A George I/II green japanned eight-day longcase clock, Charles Clay, London, circa 1725-30, the five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with chevron bordered calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels within a herringbone engraved border, the arch applied with silvered boss inscribed Charles Clay, Inventor of the, Machine Watches, London within conforming border flanked by cast dolphin mounts, in a case with domed caddy superstructure and integral three-quarter columns to hood over rectangular trunk door and plinth base with stepped skirt, decorated with raised figural chinoiserie scenes within gilt trellis borders to front and floral trail panels to sides, 234cm (94ins) high Charles Clay was a fine and inventive clockmaker who originated from near Huddersfield and gained his freedom of the Clockmakers' Company prior to 1716. In 1723 he was appointed Clockmaker in His Majesty's Board of Works and in 1731 supplied the turret clock for the gateway at St. James's Palace. He specialised and experimented with musical mechanisms and is perhaps now best known for his organ clocks. One of which now resides at Windsor Castle which was acquired from his widow three years after Clay's death in 1743. Another incomplete organ clock was also acquired around this time for Augusta wife of Frederick, Prince of Wales, this clock was subsequently completed by George Pyke and now resides at Kensington Palace. A highly unusual ormolu timepiece (with unusual enamelled astronomical year calendar dial) made for Louis Frederick, Prince of Wales sold in these rooms 28th August 2014 (lot 118) and now resides in Victoria and albert Museum, London.Condition Report: Movement is in working condition with no visible evidence of alteration or significant repairs/replacements however as the mechanism is a little dirty/dusty a precautionary clean and overhaul is advised. The dial is in discoloured/patinated dirty condition but appears free from alteration or any other significant faults. The movement rests on a replacement seatboard which has slim packing slips applied to the lower edges where it rests on the case uprights. The uprights also may well have been reduced slightly in height which suggests that either the movement and dial are not original to the case or seatboards of varying thickness have been fitted at various times in the past. The case is generally in sound condition; the decoration is old but most likely re-done in the early 20th century but finely executed with nice detailing. The dial mask covers the upper engraved border of the dial which would add credence to the opinion that the movement and dial may not be original to the case. The hood no longer has rear quarter columns otherwise faults very much limited to minor bump, scuffs, wear and degradation to the finish most notably to the right hand side skirting to the base which appears to have been slightly affected by damp.Clock is complete with pendulum, weights, case key and winder. Condition Report Disclaimer
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A Queen Anne walnut and feather banded cabinet on chest, circa 1710, the cavetto moulded cornice above cushion moulded drawer, the panel doors opening to an arrangement of pigeon holes and short drawers around a central cupboard door, the lower section with a baize inset slide above two short and two long graduated drawer, on turned bun feet, 174cm high, 101cm wide, 54cm deep Provenance: Private Collection from a Grade II listed Country House, OxfordshirePurchased by the current vendor from Ian G, Hastie, London, 5th June 1996 (£9, 125). A photograph of the original receipt is available with this lot. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Cleaned, repolished appearance. later polish/ varnish applied. Old splits, chips and small losses. some old repairs and replacements. some minor evidence of old worm damage. There are very slender later fillets of timber to the old vertical splits towards the centre of the doors (caused by shrinkage) The interior elements of the upper section have been grained to simulate an exotic timber. This is old and may be original but may be later 18th/ 19th century. The fitted interior of the central interior cupboard is removable. As seen with some examples there may have been a further cupboard door or small drawers concealed behind, there are no fittings present there. Fading overall. The handles and escutcheons are later replacements in the period style. The locks are late 18th century examples. The keys are lacking. The feet are likely replacements in period style and have age. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A William IV mahogany collector's cabinet, circa 1835, the rectangular top above a pair of arched panel doors, opening to two banks of fifteen drawers, on shaped bracket feet, 141cm high, 72cm wide, 52.5cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits. The depth of the interior of the drawers is The door lock is associated. The key is present to operate itone handle is lacking. The hinges to one door all have six screw apertures, the hinges to the other door have four screw apertures, therefore the hinges to one door have likely been changed. One hinge is lacking some screws. The top element of the cabinet has been cleaned/ polished perhaps a little more than adjacent sections, but appears to be original. The top left hand interior drawer is 'sticky' and may need some minor adjustment to operate easily. Some other drawers may need similar attention. The rear panel of the lining of the top left hand drawer appears associated. This drawer may have been adapted in part. Please refer to additional images for visual reference to condition. Each tray measures 55cm deep. Each drawer measures 57cm deep. Condition Report Disclaimer
VICTORIAN PAINTED TABLETOP CUPBOARD 19TH CENTURY with a single hinged door inscribed ‘THE GIRL'S SCHOOL CO. LIMITED' on a grain-painted ground; together with a PAINTED WOOD PANEL ALPHABET PRIMER, in ochre and black, 25.5cm x 31cm(28cm wide, 39cm high, 38cm deep)Footnote: Note: The Girls’ School Company was formed in 1879 by a group of Glasgow businessmen, professional men and academics, with the object of founding a school or schools for girls where they could receive a sound and liberal education. The schools they established included Park School in Glasgow and St Columba’s in Kilmacolm.
LATE GEORGIAN MAHOGANY AND INLAID LONGCASE CLOCK BY JOHN LAW, BEITH 19TH CENTURY the circular silvered brass dial with Roman and Arabic chapters, signed JOHN LAW/ BEITH, with two winding holes and a date aperture, in a chequer line inlaid case with a pierced swan neck pediment, the trunk with a shaped door with similar inlay and reeded quarter columns, on a moulded plinth base with ball feet(54cm wide, 213cm high, 26cm deep)
Bedeutender Secretaire-à-Trois-Corps - sog. "Cantourgen" Mainz, ca. 1740/50 230x130x75 cm Zweischübiges Kommodenteil auf Volutenfüßen, an den vier teils abgeschrägten Ecken fein geschnitzte, applizierte C-Bögen. Geschweifte Front und Seiten. Mittelteil sich passig nach oben verjüngend, vier seitliche Schubfächer, zentrale, aufklappbare Schreibplatte. Zweitüriger Aufsatz, an den Seiten Lisenen mit C-Bögen und korinthischen Kapitellen, schauseitig Schlagleiste, die das Lisenendekor wieder aufgreift. Kabinettausstattung mit zentraler Tür und 13 Schüben, diese zentral verriegelt über das Türfach. Bronze- und Messingbeschläge. Nussbaum, Nussbaummaser, Mooreiche, Zwetschge u.a., graviert, koloriert, teils brandschattiert. Reich intarsiert. Auf dem Kommodenteil Vogeldarstellungen auf Zweigen und Blattwerk, Bandelwerk, Blütenmotive. Die Vögel wiederholen sich auf den Türen des Oberteils, darüber vasenförmige Aufbauten mit Hibiskus-Stauden. Auf der Schreibplatte die Darstellung der Flucht nach Ägypten in einer weiten Landschaft mit Burg, Ruinenarchitektur und weiterer Figurenstaffage. L. rest., Altersspuren. Provenienz: Aus einer alten bayerischen Privatsammlung, erworben bei Hugo Ruef, 405. Kunstauktion, 25.-28. März 1981, Lot 4520, seither in Familienbesitz. Der Typus des Mainzer Schreibschrankes, "Cantourgen" genannt, abgeleitet von "Kantor" oder "Cantour", was einen Schreibtisch bzw. ein Büro bezeichnet, gilt als Höhepunkt deutscher Möbelkunst des 18. Jahrhunderts. Es entspricht auch dem lokalen Dialekt, dem "Cantour" (dem großen Büro) ein "gen", zu Hochdeutsch die Verkleinerungsform "chen" beizufügen, und so ein "Cantour-chen" ein "kleines Büro" zu benennen. Die charakteristischen stilistischen Merkmale sind u.a. die markanten, abgeschrägten und teils frei stehenden Volutenlisenen und C-Bögen an den Ecken mit den korinthischen Kapitellen sowie die reichen Intarsien aus verschiedenen Materialien. Dieser Möbeltypus galt als Meisterstück der Mainzer Tischler und die Exemplare wurden zumeist für den lokalen Adel gefertigt. Besonders ist die Tatsache, daß sich zu den hervorragenden Mainzer Möbeln aus dem 18. Jahrhundert nicht nur die Möbel als solche, sondern auch eine sehr umfangreiche Reihe von Meisterrissen der Mainzer Schreinerzunft erhalten haben, die in der Folge die Formen der Meisterstücke der Zeit zwischen 1676 und 1816 wiedergibt. Lit. Fritz Arens, Meisterrisse und Möbel der Mainzer Schreiner, Mainz 1955, Tafel 53 ff. Bekannte Mainzer Stückmeister waren u.a. Anton Ortlauff, Johann Philipp Joseph Alffter, Johann Philipp Raab, Ludwig Escher, Franz Brant oder Heinrich Härtig und Johann Valentin Brenner. In Privatbesitz sind noch verschiedene Exemplare der Cantourgen bekannt, weitere Stücke u.a. im Reiß-Museum (Mannheim), im Badischen Landesmuseum (Karlsruhe), im Hessischen Landesmuseum (Darmstadt) oder in der Eremitage (St. Petersburg). Lit. Kreisel/Himmelheber, Die Kunst des deutschen Möbels, Spätbarock und Rokoko, S. 304 ff., Abb. 1038-1045, wobei von den hier vorgestellten Exemplaren ein Schreibschrank von Kilian Bender um 1750 bzw. ein Sekretär von Johann Philipp Raab aus dem Jahr 1766 (Abb. 1038, 1041) in der Form und Volutendekoration die meisten Ähnlichkeiten zu dem hier angebotenen Stück vorweisen. Vgl. Auch Wolfgang L. Eller, Schreibmöbel 1700-1850, Abb. 96-104 sowie Heidrun Zinnkann, Meisterstücke Mainzer Möbel des 18. Jahrhunderts, Katalognr. X. Die Geschichte der einst freien Stadt Mainz (1244-1462) wurde bis zum Ende des 18. Jahrhunderts durch die Mainzer Kurfürsten und Erzbischöfe bestimmt. Dank seiner günstigen geographischen Lage am Rhein und seiner Funktion als Festungsstadt und Sitz des Kurfürsten erlebte Mainz im 17. und 18. Jahrhundert eine weitere wirtschaftliche und kulturelle Blüte, was zur Folge hatte, daß die Ansprüche und Nachfragen in Kunst und Handwerk stiegen und Mainz zu einem in vielen Bereichen führenden kulturellen Zentrum wurde. AN EXCELLENT BRONZE MOUNTED AND MARQUETRIED WALNUT, BOG OAK, PLUM AND OTHERS SECRETAIRE-A-TROIS-CORPS, SO-CALLED "CANTOURGEN", Mainz, c. 1740/50. Commode part with two drawers, ornitological and floral marquetry, with c-shaped carvings, central part with hinged writing desk, on the front a rich marquetry depicting The Flight into Egypt in a wide landscape with ruin architecture. Double leaf top with floral and ornitological marquetry, applied carved pilasters with Corinthian capitals. Rich cabinet interior with 13 drawers and central door. - Minor restorations and traces of age. Provenance: Old Bavarian Private Collection. With Hugo Ruef, Munich, 405. Kunstauktion, 25.-28. March 1981, lot 4520. In family property until today. The Mainz furniture type "Cantourgen" (a German dialect word, meaning a small office) is the highpoint of German art of furniture in the 18th century and these masterpieces have mostly been manufactured for the local nobility. Quite a lot of design illustrations from the masters of the Mainz carpenters' guild have remained until today, showing the development of this furniture type in the period from 1676 until 1816 (Cf. Fritz Arens, Meisterrisse und Möbel der Mainzer Schreiner, Mainz 1955, plate 53 ff.). Famous Mainz masters were amongst others Anton Ortlauff, Johann Philipp Joseph Alffter, Johann Philipp Raab, Ludwig Escher, Franz Brant, Heinrich Härtig and Johann Valentin Brenner. Some examples of the Cantourgen can still be found in private collections but also in museums like Reiß-Museum (Mannheim), Badisches Landesmuseum (Karlsruhe), Hessisches Landesmuseum (Darmstadt) and Eremitage Museum (St. Petersburg). Rel. Lit. Kreisel/Himmelheber, Die Kunst des deutschen Möbels, Spätbarock und Rokoko, p. 304 ff., fig. 1038-1045, whereby from this examples a bureau from Kilian Bender, c. 1750, and from Johann Philipp Raab, 1766, are most closely to the piece at hand. Cf. also Wolfgang L. Eller, Schreibmöbel 1700-1850, fig. 96-104. Heidrun Zinnkann, Meisterstücke Mainzer Möbel des 18. Jahrhunderts, Fig. X. - The history of the former Free City Mainz (1244-1462) has been shaped by the electorial princes and archbishops until late 18th ct., experienced a cultural and prosperous heyday and became a leading cultural centre.
Ebonised woodGilt and raised bronze mounts of foliage decorationBronze sculpture to door depicting a cello player and pinnacle with the Greek god HermesGilt bronze dial of Roman numbering and engraved "FIEFFÉ A PARIS"Mechanism engraved "FIEFFÉ A PARIS" to reverseStrikes hours and half hoursFrance, 18th century(minor losses, faults and unchecked mechanism)Provenance: D. Manuel de Souza e Holstein-Beck Collection, Count of Póvoa. 130x47x21,5 cm
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