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Click here to subscribeA 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
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
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
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
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.
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
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
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
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
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
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
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)
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)
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)
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)
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)
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)
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)
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.
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.
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.
A Chinese Yixing pewter-encased bamboo-form teapot and cover, 19th century, Qing Dynasty, impressed Yang Pengnian zao mark, decorated to one side with a fishing scene, the other side inscribed with a poem and signed jiu si, embellished with a celadon jade handle and spout, the flat cover surmounted by a celadon jade finial, 17.2cm wide (handle to spout) Compare with a similar bamboo-form teapot sold at Christie’s, Lot 1200, 16th May, 2014 “杨彭年造”款紫砂锡包三镶壶
A pair of Chinese celadon jade hair pins with ‘Zi Gang’ mark, both of tapering cylindrical form with one rounded tip, the other end with a hemispherical finial carved with chilong, the shaft decorated with a sinuous chilong and worked with a ‘Zi Gang’ inscription, 6.4cm long and two Chinese celadon jade hair pins, worked with lotus design finials, 7.6cm long (4) 白玉子冈款玉簪一对等四件 Please note: the correct lengths of the jade pins are16.4cm and 17.6cm
ϒA gilt-bronze Buddhist stupa, probably Nepal, 20th century, of bell-shaped form, on square raised pedestal, the tapered finial topped with sun and moon emblems, the sides with inscriptions in devanagari, inlaid throughout with turquoise and coral, 46cm high 铜鎏金佛塔 ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
VULLIAMY, LONDON. No. 614. A REGENCY BRONZE, ORMOLU AND WHITE MARBLE LIBRARY MANTEL CLOCK the case surmounted by a flambe finial above a 3" gilt engine turned dial with Roman numerals flanked by two classical female figures reading books mounted on a white marble plinth, the signed eight-day fusee movement having anchor escapement and circular plates 27cm high
A LATE 19TH CENTURY FRENCH ORMOLU AND PORCELAIN PANELED MANTEL CLOCK having an urn finial above an ornate case with acanthus leaf decoration inset with blue porcelain panels painted with winged cherubs and matching 3.5" dial having Roman numerals fronting an eight-day spring driven movement striking the hours/half hours on a bell 31cm high
A LATE 19TH CENTURY FRENCH ORMOLU AND PORCELAIN CLOCK GARNITURE the blue porcelain case with ormolu pineapple finial supported on turned stand with two stylized griffins with a pair of matching six branch candelabra , the 3.5" enamel convex dial with Roman and Arabic numerals fronting an eight-day spring driven movement striking the hours/half hours on a bell, clock measures 51cm high
AN EARLY FRENCH BRONZE AND ORMOLU URN SHAPED MANTEL CLOCK the patinated case flanked by two gilt rams heads and surmounted by a gilt acorn finial enclosing a 4.5" enamel Roman dial fronting an eight-day spring driven movement with silk suspension striking the hours/half hours on a bell 39cm high
A LATE 19TH CENTURY FRENCH ORMOLU AND PORCELAIN PANELLED MANTEL CLOCK the case with urn finial above a gilt brass case with acanthus leaf moulding inset with porcelain panels depicting classical scenes with matching 4" porcelain Roman dial fronting a spring driven eight-day movement striking the hours/half hours on a bell 45cm high
A LATE 19TH CENTURY FRENCH ORMOLU AND PIETRA DURA MANTEL CLOCK with urn finial above a waisted case having floral decoration and marble panels, the front with pietra dura panel depicting a butterfly below a 4" marble dial with Roman numerals fronting an eight-day spring driven movement striking the hours/half hours on a bell 35cm high
W. SCHÖNBERGER, VIENNA. A MID 19TH CENTURY DWARF VIENNA REGULATOR WALL CLOCK the walnut case having a foliate carved pediment above a serpentine sided case with locking glazed door and moulded base with original carved finial, the 16cm two-piece enamel dial with Roman chapter ring fronting an eight-day weight driven movement with deadbeat escapement and Harrison maintaining power 96cm high
JAMES UPJOHN, 18 RED LION ST. CLERKENWELL, LONDON. A REGENCY FIGURED MAHOGANY AND SATINWOOD INLAID BRACKET CLOCK the pagoda top with gilt brass pineapple finial above a balloon shaped case crossbanded in satinwood with inlaid urn panel and locking cast brass bezel enclosing a 6" convex painted dial with Roman numerals and Strike/Silent lever fronting a circular plated eight-day double fusee movement striking the hours on a bell 61cm high
JOSEPH CROSSKILL, NORTH WALSHAM. A GEORGE III FIGURED MAHOGANY LONGCASE CLOCK the case with shaped pediment above a glazed arch door flanked by brass capped Corinthian columns on slender trunk and box base, the 12" arched brass dial with gilt spandrels and silvered engraved chapter ring with Roman and Arabic numerals surrounding a matted centre with calendar aperture and subsidiary seconds dial, the arch having rotating moonphase fronting an eight day weight driven movement striking the hours on a bell 218cm high without finial
A GEORGE III SILVER COFFEE POT of baluster form on circular foot engraved to one side with a contemporary baroque coat of arms believed to be of 'General Thomas Moore' of family descent, the other with an armorial engraved with three leopard heads, with foliate and acanthus capped spout, scrolled ebony handle and hinged cover with knopped finial 21.5cm high, app. 25.6 troy oz. - Thomas Parr II, London 1741
DERBY; a 19th century pot pourri bowl and cover, with gilt heightened finial above four applied masks, raised on gilt heightened paw feet to a concave square section base, painted marks to base, height 15.5cm.Additional InformationRubbing to gilt throughout, particularly to finial. Finial has been broken off and reglued. Crazing and surface scratches throughout.
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