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Click here to subscribeA VICTORIAN SILVER PLATED HOT WATER JUG by Martin Hall & Co, the tapered cylindrical body embossed with fruit pendant from foliate filled cartouche and a vacant cartouche beneath a palmette border and flower filled strapwork between beaded rims, the disc cover with bud finial, angular leaf capped handle, 25.5cm high
A MID 19TH CENTURY FRENCH MARBLE AND ORMOLU CLOCK garniture, the drum shaped case with bow, arrow and laurel finial, white enamel dial painted with floral garlands, Arabic numerals supported on four tapered pillars, the front two hung with ribbon tied garland, shaped serpentine base, pair of conforming urns on circular bases and milled toupie feet (one missing), clock 38cm high, with key, c.1860
A LATE 19TH CENTURY FRENCH WHITE MARBLE AND GILT METAL three piece clock garniture, the clock with drum shaped case with urn finial, the circular white enamel dial with floral garlands and Arabic numerals, four pillars supporting, moulded shaped serpentine base with milled brass disc feet; together with a pair of matching two branch, three light candelabrum, clock 40cm high, candelabrum 38cm high. See illustration
A TEAK CASED WALL CLOCK, the panelled architectural pediment above a glazed hood, white enamel dial with Roman numerals, the conforming body with visible pendulum, the pendant base fitted with foliate brass finial, the case bearing label for H Landseer-Bailey, Regent St, Brighton, eight day striking movement, 126cm high approximately
A George III mahogany and brass mounted wine cooler, circa 1810, the triangular shaped top with rounded edges and incorporating three bottle apertures around a central acorn finial, the brass bound sides incorporating brass carrying handles, 26cm high, 27cm wide, 27cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and use, The external metalware with discolouration and surface deposits, would benefit from a cleanThe interior liners are loose, and with dirt and discolouration consistent with age and use,The handles appear original, Some old splits and cracks,The band to the top with some copper joins, Condition Report Disclaimer
A pair of fine and rare French banded amethyst quartz and ormolu mounted pot pourri urns and covers, 19th century, each domed cover with a pierced guilloche rim cast with flowerheads, descending to ovoid bodies festooned with fruiting vine and cast with twin satyr mask handles, above a waisted socle and square section plinth cast with imbricated laurel, 37cm high, 15cm wideProvenance: Private Collection, LancashireWith its striking colours and intricate figuring, amethyst quartz has been used by the finest bronziers and furniture makers throughout the late 18th and 19th centuries. A pair of vases by Matthew Boulton cut from the same, rare material, from the collection of the Earls of Portalington, was offered at Bonhams, 20 November 2007, lot 77 (£96,000). While the material was evidently used by important makers in England, the present lot is more likely French in origin. The model, with its fine fruiting garland in the style of Duplessis, and its distinctive wreath finials, has appeared at Sotheby's Amsterdam, 16 April 2007, lot 339, only the bodies were executed in white marble.Interestingly, the wreath finial and pierced rim adorned with flowerheads share distinct similarities with Meissen shapes of the late 19th century. Note for example the pair of cobalt-ground urns sold at Christie's New York, 9 June 2014, lot 286.An amethyst quartz topped gueridon by Maison Millet offered at Christie's London, 10 September 2013, lot 150 (£49,875), is a testament to this fine material's enduring popularity with renowned makers of the late 19th century.Condition Report: Each of the urns bears the usual minor marks, knocks and scuffs overall consistent with age and use, and the gilding is a little rubbed overall. It has a warm, slightly coppery colour in places.Both covers bear old chips and restorations (one of which with a lacking section of circa 1cm and old adhesive residue to the underside), and two of the corners on the bases are chipped on each urn (circa 0.5cm chips).The stone is naturally veined and variegated, with quartz inclusions, however there are areas of stabilisation and filling (in dark red) to the bodies where the stone may have chipped or was naturally irregular.One of the vases in particular has a horizontal split, which stretches approximately half way around the body, though it is not possible to ascertain how deep this fissure is. This being said, both urns are entirely stable overall.The protruding knops to the centre of the bows may have once suspended chains, though this is not certain. Condition Report Disclaimer
A Regency burr oak and ebony library table, in the manner of George Bullock, circa 1815, the rectangular top with gilt tooled green leather inset and the crossbanding incorporating ebony banding cornered by marquetry acorn terminals, above a pair of drawers and an opposing pair of false drawers, the frieze cornered by a carved acorn pendant finial, above twin turned supports carved with oak leaf and acorn collars, above turned acorn feet and brass casters, 76cm high, 182.5cm wide, 80cm deepFor a related design of library table adopting the same materials and with twin pillar supports, see Christie's New York, Important English Furniture,9th April 2003, Lot 129 (28.680 USD). The scale of the current table and the inclusion of distinctive pendant finials to the corners of the frieze could similarly be attributed to the designs ofRichard Bridgens. Bridgens and Bullock did work together and Richard Hicks Bridgens (d. 1846) working relationship with Messrs George Bullock (d. 1818) and William Bullock, proprietors of Piccadilly's 'Egyptian Hall', was established by 1812, and they collaborated in such projects as Sir Henry Godfrey VassalWebster's historic 'Hastings' Hall at Battle Abbey, Sussex, whose furniture featured in Rudolph Ackermann's Repository of Arts, 1817. This pattern of table to which the current table relates was invented in 1823 to correspond with the 17th Century Jacobean mantelpiece in James Watts's great library at Aston Hall,Birmingham, where it featured in situ in A.E. Everitt's 1854 watercolour (pl. 96B). The design was later included amongst Bridgens' Aston furnishingsin the Elizabethan, Gothic and Grecian manner published in Designs for Furniture with Candelabra and Interior Decoration, 1838 (V. Glenn, 'GeorgeBullock, Richard Bridgens and James Watt's Regency Furniture Schemes', Furniture History, 1979, pls. 96B, 102B and 103A). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Metalware original. No key present, both locks open. A board to the bottom of one drawer is detached but present. Inset leather top is a sympathetic replacement. Leather with some additional scratches and marks. Some small sections of replacement veneer to three corners of one end base. Condition Report Disclaimer
A pair of Arts and Crafts painted wrought and cast iron gates, in the manner of Thomas Jeckyll, circa 1890, each frame with part-writhen and part incised uprights, with elaborate gold and silver coloured scroll- and strapwork motifs mounted with flowerheads to the upper gallery, above a further lower gallery in the style of Medieval tracery, each with a stylised sunflower head finial, each panel approximately 186cm high, 162cm and 154cm wide respectivelyCondition Report: One of the top railings has been recently reattached.The hinges may possibly be available from the vendor, please enquireCondition Report Disclaimer
A Derby botanical soup bowl, circa 1800, possibly painted by William 'Quaker' Pegg, with a plant specimen, blue painted mark, 197 and title Sedum Populifolium Poplar-Leav'd Stonecrop in blue script, 24.5cm diam; a Derby yellow-ground plate, circa 1800, with alternate floral and landscape floral panels, puce mark, 21cm diameter and a Derby two-handled chocolate cup, cover and stand, puce 7 gilder's mark for William Billingsley (3)Provenance: A private English collection and by family descent. Condition Report: Slight scratch to surface of Pegg plate, yellow ground plate very worn and finial of choc. cup restored.Condition Report Disclaimer
A replica Dr Benjamin Franklin bright flame mahogany cased regulator clock, the silvered arched dial 30 cm x 22 cm, modelled on the original of 1780, retailed by G H Bell, Winchester, dated 1971, 205 cm h to brass finialGood undamaged condition, currently ticking but not set up so no warranty that it will maintain, winds by chain
An early 19th century style mahogany long case clock commemorating Nelson/Trafalgar by Comitti London, the hood with swan neck pediment and brass ball and spire finial, full length door with oval glass panel, arched painted dial with rocking ship to the arch, triple train, chiming movement with 3 brass weights height 219 cm (current retail £7000-8000)
A Noritake covered shallow dish with reserve panels of flowers against a blue ground, diameter 15 cm; a similar pair of octagonal vases, height 15 cm (1 handle a.f.); a Chinese Cantonese shallow dish decorated in the famille rose manner, length 23 cm (one corner with large chip)Condition report: Noritake: minor glaze close to the rim, gilding to finial and handles worn and discoloured otherwise good condition. 1 Vase handle broken off and missing. Cantonese dish: one side broken and re-stuck, large chip to one corner
An early 20th century ivory censer staning on 3 legs with main section depicting carved dragons, the upper two sections with pierced decoration, temple dogs above (some slight areas of restoration) height 52cmGenerally good condition, small loss to open scrollwork in a couple of places, finial has loss of silk band trailing to smaller dogs mouth
A Vienna porcelain covered oval vase in the classical style, on pedestal with 2 handles, reserve polychrome panels depicting classical scenes against a turquoise and deep red ground, height 29 cm (finial broken from lid but present) Condition: Somewhat untidy gilding to interior of top tim suggests there may be some restoration here. Base and top need tightening up, top as catalogue some wear to gilt otherwise good condition with no further obvious damage repair or restoration
A Lynton porcelain canted square scent bottle, painted by Stefan Nowacki, signed, recto and verso with men-of-war at sea, the sides with Adamesque paterae in white and turquoise enamel and picked out in gilt, alternating panels of white and jasper blue, Neoclassical acorn finial, 7.5cm high, gold printed marks
A Lynton porcelain cylinder scent bottle, painted by Stefan Nowacki, monogrammed, with frigates at sea, within a shaped circular reserve and anthemion borders in gilt, white and turquoise enamel, the blue ground with stars and spheres conforming, the shoulder with gilt flowerheads and spheres, gilt acanthus finial, 8cm high, gold printed marks
A Lynton porcelain ovoid vase and cover, painted by Stefan Nowacki, signed, with a boat in an estuary, a castle in the background, within a foliate scroll border in raised and tooled gilding, on a white ground, leafy-capped scrolling twin-handles, finial conforming, scrolling cornucopia feet, 23cm high, gold printed marks
A Lynton porcelain two-handled ovoid pedestal vase and cover, of Sèvres design, painted by Stefan Nowacki, signed, with a wicker oval basket brimming with summer country flowers, suspended from a pink ribbon, flanked by colourful butterflies, within a border of graduating beads, flowers and scrolls in raised gilding, eggplant purple ground, gilt domed gilt cover with spherical finial, rope twist rim, scrolling handles moulded in high relief with laurels and berries, the socle modelled with white beads, fluted circular pedestal base, 34cm high, printed marks
A Italian polychrome painted longcase clock, 17cm chapter ring inscribed with Roman and subsidiary Arabic numerals, single winding hole, single train movement, the case with lofty canopy crested by a sphere finial, long rectangular door to waist, painted in the Venetian manner with classical figures, strapwork and leafy scrolls, 247cm high, 18th/19th century
Liberty & Co - an Arts and Crafts Tudric pewter oval basket, pierced and embossed with a border of stylised organic forms, planished overall, arched handle, oval foot, 23cm wide, design no. 011722, c.1910; a Keswick School of Industrial Art Firth Staybrite jar and cover, hardwood finial, stamped KSIA, design no. F924, 16cm high (2)
A Sèvres bombé-shaped sucrier and cover (pot à sucre Hébert), of the second size, painted with fanciful birds on leafy branches on a white ground, flanked by shaped reserves of a blue and gold mosaic pattern and gilt scroll borders, pink and white carnation finial, 10.4cm high, blue interlaced Ls only, c. 1756
A pair of Wedgwood blue jasper cassolettes, the ovoid bowls applied white relief with stiff leaves, tripod legs with acanthus leaves terminating with lion masks, the covers with sunflower finial and arabesque flowers, the nozzle with stiff leaves, triangular bases impressed marks, WEDGWOOD, late 18th century Condition Report: One with cover with the flower finial missing and the scone detached; the other cover with chip to flower finial, chip to sconce; nobbles to both around with triform baseschip to angle reglued, Still lovely examples
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