John Norcot, London – Fine walnut and seaweed marquetry eight-day brass dial longcase clock, 11-inch brass dial with signed silvered Roman chapter ring with half hour divisions, inner quarter hour track, matted centre with subsidiary seconds ring over ringed winding arbors and silvered terrestrial calendar square with engraved surround, all within winged cherub mask spandrels, the knopped five-pillar movement striking on a bell, the case with caddy top, pierced frieze and barley twist hood column over crossgrain-moulded long trunk door with lenticle over conforming base, 215cm high
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Oak aumbry, in the English manner of circa 1500, of three registers, the uppermost with pierced roundel to door flanked by quatrefoils and eagle, central register of three twin wheel panels, lower with pierced eagle to door between further rondels, the sides four-panelled, 136cm x 51cm x 123cm highFormer collection of C.K. Binns and William H. Stokes, Cold Overton Hall, RutlandEx Huntington Antiques, sold as ‘Most rare late 15th/early 16th Century gothic oak standing cupboard’
Late 19th Century walnut-cased 'Polyphon Automatic Musical Instrument', Peters, Leipzig, the 16.5cm double comb on gilt metal bed-plate, playing toothed 39.5cm / 15.5in discs, the case with architectural pediment over silvered plaque 'Polyphon Automatic Musical Instrument Made in Liepsic', over glazed door with scroll fretwork decoration framing cast lyre motif, the lockable coin drawer to base raised upon flattened bun feet, the right side with fiurther silvered plaque 'Drop a Penny in the Slot / Peters - Leipzig', above cast coin slot over winding arbor for the crank handle, overall 59.5cm x 32cm x 92cm high, the lower section housing a selection of discs, behind hinged front, a further 71cm x 41.5cm x 84cm high, in total 176cm high, sold with 37 assorted polyphon discs
Early 19th Century mahogany cased 8-day painted dial longcase clock, Mallett, Barnstaple, circa 1825, 13-inch signed circular Roman dial, knopped four-pillar movement rack-striking on a bell, the case with three brass ball and spire finials to the arched canted hood, with brass bezel, over moulded figured trunk door on plain base and plinth, 230cm high, sold with two weights, pendulum and key
Early 19th Century inlaid mahogany cased 8-day brass dial longcase clock - Richard Hornby, Oldham, circa 1825, 13-inch break-arched dial, the silvered chapter ring with Roman hours, Arabic minutes, foliate half hour divisions and inner quarter hour track, framing an engraved diaperwork centre with subsidiary seconds ring and terrestrial calendar square, within baroque mask spandrels, the arch with signed silvered strip over rolling moon phase and engraved hemispheres, the knopped four-pillar movement rack-striking on a bell, the case with gilt ball and spire finials, reeded hood columns and trunk quarter columns, boxwood-strung trunk door and canted base, on ogee bracket feet, 251cm high, sold with two weights, pendulum and winder
Impressive early 17th Century oak press cupboard, Flemish, circa 1600, the gadrooned frieze over a pair of triple-panelled door each decorated with exotic figures wearing headdresses, between stiff leaf tapering pilasters, the lower register of five panels, a further four to each side all carved with masks or geometric decoration, the whole enclosing hanging space, 203cm x 68cm x 193cm high
Elliot London Retailer Garrard & Co. Ltd 112 Regent St. London, C20th mahogany mantle clock, square bevel edged glazed door, enclosing signed brass dial, with applied silvered chapter ring and gilt metal spandrels, signed two-train movement striking on hour and half hour on a bell, H20.5cm W18.5cm D10cm(Clock is currently running)
GEORGE III SCOTTISH WEST COAST MAHOGANY LONGCASE CLOCK THOMAS STOBO OF STRATHAVEN, LATE 19TH/EARLY 20TH CENTURY three train eight day movement, the engraved brass dial with silvered Roman and Arabic numeral chapter ring, subsidiary seconds dial, pierced spandrels, maker's plaque to lunette, with triple orb and spike finials over moulded swan neck pediment and blind fret frieze, the trunk and base with later outline and later Art Nouveau stylised detail to door, pad feet
Jack Butler Yeats RHA (1871-1957)I Will Not Sit on the Grass, She SaidIndian ink and watercolour, 11.3 x 15cm (4½ x 6")SignedProvenance: With the Dawson Gallery, Dublin; Sale, Sotheby's London 10/06/81, Lot 158, where purchased by the present owner.Jack B. Yeats produced his greatest volume of watercolour work during a period (c. 1897-1910) when he was also very active as a cartoonist and illustrator. So, as much as the eye is drawn to the vivid application of finely judged colour, it is the boldness of line, the clarity in the rendering, and occasionally also the humour, that characterizes much of this collection. The skills of draughtsmanship which he undoubtedly possessed had been honed, without tuition, during the hours of obsessive sketching and doodling with which he had occupied himself from an early age. He excelled as a black-and-white artist, and producer of fine watercolours and drawings, during the period that preceded his entry into the world of oil painting with which he is more commonly associated (though he would continue to produce work in all these areas for many years). He was living in England, the country of his birth, throughout this time, and one can detect traces of some of the great English graphic artists, such as George Cruikshank and Phil May, though he evolved an idiosyncratic and recognizable style all his own from early on. A hint of the bizarre, suggestive of Francisco Goya or James Ensor, add a mysterious flavour to works such as the wonderful pencil and watercolour piece, Blue Jackets in Fancy Dress, also known as Men-o-Wars in Fancy Dress (Costume),(Lot 52) which depicts an unusual group of figures ascending a quayside ladder in Dartmouth.There were regular trips back to Ireland, and in dozens of compact sketchbooks he documented the characters and incidents of small-town life, many related to fairgrounds and to horse racing. Hilary Pyle tells us that these sketches, themselves often in ink and watercolour, would form the basis of larger works completed at home in his Devon hideaway, Cashlauna Shelmiddy. Losing nothing in the transition, the finished works retain the spontaneity and raw spark of the quickly rendered sketchbook drawings. Horses appear in a number of the pictures in this collection (The Race (Lot 47); The Baker Rode a Pie-Bald (Lot 51)), and they would be central to his art throughout his life. They could function metaphorically, particularly in the later work, but Yeats could also be more direct in his celebration of their sheer physicality, power, and speed. He was equally fascinated by the enigmatic riders, steely-eyed protagonists in many drawings and paintings, and by the bustle of the social worlds in which they moved. The beautifully observed pen and ink drawing of The Crown and Anchor Man (Lot 48) is typical of the unique characters- the street performers and race day vendors, circus and fairground entertainers- to whom Yeats was repeatedly drawn during this period.Yeats’s first solo exhibition of watercolour sketches, the majority of which were executed in Devon, was held at the Clifford Gallery in London in 1897. In 1899 he held another exhibition of his work, titled “Sketches of Life in the West of Ireland,” at the Walker Art Gallery, again in London, repeated later that year at Leinster Hall in Dublin. Throughout this period Yeats alternated between galleries in these two cities, averaging one solo show annually up to 1914. He subscribed to a press cuttings agency- Romeike and Curtice of the Strand- and pasted his notices and reviews into a scrapbook, which attests to the largely positive response that his watercolour work received at the time. A critic for the Daily Express, on visiting the first Dublin show, wrote that “(n)o one, it seems to us, has studied the humbler side of Irish life with such insight and intelligence, and certainly no Irish artist has ever given us so graceful and fresh a representation of its pathos and humour.” Commenting on another Dublin exhibition two years later, a reviewer for the United Irishman remarks, with some prescience, that “these pictures will some day be looked upon as important historical records.” Indeed there is an almost documentary approach to many of his subjects, unsurprising given the journalistic collaborations with J.M. Synge that saw them render, in prose and illustration, the rawness of life in Mayo and Connemara for the Manchester Guardian in 1905. Yeats would return again and again to the rural sites of sporting competition and public entertainment, often with an eye for the onlookers, as in the busy and endlessly appealing composition of A Good Winner (Lot 50). Many works from this period combine observation from real life with the mischievous caricatural twist that typified much of the material he was also producing for the humour periodicals and early comics. The suggestion of gently ribald comedy in I will not sit on the grass, she said (Lot 46) exemplifies the playful interplay between caption and image that Yeats imported into the art gallery from those popular contexts. The strong outlines and striking compositions evident in these pieces, for example Figure of a Young Woman in a Landscape (Lot 53) and Beggar at the Door (Lot 49), also recall the well-known drawings that appeared in printed form in the series A Broad Sheet (1902-03) and later A Broadside (1908-1915) published respectively in London by Elkin Mathews and in Dublin by Dun Emer/Cuala Press.Michael Connerty, April 2023Lit: Hilary Pyle. Jack B. Yeats- His Watercolours, Drawings and Pastels. Dublin: Irish Academic Press. 1992
Mixed metalware to include a contemporary wire frame starburst wall clock, three brass door knockers, two baglight chandeliers A/F, and other items to include a mother of peal inlaid cross and a Japanese tri folding screen together with mixed Sylvac planters and bone china posies of flowers. Location:R1.1+R1.2
Pentangle / Bert Jansch Signed LPs, Open The Door LP - with signatures to the rear of Terry Cox, Bert Jansch, Jacqui McShee, Mike Pigott and one other (possible Nigel Smith who replaced Danny Thompson on the tour) and Bert Jansch - From The Outside with Bert Jansch signature to the rear - both in Excellent condition
Led Zeppelin / Solo LPs, fifteen albums by Led Zeppelin and Solo Members comprising Led Zeppelin II, III, IV (all Green / Orange labels), Presence, In Through The Out Door (In Bag - 'E' sleeve), Coda, Now & Zen, The Principal Of Moments, Shaken & Stirred, Pictures At Eleven , The Firm, Mean Business, Outrider, Death Wish II and Scream For Help - various years and conditions but largely Excellent
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