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Click here to subscribeGOOD QUALITY EARLY NINETEENTH CENTURY CARVED AND FIGURED MAHOGANY WEIGHT DRIVEN ""ACT OF PARLIAMENT"" WALL CLOCK, signed K.D. Sykes, Manchester, the 13"" painted roman dial with subsidiary seconds dial, polished by an eight day movement striking on a bell, housed in a moulded drum top case over a glazed trunk door, flanked by chamferred forecorners and sloping foot, 60"" (152.5cm) high
LATE EIGHTEENTH CENTURY OAK AND CROSSBANDED MAHOGANY LONGCASE COCK, with rolling moon phase, signed James Joyce, Whitchurch, the 12"" painted dial with subsidiary seconds dial, date aperture, gilt scrolled spandrels and rolling moonphase to the arch, powered by an eight day movement striking on a bell, housed in a case with swan neck pediment, three gilt metal eagle and ball finials and brass capped free standing fluted columns, over a long trunk door with shaped top, flanked by fluted quarter columns and raised on a panelled base with fluted and chamferred fore corners and ogee bracket feet, 89"" 226cm) high
EARLY EIGHTEENTH CENTURY YEWWOOD AND STAINED BEECH LONGCASE CLOCK, signed Peter Stretch, Leek, the 12"" brass dial with silvered chapter ring, angelic mask spandrels and subsidiary seconds dial and date aperture to the matted centre, powered by an eight day movement striking on a bell, housed in a flat top case with scroll carved and part glazed frieze and barley twist fore columns, over a long trunk door with bulls eye glass and raised on a plain base with deep plinth, 82 1/4"" (209cm) high
EARLY NINETEENTH CENTURY FLAME CUT MAHOGANY LONGCASE CLOCK, signed Grant, Fleet Street, London, the 12"" silvered dial with subsidiary date and seconds dials to the centre and strike/silent dial to the arch, powered by and eight day movement striking on a bell, housed in a pagoda topped case, with scroll pierced panel and pair of flame finials, above stop fluted free standing columns and long trunk door with arch top, raised on a panelled base with shaped plinth, 92 1/2"" (235cm)
WARMINK, MODERN BURR WALNUTWOOD GRANDMOTHER CLOCK, the 7 3/4"" brass dial with silver chapter ring, figural spandrels, matted centre ad rolling moon phase to the arch, powered by a three weight movement striking on eight rods, housed in an arch top case with brass finials scroll pierced frieze and frets and gilt mounted, ebonised fore columns, over a long trunk door and raised on a bombe shaped base with chamferred fore columns and scroll feet, 77 1/2"" (196.9cm) high
LATE EIGHTEENTH CENTURY FIGURED MAHOGANY LONGCASE CLOCK with rolling moonphase, signed Thomas Williams, Preston, the 13"" brass dial with subsidiary seconds dial and date aperture to the matted and floral engraved centre, angelic mask spandrels and rolling moonphase to the arch, signed, powered by an eight day movement striking on a bell, housed in a flat top case with swan neck pediment above a pair of red tinted glass panels and pair of brass capped free standing fluted fore columns, over a flame cut long trunk door with shaped top, flanked by fluted quarter columns and raised on a conforming panelled base with shallow plinth, 89"" (226cm) high
EARLY 19th CENTURY OAK AND MAHOGANY LONGCASE CLOCK SIGNED J. TOPHAM, NANTWICH, the 13 3/4"" painted Roman dial with shell spandrels and subsidiary seconds dial and date aperture to the centre, powered by an 8 day movement striking on a bell, housed in a case with swan neck pediment, eagle and ball brass finials and part-fluted free standing square section fore columns, over a long trunk door with shaped top flanked by fluted panels and raised on a conforming base with moulded plinth, 85 1/2"" (217.2cm) high
A GOOD GEORGE III LANCASHIRE MAHOGANY LONG CASE CLOCK, the eight day movement striking on a bell with painted arched dial inscribed `G. Monks, Prescot`, with moon-phase and sweep seconds and calendar hands, the spandrels emblematic of the seasons, the case of good colour and attractive presentation with swan-neck pediment to the hood inset with South Staffordshire enamel roundels and painted glass tablets, brass corinthian capitals with fluted detached pillar flanking the door, the trunk with fluted quadrant forecorners with canted corners to the base, standing on ogee bracket feet, 94 1/4"" (240cm) high
LATE EIGHTEENTH CENTURY OAK AND MAHOGANY LONGCASE CLOCK, with rolling moon phase, the 13"" square painted dial with fruit and flower spandrels and date aperture and rolling moon aperture to the floral painted centre, powered by a 30 hour movement striking on a bell and housed in a case with swan neck pediment, eagle and ball brass finials and brass capped free standing columns, over a long trunk door with shaped top, flanked by quarter columns and raised on a plain base with shaped plinth, 89"" (226cm) high (a.f.)
LATE EIGHTEENTH CENTURY OAK AND MAHOGANY CROSSBANDED LONGCASE CLOCK, signed John Dumvile, Alderley, the 12"" silvered dial with brass angelic mask spandrels and subsidiary seconds and date dials to the centre, powered by an eight day movement striking on a bell, housed in a flat top case with three brass ball and spike finials and brass capped free standing, fluted fore columns, over a long trunk door with shaped top, flanked by fluted quarter columns and raised on a plain base with ogee bracket feet, 83 1/2"" (212.6cm) high
LATE EIGHTEENTH CENTURY OAK AND MAHOGANY CROSSBANDED LONGCASE CLOCK, signed Holliwell, Derby, the 13"" painted circular dial with date aperture to the floral painted centre, powered by a thirty hour movement striking on a bell, hosed in a case with swan neck pediment, brass eagle and ball finial, circular glazed aperture to the door and brass capped freestanding fluted fore columns, over a long trunk door with shaped top, flanked by fluted quarter columns and raised on an associated stepped base, 85 1/2"" (217.2cm) high
EIGHTEENTH CENTURY CARVED OBLONG LONGCASE COCK, signed Baker, Appleby, the 12"" brass dial with silvered chapter ring, signed, scroll and shell pierced spandrels and matted, centre with subsidiary seconds dial and date aperture, powered by an eight day movement and housed in a heavily carved flat top case, the cornice inscribed `Time and Tide Wait for No Man`, above free standing fore columns and long trunk door with figural and heraldic crest carvings and the inscriptions;` William and Mary`, `Ales Volat Propriis`, ` Thomas Earl, Catherine Countess of Thanes, 1692`, on a conforming base with sunburst carved central medallion, 84 3/4"" (215.4cm) high, later carving and possibly lacking feet
MODERN REPRODUCTION OAK TAVERN CLOCK, signed Pattison and Son. Thirsk, the 23"" enamelled Roman dial, powered by a single fusee movement and housed in a case with moulded surround and short trunk door above a curved foot, 51 1/2"" (130.8cm) high, 28 1/2"" (72.5cm) diameter, supplied with original receipt dated May 27 (19) 95
19th CENTURY FRENCH STYLE POST-WAR CARVED BLONDWOOD VITRINE with pierced pediment over bow fronted framed and glazed centre door with bowed glass side panels each with panel below having floral marquetry inlay to dark stained shaped oblong reserve, all raised on scroll supports with volute scroll feet, 6`2"" (188cm) high x 3`2"" (96.5cm) wide
A substantial oak triple wardrobe, the central door mirrored, the three-panel end doors with stylised floral mouldings, the left section with brass rail and sliding pegs, the right with four open linen drawers over three closed drawers with flush brass bracket handles, cornice and scrolled pediment, standing on an enclosed base, early 20th century (h230cm w188cm d54cm)
Oak two-door corner cupboard with a deep cornice over band of geometric inlay, the frieze with arrow and ball inlay, the doors banded with mahogany and each with two rectangles of ebony and boxwood stringing, enclosing three shelves with green stained interior, probably early 20th century, the inlaid shield escutcheons perhaps subsequent (h 112 cm w 86 cm d 50 cm) key in office
A Huanghuali Veneered Altar Coffer The three-board top set into a mitered, mortise and tenoned frame with everted flanges, over shaped spandrels flanking three drawers above a double door. 19th Century 34 1/2 x 63 x 23 1/8 inches (87.6 x 160 x 58.7 cm) approximately Provenance:Walnut Creek Estate. [Overall wear, repairs] Starting Bid: $7500
1981 LANCIA Montecarlo Découvrable Série 2 Châss is n° 5392 Moteur à bloc en fonte et culasse en aluminium de 1995cm3 Un carburateur double-corps Weber 34 120ch à 6000 trs/min et 17.4mkg à 3400 trs/min Matching numbers 541 exemplaires construits 200 encore en circulation (estimation Road&Track) Carte grise française Lancée au salon de Genève de 1975 la Beta Montecarlo émanait dun dessin de Pininfarina. Les traits étaient inspirés des études Abarth O30 et Fiat X1/8 (X1/20I) . On retrouve le 4 cylindres bien connu de 120 chevaux mis au point par le fameux Aurelio Lampredi couplé à une transmission à 5 vitesses bien guidée et étagée. Adulée pour son comportement routier par la presse de lépoque elle était disponible en coupé ou en version découvrable comme la nôtre. Après un arrêt de la production de 2 ans afin de mettre au point un freinage largement décrié la 2ème série commercialisée à partir de 1980 est reconnaissable par sa nouvelle calandre ses rétroviseurs et ses jantes tandis que le poids faisait une chute de quelques 70 kilos. La Montecarlo présentée aujourdhui est en parfait état quil sagisse de son état cosmétique que mécanique. Les bas de porte de caisse bac à batterie passage de roue tourelles damortisseurs sont exempts de rouille nous avons en effet près de 4 000 de facture récentes dont certaines proviennent de la carrosserie Lecoq. Le pare-brise est neuf de même que les 4 Pirellis. Accompagnée de son rare toit amovible (en option) à double bulle type Zagato comme on pouvait le trouver sur les 037 elle dispose également de sa roue de secours sa trousse à outils et son manuel dentretien original. Une prise de compression récente révèle un moteur en parfaite santé ce quaura pu confirmer notre essai routier. Agréable à mener sur les petites routes sinueuses la Montecarlo est la parfaite représentante des petites bombes Italiennes que les connaisseurs sarrachent aujourdhui. Les problèmes électriques et la corrosion étant leur bête noire cette Montecarlo est à nen pas douter un des plus beaux exemplaires en Europe ! Our Montecarlo is assuredly one of the best around. In desirable open-top 2nd series it is exceptionally sound with the usual rustprone areas free of ominous corrosion or pitting. The strut towers lower sills door bottoms or battery tray are all perfectly solid. A recent compression test also revealed a very healthy powerplant and the gearbox shifts nicely and precisely. Recent bills include some from the famous Lecoq bodywork including the fitment of a new windshield and Pirelli tires front and back. It is also accompanied by its spare wheel original factory tool kit and owners manual. The optional Zagato style bubble roof is a nice feature and once removed will make this little-gem of a mid-engined sports car an absolute joy to chuck about in. Plagued with corrosion and electrical problems the Montecarlo was short-lived but is sought after today thanks to good looks.
1954 JAGUAR MkVII convertible by GHIA-Aigle Modèle unique entre les mêmes mains depuis 1977 One-off example owned since 1977 by famous marque historian Châssis n° 721420-DN Moteur n° W4853-8 Carte grise française / French title Via Regina Cernobbio 21 mai 2015. Madame et Monsieur X se promènent paisiblement le long du rivage du lac de Côme après un dîner ayant plus que satisfait leur palais d’hédonistes suivi du traditionnel Cognac. Ils sont arrivés à l’hôtel de la Villa d’Este par motoscafo qui est encore le meilleur moyen de joindre les deux rives. La nuit offre une splendide perspective de l’hôtel une magnifique villa renaissance au style baroque connue à travers le monde. Connue de tous oui mais les élus à pouvoir accéder au concours d’élégance qui s’y tient sont eux beaucoup moins nombreux. Triés sur le volet c’est à leur monture qu’ils doivent leur présence en ces jardins mythiques. Elle est la prérogative du fin du fin de la production automobile mondiale des modèles les plus en vue à l’époque et aux lignes et proportions les plus marquantes. Le couple rejoint des amis pour un gelato et une carapigna tandis que déjà les rayons lunaires chatoient des courbes signées par les plus grands couturiers de la chose automobile: Allemano Antem Ghia Touring Pinin Farina Freestone&Webb ou encore Gangloff. Une fois à l’intérieur le débat s’engage et s’oriente vite vers la Jaguar de nos deux collectionneurs. Une Jaguar unique à la Villa d’Este ? Pourrait-il s’agir d’une des deux Ghia Supersonic? De la Type C de Clemente Biondetti? De la XK120 carrossée par le belge Oblin? Ce que nous avons là Messieurs-Dames est ma Jaguar MkVII cabriolet carrossée par GHIA-Aigle de 1954”. Des regards stupéfiés se croisent de nombreux sourcils se froncent et les cognoscenti les plus avisés se tournent vers ceux restés incrédules : « Aigle le carrossier s’appelle GHIA-Aigle » Monsieur et Madame sont particulièrement fiers de pouvoir montrer leur Jaguar inconnue de la plupart des invités. C’est pour eux un grand moment qui restera à jamais un de leurs plus beaux souvenirs. Un verre de champagne à la main Monsieur s’assoit à quelques mètres de la splendide fontaine de la Rometta afin de répondre aux journalistes et de révéler son histoire. “GHIA-Aigle fut créée en 1949 par le Docteur Filippi dans la ville d’Aigle en Suisse. Initialement l’entreprise s’appelait tout simplement Aigle et fabriquait des meubles des accessoires et avait une petite activité de carrosserie attenante. Le docteur Filippi avait conclu un accord plus verbal qu’autre chose avec les dirigeants de GHIA à Turin. Le véritable tour de force de cette petite firme fut de s’assurer la collaboration de Michelotti de 1949 à 1957. Pietro Frua prendra la suite jusqu’en 1960. Un des premiers dessins de Michelotti fut un très gracile coupé 2 portes sur base de MkVII en 1952 mon cabriolet suivi en 1954. Les lignes originelles de la MkVII ont complètement disparues seuls restent les pare-chocs avant et arrière ainsi que l’entourage de la plaque d’immatriculation arrière. C’est une voiture de près de 5 mètres de long mais le génie de Michelotti est évident les dimensions bien qu’imposantes sont parfaitement maitrisées. La barrette de chrome latérale se terminant en forme de faux allège l’ensemble faisant paraître la ceinture de caisse plus basse qu’elle ne l’est. Les ailes avant viennent se prolonger par-delà les phares comme les Cadillac ou Plymouth contemporaines tandis que le traitement de la partie arrière est là aussi très américain. Le capot plongeant sous la ceinture de caisse la prise d’air sur le capot ou encore la calandre en nez de requin sont quant à eux dans le plus pur style transalpin. Cette MkVII est révélatrice d’une époque où le design américain étant à l’avant-garde de nombreux designers européens s’inspirant de leurs homologues nord-américains certains comme le français Raymond Loewy ou l’italien Giovanni Savonuzzi franchiront même l’Atlantique pour s’établir sur place. Ma voiture fut donc livrée à son premier propriétaire en 1954. C’était un chirurgien Suisse du nom de Jean Rein qui refusa de l’exposer sur le stand de GHIA Aigle au salon de Genève de 1955 ne désirant pas partager son oeuvre. Celui-ci parcouru 98 000 kilomètres à son bord et renseigna scrupuleusement ses voyages dans deux petits calepins fascinants à parcourir. Il se rendit fréquemment sur la côte d’Azur et chaque vidange était consignée. » C’est en 1977 que son propriétaire actuel s’en porta acquéreur. Un collectionneur de Jaguar et historien important de la marque celui-ci eu beaucoup de plaisir à l’utiliser. Nous en voulons pour preuve le fait qu’il organisa un rallye pour d’autres propriétaires de la marque jusqu’à Saint-Petersbourg rallye qui fut accompli avec sa fi dèle MkVII. Il l’emmènera même jusqu’au cercle polaire certainement la seule ou une des seules Jaguar à s’y être rendu !! Le Concorde la Hudson Italia les Chrysler Ghia Aston Zagato les exemples de collaborations internationales réussies ne manquent pas bien au contraire. La MkVII cabriolet par GHIA-Aigle en est la parfaite illustration et a pour mérite ce voile qui pendant les 37 dernières années l’a tenu loin des yeux des collectionneurs internationaux. Elle sera le parfait ticket d’entrée aux plus prestigieux événements de ce fabuleux univers de la collection automobile. Monsieur et Madame X c’est vous ! Via Regina Cernobbio May 21st 2015. Mr and Mrs Yourself are leisurely strolling along the shores of Lake Como after a satisfying dinner and their usual cognac nightcap. Having arrived by motoscafo from the other side of the lake earlier in the day night time offers a different but no less stunning perspective of the Renaissance Villa in which they are housed. They meet up with other friends for a gelato and a carapigna while a stone’s throw away the moon’s rays beam down on some of the world’s most gorgeous and coveted sculptures on wheels. The hot topic is about Mr Yourself’s Jaguar. A Jaguar special at Villa d’Este could it be a Ghia Supersonic? No I’m afraid it’s something even rarer! A game of trivia is being played on the guest as Mrs Yourself turns down guess after guess: the Biondetti C-type? No… The XK120 bodied by Oblin? No… “What we have here then… ladies and gentlemen is my 1954 Ghia-Aigle Jaguar MkVII convertible. Startled looks are exchanged nonplussed as they are the more knowledgeable of the guests turn to their friends and offer the missing piece of information that few have caught . “Aigle Ghia-Aigle is the name of the coachbuilder”. The Yourselves are proud to exhibit a car that few know of and fewer still have seen. It’s a rare privilege for all those present at the Villa d’Este and its owners will long remember this instant as one of their “lifetime milestones”. A glass of champagne in the hand Mr Yourself sits down by the Rometta fountain to fi eld a few questions from the press and shed some light on his car’s history. “Ghia-Aigle was created in 1949 by Dr Filippi in the town of Aigle Switzerland. Its fi rst name was simply Aigle and it manufactured furniture accessories for caravans and had a small body bodyshop as a side-activity. Dottore Filippi had struck a verbal deal with Ghia of Turin to use their name although funnily enough no written agreement was ever signed! This small Swiss bodywork ‘s tour de force was in getting Giovanni Michelotti onboard from 1949 to 1957 who was then followed by Pietro Frua until 1960. One of Michelotti’s fi rst designs was a 2 door coupé on a Mk 7 châssis in 1952 and my convertible followed in 1954. My car was delivered in 1954 to its fi rst owner a Swiss surgeon who refused to display it on Ghia-Aigle’s stand at the 1955 Geneva Motor Show! Very little remains of the Mk7’s initial shape apart from the front and rear bumpers and the rear license plate cluster. Michelotti’s mastery of the craft
AN 18TH CENTURY CHINOISERIE LACQUER LONGCASE CLOCK, the domed hood surmounted with spherical finials above an arched glazed panel door, enclosing a brass dial inscribed 'Eardley Norton London', with pierced spandrels around a silvered chapter ring with Roman numerals and seconds subsidiary dial, the trunk and plinth base covered with birds, prunus and pagodas, with weights, key and pendulum. 247cm high
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