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A rare late 19th century French brass giant gorge-cased carriage clock with repeatRetailed by Dent, London, number 1897The ri

Bonhams

Lot 2

A rare late 19th century French brass giant gorge-cased carriage clock with repeatRetailed by Dent, London, number 1897The rippled handle over a large bevelled glass viewing panel and four further panels to a concave moulded base. The large rectangular white enamel Roman and Arabic dial with blued steel hands, signed DENT, TO THE QUEEN, 33 COCKSPUR STREET, LONDON. The substantial twin spring barrel movement with large, silvered platform escapement, half-cut bimetallic compensated balance and English lever escapement, with rack striking and repeating on a coiled blued steel gong. Ticking. 25cms (10ins) high.For further information on this lot please visit Bonhams.com

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A good and rare late 19th Century French carriage clock with three Limoges panelsNumbered 671The ribbed and block handle abov

Bonhams

Lot 24

A good and rare late 19th Century French carriage clock with three Limoges panelsNumbered 671The ribbed and block handle above a bevelled rectangular escapement observation window, the moulded top supported by four reeded Corinthian columns, the back door glazed, on a stepped base, both sides mounted with Limoges panels depicting a courtier and his falcon, to the left he stands admiring the bird; to the right he gazes towards another bird in the sky, a crossbow by his side; both costumes decorated in full colours with gilt highlights and plants beside them. The black Limoges Roman dial with gilt minute band framed by Renaissance style scrolls with enamel jewelled highlights, with gilt brass stylised beetle and poker hands over a scene depicting a small castle and herald framing the subsidiary Arabic alarm dial with brass arrow pointer. The triple spring barrel movement with silvered and jewelled English lever escapement, the back plate stamped 671 and with French winding directions, striking on a blued steel gong. 20cms (7.5ins) highThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A fine and rare late 19th Century French silvered and gilt brass carriage clock set with three Limoges enamel panelsBreguet,

Bonhams

Lot 27

A fine and rare late 19th Century French silvered and gilt brass carriage clock set with three Limoges enamel panelsBreguet, Number 3883The two-colour case with ribbed handle above a rectangular bevelled glass escapement observation window, the cornice and base both with rippled edge, on a stepped and moulded base and applied block feet. The right-hand panel depicting a nobleman in multi-coloured, iridescent Limoges enamel, seen standing in an interior, a long sword in his hand; the left-hand panel depicting a noblewoman in elaborate multi-coloured and iridescent headdress, with lavish dress, pearl necklace and peacock fan. The Limoges Roman dial with delicate white Roman numerals enclosed by a gilt minute band, iridescent floral groups to the upper corners, fleur des lys hands set over a pair of en grisaille cherubs framing a blank shield within floral garlands and gilt scrollwork. The triple spring barrel movement with silvered and jewelled English lever escapement, with half-cut and compensated bimetallic balance, the back plate stamped 2600 in the lower left corner and the top engraved Breguet No 3883 with a silvered Arabic alarm-setting dial with blued steel pointer. Striking on a blued steel gong. 20.5cms (8ins) highThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A fine and rare late 19th Century French brass grande-sonnerie striking carriage clock set with exceptional pierced brass sid

Bonhams

Lot 28

A fine and rare late 19th Century French brass grande-sonnerie striking carriage clock set with exceptional pierced brass side panelsLe Roy et fils, Paris, number 10316The foliate cast handle raised on bamboo-style uprights over a cast cornice set on elaborate Corinthian style columns to a concave-moulded base and block feet; the left-hand side panel depicting a seated pipe player within an Art Nouveau style frame enriched by climbing flowers and leaves, all off-set by a rich blue enamel ground, the left-hand side panel showing a seated woman in early 19th century dress next to an urn, again within the framework of climbing inter-twined foliage and flowers, with a bevelled glass rear door. The recessed silvered Arabic dial with blued steel hands over an alarm-setting subsidiary, both framed within an equally fine mask of entwined flowers and leaves. The triple spring barrel movement with silvered lever platform escapement striking the hours, quarters and half-hours on a pair of blued steel coiled gongs, with three-position selection lever to the underside offering a choice of strike options or silence. Signed in engraved copperplate script at the base Le Roy et fils 20cms (8ins) high. This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A fine and rare late 19th Century French blue and white enamel decorated carriage clockMargaine, number 1885. Retailed by Em

Bonhams

Lot 29

A fine and rare late 19th Century French blue and white enamel decorated carriage clockMargaine, number 1885. Retailed by Emanuel, Portsea and ParisThe case surmounted by a rippled brass and enamelled handle above a large escapement observation window, the moulded cornice, uprights, side panels and base all similarly decorated in running patterns of pairs of leaves and berries, the sides with flowers within foliate scrollwork and a shaped border. The signed white enamel Roman dial framed by an enamelled mask, and with delicate blued steel moon hands. The twin spring barrel movement with jewelled Swiss lever platform escapement, the backplate stamped Emanuel Paris at the top, and 1885 with Margaine's trademark at the bottom. Rack striking and repeating on a blued steel gong with an associated early travel case with side locking and shaped handle on a chamfered top. 19cms (7 ins) highThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A good late 19th century French gorge cased repeating carriage clock with strike/silent lever in the baseCharles Frodsham, Lo

Bonhams

Lot 3

A good late 19th century French gorge cased repeating carriage clock with strike/silent lever in the baseCharles Frodsham, London, Number 20679The ribbed handle above a large bevelled glass escapement viewing aperture, concave uprights and four bevelled glass panels on a moulded base. The underside of the base with strike/silent lever. The white enamel Roman and Arabic dial signed across the centre Chas. Frodsham 115 New Bond Street No20679 Paris with blued steel spade hands, over a subsidiary Arabic alarm dial. The three-spring barrel movement with a jewelled Swiss lever platform escapement and a cut and compensated bimetallic balance, the back plate engraved Chas Frodsham & Co Ld Paris No 20679 and stamped 36245 in the left corner. Ticking, striking, repeating and sounding the alarm on a blued steel gong. 17 cms (6.5 ins) highFor further information on this lot please visit Bonhams.com

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A good late 19th century French gilt brass gorge-cased bell-striking carriage clock set with five polychrome enamel panelsNum

Bonhams

Lot 38

A good late 19th century French gilt brass gorge-cased bell-striking carriage clock set with five polychrome enamel panelsNumbered 775The rippled handle over five enamel panels decorated in many colours, the top and side panels depicting pairs of lovers in Romantic rural landscapes, the rear door depicting a riverside scene, the Roman cartouche dial with blued steel hands over a still-life, all within fancy gilt borders of running flowerheads and foliage, framed by well cast gilt brass uprights on a moulded base, the twin spring barrel movement with compensated bimetallic balance, rack striking the hours on a bell. Ticking. 18cms (7ins) high. For further information on this lot please visit Bonhams.com

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A third quarter of the 19th century French engraved brass repeating carriage clock with alarmDrocourt, numbered 9625The engra

Bonhams

Lot 4

A third quarter of the 19th century French engraved brass repeating carriage clock with alarmDrocourt, numbered 9625The engraved handle above the large oval bevelled glass escapement window with delicate floral engraving along the moulded top, uprights and base. The rectangular white enamel Roman dial with blued steel Breguet style hands over the Arabic alarm dial. The triple spring barrel movement with jewelled and silvered English lever platform escapement and half-cut bimetallic balance with timing screws, the backplate stamped for Drocourt and numbered 9625. Ticking, striking, repeating and sounding the alarm on a gong, together with two winding keys. 17 cms (6.5 ins) highFootnotes:The inside of the front plate is stamped with three sets of numbers 17849, 9625 and 103. The back of the dial plate is also stamped 9625. The gong block is stamped with the initials F.D.. F.D. was a prolific gong manufacturer whose gongs were used in many 19th century French movements. Unfortunately, it is not known who F.D. was.For further information on this lot please visit Bonhams.com

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A fine and very rare late 18th century French gilt brass Capucine-type travelling clock with original padded felt-lined leath

Bonhams

Lot 41

A fine and very rare late 18th century French gilt brass Capucine-type travelling clock with original padded felt-lined leather travelling caseVegeaa, RouenThe rectangular case surmounted by a shaped handle above the bell and hammer, framed by turned urn finials on an engraved latticework and flowerhead ground, a shallow arched sunburst-cresting to the front concealing the bell from view over a long latticework dial plate, the cast bezel with hinged lock over a shaped glazed aperture to reveal the pendulum bob, the sides and rear door all glazed, mounted on turned button feet. The 4 inch white enamel dial with Arabic five minutes surrounding the minute track, Roman hours and concentric date dials, signed in the centre Vegeaa A ROUEN, with fine pierced and engraved gilt hands, blued steel date hand and off-set winding squares. The twin spring barrel movement with four plain turned pillars, anchor escapement and silk suspended pendulum, the count wheel set on the back plate and with star-shaped crossings. Contained within the original padded felt-lined travelling case, with top handle and large side turnbuckle catches over a moulded front to accommodate and protect the dial. The clock ticking and striking, 24.5cms (9.5ins) highThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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An exceptionally rare and very fine early 18th century French ormolu travelling clock with choice of balance or pendulum cont

Bonhams

Lot 42

An exceptionally rare and very fine early 18th century French ormolu travelling clock with choice of balance or pendulum controlLe Bon, ParisThe tete de poupee style gilt bronze case surmounted by a bud finial on a pierced panel backed in red silk to allow for the sound of the bell to escape, over the finely modelled head of Helios wearing his crown, the waisted sides cast with lozenges and centred by a pair of male and female Classical profile busts, on a gadrooned base and button feet; the rear panel is plain brass, and has a door hinged at the top and locking catches, the lower part of the back engraved with a subsidiary dial titled Carosse and Repos (Carriage and Rest). The one-piece 4 inch white enamel dial with outer Arabic five-minute numerals encircling a minute band, bold Roman numerals and an inner track for quarters, with good, blued steel hands, protected by a curved glass within a cast bezel and set above the applied signature plaque LEBON. The twin spring barrel movement with large plates filling the rear of the case, signed across the centre in a gentle upward curve to echo the travel of the pendulum Le Bon AParis, mounted above a subsidiary pair of plates supporting the chain fusee to the going train which terminates in a verge escapement set below a pierced and engraved bridge cock supporting the large brass sprung balance with impulse pin to its edge. The clock can be switched to a pendulum-driven clock by selecting Repos - this brings into play a series of connected pivoted levers that lower the silk-suspended pendulum with open crutch which ingeniously engages with the impulse pin on the periphery of the balance wheel. The strike dictated via solid engraved numbered countwheel acting on the bell above. Ticking and striking. 27.5cms (10.75ins) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A fine and rare early 19th century French Gilt and Patinated bronze Pendule L'amerique after DeverberieModelled as a seated w

Bonhams

Lot 43

A fine and rare early 19th century French Gilt and Patinated bronze Pendule L'amerique after DeverberieModelled as a seated woman wearing a feathered headdress and skirt, holding a bow and spear, one foot resting on a stylised alligator, its tail wrapped around a palm tree, raised on a 'D' ended plinth base with applied floral festoons over toupie feet, the 4.5 inch enamel Roman and Arabic dial with gilt hands, the drum movement with flattened lower edges to the plates, silk suspension and outside count wheel strike to a bell. 49cms (19ins) highFootnotes:A similar model is illustrated in Pierre Kjellberg's 'Encyclopedie de la pendule Francaise, Les editions de l'ameteur 1997, pages 352 and 353, fig. B and C, while a further example can be seen in Elke Niehuser's 'French Bronze Clocks 1700-1830', Schiffer 1999, page 147, figs 237 and 238 and page 148 fig 239.For further information on this lot please visit Bonhams.com

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A good early 19th century ormolu-mounted marble and slate mantel timepiece with Royal provenance. First sold to the Duke of

Bonhams

Lot 44

A good early 19th century ormolu-mounted marble and slate mantel timepiece with Royal provenance. First sold to the Duke of Clarence, later King William IV, on 19th January 1808.Vulliamy, London, Number 405The case surmounted by a gilt urn on a plinth over the reeded drum, set on a pair of carved scrolls set on a double stepped slate plinth with ormolu beaded border and recessed panels to the front and sides, the whole raised on turned toupie feet. The drum flanked by a pair of recumbent lions, each facing outward and holding a gilt ball. The 3.5 inch restored white enamel Roman dial with pierced and engraved gilt fancy hands, each numeral picked out in gold and with a dotted gilt minute border framing the whole. Set within a beaded concave bezel. The single wire fusee movement with four slender tapered pillars, suspension spring regulation and half deadbeat escapement, the back plate engraved Vulliamy London No 405. Protected by a turned brass push-on cover. Ticking with a winding key and matching numbered pendulum. With sincere thanks to Roger Smith for his help in researching the early history of this clock. 29 cms (11 ins) highFootnotes:Provenance:From the late Sir Ernest and Lady Caroline Oppenheimer Collection and hence by descent.The firm of Vulliamy & Son were the most fashionable clockmakers in late Georgian London. Their shop at 74 (later 68) Pall Mall was situated close to St James's Palace, and although Benjamin Vulliamy (1747-1811) did not become head of the firm until 1797, he had been Clockmaker to King George III since 1772. His grandfather Benjamin Gray had been Watchmaker to George II, while his father, the Swiss immigrant Justin Vulliamy, was clockmaker to Queen Charlotte until his death in 1797 (for an example of his work, see lot 110 in this sale). The official warrant as Royal Clockmaker later passed to Benjamin's son, Benjamin Lewis Vulliamy (1780-1854). [1] In the 1780s, Benjamin Vulliamy decided to challenge the dominance of imported Parisian clocks in the homes of wealthy Britons by making clocks that were not only of the highest quality but also in the latest taste. His first range of ornamental clocks appealed to the fashion for neo-classicism, with white marble cases, sometimes in the form of a broken column, flanked by Classical Greek figures made of Derby biscuit porcelain. [2] However, by the late 1790s Vulliamy's customers were tiring of the restrained elegance of these sculptural clocks and demanding the richer 'Empire' style that was becoming fashionable in France. This encouraged Vulliamy to produce a new range of clocks in a variety of coloured marble cases ornamented with pairs of 'Roman' lions (or sometimes sphinxes), and vase or eagle surmounts, cast in ormolu or bronze. Although inspired by French originals, the overall design of these clocks was created by Vulliamy himself, who then organised their production through a network of independent suppliers and outworkers based mainly in London. However, he also maintained some contact with Continental Europe in spite of the long years of war which followed the French Revolution and the rise of Napoleon Bonaparte. Among his foreign contacts was the leading French bronzier Jean-Baptiste-Maximilien Delafontaine (1750-1820), former syndic of the Corporation des Fondeurs-Doreurs-Graveurs in Paris, who stayed with the Vulliamy family in London during the Revolutionary summer of 1789. He subsequently returned to Paris, where he lived in the faubourg St Honoré. Delafontaine kept in touch with Vulliamy, and a few years later sent him two pairs of lions which were subsequently used as patterns for Vulliamy's first lion clocks. These lions, which were in (approximate) mirror-pairs, were described by Vulliamy as 'after the antique', and may have been inspired by the famous Medici lions in Florence, though the lions on the clocks are lying down rather than standing. While the two pairs supplied by Delafontaine were of related design, they were in two sizes, the smaller being available by 1798 while the larger model first appeared in 1801. It is the larger model that features on clock No. 405 in the current sale. [3]Thanks to the survival of the relevant Clock Book in the collection of the British Horological Institute, there is detailed information on the craftsmen and suppliers employed by Vulliamy to make this clock and what they were paid. [4] The largest individual payment was £6-18s to Mr Day for the marble case, while Jackson received £5-10s for the timepiece movement with Vulliamy's characteristic half-deadbeat escapement. Basic casts of the two lions (from Delafontaine's models) were supplied by the brassfounder Barnett for a modest £1-2s-6d, but Houle charged £5 for chasing them. Seagrave was paid a total of £3 for gilding various elements, while several other craftsmen received smaller sums. [5] The clock was finished by 19 January 1808 when it was sold to the Duke of Clarence, younger son of George III and later King William IV, for 42 guineas (£44-2s), including a stand and glass shade. However, it was soon returned by the duke and sold again (at the same price) to R. Pole Carew Esq. on 30 March 1809. [6] The buyer was presumably Reginald Pole Carew (1753-1835), then Member of Parliament for Fowey in Cornwall, who had inherited an estate at Antony in Cornwall, near Plymouth. Following the death of his first wife, he had married again in May 1808, to Caroline, daughter of Lord Lyttelton, and it is possible that the purchase of the clock was part of a refurbishment of his large country house at Antony. [7]It should be noted that the records of sale for this clock in both 1808 and 1809 describe it as having a black marble case with gilt ornaments but bronze lions, rather than black and white marble and gilt lions as now seen. That might suggest later alterations, but an earlier clock of this pattern, No. 389, is also described as having a black case, although it is black and white like No. 405. On the other hand, its lions are bronzed in conformity with the description, and there is consequently no reference to gilding in its Clock Book entry. The fact that the corresponding entry for No. 405 shows a significant payment for gilding to Seagrave confirms that any changes from the original specification for No. 405 were carried out during manufacture and not subsequently. [8] Notes1. For a brief history of the Vulliamy watch and clock makers, see entry in The Oxford Dictionary of National Biography (2004).2. A full account of the production of these sculptural clocks is A. P. Ledger and Roger Smith, Benjamin Vulliamy and the Derby Porcelain Manufactory, 1784–1795(Derby: Museums and Art Gallery, 2007).3. For a detailed account of the design and production of Vulliamy's lion clocks, see Roger Smith, 'Vulliamy Lions: their designers and modellers', Furniture History, vol. LVI (2020), pp. 69-82.4. British Horological Institute, Vulliamy Records, Clock Book vol. 1 (1797-1809).5. Day, Jackson and Houle are listed in the Vulliamy Watch Day Books as Mr Day, statuary etc, Brewers Row, Westminster; Mr Jackson, clock maker, 11 Chapel Row, Spa Fields; Arthur Hoole (sic), 1 Middle New Street, Fetter Lane. (The National Archives, C104/58/2, extracts published in Francis Wadsworth, 'Some early 19th Century Workmen', Antiquarian Horology, Summer 1991, pp. 401-12.) 6. The National Archives, C104/58/2, Day Book 32, 19 January 1808; Day Book 33, 30 March 1809.7. Antony house is now in the care of the National Trust. For brief biographical details of Reginald Pole Carew MP, see his Member Biography in The History of Parliament (online).8. No. 389 was sold by Bonhams 11 J... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A 19th century French Grand Sonnerie striking Carriage clock in the original numbered travel caseGoldsmiths & Silversmith

Bonhams

Lot 5

A 19th century French Grand Sonnerie striking Carriage clock in the original numbered travel caseGoldsmiths & Silversmiths Company, Paris, numbered 5632The case surmounted by a rippled handle over a full width bevelled glass observation window framed by an intricately moulded cornice over concave section pillars, four bevelled glass sides and a moulded base engraved with the initials L.M.A.. Set to the underside with a three-position selection lever to dictate the striking, offering a choice of Hours and Quarters/Silence/Quarters only. The white enamel Roman dial signed Goldsmiths & Silversmiths Company, with blued steel spade hands, all framed by a matte mask and angled sight ring. The twin spring barrel movement with silvered and jewelled Swiss lever platform escapement and cut and compensated bimetallic balance with timing screws, the back plate stamped G.S. & C. o Paris 5632. Ticking, striking and repeating, with a double ended winding key and brown leather travelling case with purple velvet interior, with matching number 5632 embossed on the underside. 19 cms (7 ins) highFor further information on this lot please visit Bonhams.com

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A rare mid-19th century French carriage clock with chaff cutter escapementPaul Garnier, Paris number 2976The early multi-piec

Bonhams

Lot 6

A rare mid-19th century French carriage clock with chaff cutter escapementPaul Garnier, Paris number 2976The early multi-piece case with facetted handle over a bevelled glazed inspection panel (the repeat button passing through the glass), moulded uprights and a plinth base, the solid rear door with hinged shutter opening to reveal the winding and setting squares. The Roman white enamel dial with minute track and numerals picked out in light and dark blue, the centre signed Paul Garnier Hger de la Marine Paris, above blued steel trefoil hands and a subsidiary Arabic alarm dial with blued steel setting hand. The three-spring barrel movement with Garnier's own chaff-cutter escapement with three-arm monometallic balance, and extremely delicate arbors throughout, rack striking the hours and half-hours on a bell. The back plate signed Paul Garnier Paris, and numbered on the backplate under the bell, the rear door, shutter and base also repeat numbered. Ticking, striking, sounding the alarm and repeating. Together with a double-ended winding key. 18cms (7ins) highFootnotes:Paul Garnier (né Jean-Paul) was born in 1801 in Épinal, France, moving first to Luxeuil to carry out a watchmaking apprenticeship, and then to Paris in 1820 to join Lépine's workshops, before finally establishing his own business in 1825. In the 1827 Exhibition he exhibited an astronomical clock and some mantel regulators, which won him a silver medal. He would win silver medals again at both the 1834 and 1839 Exhibitions, before winning a gold medal in 1844. Around this time, he seems to have written to the formidable Antide Janvier, asking for permission to use the title 'Elève de Janvier', as Garnier, at some point, attended the free Horological school Janvier established in 1802. Janvier readily assents to this request, and Garnier used the title on his carriage clocks until about 1835, and in his written correspondences until at least 1844. Around 1835, Garnier makes use of the title 'Horloger (or Her) du Roi', which in turn is supplanted by 'Her De La Marine' after the 1848 revolution and the deposition of the monarchy.From 1830 Garnier began to make affordable, semi-massed produced carriage clocks (pendules de voyage) and could be said to have established the Parisian carriage clock industry. He was able to do this by combining a basic, easily made design with his patented 1830 escapement. This escapement, alternatively called the 'chaff-cutter', 'Gautier', or 'chopper', could be machine made, drastically reducing the time and cost of making. It is a type of frictional rest escapement, comprising of pallets in the form of a single roller (a circle with about 4/9ths of its circumference cut off at an angle and the sides ground) made of either jewel or hardened steel, the latter being more common with repaired rollers. The escape wheel is in fact two separate wheels mounted on the same arbor a specific distance apart. The wheel teeth are bevelled along the edge that interacts with the roller.The combination of basic shape and cost saving escapement meant that pendules de voyage, having previously been economically unattainable to the vast majority of people, were reduced in cost to the price of a standard mantle clock.Despite being affordable, these clocks were not poorly made, exhibiting very fine diameter pivots (even by French clock standards) and usually having rack striking, which was a desirable feature, being much easier to set than count wheel striking. The clocks would also only strike the half hour and the hour, which saved on cost compared with the more common repeaters. In the early clocks, engine turned dials, one-piece cases, and barrel stopwork were all very common. With clocks made between 1830-1840, it was common to fit a coloured-paper covered block of wood into the base of the hollow casting.In addition to carriage clocks, in 1847 Garnier presented a novel master clock and slave clock system, and at least one chronometer has been assigned to him. He also pursed scientific instrument making, his obituary eventually being published in the Society for Civil Engineers bulletin in 1869.His son, also Paul Garnier, was born in 1834 and continued the business after his father's death. Additionally, he submitted drawings and models of his father's design for a free-sprung chronometer escapement to the Conservatoire National des Arts et Métiers and the Revue Chronométrique. Before his death in 1916, he donated his family's collection of watches and clocks (the former including examples from the 16th century) to the Musée des Arts et Métiers.R. A. E. (1890) 'A Few Words About M. Paul Garnier's Collection', The Horological Journal, Vol. 33 (3), pgs. 33-34.Arnott, P. (2011) 'Constant Force Chronometer No. 1 Attributed to Paul Garnier', Antiquarian Horology, Vol. 33 (1), pgs. 58-65.Weld C. R. (1868) 'Parliamentary Reports on the Paris Universal Exhibition, 1867', The Horological Journal, Vol. 11 (4), pgs. 43-50.British Horological Institute (1877) 'Entirely Detached Gravity Escapements', The Horological Journal, Vol. 20 (1), pgs. 4-6.Allix, C. (1993) 'Paul Garnier Revisited', Antiquarian Horology, Vol. 20 (5), pgs. 411-425.Boquillon, M. (1863) 'Horology at the International Exhibition, London, 1862', The Horological Journal, Vol. 5 (8), pgs. 90-93.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A rare mid-19th century French carriage clock with jewelled chaff cutter escapement and hour repeatDent, Paris, numbered 2437

Bonhams

Lot 7

A rare mid-19th century French carriage clock with jewelled chaff cutter escapement and hour repeatDent, Paris, numbered 2437The one-piece case surmounted by an elegantly turned handle on vase-shaped uprights over a large rectangular escapement observation window, three bevelled glazed panels and a solid rear door with hinged shutter to reveal the winding and hand-setting arbors, on a moulded base. The white enamel Roman dial with light blue minute ring framing the dark blue Roman numerals and blued steel trefoil hands, signed below VI Dent a Paris. The twin barrel movement with jewelled chaff cutter escapement, three arm gilt balance and extremely delicate arbors throughout. The frontplate numbered 2297, the backplate signed Dent a Paris and numbered 2437, the base repeat numbered. Ticking, striking, and repeating on a bell, together with a double-ended winding key. 16cms (6ins) highThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A very rare second quarter of the 19th century boxwood-strung ebonised travel timepiece with alarm and quarter repeatWestwood

Bonhams

Lot 70

A very rare second quarter of the 19th century boxwood-strung ebonised travel timepiece with alarm and quarter repeatWestwood, Princes Street, Leicester Square, LondonThe arched case surmounted by a recessed folding campaign-style brass handle over a ripple moulding to the top and bottom, with geometric boxwood line inlay, supported by four brass ball feet (the two rearmost spheres with flattened backs). The 4inch signed white enamel Roman and Arabic dial with Breguet style hands and tapering alarm-setting hand, within a cast concave bezel and with three blued steel hands. The movement consisting of three brass plates united by plain turned pillars, the front pair housing the going train with maintaining power to a chain fusee terminating in an English underslung lever escapement set below a heavy plain brass balance with three timing screws; the alarm and repeat trains both set within the rear pair of plates, the former with brass double-headed hammer acting on a large bell above, the hours and quarters repeated via one large and one small brass hammer sounding on a single bell set on the top plate. All the wheelwork protected by pinned side doors and a screw-on rear plate signed Westwood, Princes Street, Leicester Square, LONDON with silvered regulation dial above. Ticking, repeating and alarm operational. With handle recessed 23.5cms (9.25ins) high; 28cms (11 ins) high with handle raised. Footnotes:Robert Westwood was born in 1784. Although there is no record of his apprenticeship, there is a James Westwood who was apprenticed to William Rose in 1771. James was from Westminster, and his late father, John, had been a solicitor. Given the dates, it has been suggested that this James Westwood was Robert's father, the latter taking his son as an apprentice when he was old enough. In 1818, Robert married Mary Priestman, who was about 22 years his senior, and promptly moved in to 23 Prince's Street, a leasehold property she owned. They went into business together; Westwood was responsible for the watches and clocks, and Priestman managed the jewellery side of the business. It is unknown if she had served an apprenticeship as a jeweller, or possibly was taught by a relative. In July 1822, the property was burgled by William Reading who stole 200 watches, with a combined value of £600, 10 watch chains, with a value of £20, and a number of miscellaneous items and some money. The total value stolen, including the watches and chains, was £652, which suggests that the couple had quite a prosperous business. The burglar apparently had a history of petty theft, though this was the first time he had been caught and prosecuted for it. He was eventually found guilty and executed. In 1824, a trade card was produced for Westwood, which showed he was still trading from 23 Prince's Street and also described him as a 'chronometer, watch and clock maker'. The card also referred to the recent, 1821-1823, Polar Expedition of William Parry, stating that the only two chronometers on the expedition which ran without fail were owned by the voyage's two surgeons, and were manufactured by Westwood. The card also claimed that several officers for the current 1824-1825 expedition had requested Westwood chronometers.Five years after the trade card was published, Westwood took out a patent for an eight-day pocket watch. The larger barrel was accommodated by splitting the train over two planes, which meant that the watch would be no larger than a standard pocket watch. This idea was used throughout the 20th century to make increasingly smaller and more delicate wristwatches, which would still run for the standard 30 hours. The Duke of Sussex, Augustus Frederick, was so taken with Westwood's eight-day watch that he had one commissioned. It was sold at auction, after his death in 1843, and was described in the catalogue as being in a gold, engine-turned case, and numbered 50. It was bought for £38 10s. This was the only device of Westwood's in the Duke possession, suggesting it was a one-off commission, however, Westwood would style himself as 'Watchmaker to His Royal Highness the Duke of Sussex' throughout his career.Around 1829, Westwood had relocated the business to 35 Prince's Street, which was larger, and located opposite St. Anne's church. In 1833, another trade card was printed, with one side describing the use of Westwood's chronometer on the Polar expedition, and the other side announcing him as watchmaker to the Duke of Sussex. A watch paper from around this time also announces his Royal appointment, while still describing him as a chronometer, watch, and clockmaker. The bottom edge of the paper reads 'Watches & Clocks of Every Description Cleaned & Repaired.' In September 1836, despite the change of premises, the shop was again robbed. The burglar, Sarah Moore, was charged with breaking and entering and stealing a watch worth £30. She pled guilty and was transported to New South Wales in December.Westwood was reported in the newspapers to have quite a temper, particularly when it came to clients. One merchant ship captain came into Westwood's shop to complain about the timekeeping of his watch (possibly a chronometer). The argument grew quite heated, and Westwood eventually reached over, grabbed the timepiece from the captain's hand, smashed it to the ground, and 'stamped on it with great violence'. Westwood was taken to Marlborough Street Magistrates Court and forced to pay the captain the full sum of the timepiece. A different client once returned a watch which wasn't running properly. He requested either a monetary refund or a replacement watch. Westwood responded by taking out a pistol from under the counter and threating to 'blow out the young man's brains' if he didn't leave immediately. Again, he was summoned before the Magistrates, this time being fined for the threat of violence.After the second break-in, Westwood took to sleeping in a back room of the shop, in order to prevent another robbery. His wife, whose health was beginning to deteriorate, slept on the first floor. In the early morning of Monday 3 June 1839, Westwood was brutally murdered during another robbery. In total, around 91 watches were stolen, as well as some money from the shop; all the goods and currency were estimated to be worth about £2,000. It seemed that the thief was knowledgeable about watches, as only the very best were stolen, the cheaper watches being left where they were. It was also suggested that the person would have to be familiar with the shop, as some of the watches and money were removed from special hidden drawers in a desk, which a stranger was unlikely to know about. The residents at the time were Mary Westwood, their servant, Maria Pretty, and a lodger of about 10 years, M. Gerard who was estimated to be in his mid-70's. Two lodgers, the Stephensons, had left about a week before, with reasons for departure variously cited as marital breakup or the Westwoods taking exception to their loud and frequent rows. Westwood also employed a journeyman, James Bannister, who lodged elsewhere. In December of the same year, Mary Westwood died of heart complications. At her inquest, the coroner commented that he was surprised that her husband's killer(s) had not yet been caught. As far as can be determined, no formal arrests were ever made. One witness suggested that the robber(s) must have known about watches and would therefore have tried to sell the stolen goods in Holland. Another suggested that friends/associates of William Reading, the first burglar, killed Westwood out of a sense of revenge for their executed confederate. Yet another suggested that the culprit(s) may have been sailors; they would be familiar with Westwood through the chronometers on board and would have a ready-made getaway if they were shipping out directly after the murder. Not... For further information on this lot please visit Bonhams.com

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A rare second half of the 19th century automata novelty mystery 'Magician' mantel clockThe clock movement by Japy Freres, num

Bonhams

Lot 83

A rare second half of the 19th century automata novelty mystery 'Magician' mantel clockThe clock movement by Japy Freres, numbered 839.Surmounted by the standing brass automata figure of an exotic magician with head-dress, impressive moustache, necklaces, tied robe and mules, he is able to raise his arms and is articulated at the base of his neck in order to bow in acknowledgement of his performances. Before him stands a table on turned legs set on the main clock body in gilt and lacquered brass with applied scroll mounts to the front corners over a fancy base. The 3.5-inch white enamel Roman dial with minute track and fancy trefoil hands. The spring driven movement with outside countwheel strike on a bell, the backplate stamped Japy Freres 839 and further signed in gothic script h.A.(sic). Pendulum lacking, ideal for restoration. 40cms (15.75ins) high.Footnotes:This ingenious clock shows the magician apparently making different objects appear and disappear. The interchanging props are a white dice, a red apple and a yellow bun. There is also a blank option in which the object is shown to 'disappear' all together.For further information on this lot please visit Bonhams.com

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A French brass, marble and enamel automata 'Bras en l'air' mystery clockThe back of the front panel signed A ROUSSEAUThe cast

Bonhams

Lot 84

A French brass, marble and enamel automata 'Bras en l'air' mystery clockThe back of the front panel signed A ROUSSEAUThe cast brass standing female figure set within a pillared arch with lotus leaf cornice and fancy side columns, dressed in a gathered robe, her articulated arms poised to the sides and raising to show the time against the white enamel hour and five-minute arcs, against an enamel background of scrolling white speckled foliage on a deep blue ground, all set on a stepped plinth with gilt brass mounts. The later single barrel movement with silvered lever platform escapement with stepped cam to activate the arms above (linkages lacking). The rear of the front panel stamped A.ROUSSEAU 35cms (14ins) high.For further information on this lot please visit Bonhams.com

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An early 19th century brass-bound single pad top table clock of small sizeDebois & Wheeler, LondonThe cast brass leaf han

Bonhams

Lot 94

An early 19th century brass-bound single pad top table clock of small sizeDebois & Wheeler, LondonThe cast brass leaf handle on a brass-bound pad over a moulded cornice and brass uprights to the front corners, on a brass-bound base and tall bracket feet. The 3.75-inch white enamel Roman dial with matching pierced brass hands framed by a minute ring. The movement with gut fusee to the going train terminating in an anchor escapement, now with later continental strike train with vertical hammer added to the side of the movement, the winding square hidden by the front door. The backplate signed Debois & Wheeler London. Ticking. 28cms (11ins) highFor further information on this lot please visit Bonhams.com

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To be sold without reserve Property of Sir Christopher Ondaatje Late 19th Century A cast iron and enamel Neoclassical urn Dim

Sloane Street Auctions

Lot 154

To be sold without reserve Property of Sir Christopher Ondaatje Late 19th Century A cast iron and enamel Neoclassical urn Dimensions: 23 in. (H) x 10 in. (dimension)

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Enamel painting on canvas depicting 'Concetto Analogico' made to create the work 'Concetto Digitale' (Video-NFT).

Marcopolo Asian Art

Lot 218

Enamel painting on canvas depicting 'Concetto Analogico' made to create the work 'Concetto Digitale' (Video-NFT).

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Exquisitely molded and painted in polychrome enamel, they depict three women and a man. The three ladies wear robes with fl

Marcopolo Asian Art

Lot 86

Exquisitely molded and painted in polychrome enamel, they depict three women and a man. The three ladies wear robes with floral motifs and beautiful ornaments on their hair. One is seated on a beautiful pierced seat, the other is leaning against a rock with a musical instrument and the other is standing with a mysterious hand tugging at the sleeve of his left arm. The male figure, in a standing position, wears a pink robe, a medallion around his neck and an elaborate golden headdress. The seated lady bears a mark on the back of the seat and the one leaning against the rock bears a mark on the base.

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* Only room or telephone bids are accepted for this lot. Beautifully shaped with a narrow neck in the centre and a bro

Marcopolo Asian Art

Lot 93

* Only room or telephone bids are accepted for this lot. Beautifully shaped with a narrow neck in the centre and a broad shoulder that gradually narrows to the foot, it is finely painted on the body and neck with lotus flowers in famille rose shades, which stand out against the lime green background. The large central flower is supported by tendrils of waving leaves held by bats with outstretched wings, beneath which appear the Two Golden Fishes and the Infinite Knot. Shou characters, peaches and Buddha's hands enrich the scene; a band of ruyi and classical greek encircles the shoulders and a band of petals tightens around the base. The inside of the vase is covered with a light turquoise glaze from below the gilded, iron-red rim; in the centre of the base, also turquoise, is the six-character seal mark in iron-red of the Jiaqing Emperor. Provenance: -Monique Mardellis, London - according to the label. -Private collection, Spain. Catalogue Notes: Haitangping is the Chinese term for this particular silhouette, meaning 'begonia-shaped'. See the Jiaqing mark and period vase of the same form and similar decoration, but painted in gold on a coral red ground, see Christie's, live auction 2861; The Imperial Sale; 01 June 2011, Hong Kong; lot. 3654. The decoration on a lime green ground with famille rose enamels is typical of the Jiaqing period, in direct continuity with the imperial style prevalent during the previous Qianlong reign. This rare vase is rich of auspicious symbols such as Shou characters, peaches and Buddha's Hands, emblems of health, happiness and long life. The Two Golden Fishes and the Infinite Knot are two of the eight bajixiang, the eight auspicious symbols of Buddhism. For a Jiaqing mark and period piece, famille rose on a lime green ground, decorated with lotus flowers amidst auspicious characters and auspicious symbols, see the vase from the Qing Court Collection at the Palace Museum in Beijing illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with CloisonnÃ© Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 195, pl. 172. See also the vase, also from the Qing Court Collection, at the Palace Museum in Beijing illustrated in the same book on p. 196, pl. 173. See also the two famille rose vases on a lime green ground in the collection of the National Palace Museum in Taipei, object number ??004090N0000000 and object number ??004091N0000000. See also the lime green and pink family wall vases with auspicious symbols also in the collection of the National Palace Museum in Taipei, object number ??000615N0000000, image code C1B000615N0000000PAB; object number ??000616N0000000 and object number ??000617N0000000. See also the vase sold by Christie's, live auction 3220; The Yiqingge Collection of Chinese Ceramics; 29 May 2013, Hong Kong; lot. 2026. For a marked example from the Qianlong period, in the Famille Rose style on a lime green ground, see the vase in the Palace Museum, Beijing illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with CloisonnÃ© Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 141, pl.123. * Only room or telephone bids are accepted for this lot.

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A Chinese canton enamel small bowl and spoonLate Qing Dynasty Bowl with a six character mark on the base5x13,5x8 cm

VERITAS Art Auctioneers

Lot 214

A Chinese canton enamel small bowl and spoonLate Qing Dynasty Bowl with a six character mark on the base5x13,5x8 cm

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A pair of 'ruby-pink' monochrome enamelled dishesGuangxu six-character marks and of the period (1875-1908)Covered almost over

VERITAS Art Auctioneers

Lot 76

A pair of 'ruby-pink' monochrome enamelled dishesGuangxu six-character marks and of the period (1875-1908)Covered almost overall with a pinkish-red enamel Diam.: 16 cm

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Early all original papier-mache shoulder head lady doll, French circa 1850, with fixed brown enamel eyes, finely painted lash

C & T Auctioneers and Valuers Ltd

Lot 138

Early all original papier-mache shoulder head lady doll, French circa 1850, with fixed brown enamel eyes, finely painted lashes and arched single stroke brows, open mouth with two rows of teeth and rouged cheeks, painted short black hair and original brown wig with plaited bun and ringlets to sides, with pink flowers, long neck to pale pink kid leather body with individually stitched fingers, wearing a pink and grey striped silk dress with lace detail, petticoats and stockings, 18 ½” (47cm) tall, (condition: some rust to fingers, small split to upper left thigh).

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Austrian enamel hand painted miniature gilt furniture, early 20th century, including a settee, two arm-chairs and oblong cent

C & T Auctioneers and Valuers Ltd

Lot 25

Austrian enamel hand painted miniature gilt furniture, early 20th century, including a settee, two arm-chairs and oblong centre table with draw, decorated with courting couples and ‘Fetes Gallants’, settee 4 ¼” (11cm) tall, (condition: good), (4 items).

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Austrian enamel hand painted miniature gilt furniture, early 20th century, including settee, four chairs and oblong table wit

C & T Auctioneers and Valuers Ltd

Lot 26

Austrian enamel hand painted miniature gilt furniture, early 20th century, including settee, four chairs and oblong table with drawer, decorated with courting couples and ‘Fetes Gallants’, settee 2 ¾” (7cm) tall, (condition: good), (6 items).

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A collection of Royal and London Mint commemorative £5 and other coins, in original packaging, some with enamel decoration, a

Bourne End Auction Rooms

Lot 152

A collection of Royal and London Mint commemorative £5 and other coins, in original packaging, some with enamel decoration, all commemorating the Royal family, to include four coins commemorating the Queen's Diamond Jubilee Location:

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A mixed lot to include an art deco glass lamp base with shade, two enamel bread bins, and a small Fucashun toy globe Location

Bourne End Auction Rooms

Lot 359

A mixed lot to include an art deco glass lamp base with shade, two enamel bread bins, and a small Fucashun toy globe Location:

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A mixed lot of kitchenalia, fireside furniture and implements, and other items to include enamel flour bins, copper coal buck

Bourne End Auction Rooms

Lot 463

A mixed lot of kitchenalia, fireside furniture and implements, and other items to include enamel flour bins, copper coal bucket, oil lamp, wooden trough and other items Location:

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A W Kollmer Austrian walnut and Vienna style regulator wall clock, 16cm, white enamel Roman dial with three winding holes, ke

Bourne End Auction Rooms

Lot 526

A W Kollmer Austrian walnut and Vienna style regulator wall clock, 16cm, white enamel Roman dial with three winding holes, key, no pendulum Location:

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Park Drive Cigarettes and Gallaher's Condor Twist double sided enamel advertising sign, with hanging flange, 41cm wide, 30.5c

Bishop & Miller Auctioneers Ltd

Lot 54

Park Drive Cigarettes and Gallaher's Condor Twist double sided enamel advertising sign, with hanging flange, 41cm wide, 30.5cm high

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Lyons enamel advertising sign, with white lettering highlighted in orange, on a navy blue ground, 74.5cm wide, 48.5cm high

Bishop & Miller Auctioneers Ltd

Lot 67

Lyons enamel advertising sign, with white lettering highlighted in orange, on a navy blue ground, 74.5cm wide, 48.5cm high

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Early 20th century advertising enamel sign for 'New-Process Laundry, Calls Daily', with white lettering on a black ground, 45

Bishop & Miller Auctioneers Ltd

Lot 71

Early 20th century advertising enamel sign for 'New-Process Laundry, Calls Daily', with white lettering on a black ground, 45.5cm wide, 25.5cm high

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A very rare Worcester miniature or 'toy' teabowl and saucer and a coffee cup, circa 1775Plain in shape and of very small size

Bonhams

Lot 301

A very rare Worcester miniature or 'toy' teabowl and saucer and a coffee cup, circa 1775Plain in shape and of very small size, the cup with a grooved handle, painted in colours with formal flowers, the teabowl and saucer with additional gilded rims, cup 3.6cm high, saucer 5.1cm diam (3)Footnotes:ProvenanceGerald Moore CollectionHaving made miniature blue and white teawares a decade or more previously, Worcester chose to reintroduce a small number of toys around 1775. These were smaller than most toy teawares in English porcelain and, unusually, were decorated in enamel colours. Very few appear to have been made, and when the Worcester factory introduced a new range of blue and white toys in the 1780s, they returned to a more popular, slightly larger size.For further information on this lot please visit Bonhams.com

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A Worcester sucrier and cover, circa 1775The domed cover with an open flower finial, decorated in Sèvres style with a feuille

Bonhams

Lot 344

A Worcester sucrier and cover, circa 1775The domed cover with an open flower finial, decorated in Sèvres style with a feuille de choux design in feathered blue enamel and gold, enclosing colourful flower sprays and linked by floral swags, all richly gilt, 12.8cm high (2)Footnotes:ProvenanceZorensky Collection, Bonhams, 22 February 2006, lot 194Gerald Moore CollectionA matching teapot of this rare pattern is in the Bowes Museum, see Howard Coutts, The Lady Ludlow Collection (2007), p.208, no.193.For further information on this lot please visit Bonhams.com

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A Derby model of a cat, circa 1760Modelled seated on a scrolled base picked out in green and puce, its tail curled around its

Bonhams

Lot 383

A Derby model of a cat, circa 1760Modelled seated on a scrolled base picked out in green and puce, its tail curled around its hind quarters, its right front paw raised, its left paw restraining an unfortunate brown mouse, its tortoiseshell markings represented in bright orange and puce, 9.5cm high, patch marksFootnotes:ProvenanceG C Bond CollectionA pair of similar cats was sold by Christie's on 14 May 2003, lot 222 and a single cat by Bonhams on 23 June 2021, lot 238. See also Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), pl.105, fig.282.For further information on this lot please visit Bonhams.com

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A Derby plate, circa 1805Of silver shape, the cavetto painted with a view 'Near Brailsford, Derbyshire', the blue borders fin

Bonhams

Lot 399

A Derby plate, circa 1805Of silver shape, the cavetto painted with a view 'Near Brailsford, Derbyshire', the blue borders finely gilt with scrollwork and highlighted in white enamel, reserving five panels charmingly painted with a rabbit, a cow, two gamebirds and moths, probably by John Brewer, 24.7cm diam, crown, crossed batons, D mark and title in redFootnotes:ProvenanceG C Bond CollectionFor further information on this lot please visit Bonhams.com

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A very rare Beilby enamelled armorial light baluster 'Tilly' wine glass, circa 1765-69The round funnel bowl finely decorated

Bonhams

Lot 40

A very rare Beilby enamelled armorial light baluster 'Tilly' wine glass, circa 1765-69The round funnel bowl finely decorated in polychrome with the coat of arms of the Tilly family of Haarlem, a yellow dove perched on an olive branch with a white stem and green leaves, within an ouroboros, the yellow serpent picked out in iron-red shown biting its tail, within an elaborate rococo scroll cartouche painted in shades of pale purple, inscribed 'Tilly.' in opaque white beneath, the reverse with the crest of a white dove in flight above a helmet in yellow and red, traces of gilding to the rim, on a stem with triple-annulated knop above a beaded inverted baluster and small teared basal knop, over a conical foot, 17cm highFootnotes:ProvenanceThe Tilly family of Haarlem, NetherlandsThence by family descent to Rudy van Dobben, Halfweg, NetherlandsWith Frides Laméris, 1 June 2012Stephen Pohlmann CollectionLiteratureStephen Pohlmann, 'The Tilly Glasses', Glass Circle News, no.139 (November 2015), p.5, fig.2Kiki Alpherts and Marius van Dam, Tussen Kunst en Kitsch: 101 ontdekkingen (2015), p.133, no.66Stephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.23, figs.6a-bExhibited30 Jaar Tussen Kunst en Kitsch in 101 Ontdekkingen, Museum Flehite, Amersfoort, Netherlands, 19 April - 22 July 2015, no.66Once known as 'Newcastle' balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England. It is possible that the Beilbys imported undecorated light-baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems. The Beilbys will have been aware that the best glass engravers working in Holland, such as Jacob Sang, favoured the light-baluster shape for their most prestigious commissions.Fifteen Beilby decorated light baluster wine glasses or goblets, many of similar shape, are recorded including the present lot. Eleven of these bear armorials or crests, while four are painted with vine in opaque white enamel. The latter include one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203), one in the Fitzwilliam Museum (inv. no.C.513-1961) and one from the Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 102.Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17) and a goblet in the World of Glass Museum in St. Helens bearing the arms of the Van Dongen family of Amsterdam. Three further glasses bear the arms and crest of the Tilly family of Haarlem, including the present lot. A 'Tilly' glass in the Durrington Collection is illustrated by Peter Dodsworth in his catalogue (2006), p.35, no.29 and was thought to be the only example in existence at the time of publication. It differs slightly from the present lot in that in place of the helmet on the reverse there is a wheel-engraved medallion containing seven arrows emblematic of the Seven United Provinces, within the inscription 'VREEDE EN EENDRAGHT' (Peace and Unity). Whilst it has been suggested that the engraving on the Durrington glass existed before the enamelling took place, it seems far more plausible that the decoration originally matched that on the present lot, with the helmet being later removed and replaced by the engraved medallion. The third 'Tilly' glass, in a private collection, is unpublished.The 'Tilly' set was almost certainly commissioned by Claas de Koning Tilly (1727-1814), who by 1764 owned a firm in Haarlem founded by his grandfather in 1696, which specialised in the production of a panacea known as Dutch drops (Haarlemmerolie). The firm was subsequently renamed C de Koning Tilly and was latterly owned by Rudy van Dobben until 2019, a direct descendent of this branch of the Tilly family. Interestingly, two engraved light baluster wine glasses bearing the initials 'CDKT' for Claas de Koning Tilly are discussed in detail by J R ter Molen, 'Twee gedecoreerde wijnglazen uit 1765 en 1769 met de initialen van C. de Koning Tilly', Antiek, Vol.8 (March 1982), pp.461-70, indicating that Claas was clearly commissioning other glasses at this time. The first is decorated with the arms of Haarlem, dated 1765 and inscribed ''T WELVAAREN VAN DE DIACONY' (The prosperity of the Diaconate). It is thought to commemorate the election of Claas as a deacon by the Grand Church Council on 18 March that year, a position which he held until 1769. The other is dated 1769 and decorated with a view of the Hofje van Bakenes in Haarlem, almost certainly commemorating his appointment as regent of the Bakenesser Chamber on 2 October that year, a position which he retained until 1780. It seems likely that the Beilby decorated set may also have been commissioned to celebrate one of these occasions.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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A Barr, Flight and Barr Worcester cabinet cup attributed to William Billingsley, circa 1808-13With a gilt eagle and biting sn

Bonhams

Lot 431

A Barr, Flight and Barr Worcester cabinet cup attributed to William Billingsley, circa 1808-13With a gilt eagle and biting snake handle and three paw feet, applied with rings of white pearls above and below the central band, finely painted, probably by Billingsley, with flowers all around set against a black ground, 8cm high, Full script mark including royal patronage in brown enamelFootnotes:ProvenanceRoland Hembrow CollectionLord and Lady Flight CollectionFor further information on this lot please visit Bonhams.com

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Two Flight, Barr and Barr Worcester miniature baskets, circa 1825Both in the shape of tiny woven baskets, their handles linke

Bonhams

Lot 447

Two Flight, Barr and Barr Worcester miniature baskets, circa 1825Both in the shape of tiny woven baskets, their handles linked above, one painted with a ring of pink roses, the other painted with shells and insects reserved on a pale green ground, both 6.8cm high, script marks in brown enamel (2)Footnotes:ProvenanceLord and Lady Flight CollectionFor further information on this lot please visit Bonhams.com

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A pair of Royal Worcester ewer vases by Edward Salter, dated 1899 and 1900With ovoid bodies in a rich claret ground and delic

Bonhams

Lot 476

A pair of Royal Worcester ewer vases by Edward Salter, dated 1899 and 1900With ovoid bodies in a rich claret ground and delicately moulded necks and feet shaded in celadon-green and gold, decorated in raised paste gilding heightened in enamel with Australasian birds, one ewer with parakeets, the other with birds of paradise, the flowering vegetation repeated on the reverse, 30.5cm high, factory marks in black with date codes, shape no.2055 (2)Footnotes:Edward (or Edwin) Salter is best known as a painter at Royal Worcester, but he was also an accomplished gilder. He specialised in landscapes but also excelled at fish and bird subjects. As a gilder, Salter mastered the difficult technique of raised paste decoration, using a thick enamel underlay to give his gilding a three-dimensional texture. In addition, he applied delicate enamelling on top of the textured gold. A vase signed by E Salter with bird decoration in tooled gold, made in 1898 and closely related to the present ewers, was sold by Bonhams in Edinburgh 7/8 July 2010, lot 587. The same technique was used on a masterpiece by George Owen and Edward Salter sold by Bonhams on 12 November 2014, lot 138.For further information on this lot please visit Bonhams.com

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A David Andersen yellow enamel necklace, the links in the form of two leaves, marked 'D-A 925S Sterling Norway', 37cm long

Cooper and Tanner

Lot 147

A David Andersen yellow enamel necklace, the links in the form of two leaves, marked 'D-A 925S Sterling Norway', 37cm long

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A cased set of six silver and enamel tea spoons, Walker & Hall, Birmingham 1949; with another cased set of silver coffee

Cooper and Tanner

Lot 220

A cased set of six silver and enamel tea spoons, Walker & Hall, Birmingham 1949; with another cased set of silver coffee spoons; and a cased set of six Edwardian butter knives with loaded silver handles and plated blades; 86 g (2.7 troy ozs) gross weighable

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A silver WWI trench style wrist watch, the white enamel dial with black Roman numerals (red 12) and blue steeled hands, on fa

Cooper and Tanner

Lot 253

A silver WWI trench style wrist watch, the white enamel dial with black Roman numerals (red 12) and blue steeled hands, on fabric strap

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A Royal Yacht Squadron ruby and enamel Burgee brooch, tests as 14-18ct gold, 3cm long 5.32g ross; two Royal Yacht Squadron st

Cooper and Tanner

Lot 33

A Royal Yacht Squadron ruby and enamel Burgee brooch, tests as 14-18ct gold, 3cm long 5.32g ross; two Royal Yacht Squadron stickpins; and metal bar brooch example, contained in an associated 'Benzie The Yachtsmen's Jeweller Cowes'

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A dress ring with blue green enamel decoration, finger size L, 3.1g gross, tests as 9ct gold

Cooper and Tanner

Lot 373

A dress ring with blue green enamel decoration, finger size L, 3.1g gross, tests as 9ct gold

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A rose cut diamond and yellow enamel car brooch, 4.4 cm long, 3.1 g gross, cased

Cooper and Tanner

Lot 42

A rose cut diamond and yellow enamel car brooch, 4.4 cm long, 3.1 g gross, cased

Live Auction

A ruby, diamond and enamel Coldstream Guards sweetheart brooch, 3.6 cm by 3 cm, 7.7 g gross, tests as 18-22ct gold, in assoc

Cooper and Tanner

Lot 47

A ruby, diamond and enamel Coldstream Guards sweetheart brooch, 3.6 cm by 3 cm, 7.7 g gross, tests as 18-22ct gold, in associated case - D & J Wellby Ltd, Garrick St. London

Live Auction

A pair of 9 carat gold enamel and cultured pearl set cufflinks, 6.4 g gross (the pearls untested and unwarranted)

Cooper and Tanner

Lot 7

A pair of 9 carat gold enamel and cultured pearl set cufflinks, 6.4 g gross (the pearls untested and unwarranted)

Live Auction

A late 18th century mourning brooch, the glazed panel with a diamond set initial K, with an enamel border, inscription to the

Cooper and Tanner

Lot 96

A late 18th century mourning brooch, the glazed panel with a diamond set initial K, with an enamel border, inscription to the reverse dated 1783, converted from a bracelet clasp, 3.5 cm long, tests as 18ct gold

Live Auction

A Victorian hair panel mourning brooch; and a pair of hair panel mourning pendants; all pieces with black enamel decoration;

Cooper and Tanner

Lot 99

A Victorian hair panel mourning brooch; and a pair of hair panel mourning pendants; all pieces with black enamel decoration; all testing as 9ct gold; apparently belonging to the mother of a gentleman named Gilbert Harding, she was a house keeper in Taunton

Live Auction

A pair of silver and enamel cufflinks in the form of an artist palette

Cooper and Tanner

Lot 111

A pair of silver and enamel cufflinks in the form of an artist palette

Live Auction

An enamel and blister pearl scarab brooch, unmarked, 3.7 cm across (the pearl untested and unwarranted)

Cooper and Tanner

Lot 114

An enamel and blister pearl scarab brooch, unmarked, 3.7 cm across (the pearl untested and unwarranted)

Live Auction

A Child & Child enamel wing brooch, set between the wings is an oval cut pale aquamarine, 9.7 cm across, in a fitted Chil

Cooper and Tanner

Lot 121

A Child & Child enamel wing brooch, set between the wings is an oval cut pale aquamarine, 9.7 cm across, in a fitted Child & Child case

Live Auction

Harald Nielsen for Georg Jensen, Denmark: a silver bangle with Native American style design, signed and stamped '64', import

Anderson & Garland Ltd. Newcastle

Lot 336

Harald Nielsen for Georg Jensen, Denmark: a silver bangle with Native American style design, signed and stamped '64', import marks dated 1963, 6.1cms, 50.0g; together with Thune, Norway: a silver-gilt and red guilloche enamel leaf pattern brooch, 6cms wide, 6.8g gross. (2)

Live Auction

The National Union of Women's Suffrage Societies interest: an Edwardian pearl, diamond and enamel brooch, the red and green g

Anderson & Garland Ltd. Newcastle

Lot 342

The National Union of Women's Suffrage Societies interest: an Edwardian pearl, diamond and enamel brooch, the red and green guilloche enamel floral mount set with three cultured pearls and eight graduated old-cut diamonds, in yellow gold mount (tests as approximately 14-18ct gold), 4cms wide, in Wartski box.Note: although the colours of The Women's Social and Political Union (WSPU), being purple, green and white, are better known and used more widely as the movement gained momentum, the colours of The National Union of Women's Suffrage Societies were red, green and purple. Other groups had a variety of colours including The Women's Freedom League which used yellow (or gold), green and white. It is generally thought that red was used by groups of Suffragists whereas purple was prefered by groups of Suffragettes who used more active and often violent methods for their cause.

Live Auction

A selection of 19th Century mourning brooches, comprising: a micromosaic bouquet brooch, in 9ct gold mount, 3cm wide; a bande

Anderson & Garland Ltd. Newcastle

Lot 400

A selection of 19th Century mourning brooches, comprising: a micromosaic bouquet brooch, in 9ct gold mount, 3cm wide; a banded agate and black enamel roundel brooch, 3.2cms diameter; a marquise-shaped pearl, blue enamel and 9ct yellow gold brooch with bead design and vacant hair panel to the reverse, 4cms wide; a brooch with central plaited hair panel withing black enamel wreath, 3.5cms wide; and a marquise-shaped banded agate brooch with seed pearls set to star motif at the centre, in beaded mount, 3.5cm wide. (5)

Live Auction

Volmer Bahner, Denmark: a blue enamel and silver butterfly necklace, 51cms long, 38.3g gross.

Anderson & Garland Ltd. Newcastle

Lot 454

Volmer Bahner, Denmark: a blue enamel and silver butterfly necklace, 51cms long, 38.3g gross.

Live Auction

395597 item(s)

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