling case including winding key.The clock 17.5cm (7ins) high with handle down, 11cm (4.25ins) wide, 9cm (3.5ins) deep. Provenance: Private collection, East Midlands; previously the property of Lord and Lady Swaythling. Although this rather impressive high-quality current clock appears to be unsigned it does share some strong similarities with the work of LeRoy and Fils, and can be compared to less ornamental example sold in these rooms on Wednesday 24th June 2020 (lot 98).Please note Dreweatts have an ivory exemption licence for this lot 4J9QZTH1Condition Report: Movement is running and the striking mechanism is operational. The grande-sonnerie works except for at quarter to the hour (last quarter) when the strike fails to activate (strikes correctly when repeat button is pressed during the last quarter). This suggests that a release pin is to the under-dial work is either missing or out of alignment hence would most likely be a simple repair. Clock otherwise is fully operational including the alarm and strike selection lever to underside, however a gentle/clean service is advised. The dial is in fine condition with no visible faults other than some very slight discolouration to the minute hand. The case is essentially in near immaculate condition with good strong gilding throughout and no visible damage to the glasses (including those for the portrait miniatures). The right-hand side miniature appears to have a very slight surface blemish (possibly a restored crack?) to the background behind the figure's head (towards right hand margin). Faults to the case are otherwise very much limited to a few tiny barely noticeable bumps.The outer travelling case appears original to the clock but is fairly heavily worn with broken strap handle and missing button inserts for the repeat button and clasp. The interior is in sound condition. Clock has a winding/setting key. Condition Report Disclaimer
Y A FRENCH LOUIS XV STYLE BOULLE BRACKET CLOCK WITH WALL BRACKETTHE MOVEMENT STAMPED FOR C. KUHLING, LATE 19th CENTURYThe rectangular countwheel bell striking movement with anchor escapement regulated by sunburst mask cast pendulum and stamped 371, C, 9.10 over C. KUHLING to backplate, the 9.5 inch circular twelve-piece cartouche numeral dial with cockerel inhabited Berainesque foliate strapwork cast centre within applied blue-on-white enamel Roman numeral hour chapters and foliate cast borders within Arabic five minutes to the outer minute track, with sculpted blued steel hands, the engraved cut brass and brown shell marquetry decorated case with cast gilt standing figure of winged Fortuna to the domed concave-sided superstructure veneered with leafy scroll decoration and applied with martial trophy adorned foliate mounts to angles, the front with mask-centred leafy arched cast crest over brass-framed waisted-arch glazed door enclosing marquetry tile decorated floor and foliate back panel to interior and incorporating cast panel with twin cherubs and an hour glass to apron, the surround decorated with foliate scrollwork, the sides with recessed gilt brass framed glazed apertures within conforming marquetry borders out-swept at the base, on generous scroll-cast gilt brass feet with conforming apron mount around a lattice decorated cushion panel between, resting on a matching ogee-shaped wall bracket inlaid with Vitruvian scrollwork over foliate radial gadroons issuing leafy sprays flanked by mask terms to angles, the underside with an acanthus cast pendant mount terminating with a floral finial.The clock 87cm (34.25ins) high; including wall bracket 117.5cm (46.25ins) high overall, 47cm (18.5ins) wide, 25cm (9.75ins) deep.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The dial has repaired/filled edge chip to the V numeral otherwise appears to be in good condition with no additional visible faults of any significance.The case is generally in sound presentable condition having been cosmetically restored at some point in the not-too-distant past. There is some slight lifting to the brass and a small few areas where brass has been lost and filled with creamy golden-yellow composition. The rear door has some lifting to the brass to the internal panel and slight shrinkage. Faults are otherwise limited to some slight blooming and movement to the shell veneers. The bracket appears to retain all the brass marquetry albeit with some pinning to the rear edge strip and there is very little lifting.Clock is complete with pendulum, case key and a winder. Condition Report Disclaimer
A FINE GEORGE III BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE CLOCKTHOMAS GRIGNION, LONDON, CIRCA 1760The substantial six pillar triple chain fusee movement with thick plates measuring 8 by 6.25 inches, chiming the quarters on a graduated nest of eight bells with eight hammers and sounding the hours on a further larger bell, the going train with verge escapement regulated by engraved lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension and pendulum holdfast hook to the backplate, finely engraved with a basket of fruit and symmetrical foliate strapwork around a central panel signed Tho's Grignion, Covent Garden, London, the 7 inch brass break-arch dial with calendar and shaped false-bob apertures to the finely mated centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer track, with fine pierced steel hands and rococo scroll cast spandrels to angles beneath arch with twin subsidiary dials for regulation and Strike/Silent selection within foliate engraved infill and applied with a silvered shaped nameplate Tho's Grignion, Covent Garden, London to upper margin between, the bell-top case with generous hinged brass carrying handle and brass fillet mouldings to superstructure flanked by cast pineapple finials over double cavetto top mouldings, the hinged glazed front with brass fillet mouldings to the dial aperture and fine foliate engraved upper quadrant frets, the front angles inset with moulded brass slips and the sides with circular over concave topped glazed apertures incorporating conforming brass mouldings, the rear with break-arch glazed door with mouldings and frets matching those to the front but set within the frame of the case, on cavetto moulded skirt base faced in brass over cast ogee bracket feet.47cm (18.5ins) high with handle down, 28.5cm (11.25ins) wide, 20.5cm (8ins) deep. Thomas Grignion was born in 1713 the son of the Huguenot clockmaker Daniel Grignion (born 1684). Thomas presumably trained under his father but neither gained their freedom of the Clockmaker's Company. Daniel Grignion was based close to the eminent Quaker clockmaker Daniel Quare and worked for him in some capacity (most likely some form of informal journeyman) hence after Quare's death in 1724 he made use of the goodwill associated with Quares name. Thomas joined in partnership with his father in around 1730 and then worked alone in the business from around 1750. Daniel Grignion died in 1763 and Thomas in 1784.Although relatively little is known about the Grignion family surviving examples of their work is generally of unusually high quality. Condition Report: Movement is in fine original working condition. The verge escapement appears unaltered and there is no evidence of the clock having being converted to anchor escapement at some point in the past. The wheel trains appear fundamentally all-original with no noticeable replacements or significant alteration. There are two very small pivot holes to the top of the quarter train suggesting that a smaller internal fly was originally considered but was most likely found to be insufficient hence movement was completed with the external adjustable fly by the maker. The frontplate also has a spare hole to the upper right this is most likely intended for the right dial pillar which, again, was re-thought at the time of making as would have found to have limited the travel of regulation rise/fall lever. The dial is original to the movement and is in good original condition with particularly fine matting. The functions of the subsidiaries (chime/silent and regulation) are connected and are operational. The silvering and finish to the brass components have mellowed slightly and the minute hand has been repaired.The movement rests on its original seatboard (although there is a loss to the rear left hand corner of the board next to the pendulum cut-out) and the movement and dial are original to the case. The case is generally in sound original condition but would benefit from sensitive cosmetic attention. At some point the inverted bell-top superstructure has become detached and has been re-glued; and the top section is also currently a little loose. The superstructure has been re-attached by screws inserted inside from beneath which have travelled to cause a slight lift to the veneer on each side of the exterior convex section. The front convex section has a horizontal shrinkage crack. The pineapple finials are 190th century additions and both sides of the case now have non-original concentric-pierced frets to the upper apertures (would benefit from replacement with glass or engraved brass frets). Both the front and rear doors retain their original locks, hinges and engraved brass quadrant frets and are in sound condition. The surface has relatively heavily applied ebonised 'polish' hence would benefit from the attention of a good finisher to flatten-out some of the somewhat gloopy texture. The brasswork is generally a little dull/tarnished. Otherwise faults to the case are limited to slight shrinkage, and other age-related bumps, scuffs and blemishes. Clock has pendulum, crank winder and a case key. Condition Report Disclaimer
A REGENCY BRASS MOUNTED MAHOGANY BRACKET CLOCK IN THE MANNER OF THOMAS HOPE UPJOHN, THE CASE POSSIBLY BY BANTING AND FRANCE, LONDON, CIRCA 1825The five pillar twin fusee bell striking movement with trip-hour repeat and anchor escapement regulated by lenticular bob pendulum with holdfast to backplate, the pendulum with calibrated slider for regulation and conforming concentric engraved decoration to the bob, the 7 inch circular convex cream painted Roman numeral dial signed UPJOHN, 15 King William St., STRAND to centre and with steel spade hands set behind hinged convex-glazed cast brass bezel milled with continuous repeating husk design, the case in the Romano-Egyptian taste with brass pineapple finial to the radial gadroon-carved hipped 'chamfer top' upstand incorporating ogee moulded collar and flanked by honeysuckle carved acroteria finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply cut horizontal fluted infill and canted cast gilt brass mummiform mounts to angles, the apron with shaped brass fillet inset panel flanked by canted acanthus scrolls supporting the figures, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets and the rear with rectangular glazed door set within the frame of the case, on fluted panel inset skirt base with stylised fan carved feet.52.5cm (21.75ins) high, 33cm (13ins) wide, 19.5cm (7.75ins) deep. The movement of the current lot is most likely by John and Thomas Upjohn who are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as makers 'To His Majesty' working in London 1828-32. The case of the current lot belongs to a series which share the same basic form and many core details. A slightly simpler variant (without the mummiform figures to the front angles) was offered in these rooms on 28th August 2014 (lot 116) which was stamped with the initials B.F. to the interior of the case. Another further example (perhaps the earliest from this series), this time with a movement by Atkins and Son and formerly in the possession of the Marquesses of Bristol, was sold by Christie's, King Street, London at their 'Ellerslie House' sale, 24th May 2001 (lot 65). The first Marquis of Bristol employed the firm of Banting, France and Company to supply furniture for Ickworth, Suffolk including the state bed which shares similar details such as the 'acrotoria' finials with the 'Atkins & Son' clock and the current lot. This presence of the other example stamped 'B.F.' and another provenanced as most likely being from an interior furnished by Banting and France would suggest that this series of cases were probably made by them perhaps to special order. Indeed the design, with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrates the strong influence of Thomas Hope who, in his 1807 book Household Furniture published designs considered to be the height of fashion at the time. When considering his designs for smaller pieces of furniture such as for 'Recesses in the shape of ancient hypogea' (see Hope, Thomas Household Furniture plate XXVII no. I) the inspiration for the current lot can clearly be seen.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The dial retains old surface but the black of the numerals and the signature have been 'strengthened' and these is some noticeable crazing. The movement and dial are original to the case and are retained by brass angle brackets. There is also a seatboard structure which rests on the baseboard; this has age but may be a replacement/addition (clock was probably originally made without a seatboard.The case is in fine original condition. The right-hand finial has a chip to the apex and the left hand side a small veneer chip to the edge of the fret aperture. The rear door has a replacement glass and some slight veneer chipping to the edges. Faults to the case are otherwise limited to minor bumps, scuffs, minimal shrinkage and other very slight blemishes.Clock has original but no case key or winder. Condition Report Disclaimer
Rare Doubles trophy, dated 1891, important in the history of Lawn Tennis in Germany, in the form of a hallmarked .800 German silver mounted cut-glass decanter, silver mounted stopper engraved TENNIS TURNIER 1891 HAMBURG PREIS DAPPEL SPIEL, with hobnail cut-glass square decanter, height 23cm., silver mount bears German hallmarks, good condition overall, with wear to silver covered glass stopper, wear to stopper base, the neck of the decanter has a crack running down from top down into the bodyThe first German National Tennis Championships were held in Hamburg in 1891. The organiser of the championships, Carl August von der Meden, later to become recognised as the ‘Father of German Tennis’, decreed that only German and Austrian players would be allowed to enter. This was a response to earlier tennis tournaments recorded in Bad Homburg and Baden Baden in the 1870s and 1880s when British entrants frequently came away with the spoils. Tennis in Hamburg was developed by two ice skating clubs, which resulted in an unusually hard playing surface of gravel with lines of iron. The history of tennis in Uhlenhorst and early championship matches is expertly detailed by Heiner Gillmeister in his book “Tennis: A Cultural History”, p.244-269. Gillmeister identifies 1891, the year of this trophy, as a trial run for the first German championships held in 1892. In these 1891 matches, an Englishman Walter Howard won the Men’s Singles, Handicap Singles and Men’s Doubles (with his brother J.G. Howard) and this domination confirmed von der Meden’s decision to restrict entry the following year. These matches are fully detailed in Pastime magazine of September 1892. Gillmeister also wrote an article for The Tennis Collector, issue 8th August 1993, where he discusses the 1891 trial run. The article also refers to a south of England auction of 1992 where a Doubles trophy and racquets from the 1891 competition were sold. These are now in the collection of the Hamburg Clipper Club and the trophy on sale here is of significant historical interest at a national level in Germany.
Six original caricatures of legendary footballers, circa 1930s,comprising a pencil and crayon caricature of Blackburn Rovers' Willie Rankin by Shinwell, signed lower right margin, mounted, glazed and framed, overall 46 by 39cm.; a pencil and crayon caricature of six footballers including West Ham United's VI Gibbins, Port Vale's Littlewood, Chester's Jennings, Reading's Bacon, Corinthians AG Doggart and Mansfield Town's Harry Johnson, all individually drawn on one sheet, signed indistinctively lower right margin, mounted, glazed and framed, overall 45 by 39cm.; four pencil and crayon caricatures of four footballers by Shinwell, all on individual cut pages, including Chelsea's Crawford, Blackburn Rover's Leslie Bruton, Liverpool's wright and Tottenham Hotspur's Brain, mounted, glazed and framed, overall 48 by 38cm., (3 frames)Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
SILVER & GLASS KNIFE REST, EP knife rest, vintage corkscrews and loose cutlery group, the knife rests include a hobnail cut glass pair with hallmarked silver centres, Birmingham 1904, Maker Hilliard & Thomason, 13.5cms L, the EP pair modelled as anchors on oval bases with twist bar centres, 9.5cms L, one of the corkscrews in chrome and plastic stamped 'John Watts, Sheffield, England'
A Victorian white metal and cut glass scent bottle, in the form of a heart, screw of cap, 4cm in length with a brass mounted cranberry example, in the oriental style, 7cm and a hand painted novelty thimble and thread holder in the form of an egg with a metal screw off cap 5cm in length AF (3)
AN R LALIQUE FRANCE OPALESCENT AND BLUE STAINED GLASS “CEYLAN” VASE the arched tapering panelled body set with pairs of budgerigars within stylised foliage beneath a broad rim - wheel cut signature and No 90524cm highThe vase has no cracks or chips, the top of the rim has been polished. There are tiny micro-chips to the inner edge.
A 19TH CENTURY SILVER PLATED OIL LAMP the Adam style silvered base with leaf decoration and rams heads, clear cut glass reservoir and later twisted green glass shade72cm overall The shade is in good condition with no chips or cracks, the chimney is in good condition, the reservoir is also in good condtion with no drill holes, the silver plated step has no dents, drill holes or solder marks. The shade is reproduction.
A PAIR OF 19TH CENTURY BRASS AND CUT GLASS CANDELABRA the leaf cast frames having fleur de lay shaped decoration with draped cut glass lustres; raised on square plinth bases and bun feet.32cm high There is no damage to the brass bodies apart from bent leaves which hold the glass droppers, one stem is loose and would require tightening, the glass drops have losses and damage to some.
A 19TH CENTURY LEATHER CASED GENTLEMAN'S SILVER-TOPPED DRESSING SET BY LEUCHARS & SON 38 & 39 PICCADILLY LONDON of square shape with gilt brass lock, fitted six silver topped engine turned cut glass bottles.18cm wide 14.5cm deep 16cm high The case is in very nice condition. The oval glass jar is missing, but the lid is present and the key for the lock on the case is present. One of the bottles has a shallow chip to the bottom corner, but there is no other damage to the bottles. One of the lids has a very small dent to the edge. The lids are monogrammed and there are initials to the leather case.
A PAIR OF DAUM ART NOVEAU SQUARE GREEN GLASS VASES WITH SILVER METAL MOUNTS with relief decorated iris gilt-edged and leaf work flowering spray decoration on acid cut backgrounds; the bases of matching design with flower heads and stylised leafage decoration on textured grounds.13.5cm highNo chips or cracks to the glass, the gilding is rubbed in places, no damage to the bases, one vase is 2mm taller, please see extra image of the signature beneath.
A bronzed figural table lamp, formed as a boy in period dress, holding a torch, with red glass shade, 41cms high (including shade); together with a cut glass table lamp and shade; a brass miners lamp (later wired for electricity); and a baluster table lamp with Chinoiserie decoration, with shade. (4)
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