A George II green japanned longcase clock, by Thomas Moore, Ipswich, mid-18th century, the case decorated with gilt chinoiseries, the caddy top with three giltwood urn finials above break arch hood with columns, the trunk with arched and moulded door, on a plinth base, the arched brass dial with silvered chapter ring with Roman and Arabic numerals, enclosing a matted dial centre with subsidiary seconds and calendar aperture, flanked by urn and scrolling foliate spandrels, the arch with silvered convex plaque signed Tho.s Moore Ipswich within dolphin and foliate spandrels, the five-pillar eight day movement striking a bell on the hour, with pendulum, brass cased weights and winder, 244cm high Please note that Roseberys do not guarantee the working order or time keeping of any timepiece. Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré. Footnotes: Note: Thomas Moore of Ipswich (Suffolk) b.1690 son of Roger Moore of Ipswich, q.v. mar.c. 1711-62 - Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, London: N.A.G. Press, 2022, p.548
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A Victorian brass and lead-framed stained glass hanging lantern, of Aesthetic style, c.1870, of rectangular form, the panels painted with flowerheads and geometric motifs, with hinged door, wired for electricity, 75cm high overallProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.It is the buyer's responsibility to ensure electrical items are professionally rewired for use. Condition Report: The arched hanging apparatus is slightly bent and the fittings to the lantern frame are slightly loose and in need of adjusting. The glass panels are all intact, the lead lining is all intact, the brass frame is tarnished. The hinged door opens with some resistance. General surface dirt present throughout. The lamp has wiring remaining from electrical conversion, but has not been tested for working capability. It is the buyer's responsibility to ensure electrical items are professionally rewired for use.
George Littlewort an early 19th century timepiece, in the manner of a male guard, the wooden case with brass face marked Royds 1 George Littlewort London, internally with enamelled dial. Height 10 cm, width 7.5 cm, depth 3 cm (see illustration). CONDITION REPORT: The brass case is in generally good order although very dirty. We can see that the dial has several hairline cracks but the pointers appear to be original. The mahogany outer case is scuffed and knocked. The rear door does prise open. The lock is present but we have no key. The movement is not operating, there appears to be a problem at least with the balance wheel.
A Georgian mahogany linen press, with detachable moulded cornice above a pair of panelled doors with applied mouldings opening to trays, the base fitted with drawers and raised on shaped bracket feet. Height 204 cm, width 128 cm, depth 60 cm. CONDITION REPORT: The press is in need of some work but in reasonably good order. The cornice is nibbled at the corners and on the top edge at the rear on both sides. The crossbanding beneath is in reasonably good condition all around but there is a small section of veneer missing on the right-hand return at the back which is approximately 4 cm square. The moulding beneath this is 50% missing on the left-hand return. The left-hand side has a crack to the timber at the rear where it joins the wall. The right-hand side is in better order with no issues. The sides to the base both have gaps between the joins and the left-hand side has a section of timber approximately 4 cm square missing towards the rear. The left-hand door has a section of mahogany missing beneath the right-hand quadrant. The doors meet in the middle as they should. The interior trays are present. The centre edging strip is partially missing. The drawer fronts are in generally good order with no missing cockbeading but the handles are later replacements and the original handle holes are visible. The bracket feet are all present, however the rear right-hand one is detached and in the drawer. The bottom section of the front right-hand foot is detached also.
A mid 20th century mahogany display cabinet, of narrow form with glazed door with three adjustable shelves above a base section with two drawers raised on bracket feet. Height 170 cm, width 57 cm, depth 37 cm. CONDITION REPORT: The cabinet is in extremely good condition. The cornice is in good order all round. The door is not warped. It locks and we have the key. There are no cracked panes of glass and all astragals and glass shelves are present. The base is in very good condition as are the bracket feet.
An antique carved wall cupboard, the door carved with mythical beasts heads and opening to an internal shelf. Height 69.5 cm, width 48 cm, depth 15 cm. CONDITION REPORT: The cabinet is structurally sound. There is a ring mark to the top shelf behind the fretwork. There are numerous small nibbles around the extremities. The sides of the piece have minor scratches. The door does not shut quite flush but is not significantly warped. All fretwork is present and there do not appear to be any breaks. The lock is present and operates. There are two repair bracing panels behind the door which are only visible when the door is open. There is no evidence of any woodworm.
A George III oak longcase clock, with 30 hour movement by Barber Winster with penny moon and dater aperture. Height 198 cm. CONDITION REPORT: We have located the weight and the pendulum. We have not had the movement running and, in our opinion, it requires an overall. The movement appears to be complete and when pressure is applied to the going train the crutch ticks away. When the hand is advanced the moon phase and date wheels appear to work also. The clock is currently not striking when manually advanced. The seat board is clearly old, and the cheeks have not been built up. The mask around the dial fits reasonably well. This suggests that the clock is not a marriage, but we cannot guarantee this. The movement clearly requires an overall. The case is quite primitive and very heavy timber. The hood mouldings are all a little loose but all present. The door is damaged at the bottom right-hand corner where the flat hinge sits. The left-hand bottom edge return moulding looks to have been replaced. The trunk door is not warped and closes as it should. The sides of the case are in good condition and the back board is original. The clock base looks to be quite short, but we cannot see any evidence of height reduction. The bottom mouldings and bracket feet appear to be original.
A late 19th century black slate and marble mantel clock, with two train movement striking on a bell and with visible brocot escapement. Height 45 cm, width 31 cm, depth 15 cm. CONDITION REPORT: The movement only winds on the going train. It does tick but not for any great length of time. There is clearly something wrong with the strike train. The centre of the dial has numerous cracks emanating from the winding apertures. The door has chips to the glass around the hinge. The rear door is present. The case is in generally good condition with only minor nibbles to the slate and marble around the extremities. There do not appear to be any pieces of metalwork missing.
A Victorian oak coin collectors cabinet, with a pair of panelled doors with brass drop handles opening to reveal forty two drawers. Height 47 cm, width 53 cm, depth 30 cm (see illustration). CONDITION REPORT: The cabinet is structurally sound and in generally very good condition. There are some minor scratches to the top surface but no series issues. The right-hand door retains the lock but we do not have a key. Neither door is warped. There is a slight gap where the two doors meet in the middle. All interior drawers are present. All brasswork is original. The only issue with the piece is that the left-hand return bottom edge moulding is missing.
A Georgian mahogany tray topped pot cupboard, with tray top and single cupboard door opening to reveal a slatted interior, raised on tapering legs of square form. Height 82 cm, width 37.5 cm, depth 33 cm. CONDITION REPORT: The cabinet is structurally sound. The top is flat without splits. The sides and rear of the piece are in good order. The door has nibbles to the cockbeading particularly around the top left corner and the left upright to the left of the handle. There are marks caused by the handle on the left-hand side also. All legs are in good condition and free from any repairs. There is no evidence of any woodworm.
A Georgian mahogany pot cupboard, with tray top above a single cupboard door and drawer raised on turned legs united by a cross stretcher. Height 82 cm, width 37 cm, depth 37 cm (see illustration). CONDITION REPORT: The bedside cabinet is structurally sound. The top is not split. The right-hand side has a stress fracture the left does not. The door is in generally good order and all brasswork is original and present. The drawer slides as it should. The legs are free from any repairs, the stretchers are original as are the castors. There is no evidence of any woodworm.
An Edwardian brass and glass panelled carriage clock, with Roman numerals and white enamel dial, signed Goldsmiths Company, 118 Regent Street London, Paris made, of substantial form with corner Corinthian columns. Height to the top of the raised handle 19 cm, sold with key and contained within original leather box. CONDITION REPORT: The glass to three sides is in good order. The glass on the rear door has some chipping to the bottom left-hand side. The metalware shows general signs of wear and tear but nothing particularly untoward. The enamel face has some cracks around the centre leading off to the number 6 which should be visible on the online photograph. The leather outer case shows signs of wear, missing leather etc. There is no glass panel for the outer case. The clock is currently ticking away nicely.
A Georgian mahogany inlaid pot cupboard, with tray top above a single cupboard door with slatted base and raised on tapering legs of square form. Height 86 cm, width 40.5 cm, depth 38 cm. CONDITION REPORT: The cabinet is structurally sound and in generally good condition. The top is not split. The sides and back of the piece are in good condition. The door is not warped and closes as it should. The handle would appear to be original. There are some minor nibbles where the handle meets the side support. All legs are in good order and free from any repairs. There is no evidence of any woodworm.
An early 20th century German oak cased mantel clock, with brass dial and two train striking movement by Winterhalder and Hofmeier, the case raised on bracket feet. Height 27 cm, width 18 cm. CONDITION REPORT: The movement winds on both trains and appears to be ticking away. It comes complete with key and pendulum. It appears to strike when manually advanced. There is a label to the rear dated January 04, presumably from when the clock was last serviced. The case is in generally good condition with no splits or cracks. The door is in good order and not warped. The silvered brass dial is in generally very good condition also. All bracket feet are present. The rear door is in good condition and the cloth lining present also.
A Georgian mahogany library bookcase, with detachable moulded cornice above a pair of glazed doors with wooden astragals enclosing adjustable shelves, the base fitted with a pair of panelled cupboard doors with plinth beneath. Height 241 cm, width 158 cm, depth 53 cm (see illustration). CONDITION REPORT: The detachable cornice is in generally good condition with only minor scratches and blemishes. The sides of the upper section are in generally good order with a few minor scratches and paint splatter marks. At the bottom of the left-hand side there are some small sections of veneer missing. The left-hand return waist upper moulding is missing. The lower moulding has a repair to the rear quarter and a small loss. The right-hand moulding is nibbled at the corners and has a small repair to the rear. The doors close reasonably flush and there is only very minor warping on the right-hand door top quarter. Each door has a broken pane of glass. The lock is present, but we do not have the key. The front edge waist moulding is in generally good condition. The cupboard doors are not warped. There are some stress fractures across the veneers. There is evidence of handles that have been removed above the lock escutcheons. The lock is present, we have the key and it is operable. The plinth is a little scuffed around the extremities. The backboards are original. We can see no evidence of any woodworm. The piece splits into three sections, cornice, upper half and base.Regards.The detachable cornice is in generally good condition with only minor scratches and blemishes. The sides of the upper section are in generally good order with a few minor scratches and paint splatter marks. At the bottom of the left-hand side there are some small sections of veneer missing. The left-hand return waist upper moulding is missing. The lower moulding has a repair to the rear quarter and a small loss. The right-hand moulding is nibbled at the corners and has a small repair to the rear. The doors close reasonably flush and there is only very minor warping on the right-hand door top quarter. Each door has a broken pane of glass. The lock is present, but we do not have the key. The front edge waist moulding is in generally good condition. The cupboard doors are not warped. There are some stress fractures across the veneers. There is evidence of handles that have been removed above the lock escutcheons. The lock is present, we have the key, and it is operable. The plinth is a little scuffed around the extremities. The backboards are original. We can see no evidence of any woodworm. The piece splits into three sections, cornice, upper half and base.
An Edwardian walnut breakfront cupboard, with quarter veneered top above a secret drawer and quarter veneered cupboard door raised on cabriole legs. Height 89 cm, width 71 cm, depth 44 cm. CONDITION REPORT: The cabinet is structurally sound. The top is quarter veneered and has some water damage to the centre which is a little discoloured and the veneer, although all present, is slightly lifting. There are some minor scratches to the top surface but nothing major. The crossbanded section beneath has an edge moulding, approximately 10 cm of this is missing on the left-hand return and 15 cm on the right-hand return. The two sections are actually present in the cabinet. The door is not warped and closes as it should. The lock is present but we do not have a key. The sides of the piece are in good condition as are all legs and the backboard. There is no evidence of any woodworm.
An early 20th century mahogany longcase clock, with three train fusee musical movement with nine gongs and musical cylinder, with Westminster Whittington and St Michael chimes, the brass dial with Arabic numerals and subsidiary seconds dial with glazed trunk door flanked by canted angles, the base raised on ogee moulded bracket feet. Height 221 cm, maximum width 42 cm, maximum depth 30 cm (see illustration). CONDITION REPORT: The clock case is in extremely good condition and of very good quality. Any imperfections are minor. The left-hand side fretwork panel has a small section detached which is taped into place. There is a small nick to the right-hand side of the arch on the hood and minor blemishes around the keyhole. Neither door is warped. All weights and gongs are present and we have the winder and top finial. The movement winds on all three trains and seems to chime and strike when manually advanced. The dial is in extremely good clean condition. The movement is currently ticking away. Clearly, we cannot give any guarantee that the clock is running and striking absolutely correctly, but it would seem that this is the case. The clock has come to us from a good local estate.
A Georgian mahogany tray top bedside cabinet, with pair of cupboard doors and drawer to base. Height 79 cm, width 56 cm, depth 48 cm. CONDITION REPORT: The top has a split running from the left-hand nearly the full length. There are also age-related marks, stains etc. The right-hand side has several splits, water stains and fading. There are also similar marks to the left-hand side and to the front. The left-hand door has some sections of veneer missing and cracked. The same cracking is evident on the right-hand drawer.
A tortoiseshell table cabinet, 19th century, the pair of glazed doors opening to reveal three drawers within28 x 31 x 22.5cmOverall in good condition, noting a number of minor shrinkage cracks and small veneer losses, these do not detract from the overall appearance. A small chip to the inside lower edge of the right-hand door, some sun bleaching, particularly to right-hand side.
A 'rocking ship' automaton mahogany longcase clock, 18th century and later cased, the 30cm brass dial signed 'Jno. Dison St Ives' with painted backdrop to the arch, seconds dial and date aperture, silvered chapter ring, Rococo spandrels, 8 day 5 pillar movement, with arched top hood and trunk door, upon ogee feet 216cm highlacking a hood side column
A walnut longcase clock, early 18th century, the 12inch (30.5cm) brass dial signed 'Jos Bland, London' to a boss in the arch flanked by dolphin mounts, 5 pillar movement, mask spandrels, silvered chapter ring, seconds dial and date aperture with ringed winding holes, the caddy top hood with line inlaid frieze, the breakarch top trunk door and rectangular base with similar line inlay220cm highSee extra imagesMultiple areas of repaired and replacment moulding, especially around the arched door of the case and hoodHoods left column is slightly loose, various lifting and splitting to the veneerMechanism untested, assume it needs a full service, back board behind the mechanism has added vertical strips to the flanks Dial has multiple areas cleaning residue build up to the decoration
A mahogany dome top mantel clock, 19th century, the painted dial signed 'Saml. Shortman, Newnham', Roman numerals, twin fusee movement with bell strike, side ring handles above arched brass scale fret panels, on ball feet 43cm highdial probably retouched/repainted. The front glass bezel hinge is weak. Movement not tested and stops after a few minutes so probably needs attention. A few age age marks to case. Old damage noted to rear door.
An Italian painted and parcel gilt cupboard, probably 18th century and later, with a single panelled door decorated with saints and angels in the Renaissance style198 x 89 x 43cmNew internal shelves and brackets, a later lock.interior is lined in brown silk velvet which has perished on the base of the cupboard.Signs of paint loss, over painting, over gilding, with some loose pieces in need of consolidation. Old worm damage. Splitting to the door panel. Base seems to be replaced. Painting to inside of the door seems to be later.Surface scratches please see further images.
A late George III mahogany longcase clock, early 19th century, the pagoda top hood with gilt brass Corinthian capped columns flanking the painted 12inch (30.5cm) dial signed 'Thos Whitaker, Thorne', a moonphase disc to the arch above strawberry and flower spandrels, seconds dial and date aperture, 8 day movement, break arch trunk door flanked by similarly capped quarter pilasters, upon a rectangular base and ogee bracket feet 234cm highIt has been workingHood cleaned off and part re-stained. attractive dial, possibly extra height added to the base panel as timber differsLater fret in the pagodaSee images
An imposing Edwardian mahogany and gilt metal mounted chiming table clock, the stepped pediment with 5 pineapple finials, arched gilt brass dial with 3 small subsidiaries for chime setting and regulation, silvered chapter ring, Rococo style spandrels, all flanked by fluted columns, rectangular pierced gilt side fret panels, three train fusee movement chiming on 8 bells and striking on a gong 65cm high, 40cm wide Assume the mechanism will need a full servicethe case has no major damage just some minor wear consistent with age and use.Minor knocks to the extremetiesFront door has splitting to the veneer around the glazed archBack door slighly warped and sits slightly proud, fabric has a single small hole,the side fabric is a later replacementGilt metal mounts very rubbed, some finials sitting at a slight angleSee images
A George III mahogany chiming longcase clock, with later adaption for a three train movement, the hood with shaped cresting and three ball finials above 12inch (30.5cm) brass dial signed 'Jno Stripe, Chichester' to the silvered chapter ring, Victorian movement with chime on 8 bells / 4 bells dial to the added arch, subsidiary seconds dial, mask spandrels, trunk with breakarch door flanked by brass capped stop-fluted quarter pilasters on a stepped base with bracket feet 237cm high226cm high without central finial, Three weights presentSee imagesGoing train line is caught up and not able to test it, but strikes and chimes on eight bells apparently ok. Movement rather dirty inside, bells need tuning or securing properlyWe suggest it will need a professional service. Sold as seen from a deceased estateHood finials loose, repairs and patches to plinth base
A mahogany bracket clock, early 19th century, single pad top arched case with carrying handle, white dial (retouched) marked 'Perigal, London', shaped hands, Roman numerals and Arabic minutes, bell striking fusee movement, pull repeat cord, rectangular brass scale side frets, on brass ogee feet36cm high, 28cm wideThe rear door-lock is loose. Ther front door lock does not secure properly. Seems to work, but not tested for duration.
A French Boulle type mantel clock, 19th century, the waisted case with gilt dial and applied enamel numerals, bell striking countwheel movement, a glazed panel below, ebonised reverse of case, on scroll feet 39cm highAssume mechanism will need a full servicethe glazed door has dropped slightlyMinor knocks to the case, metal mounts rubbedVarious lifting to the brass inlay and multiple losses to the turtleshellSee images
Manner of Jan van Os Still life of flowers on a stone ledge oil on canvas 75 x 56cm Provenance: Cheffins, Cambridge, Beyond the Green Baize Door - The Collection of Professor Sir Albert Richardson, 27 November 2013, when acquired by the present owner The painting is executed in oil on a fine weave canvas support which is unlined. The canvas tension is slack. The paint layers show some textural phenomena related to the drying of the paint film including wrinkling and some uneven texture. Drying cracks have also formed revealing the white ground layer below. In some areas the ground layer has also cracked and is lifting away from the canvas support below. There is a thin varnish layer present which has yellowed with age.
A Regency rosewood and brass inlaid side cabinet, the rectangular top with gadrooned edge over two frieze drawers and pair of cupboard doors with linen backed brass trellis91 x 104.5 x 34cmKnocks, indents and marks to the top, some discoloured marks to the right side, evidence of holes to the back edge of the top, most likely had a superstructure which has been removedDoor with modern magnet added pads, right door has dropped lower than the otherShelf interior is a recent installmentGeneral knocks and some minor splitting to the veneerLeft panel with a minor vertical dry crackSee images
A walnut longcase clock, second quarter 18th century, the 12inch (30.5cm) brass dial signed 'Martin Jackson, London' to the centre, with pendulum regulation dial to the arch, silvered chapter ring and seconds dial, strike/silent lever above XII, date aperture, mask spandrels, 5 pillar movement, the rectangular trunk door with lenticle, the base with shaped skirting230cm highHood surface is very shiny, Appears to strike correctly, Pendulum supplied but currently broken, bob detached, cam mechanism may need attentionWe havent had it running but we have two non-original weightsNo packing under seat board, patching to some veneers and mouldings, skirting replacedLater trunk lock, hinges probably old replacements, no keyDeceased estate vendor, removed from storage
A Regency rosewood table cabinet, the hinged sarcophagus top opening to reveal fitted jewellery tray, above a pair of gilt tooled leather lined cupboard doors enclosing four graduated drawers within, the bottom drawer with leather writing slope, raised on shaped bun feet36 x 34 x 27cmIn generally good overall condition, some sun bleaching and minor veneer blistering to right hand side, a very small veneer chip to back left corner of top surface. Some tearing to the tooled leather within the lid, general scuffs and marks commensurate with age, silk drawer linings a little dusty, a small split by lock on right hand door.
A mahogany longcase clock, circa 1800, the hood with swanneck pediment and painted 12inch (30.5cm) one piece arched dial signed 'Bancroft Scarbrough', with floral spandrels, seconds and calendar dials, 4 pillar 8 day movement, the breakarch trunk door above rectangular plinth base with shaped skirting 230cm highDial with chipping to the paintwork and minor craqueleuer, possible re-touchingCase with general wear, most noticably to the lower thirdArched case door slightly warped so protrudes out at the top, two dry cracks left and right of the top of the doorMechanism untested, see images
Joseph Mallord William Turner RA (1775-1851) The Entrance to Bishop Vaughan's Chapel, St David's Cathedral, Wales signed and inscribed in Turner's hand to the reverse 'Bishops [sic] Vaughan Chapel St David's Cathedral / W Turner' watercolour 32.5 x 24.5cm Provenance: A Suffolk country house collection since at least 1990 The present, hitherto unrecorded, composition draws upon Turner’s 1795 tour of South Wales and is the only fully worked up watercolour of St David’s, Pembrokeshire. His South Wales Sketchbook (Turner Bequest XXVI) includes four architectural studies which relate to his visit to St David’s, two of which are inscribed with Turner’s own title in his hand – St David’s: Part of the Ruins of the Bishop's Palace (folio 35); “Bishops [sic] Throne, St Davids Cathedral ” (folio 36); “Bishops Vaughan [sic] Chapel “ (folio 37) and St David’s: Porch of the Great Hall of the Bishop’s Palace (folio 40). The itinerary of Turner’s summer tour of 1795 is transcribed in another hand on the inside front cover and first two flyleaves of the sketchbook and details his journey starting at Wells, Somerset, making his way to Wales and visiting Picton Castle just before St David’s. Setting out from Haverfordwest, Turner travelled ’36 miles and back’ and disappointingly noted in his own hand ‘no inn ‘ (ibid, first flyleaf verso, p. 3 of itinerary). Judging by Turner’s own annotations which designated all places with 'good inns’ along the way with an ‘x’ (see Andrew Wilton, ‘Inscriptions by Turner and Another Hand: A Welsh Itinerary and Notes 1795 by Joseph Mallord William Turner’, catalogue entry, April 2012, in David Blayney Brown (ed.), J. M. W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012) Haverfordwest was a good place to stay which is perhaps why Turner returned there after his trip to St David’s. This watercolour is closely based on the preparatory sketch of the same subject in the South Wales Sketchbook (folio 37, 26.4 x 20.3cm, see illustration below). That sketch which Turner himself inscribed with the title “Bishops Vaughan [sic] Chapel “ in the bottom right corner is similarly inscribed as the present watercolour on the verso “Bishops Vaughan [sic] Chapel St David’s Cathedral ” (see illustration below). The view, in fact, depicts the entrance to Bishop Vaughan’s Chapel with the ruins of St Mary’s Chapel in the left foreground. The chapel was built in 1509 for Edward Vaughan (Bishop 1509-1522) as his chantry chapel and burial place and was dedicated to the Holy Trinity, the name under which it is now known. The effigy which appears in the foreground of both works is that of John Hiot, Archdeacon of St David’s from 1400-1419. Turner depicted the intricate architectural detail with extraordinary accuracy, also recording the poor state of the building and the unroofed condition of the North Choir and Chapel Aisles as they were in 1795. The viewpoint, however, that he chose is taken from the North Chapel Aisle and so attests to Turner’s imaginative use of lighting and perspective as the small door to the right would, in fact, be invisible from this angle. The present watercolour epitomises Turner’s early architectural drawing and was almost certainly worked up from the preparatory sketch back in his London studio as a private commission for one of his patrons or friends. We are grateful to Andrew Wilton for confirming the attribution first hand and for his assistance with this catalogue entry. Watercolour with pencil underdrawing on laid paper watermarked J Whatman. Watermark is visible under raking light. On paste board, in a modern acid free mount. Hinged at the top with tape. Had previously been stuck down onto another support. 12 blobs of animal based adhesive to verso. Faint graphite marks to the reverse. A tiny tear on the left hand side about third way up from the bottom. A little tear on the right hand side, third of the way down. A fracture in top right corner. Creases in bottom left and right corners. Faint polishing marks seen in reflected light inside the arch and in bottom left corner. A small abrasion inside the arch on the right hand side. Area of discolouration in the sky across most of the top edge. Insect damage near the centre of top edge. Small brown spots of foxing visible in the sky. Paper little discoloured, but colours are good. Under raking light 5 tiny spots of mould visible mostly in the bottom half. Slight dents along the right edge. Indentation near top left corner. Wetransfer link for high resolution images: https://we.tl/t-DxHWxadHla
A southern Italian ebony, ivory and bone inlaid table cabinet on stand, 17th century, the central pedimented door flanked by a pair of columns concealing three hidden drawers, further surrounded by an arrangement of seven drawers, six decorated with twelve engraved panels strengthened with ink depicting scenes of hunting and pastoral life, with further engraved panels to the sides and top, on a later oak 18th century stand with barley twist legs united by a stretcher 37 x 77.5 x 30cm - the cabinet 106 x 81 x 32cm - with stand This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate Ref. No. 34RXETE3 Dryness in appearance to top with some veneers lifting, some small areas of loss of veneers overall, one drawer knob missing together with supporting vertical veneer, lock escutcheon missing as well as foot of columns, loss of one knob to interior drawer, some areas of replacement to engraved pictorial panels
A mahogany longcase clock, early 19th century, the restored arched moulded top hood with blind fret frieze above 32.5cm brass dial signed above the arch 'Jonathan Lees, Bury', moonphase disc above silvered chapter ring, mask spandrels and engraved centre, date aperture below, trunk with lancet top door, upon a rectangular plinth base 233cm high the entire front aspect to the hood looks 20th century construction The clock has not been running, attractive dial and trunk
William Tickle, Newcastle: A Georgian mahogany longcase clock, the brass roman dial with silvered chapter ring and centre, also with inner calender date markers and pointer, two train movement with anchor escapement, the hood with pierced frieze above glazed door and flanked by classical columns, arched waist door with inlaid shell motif, on a panel base and splayed bracket feet, 39 x 24 x 230 high, comes with key, pendulum and weights.
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235346 item(s)/page