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Lot 460

2nd millennium BC. A bronze two-edged sword of Type Wilburton with lentoid-section lanceolate blade and stepped edges, notched ricasso, waisted hilt with T-shaped finial, holes for attachment of a wooden grip; mounted on a custom-made stand. See Burgess, C. & Colquhoun, I. The Swords of Britain, Prähistorische Bronzefunde, Ab. IV, vol.5, Munich, 1988, plate 27, item 163 for type. 1.06 kg including stand, 51.5cm (20 1/4"). From a private Scottish collection, and ex Thomas Riddick; found County Monaghan, Northern Ireland. Very fine condition.

Lot 551

10th-12th century AD. A silver coiled arm-ring, round in section with alternating twisted and plain segments, finial with a lentoid flange and returned finial, shallow midrib, tail finial absent. Cf. Sedov, B.B. Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, plate III, item 12 for type. 40 grams, 69mm (2 3/4"). From the family collection of a South East London collector; formerly acquired in the late 1950s. [No Reserve]Fine condition.

Lot 552

10th-12th century AD. A silver coiled arm-ring, round in section with alternating twisted and plain segments, Y-shaped finial to one end and the other with a lentoid flange and returned finial, the flange with midrib and punched crescent detailing. Cf. Sedov, B.B. Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, plate III, item 12 for type. 95 grams, 70mm (2 3/4"). From the family collection of a South East London collector; formerly acquired in the late 1950s. [No Reserve]Very fine condition.

Lot 567

6th-7th century AD. A silver-gilt drinking horn finial comprising a stylised bird-head with pellet eye and coiled beak, loop below for attaching of a suspension thong, tapering curved neck with bulb collar and triangular panels of Style I ornament, plain band with holes for fixing pins. Similar to the mount from one of the Taplow barrow drinking horns, now in the British Museum (accession number 1883,1214.19"). 36.10 grams, 10cm (4"). Property of a European gentleman; acquired in continental Europe in the late 1960s-early 1970s; accompanied by a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 620/135100. Fine condition, usage wear.

Lot 577

5th century AD. A parcel-gilt silver buckle comprising: a crescent loop with bird-head finials, punched-point detailing and cloison eyes; tongue with beast-head finial; plaque with separate square panel of raised ornament with garnet cloison to each corner, larger central cloison surrounded by eight smaller, profile bird-head to the rear with garnet cloison eye. Cf. Menghin, W. The Merovingian Period. Europe Without Borders, Berlin, 2007, item I.7. 190 grams, 18cm (7"). From an old European collection; acquired in Munich in the 1970s. Very fine condition.

Lot 578

6th century AD. A silver-gilt buckle set comprising: broad loop with scroll detailing to the upper face, four inset garnet cabochons; triangular-section tongue with curved beast-head finial, four garnet cabochons; rectangular plate with raised lip, repoussé scroll detailing and applied garnet cabochons in silver cells. Cf. Menghin, W. The Merovingian Period. Europe Without Borders, Berlin, 2007, item I.16.1 for type. 115 grams, 11.5cm (4 1/2"). From the collection of a European gentleman living in South London; acquired 1970-1980. Very fine condition.

Lot 579

5th century AD. A silver-gilt 'eagle' buckle and plate comprising: a domed D-shaped loop with stepped outer edge and running scrolls, each finial a profile eagle head with inset garnet cabochon eyes; the tongue D-shaped in section with ribbed butt and beast-head finials, garnet cabochon eyes; the hinged plates square with central void, running scrolls to the frame and inset garnet cabochon to each corner; two opposed profile bird-heads to the trailing edge, each with an inset garnet cabochon eye; six fixing holes. Cf. Menghin, W. The Merovingian Period. Europe Without Borders, Berlin, 2007, item I.8.11. 75.5 grams, 10.8cm (4 1/4"). Property of a gentleman; acquired in the late 1960s-early 1970s. 'Eagle' buckles are typical of the period of Gothic dominance of the Black Sea region from the 3rd century onwards. Political control by the Goths was broken after their disastrous defeat by the Huns in the 5th century, but the area surrounding Crimea remained culturally distinct for centuries afterwards. Fine condition.

Lot 581

6th century AD. A matched pair of silver-gilt bow brooches, each with rectangular headplate and geometric detailing, short bow, long lozenge footplate with raised border and midrib, beast-head finial with garnet cabochon eyes, pin-lug and catch to the reverse. Cf. Beck, H. et al. Fibel und Fibeltracht, Berlin, 2000, item 154(3) for type. 53.65 grams total, 92mm (3 1/2"). From an old European collection; acquired in Munich in the 1970s. [2, No Reserve]Fine condition.

Lot 61

3rd century BC-2nd century AD. A terracotta rhyton with flanged and stepped rim, tapering curved body, figural finial of the goddess Anahita with diadem; bands of red and cream geometric detail to the rim and upper body, red wave patterns to the inner face; the goddess modelled with carefully dressed hair and floral diadem, ringlets cascading to her collar bone, alert facial expression with almond-shaped eyes and prominent nose, with C-shaped billetted collar and chiton, cupping her left breast in her right hand; mounted on a custom-made stand. 2.4 kg, 30cm including stand (11 3/4"). Private collection, London, UK; formed 1970s-1980s. Aredvi Sura Anahita (Aredvi, mighty and pure) is the Avestan name of a female cosmological figure associated with fertility, healing, wisdom and flowing waters. After the 4th century BC, Anahita became strongly associated with the Semitic goddess Ishtar, and her remit began to cover warfare and the worship of the planet Venus. Her name entered Greek consciousness as Anaitis. Her cult was promoted by the Achaemenid rulers and became further associated with Greek Aphrodite. Into modern times, Aredvi Sura Anahita has been of significance to the Zoroastrian religion, because she is the divinity towards whom the Yasna service ritual is directed. [A video of this item is available to view on TimeLine Auctions website.]Fine condition, chipped. Rare.

Lot 65

5th-3rd century AD. A glass amphoriskos miniature amphora with tapering body and knop finial, deep shoulder with applied strap handles, tubular neck and rolled rim; bands of horizontal detailing, dragged trails below the shoulder. 316 grams, 13.5cm (5 1/4"). Property of a lady living in Kent, UK; formerly part of her grandfather's collection; acquired in Germany after WWII; thence by descent 2006. Fine condition.

Lot 105

2nd century AD. A bronze oil lamp with piriform body and D-shaped nozzle, conical base, handle formed as a D-section bar with floral finial and leaping panther to the centre. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, item 400 for panther. 490 grams, 18cm (7"). Property of a London gentleman; acquired London art market, 1970-1980. Very fine condition.

Lot 167

7th-9th century AD. A cross pendant comprising a thick equal-armed rock crystal cross, gold foil finial to the upper arm, applied wire collars, large suspension loop. 13 grams, 50mm (2"). Property of a lady living in Kent, UK; formerly part of her grandfather's collection; acquired in Germany after WWII; thence by descent 2006. Fine condition.

Lot 179

6th-10th century AD. A pair of large bronze finials, each a spray of five lanceolate leaves with fall finial, tiered base, central spike. 3.05 kg total, 18-20cm high (7 1/8 - 7 7/8"). Property of a Mayfair lady; formerly in an important London collection formed since 1965. [2]Fair condition, chipped.

Lot 265

1st millennium BC. A bronze master of animals sceptre finial depicting two facing human heads gripping a pair of addorsed animals, bird heads below; separate balustered stem extending to a socket at the base. 325 grams total, 17-20cm (6 3/4 - 8"). From an old British private collection; formed between 1975 and 1985. [2]Fine condition.

Lot 309

1st millennium BC. A ceramic rhyton with bell-shaped body, bull-head finial with crescent horns and applied disc eyes, aperture to the mouth, applied model calf to the forward face with legs folded beneath the body, modelled in the round. 887 grams, 37cm (14 1/2"). From the collection of a North London gentleman; acquired in the 1980s. Fine condition.

Lot 37

3rd century BC-2nd century AD. A restrung choker-length necklace of gold polyhedral beads with spacer discs, two leaf-shaped dangles and a rod with ball finial; modern clasp. 27.26 grams, 33.6cm (13 1/2"). Property of a London collector, acquired early 1990s. Very fine condition.

Lot 397

9th-11th century AD. A carved stone architectural bracket comprising a slender ledge with stepped cone finial to the lower face, swept underside to the triangular bracket with ribbed and lobed surface, central void containing an advancing elephant with saddlecloth and two riders supporting the ledge; mounted on a custom-made stand. 33.1 kg, 68cm including stand (26 3/4"). Property of a London gentleman; from his father's collection formed in the late 1980s-early 1990s. Fine condition.

Lot 192

An Art Deco marble clock with bronze bird finial and one matching garniture

Lot 111

A Worcester coffee pot and cover with floral moulded finial. Painted with the Rich Queens pattern c.1770, 22cm.Condition report intended as a guide only.Base badly cracked. Finial restored.

Lot 194

A 20th century Chinese hardstone jade coloured censor and cover on hardwood stand. Carved with a temple dog finial, with twin handles and raised on a tripod of paw feet, 27cm.

Lot 229

An archaistic Chinese bronze baluster shaped urn and cover. The finial formed as a standing crane, the handles formed as mythical beasts and raised on similar supports, 33cm.

Lot 616

A 19th century French Empire ormolu mounted mahogany coat stand, 176cm high, base 53cm square.Condition report intended as a guide only.Top finial very slightly bent. Plinth with superficial marks. No other notable issues.

Lot 2

A VICTORIAN SILVER ‘SUCRIÈRE, London c.1886, maker’s mark of Goldsmith Alliance Ltd., of baluster form, the hinged lid with spiral and foliate finial, the lid and body decorated with spiral demi-fluting, with twin short foliate cast handles, the fluted body with overset flowers, above a wavy shell-like base, raised on abstract scroll and foliate triform foot (c.14 troy ozs). 16cm high

Lot 6

A VICTORIAN SILVER STANDISH, London c.1855, maker’s mark of Samuel Hayne & Dudley Carter, of shaped oval form, the wavy foliate and scroll base fitted with central silver baluster pot and cover, with cast finial in the form of a figure holding a book, flanked by removable silver mounted cut glass ink pots (c.27 troy ozs). 31cm wide, 23cm deep, 16.5 high

Lot 75

AN IRISH THREE PIECE SILVER TEA SERVICE, Dublin 1921, maker's mark of West & son, comprising: teapot, sugar bowl and cream jug, each with foliate cast rim, globular body, the tea pot with ebon handle and finial, (c. 32 troy ozs all in). Height of Teapot 16cm.

Lot 92

AN EDWARDIAN SILVER TEAPOT, Birmingham 1908, mark of W. G Keight Sons & Co., of baluster shape with eagle finial, the body chased and embossed with 'C' scrolls and foliage, with a vacant cartouche to each side, the spout cast with bird's head terminal, supported on short scrolling feet, (c.24 troy ozs). 23cm across handle and spout

Lot 621

A Silver cruet set with two glass liners, salt spoon, overall approx 5.6 troy oz, together with silver brush, some small usage marks and small dents, salt missing finial

Lot 34

White Alabaster & Gilt Brass Mantle Clock with Lion finial, dial marked "Hy. Hird Paris & Hull", comes with key & pendulum, measures approx 36 x 25 x 12cm at the widest points

Lot 12

Royal Worcester pot pourri vase and cover decorated with fruit on a naturalistic background signed Ricketts, date coded 1928 13cm high The vase is in very good condition. No cracks, crazing or damages to the vase. There is no loss of gilding and the painted sections are in excellent condition. The cover has no loss to the gilding but there is a possible restoration to the finial

Lot 224

Arts & Crafts silver spoon with hammered finish to bowl and inset cabochon agate finial. Assay marked London 1937 by female silversmith Sybil Dunlop. Total length 17cm The spoon is in excellent condition throughout, some very minor surface abrasions to the back of the handle and bowlSpoon weighs 49 grams.

Lot 1530

A Large Victorian Copper Table Urn with brass finial, handles and tap, stamped 'T', and later shield for 1933, 53cm high.

Lot 219

Heavy metal, face stamped VICTORIA LONDON. Working. Separated wrought iron mounting bracket.A large clock in working condition, manufactured for use on a ship or for mounting on a building or street infrastructure. Clockface stamped VICTORIA LONDON, with large Roman Numerals to mark hours and standard numerals to mark seconds. Ornate gilt crest at top, with motifs of gears. Heavy black wrought iron bracket brace and mounting hardware included. Issued: Early 20th c. Dimensions: 24"H x 16.5"W Country of Origin: England Condition: Age related wear; restoration to finial

Lot 116

Pre-Columbian, North Coast Peru, Moche, ca. 100 to 300 CE. A lovely group of four gilded silver coca spoons (also called lime spoons), used to prepare lime powder in order to enhance the hallucinogenic properties of other drugs. Each one has a beautiful zoomorphic/avian finial atop a long slender body hammered at the end to create a receptacle for the lime powder. Three of the spoons present hummingbird finials with characteristically long beaks and one presents a jaguar finial with an open toothy grin, perky ears, and a curled tail . Size: 3.125" H (7.9 cm); 3.5" H (8.9 cm) on included custom stand. Weight: 28.3 grams. Precious metal quality: 65% silver, 20% goldTo the ancients of the Pre-Columbian world, hummingbirds (picaflores in Spanish) were associated with the sun. Appreciated for shiny, iridescent feathering and aerial acrobatics, the hummingbird made for the ideal solar metaphor. Since these birds are known to hover, seemingly motionless, and fly up, down and even backwards, the ancients likened their motions to the sun's hovering in the sky at the solstices when it is also known to reverse its celestial direction. In addition, hummingbirds can assume a torpid state when it is cold at night or during brief periods in the winter. However, they come back to life in the spring warmth. This unique ability to "die" and "resurrect" signified rebirth to the ancients, precisely at a time when planting and, in this sense, "renewed life" occurred. The jaguar symbolized power and might throughout the Pre-Columbian world. Warriors, rulers, hunters, and shamans alike associated themselves with this king of beasts, the largest and most powerful feline in the New World. The principal Moche god Ai apaec wears a headdress adorned with a jaguar head and paws and important mortals donned similar headdresses. A nocturnal animal, the jaguar sleeps in caves and dark places and creeps quietly in the forest, evoking great mystery. Oddly enough, few Moche artists would have actually scene jaguars as they are not indigenous to the coast. Jaguars prefer moist forest conditions. However, scholars believe that some cubs were transported over the mountains for Moche rituals, and it is also possible that some jaguars wandered down the coast. Provenance: private Hawaii, USA collection; ex-private Hans Juergen Westermann collection, Germany Condition: Slight surface wear to the spoons, but the forms are generally very strong. Some loss to gilt but some still remains. Silver has developed a nice patina with small areas of green patina from the copper content. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #145401

Lot 143e

Pre-Columbian, North Coast Peru, Mochica, ca. 100 to 300 CE. A spectacular gold scepter finial comprised of 82% gold (equivalent to 18K+) depicting two individuals in a caballito de tortora - a reed boat used by Peruvian fisherman - with six endearing gold fish danglers suspended from gold horizontal elements adorned by an impressed cross-hatched pattern below the boat. The boatman - holding a long oar and wearing a tumi shaped headdress - most likely represents a Moche lord. Notice the wonderful facial features and decorative ornamentation on his headdress - all in repousse. The more petite figure at the opposite end of the vessel - likely a child with delineated facial features, nipples, and belly button - holds a slithering eel. Behind the rower, at the rear end of the boat is an olla with a fish in it - the catch of the day! Size: 3.75" W x 3.625" H (9.5 cm x 9.2 cm); 6.25" H (15.9 cm) on included custom stand. Closed case measures 5.875" W x 7.875" H (14.9 cm x 20 cm); total weight: 14.9 grams; precious metal quality: 82% gold (equivalent to 18K+)The caballito de tortura sits upon a cylindrical lower section designed to fit the top of a scepter. This iconography extends back to pottery dating some 3,000 years ago. Caballito de tortora (little reed horses) are so named for the straddled manner in which they are ridden. Fishermen have traditionally used them to collect fish in the inner cavity and transport nets. Of course, caballito de tortora is not the original name, since horses were unknown to South America until the Spanish conquest of the Inca Empire.Note that caballitos de tortora are made from the same reed, the totora (Schoenoplectus californicus subsp. tatora), used by the Uru people on Lake Titicaca. One cannot help but wonder if this iconography may by extension also reference to the legend of El Dorado. The legend of El Dorado first captured the imaginations of Spanish conquistadors in the 16th century, luring them from the Old World to the New World in search of precious goldworks. Lore of "El Hombre Dorado" (The Golden Man) or "El Rey Dorado" (The Golden King) involved a mythical Muisca chief of Colombia who according to legend had covered himself entirely in gold dust, created a luxurious golden raft, and offered coveted treasures to the Guatavita Goddess in her sacred lake.It should be said that any goldwork from the Moche is exceedingly rare, as their treasures were targeted by plunderers during Colonial times. Heidi King of the Metropolitan Museum of Art in New York offers the following explanation in "The Art of Precolumbian Gold": "The Mochica or Moche as they are also known, built their capital in the dry, coastal valley of Moche, where the main construction was the Huaca del Sol, the so-called Pyramid of the Sun, the largest adobe structure built in Pre-Columbian South America. The great pyramid, made of over 143 million adobe bricks, was clearly visible and easily accessible during Colonial times, and it received extraordinary attentions from early treasure hunters (Bray this volume). As a result of such attentions, little of the wealth in precious metals that the Moche peoples are believed to have possessed remains in its ancient form today. Those works that do remain are all the more important because of their rarity." (The Art of Precolumbian Gold: The Jan Mitchell Collection" edited by Julie Jones. Boston: Little Brown & Company, 1985, p. 212) Provenance: private Hawaii, USA collection; ex-Ian Arundel collection, Old Curiosity Cabinet, Los Angeles, California, USA Condition: Just a few tiny nicks to peripheries of boat and child's head. Perforation at top of child's head suggests that he may have worn a headdress. Two perforations at lower end of cylindrical base of the finial were for attaching to scepter. Minor bending and creasing to gold sheet in areas. All in all, a downright fabulous example. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #144358

Lot 157

West Africa, Nigeria, Yoruba, ca. 1960 CE. A wonderful beaded crown (ade) created for a Yoruba oba or king - of a classic conical form with a removeable bird finial atop, two attached kneeling female figures flanking a relief visage on one side, a third figure standing atop a flap on the opposite side, a beaded veil serving to cover the royal's visage, and additional beaded strands trimming the remainder. Most of the crown's body is covered with bands of repeating diamond motifs in shades of blue, brown, and pink. The upper point is adorned by horizontal strands of pink, blue, brown, yellow, and orange beads. Blue beads were particularly coveted, because the color could not be created from natural sources. In addition, this crown is lined with Ashoke cloth of wine, gold, and chocolate brown hues. Size: 13.5" W at widest point x 36" H including veil and trim (34.3 cm x 91.4 cm)See a similar beaded crown in the Brooklyn Museum collection - https://www.brooklynmuseum.org/opencollection/objects/4813. According to the curatorial team, "Worn by an oba, or king, this crown with its beaded veil serves to depersonalize the man and instead emphasizes his office. It also protects onlookers from the danger of casting their eyes directly upon the divine presence of the oba." Despite the fact that the Yoruba have a long history of glassmaking, the beads used to make this crown may have been imported from the British during the late 19th century. During this period, glass beads signified high status and substantial wealth. Such petite European "seed beads" were thought to be particularly special, due to their uniform size and wide variety of colors. Provenance: private Poos collection, Overland Park, Kansas, USA; purchased directly from the artist in 2010 - One of the largest privately held quilt and textile collections in the world, the Poos Collection has evolved over 50 years and through extensive travels to allow for original or point of source acquisition. The collection includes international textiles and garments with an emphasis on West African textiles such as adire, aso oke, kente, and ewe woven prestige cloths. Condition: Some missing beads and losses to singular strands around the periphery. Otherwise excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #145888

Lot 157b

Central Africa, Democratic Republic of the Congo, Lega peoples, ca. early 20th century CE. A hand-carved wooden figurine used for ceremonial performances in order to teach moral values consistent with ideals held by those in the Bwami Society. The figure is composed of a tapering conical body with delineated arms, a narrow neck, and a spherical head, all atop an integral hemispherical plinth as well as an egg-shaped base with several filed slits for attaching to a headdress as an ornamental finial. The compressed face features concentric circle eyes, a slit-form mouth, and smooth peripheries, and lustrous red-brown patina enshrouds the entire carving. Size: 1.5" W x 4.6" H (3.8 cm x 11.7 cm). Provenance: ex-Zemanek-Munster Tribal Art Auction (auction #303, part of lot 6788); collected in the 1960s by Andre Navez in Kivu province Condition: Minor abrasions to base, body, and head, with a couple of stable hairline fissures, otherwise intact and very good. Fabulous patina throughout. Old inventory label beneath base. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146411

Lot 62

A Cast Iron Finial Attributed to a L.S.W.R Design- Stamped on base S.R (Southern Railway) with Foundry Marks for E and J.K Ltd. Height: 24 inch. Condition: Unbroken and ideal for full restoration.

Lot 1011

Good mahogany inlaid four glass 10" wheel barometer signed John Comoli, Newcastle, within a shaped boxwood banded case inlaid with conch shells and surmounted by a triangular broken arched pediment and brass urn finial

Lot 1152

Eureka Cromwellian electric brass lantern clock, the 7" silvered chapter ring enclosing a brass plate inscribed Eureka Clock Co Ltd London, Pat no. 14614-1906, with slow/fast star lever, also inscribed no. 2110 above six o'clock on the chapter ring, surmounted by pierced front dolphin and foliate side frets, strapwork bell and finial, 17" high

Lot 1310

Good English small mahogany single fusee library clock, the shaped movement back plate with locking pendulum, with silvered foliate engraved dial, within a stepped case surmounted by a gadrooned pediment with turned finial, 12.25" high (pendulum and door keys)

Lot 1326

English brass lantern clock with original verge escapement, signed John Willats, London on a circular plaque to the arch over a brass chapter ring enclosing a matted centre with two later brass hands, surmounted by pierced foliate brass side frets, later strapwork, bell and finial (weight and original bell)

Lot 1327

Good English brass hook and spike lantern clock with original verge escapement, signed Luke Wise, Reading to the foliate engraved centre with alarm dial and single iron hand enclosed by a brass chapter ring, the side doors fitted with apertures for the pendulum bob swing, the pendulum fitted to the back of the movement inside the back door and fitted with an outside alarm mechanism to the rear, surmounted by pierced engraved foliate frets, strapwork, bell and finial, 15.75" high (pendulum and weights)

Lot 1507

Large Spanish mahogany three train boardroom mantel clock, the 8.5" brass arched dial signed Pena y Lobrino, Madrid on a silvered disc to the arch over subsidiary slow/fast and strike/silent dials, the silvered chapter ring enclosing a matted centre, the movement with pull repeat striking the hours and quarters on three gongs, within a stepped case surmounted by a high caddy top and brass urn finial, 27.5" high (pendulum)

Lot 1541

Mahogany double fusee bracket clock striking on a bell, the 8" silvered dial within a stepped case surmounted by a caddy top and brass finial, 20.5" high (pendulum)

Lot 1565

Oak three train boardroom clock, the movement playing and striking on five gongs, the 7" silvered engraved dial with slow/fast and chime/silent subsidiary dials, within a pillared breakfront carved case surmounted by a triangular broken pediment with urn finial, 27.5" high (pendulum)

Lot 1701

Good French ormolu cartel clock case fitted with a later electrical movement, the 7.5" white porcelain dial indistinctly inscribed and within an ornate case cast with rams heads and foliage, surmounted by a Classical urn finial, 30" high overall

Lot 1829

Scottish mahogany eight day longcase clock, the 13" painted arch dial signed Peter Penman, Dunfermlyn to the centre, with subsidiary seconds and calendar dials, the case with short bow fronted door flanked by fluted columns, the hood with a swan neck pediment and brass ball and spike finial, 88" high (pendulum, weights & key)

Lot 1830

Mahogany eight day longcase clock, the 12" painted square dial signed Carter, Salisbury with subsidiary seconds dial and calendar aperture, the case with long door and the hood surmounted by a swan neck pediment with brass ball and eagle finial, 82" high (pendulum and two weights)

Lot 1838

Mahogany eight day longcase clock, the 13" painted arched dial signed Samuel Polak, with subsidiary seconds dial and calendar aperture, the case with short door, the hood surmounted by a swan neck pediment and brass ball and eagle finial, 86" high (pendulum and two weights)

Lot 1846

Oak thirty hour longcase clock, the 11" square painted dial signed Foster, Tiverton, the case with medium length door and the hood surmounted by a swan neck pediment and brass eagle finial, 78" high

Lot 1847

Scottish mahogany eight day longcase clock, the 14" painted arched dial signed Ketterer & Co, Edinburgh with subsidiary seconds and calendar dials, the case with short bowed door flanked by turned columns and the hood surmounted by a swan neck pediment and gilt metal finial, 84" high (pendulum and two weights)

Lot 1848

Scottish oak eight day longcase clock, the 12 " brass arch dial signed Alex Trotter, Jedburgh on a flat circular plate to the arch, the case with long rounded arch door carved overall with a bulls head and lyres amidst stylised foliage and the hood surmounted by a swan neck pediment and brass ball and spike finial, 91" high (pendulum, weights & key)

Lot 1849

Good mahogany regulator longcase clock, the 12" square silvered dial with outer seconds chapter ring enclosing subsidiary minute and hour chapter rings, also inscribed Sept 1925 to the centre, the movement with deadbeat escapement and maintaining power, the case with long glazed door surmounted by a broken triangular pediment and brass urn finial, 78" high (pendulum, weight and keys)

Lot 2304

French ormolu two train mantel clock striking on a gong, the 3" white dial signed Camerer Kuss & Co, 56 New Oxford Street, London, within a stepped pillared case surmounted by four small and one large turned finial, 13" high (pendulum and key)

Lot 1100

TWO 19TH CENTURY INDIAN BRASS SPICE BOXES WITH BIRD FINIAL, 10cm x 12cm wide.

Lot 1110

A 16TH-17TH CENTURY OTTOMAN CARVED MARBLE FINIAL, 51cm high.

Lot 1446

A GOOD 19TH CENTURY CHINESE CARVED IVORY PARASOL HANDLE, the main body carved in relief with scenes of flora, dragons and phoenix birds, the top finial with a carved lady sat inside a clam shell holding a pearl, 74.5cm high, handle 6cm.

Lot 1551

A 19TH / 20TH CENTURY CHINESE BAMBOO BRUSH POT / LIDDED BOX, later added French metalwork to convert to a box, the mountings form an angel finial sat within a crown and with carved ruyi head border, the brushpot depicting figures amongst trees and temple buildings with roundel's of phoenix & deer. 30cm high x 13cm wide.

Lot 1564

A LARGE JAPANESE MEIJI PERIOD SATSUMA KORO & COVER, the large vessel well decorated to depict birds amongst chrysanthemums and other native flora, some of the enamel work is raised in the moriage style, the handles of moulded Lion dogs / Shi Shi dogs as is the finial of the cover, the cover decorated with ine detail of circular mons & floral decor, sat upon three moulded lion dog legs, 48cm high x 37.5cm wide.

Lot 336

ϒA Chinese ivory seal, Qing Dynasty, of square shape and carved with a lion finial, the seal face reading yin pi zheng yin, 3.8cm high and 2cm square; and an inscribed ivory paper weight, incised with quotes from the Analects, 27.2cm long (2) 清 象牙狮钮印及镇纸 ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

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