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Click here to subscribeA George I month going mahogany longcase regulator by George Graham, London, movement no. 622. The six pillar movement with a half dead beat escapement to a silvered circular regulator dial (formerly square). The later lyre shaped case c.1800 with a circular hood, bordered with a gilt brass guilloche moulding and surmounted by a mahogany carved urn finial. 6ft 10in (208cm) h.
A Regency brass inlaid mahogany repeating 8-day bracket clock, maker Wm Moon of 4 Holborn Bars, London, mounted with pineapple finial on sarcophagus shaped top and ripple moulded cornice above a circular white enamel Roman numeral dial, enclosed by floral spandrels, the movement striking on a bell, on brass ball feet, 48cm high, 29cm wide, 17cm diameter
An early 19th century Scottish mahogany, rosewood banded and line inlaid longcase clock, the arched hood surmounted by a brass eagle and ball finial with swan neck fretted crest, above a circular glazed door, flanked by a pair of reel-moulded half columns, the arched trunk door flanked by quarter rope twist moulded columns, above a projecting box base, feet lacking, the 13inch circular silvered dial signed 'John Mearns, Aberdeen', with subsidiary seconds and date dials and Roman hour numerals, the twin train brass movement with anchor escapement striking on a bell, 219cm high
C..A..CANTI MALLING, KENT: A George III wheel barometer, with rosewood and satinwood strung case, with gilt pineapple finial between swan neck pediment, the barometer with dry/damp gauge above a convex fronted thermometer, a circular timepiece with convex white enamel dial with Roman numerals, the barometer dial with elaborately engraved centre above a spirit level, 58" high.
A George I caster of inverted facetted baluster shape, engraved with an armorial, on a stepped foot and with a foliate pierced cover and finial, London 1718 probably by Glover Johnson (the maker's mark rubbed), 18cm high (7 in), 204g (6.5 oz) 213 continued: The arms are for those of Townshend of Raynham, Norfolk with a crescent for a second son. The most renowned member of this family in the early 18th century was Charles, 2nd Viscount Townshend (1687 - 1738) whose pioneering agricultural improvements earned him the soubriquet 'Turnip Townshend'
Three Victorian and later mustard pots and a pedestal sweet dish, comprising; an oval mustard pot with reeded borders and a domed cover with a vase finial, Birmingham 1876, 9cm high (3.5 in), 82g (2.5 oz), a drum shaped mustard pot with reeded borders, stamped beneath 'Lambert', London 1889, 5.5cm (2.25 in), a round barrel shaped mustard pot with a shell and reed handle and rim, with a blue glass liner, London 1906 by H C Lambert, 6cm high (2.25 in), 155g (5 oz), and a lobed round pedestal sugar bowl a shell chased and 'C' scroll rim, London 1904, 12.5cm diameter (5 in), 246g (8 oz)
A George I small bullet shaped teapot with a moulded spout and foot, a fruitwood scroll handle and a turned finial, the rim with and engraved band and with a later crest, London 1721 by Abraham Buteux, 9.5cm high (3.75 in), 303g (9.75 oz) The Irish crest and coronet are for those of Earl Winterton of Gort in the county of Galway, Ireland. The earldom created 1766.
A George III oval entree dish and cover, the base with a crest, a beaded border and loop handles, the cover with an ivory finial and an armorial (patched), London 1783 by Edward Fernell, 36cm wide (14.5 in), 576g gross (18.5 oz) The arms of Pearson, originally of Kent and of Moulton Park, Northants, impaling Beatson quartering Grundie.
A Victorian melon shaped teapot with a leaf capped handle on scroll feet and engraved with acanthus, the cover with an acorn finial, an oval straight tapering three piece tea service engraved with leaves intertwined with bands of rustic twigs and a cartouche with initials, a pair of bright cut sugar tongs, a drum-shaped mustard pot with gadrooned rim and scroll thumb-piece with blue glass liner, mark of Matthew Boulton, and a fiddle pattern mustard spoon
A French tortoiseshell and gilt metal mounted bracket clock, the waisted case with cut brass inlay, foliate mounts and putti finial, glazed side panels, on scroll feet, the cast dial applied with white enamel Roman numerals and signed 'Gouchon, a Paris', the twin barrel movement with outside countwheel striking to a bell, and the wall bracket en suite, 79cm. total height.
A late George III mahogany and chequer-strung longcase clock, the hood with swan-neck pediment with urn finial and turned columns, having an arched waist-panel door within canted angles on a box base, the 34cm. painted arched dial signed 'Arch Buchan, Bridgend, Perth', with subsidiary seconds and date dials, the twin-train striking to a bell, 220cm. high.
AN EDWARDIAN TEAPOT The part-lobed, rounded rectangular body with conforming cover, wood handle and finial, by Samuel Watton Smith and Co., 1901, 14cm. high approx.; with a teapot and milk jug of similar design, with oval bodies, by The Goldsmiths and Silversmiths Co. Ltd., marks rubbed, 1902, 33.75oz total for the three items. (3)
Fishing: A Hardy Bros Alnwick octagonal cane fly fishing trout rod, four pieces, (two tips) numbered E21443, 'The Marvel rod', Palatona Red'g 246396, cork handle, sliding alloy reel fitting, with metal cylinder Hardy stickered tube, fabric bag with hardy crest and brown fabric cylinder cover. Parts measure 80cm (includes turned acorn finial), 80cm and two pc at 78cm (regd no. 713315 to end)
Two small lidded mustard pots; one faience with berry finial and hand painted Chinese man and tree to side 10cm, the other with floral transfer, hand painted, along with a French porcelain coffee pot, hand painted with floral swags and sprays, with silver plated rim and spurious Japanese style marking below (3)
A Wedgwood creamware sauce tureen, cover and stand, transfer printed at Liverpool by Sadler and Green, crisply press-moulded with shells and with a bud finial, transfer printed in black with birds and flowers, stand 22.5cm w, tureen with incised Workman's mark 6, the cover 35, c1770 The shape is based directly on a Sèvres model Josiah Wedgwood in a letter to Thomas Bentley described how he spent three days "taking patterns" of the duchess of Bedford's service in October 1765 and that he was greatly impressed by it. Another example, also Liverpool printed with birds, is illustrated Reilly (Robin), Wedgwood, vol I, plt 270 and col plt 24. In excellent condition with no cracks, chips, damage or restoration, there is a pinhead sized flat rim chip to the cover which is hardly noticeable. A fine quality early piece of creamware in unusually fine condition
A Derby pickle stand of three scallop shells, freely painted in underglaze blue with loose bouquets and insects in cell diaper borders and surmounted by a spotted whelk shell finial, on an open-work mound of tightly packed shells and limpets, 9.5cm h, patch marks, c1765 A similar example is illustrated, Bradley (H G), Ceramics of Derbyshire 1750-1975, No 179. Restoration to the finial and each well
A Royal Worcester two handled vase and cover, painted with highland cattle in a landscape by H Stinton, signed, between leafy gilt borders, on gilt trumpet foot, knopped cover, 25cm h, printed mark, H247, date code for 1917 Finial re-joined to the cover but neatly done, the vase in fine condition with no restoration
A Wedgwood Fairyland Lustre bowl or "Puff Box" and cover, in Flame Fairyland, the cover decorated with the Si WantgMu pattern, the bowl with the Bubbles II border and designed by Daisy Makeig Jones, gold lustre widow finial, 15cm diam, incised 3279, gilt printed vase mark, painted Z5360 cf des Fontaines (Una), Wedgwood Fairyland Lustre, p208. Some very light rubbing of the gilding on the exterior which is hardly noticeable and does not detract, no damage or restoration. A minute (less than a pinhead) graze on the edge of the rim of the cover on the underside which is more of a scratch in reality
A pair of Japanese bronze jars, covers and inner covers, carved and applied with quail, cockerels, phoenix and other birds, insects and foliage overall, the inner covers with shakudo fruit finial, 14.5cm h, signed Kazumasa on an engraved tablet on the finial, Meiji Extremely tarnished and with minor losses, the inner covers retaining the full original gilding and illustrating well the original appearance of the jars which could probably successfully cleaned. Of typically fine quality, no restoration or repolishing
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