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Click here to subscribeGrohe of London, 19th Century gilt brass gorge case repeater carriage clock, the enamel dial inscribed Grohe, Wigmore Street, London, with Roman numerals, and two subsidiary dials, alarm and calendar, the quarter repeating movement striking on gongs (movement for restoration and hairline crack to dial), 15.5cm high including handle, inscribed to the base the former owners name ' Rowland Hill '
λ A REGENCY ROSEWOOD MANTEL CLOCKBY GROHE, C.1830the brass eight day, twin fusee movement striking on a bell, the backplate inscribed 'Grohe, Wigmore Street, LONDON', the white painted dial with black Roman hours and inscribed 'Grohe', in a sarcophagus top case with brass fishscale grilles to the side, on bun feet, with a heavy brass pendulum42cm high, 28.2cm wide, 20.5cm deep
Prutz,R.: Neue Gedichte. Mannheim, Grohe 1849. 248 S. Neuer Kart. WG 24. Erste Ausgabe, selten. - Prutz (1816-1872) "zählt zu den profiliertesten politischen Schriftstellern des jungen Deutschland ... Ständige Bedrohungen durch Bespitzelung, Zensur sowie Aufführungs- und Veröffentlichungsverbote bestimmten sein Leben und Schaffen..." (Bergmann in NDB). - Etw. stockfleckig. Zahlr. w. Bl. nachgeb. - ╔Dabei: Hoffmann von Fallersleben,A.H.╗ Unpolitische Lieder. Tl. 2 (von 2). Hbg., Hoffmann u. Campe 1841.
A French late 19th/early 20th century ormolu mounted tulipwood, amaranth, bois satine, kingwood, sycamore and parquetry pedestal clock1890-1905, after the model by Jean-Henri RiesenerIn two sections, the hood mounted and surmounted with three cherubs amidst billowing clouds and floral pendants, with a later white enamel dial, above a triple panelled cavetto frieze with tablets of lozenge inlay mounted with ribbon tied floral and foliate garlands, over a tablet with an entwined olive leaf branch and sunburst mount centred by a relief cast Apollo mask, the panelled pedestal door inset with a central glass oval and mounted with an elaborate pendant comprised of a ribbon tied flaming torch, opposing flower-filled cornucopiae and wreath crowned urn replete with flowers, acanthus, scrolled sunflower, tasselled floral swagged stem and entwined olive branch lyre-centred musical trophy, flanked by beaded and acanthus clasped scrolled corbel mounts inset with berried rosettes and entwining floral, berried and foliate pendants, on acanthus headed hairy lion paw foot mounts, with a concave quadripartite base mounted with an entwined florid branch and wreath, terminating in four stiff leaf toupie sabots with egg-and-dart moulded collars, approximately: 63cm wide x 32cm deep x 241cm high, (24 1/2in wide x 12 1/2in deep x 94 1/2in high)Footnotes:Several pedestal clocks of the same model to the offered lot have sold at auction this century. These include the following unsigned and unstamped versions; Christie's, New York, 19th Century Furniture, lot 132; Christie's, London, 19th Century Furniture, lot 15 and Christie's, London, 23 September, 500 Years: Decorative Arts Europe, lot 343. However a stamped example, one by Henry Dasson dated 1888, sold Christie's, London, 28 October 2014, Chateau - A Distinguished American Collection of Important 19th Century Furniture, lot 14.The present lot is a copy of the celebrated model attributed to Jean-Henri Riesener (maître 1768; d. 1806), executed in 1785 and now in the Louvre (cat. C.Dr., No. 185). In the mid 19th century, a barometer version of the clock - also in the Louvre - was made by the cabinet maker, Guillaume Grohe (for an illustration of Riesener's original clock and Grohé's barometer, see P. Verlet, Les Bronzes Dorés du XVIIIe Siècle, Paris, 1987, p. 116, no. 145 and p. 384, no. 394).Arguably the most notable 19th century pedestal clocks of this type, or the equivalent 'regulateurs de parquet', are those that were executed by the celebrated cabinet makers, Emmanuel-Alfred (dit Alfred II) Beurdeley, Paul Sormani, Grohe freres and Henry Dasson. Indeed a copy of this type by Dasson is illustrated in C. Mestdagh, L'Ameublement d'Art Francais, 1850-1900, Paris, 2010, fig. 220, p. 192.Another maker, who slightly later on, revitalised this Riesener pedestal clock form was Julius Zwiener. A version of Zwiener's, which is dated 1906, appears in J. Meiner, Berliner Belle Epoque, 2014, Petersberg, Abb. 107, p. 91.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Paire de meubles d'appui de style Louis XVI de Grohé Frères, en bois de rose, palissandre, bois citronnier et filets d'amarante, ornementation de bronze ciselé et doré, vers 1847A pair of Louis XVI style ormolu-mounted tulipwood, rosewood, bois citronnier and amaranth-banded side cabinets by Grohé Frères, circa 1847Both of inverted breakfront shape, the veneered top and moulded cornice with multiple ormolu Vitruvian scroll and foliate mouldings above a panelled frieze with beaded border, opening with a panelled door centred by a large oval mount with Bacchic children playing within an intricate foliate and floral surround surmounted by a love trophy, with further beaded and foliate encadrement borders and flowerhead patera, enclosing a contrasting bois citronnier lined interior, flanked by large draped terms holding respectively flowers, a bird and a cornucopia, on stop-fluted tapering pilasters, the sides conformingly inlaid and centred by ribbon-tied floral husks in encadrements, the right hand side with a further crowned circular mount with the coat-of-arms of the Serra family, and inscribed: 'GROHE F.RES - DEL. A.C. CUSANI', the back of the cabinets stamped 'GROHE FRERES EBENISTES DU ROI A PARIS' once to one cabinet and twice on the second one, 190cm wide x 124cm deep x 114cm high, (75in wide x 49in deep x 44 1/2in high)Footnotes:Provenance: Most probably commissioned from Grohe Frères by Marchese A. Carlo Cusani for the Marchese Orso Serra, during the refurbishing of Villa Serra in Comago, near Genoa;Private Italian collectionGrohé, Le Maître incontesté de l'Ebénisterie ModerneThe firm Grohe Frères was established by Guilaume Grohé (1808-1885) and his brother Jean-Michel Grohé (b.1804). Both arrived together in Paris in 1827 from Winthersheim (Hesse-Darmstadt) and soon became ouvriers-ébénistes. They decided to join forces on 15 April 1847, and produced since then under the label of 'Grohé Frères'. They exhibited at the major exhibitions throughout the 19th century and supplied furniture to the French Royal households at Tuileries, Saint-Cloud and Fontainebleau, and Queen Victoria for Windsor castle. Grohé excellence was recognised by multiple prizes received in the expositions, and reviews of the time praised their achievements, as this review in the January 1884 Le Figaro: '..digne continuateur de Boulle, Gouthière et des Riesener [...]. Il a assuré la prépondérance du goût français dans l'ameublement de luxe et les modèles que son beau talent a créés assurent pour longtemps à notre pays cette glorieuse suprématie artistique'. Following Guillaume's retirement in 1861, the younger brother Jean-Michel managed the business until 1884.Note on the provenance:Marchese Carlo Cusani The Ligurian Villa Serra in Comago near Genoa was acquired by Marchese Orso Serra in 1850, who decided to entirely remodel the original 18th century Villa formerly called Villa Pinelli, into a fashionable neo-Gothic property. In order to do this, he commissioned the brilliant Genoese industrialist, architect and painter Marchese Carlo Cusani to redesign the Villa in the latest fashion and to add a Tudor style cottage. The works started in 1851 after an inspirational trip to London where both went to study the latest trends and probably acquire suitable furnishing for the Villa. The works lasted 10 years.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lafon,(J.B.).: Philosophie medicale, ou principes fondamentaux de la science et de l'art de maintenir et de retablir la sante de l'homme. Paris, Maradan 1796. XVI, 280 S. Ldr. d. Zt. mit Rsch. u. Rverg. (Berieb.). Selten. Der Hirsch-H. unbekannte Arzt war Ancien Medecin de l'Hotel-Dieu de Bordeaux. - Wasserrandig u. tls. gebräunt. - Exlibris. - (706). - ╔Dabei: Grohe,F.╗ Der Chylus ein Ferment. Ein Sendschreiben an Herrn Justus von Liebig in München. Danzig, Ziemssen 1864. 1 Bl., 35 S. Mod. Pbd. mit Rsch. - (= Aus den Greifswalder medicinischen Beiträgen, Bd. III, Heft 1). - Exlibris. - (165). - ╔Hofmann,A.W.╗ The life-work of Liebig... A discourse. London, Macmillan 1876. Mit aufgez. photogr. Portrait Liebigs als Front. u. 1 Brief-Faksim. 145 S. Olwd. (Etw. berieb. u. best.). - (= The Faraday Lecture for 1875). Seltene Ausgabe. - Buchblock etw. angebrochen. - (1978).
A William IV Gothic Revival rosewood musical bracket clock, 19cm arched silvered dial inscribed Grohe, Wigmore St, London, Strike/Silent to arch, triple-fusee eight-day movement striking on a gong and chiming on a nest of bells, the case flanked by cluster-columns, fluted bun feet, 72cm high, c.1835
A late 19th century French engraved brass carriage clockGrohe 7 Wigmore Street London, No. 2695 and 3801The ribbed handle above an oval escapement viewing window framed by floral engraving over a moulded cornice, the concave pillars supporting three glass panels and a hinged rear door with shuttered and named winding/setting squares within a series of engraved scrolls on a matted ground, the base similarly decorated. The signed white enamel Roman dial set in an elaborately engraved brass mask, and with good blued steel Breguet style hands. The twin spring barrel movement with jewelled English lever platform escapement and half-cut bimetallic balance with timing screws, the backplate numbered 3801 with rack striking on a bell. Ticking and striking. 15.5cms (6ins) highFootnotes:Provenance: Purchased from Tony Woodburn. James Grohé was born in 1803 in Baden, Germany. It is unclear where he served his apprenticeship, but around 1829 he came to the UK and established himself as a watch and clock maker in London. Interestingly, an entry in the 1831 London Morning Post makes brief reference to a James Grohe, who is described as a French and Genevan watchmaker. Baden is an area of Germany, situated between the French and Swiss borders. It is not known exactly where in Baden Grohé originally lived and it is possible he was educated, horologically or otherwise, in France and/or Switzerland.He is recorded as having taken over a watch and clock shop on Wigmore Street in 1834. The shop was originally the premises of the celebrated Charles Haley, who patented a chronometer remontoire escapement in 1796. It appears that Grohé purchased the shop from Haley's son, the previous business being 'Haley & Son.'An 1838 insurance certificate shows him working at 7 Wigmore Street next to Cavendish Square, as a clockmaker. A few months later, he is also recorded as occupying 3 Wimpole St. Cavendish Square and practicing as a watchmaker, possibly indicating separate premises for each trade. By 1843, he is advertising as a clock and watchmaker from the Wigmore address. At some point he married Harriet, a native of Marylebone and a year his junior. By 1845, the couple had two children, Catherine Elizabeth, and Mary Theresa. That same year, Grohé applied for, and was granted, British naturalisation. In 1852, Grohé was still working out of the Wigmore Street premises and advertising as a watch and clock maker. Possibly around this time, Grohé began to be supplied with carriage clock movements by Holingue Frères, Raingo Frères, and later Drocourt, these last movements being supplied in the 1870's. Some carriage clocks are known with the dial signed 'Grohé a Paris', though whether he had an actual shop in Paris remains unknown, no reference having been found of one. One of the carriage clocks, a repeater, was purchased by Queen Victoria in 1855 and is inscribed 'To Princess Helen Victoria by Queen Victoria in 1855', indicating that Grohé's business must have been thriving. The 1861 census records his full name as John James Grohé and describes him as a watch and clock maker, with his residence listed as 7 Wigmore Street. Harriet is also mentioned living at this address, as are three servants; a cook, a porter and a housemaid. By 1864, the 7 Wigmore Street shop had become 'Grohe Pennington & Typke'. It appears that Grohé had sold his business to John Pennington and Herrmann Wilhelm Typke between 1862-1864, possibly moving to 47 Princes Square, Bayswater, immediately after the sale.John Pennington was part of a dynasty of celebrated chronometer makers; presumably he was apprenticed to his father Robert Pennington Jr. though no record of this is known. After his marriage, he self-described as a 'gentleman' rather than a 'chronometer maker' on official documents. In 1846, however, he entered into partnership with his father, exhibiting a novel chronometer balance designed to control middle temperature error, at the Great Exhibition of 1851. His father died in 1854, and John continued the shop for another two years, before moving to various central London locations, eventually settling at 7 Wigmore Street.Herrmann Wilhelm Typke was born around 1821 in Prussia, and moved to the UK around 1849, setting himself up as a watchmaker. It is unknown where he served his apprenticeship, though it seems likely, considering his age when he moved, that it was served in Prussia. By 1859, he had married and was working out of 26 Devonshire Street, Portland Place in Middlesex. This same year he met John Pennington and the two became friends. Two years later, Pennington supported Typke's successful petition for naturalisation, along with several of Typke's neighbours. His petition also reveals that in 1861, he had five children, though their identities remain unknown. Grohé died in 1872, at 47 Princes Square, Bayswater in Middlesex, leaving around £25,000. It might be that Harriet predeceased him, though this is not definite. His will was proved by his two children, Catherine Elizabeth who had married a German merchant, and Mary Theresa, who had also married a German merchant; whether the couples were living in the UK or Germany is not indicated. William Wier Marshall and Frederick Gould, both listed as Esquires, also served as executors, but their relation to Grohé is unclear. Despite his death, entries continued to appear in trade directories under his name. In 1882 he is listed as working out of 24 Wigmore Street. By 1895, his address is listed as 3A Wimpole Street, Cavendish Square, an address he apparently vacated before his death. Around 1910, his entry has changed in trade directories to 'James Grohé, watchmaker, late 3A Wimpole St. & 24 Wigmore St. removed to Smith (Bolton), 26 Duke St. Manchester Sq. TN755 Paddington.' This entry continues to be recorded through 1920. It is known that Pennington and Typke would advertise their business as 'Pennington and Typke, successors to Grohe' until at least 1870, sometimes even signing new pieces simple as Grohé, until the early 1880's. John Pennington died in 1882, and it appears that Typke changed the signature of the business to 'Herman William Typke, Watchmaker, and James Grohe, Watch and Clock Maker.' Oddly though, in the same trade directories that list Grohé, there is a separate entry for Typke which reads 'Typke, Herman William (successor to Grohé)', though both addresses match. A very enthusiastic article did appear in 1893, in which Typke's shop at 24 Wigmore Street is lavishly described, and it is noted that he is a maker to the Queen and Royal Family. This may have been from Queen Victoria's purchase, in 1855, of a carriage clock from Grohé. The article also states that Typke took over Grohé's shop in 1849 (the year Typke moved to the UK), with no mention of the partnership between himself and Pennington. Whether this was a mistake on the writer's part or intentional misdirection from Typke remains unknown. Typke died in 1909, so it is unclear who continued to list James Grohé's details in the trade directories for the next 11 years, or why. University of Leicester (2022)For further information on this lot please visit Bonhams.com
French ormolu mantel clock, 19th Century, cast cast with floral pediment above the dial with enamelled markers, trellis back base modelled with a cherub and goat, scrolled base, cylinder movement by Raingo Freres, stamped Grohe A Paris, striking on a bell, 48cm.Condition report:The case is in good condition, some sections a little loose but all appear to be present, enamelled numerals to the dial are good, movement appears to be completet but no pendulum so we dont know if it works and keeps time/strikes.Additional images have been uploaded to the lot page on our website for you to view.
A FRENCH GILT BRASS CARRIAGE CLOCKPOSSIBLY BY DROCOURT, PARIS, C.1860-80the brass eight day repeating movement with a platform lever escapement, striking half hourly on a bell, the backplate stamped '9821' and stamped 'D C', the enamelled dial with black Roman hours and inscribed 'Grohe, Wigmore Street, London', inside a foliate engraved frame, with a key 12.6cm high
A FRENCH GILT BRASS CARRIAGE CLOCK POSSIBLY BY DROCOURT, PARIS, C.1860-80 the brass eight day movement with a platform lever escapement, striking half hourly on a bell, the backplate stamped '4167' and inscribed 'Grohe London', the enamelled dial with black Roman hours and inscribed 'Grohe, 7 Wigmore Street, London', inside a foliate engraved frame, with its original key 13cm high
Anrichte im Louis XVI-Stil112 x 124 x 54 cm.Gestempelt „GROHE A PARIS“.Paris, 19. Jahrhundert.Elegante Anrichte mit vergoldeten und ziselierten Empire-Bronzen sowie den Zügen des Möbels folgender Marmordeckplatte. Risalitartig hervorspringender eintüriger Mittelbau mit eleganten feingegossenen Bronzen. Sechs Schlüssel vorhanden.Provenienz:Sammlung Eugène Kucharski, Marquis de La Madelena e de L´Ayre. (13301317) (13)Sideboard in Louis XVI style 112 x 124 x 54 cm.Stamped “GROHE A PARIS”.Paris, 19th century.Provenance:Collection Eugène Kucharski, Marquis de La Madelena e de L´Ayre.
Anrichte im Louis XVI-Stil112 x 124 x 54 cm.Gestempelt „GROHE A PARIS“.Paris, 19. Jahrhundert.Elegante Anrichte mit vergoldeten und ziselierten Empire-Bronzen sowie den Zügen des Möbels folgender Marmordeckplatte. Risalitartig hervorspringender eintüriger Mittelbau mit eleganten feingegossenen Bronzen. Sechs Schlüssel vorhanden.Provenienz:Sammlung Eugène Kucharski, Marquis de La Madelena e de L‘Ayre. (13301317) (13)Sideboard in Louis XVI style112 x 124 x 54 cm.Stamped “GROHE A PARIS”.Paris, 19th century.Provenance: Eugène Kucharski collection, Marquis de La Madelena e de L’Ayre.
Grohe of Wigmore St, London; a late 19th-century ormolu 8-day mantle clock with trophy surmount and flanked by a pair of putto riding swans, the slightly convex Roman dial marked GROHE and the movement chiming the hours on a single bell. The architectural case inset porcelain panels painted with The Madonna Della Seggiola after Raphael flanked by smaller panels with Neoclassical decoration. The case is supported by capitols and scrolls. 51 cm wide x 21 cm deep x 36 cm overall height.Private EstateGrohe of Wigmore St is recorded as working in this location between the 1840s/1880sSee page 327 of Brian Loomes. Watchmakers and Clockmakers of the World bookBoth trains wind freely and the movement chimes the hours (out of sync with the indicated time) and marks the half-hour with a passing strike.I have wound the clock and it has been running strongly for a little while, this is of course NO guarantee of accuracy or reliability as with any antique clock movement.The porcelain panels are intact and crack-free (checked front and back)The case is dirty but intact the dial is clean and chip and crack-free and the increments are strong and legible
Eleganter Halbschrank im Louis XVI-Stil Höhe: 107 cm.Breite: 129 cm.Tiefe: 53 cm.Gestempelt: „GROHE“.Paris, um 1880.Konische teilvergoldete Füße mit darauf ruhendem rechteckigem Korpus mit zwei Schwingtüren. Diese mit hochrechteckigen Metallkartuschen mit eingezogenen Ecken und vegetabilen Ornamenten in den Zwickeln. Türen mit feiner symmetrischer Vasen-Ranken Marqueterie. Seiten mit Rautenmarketerie. Gesims mit drei Schüben mit kontrastreich gelegten Hölzern und vergoldeter Ornamentzier. Den Zügen des Möbels folgende rotweiß geäderte Marmordeckplatte. Ein Schlüssel vorhanden.Anmerkung:Guillaume und Jean-Michel Grohé waren 1827-1884 in Paris tätig. Ein Sekretär von 1839 wird im Louvre verwahrt, ein Guéridon im Château de Fontainebleau. Sie belieferten Höfe in ganz Europa: Von Louis-Philippe I, Napoleon III, Queen Victoria und andere waren ihre Kunden. (1301046) (1)Elegant cupboard in Louis XVI styleHeight: 107 cm.Width: 129 cm.Depth: 53 cm.Stamped: “GROHE”.Paris, circa 1880.
A FRENCH GORGE CASED CARRIAGE CLOCK WITH PUSH-BUTTON REPEAT AND ALARMRETAILED BY GROHE, LONDON, CIRCA 1860The eight-day two-train bell striking movement regulated by frosted gilt platform lever escapement incorporating sprung bimetallic balance and alarm sounding on the hour bell, the inside of the frontplate stamped 1793 over 6826 and the backplate further stamped 1793 to lower left-hand corner, the rectangular white enamel Roman numeral dial signed GROHE, WIGMORE STREET, LONDON to centre and with with blued steel moon hands over subsidiary alarm setting dial to lower margin, the gilt brass gorge case with hinged carrying handle over rectangular top glass, trip-repeat button to front rail and channel-moulded uprights, the rear with brass door incorporating shuttered winding and adjustment holes each labelled with their various functions and direction of wind, on ogee-outline base.13cm (5.125ins) high with handle down, 8.5cm (3.375ins) wide, 7.5cm (3ins) deep. James Grohe is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1832-81. Leigh Extence notes his address being 7 Wigmore Street and that he retailed clocks supplied by both Holingue and Drocourt.Condition Report: The movement appears all-original and is in fine clean working condition although the alarm hand is out-of-sync with the release of the alarm. The dial appears free from visible damage however the alarm hand is slightly bent with the loop forming the tail distorted. The case is in fine condition with good even gilding. The front glass has some scratching towards the lower edge, the right hand glass has a small chip to the front upper corner and the top glass also has a small corner chip to the rear right hand corner. The rear door panel shows some light surface blemishes and wear beneath the gilding.Clock is complete with a winding key. Condition Report Disclaimer
1912 Hispano-Suiza 15hp TourerChassis no. 80-658Engine no. 80-658• Rare Hispano-Suiza de l'ère édouardienne • A passé la majorité de sa vie en Espagne• Bien documentée • Authentique exemplaire de la marque• Rare Edwardian Era Hispano-Suiza• Majority of life spent in Spain• Well documented • Authentic example of marqueFootnotes:Dans son livre de référence, La Hispano-Suiza – The Origins of A Legend 1899-1915, Emilio Polo décrit le modèle 15-20 HP, traduisant la littérature commerciale de la marque à l'époque : « Avec comme objectif de procurer à l'automobiliste une voiture à basse consommation, de poids réduit et de taille confortable, utilisable en ville, mais qui peut aussi, grâce à sa grande puissance, être facilement utilisée à la campagne, nous avons mis en production un nouveau modèle qui a l'avantage par rapport aux autres, d'offrir des bougies dans l'axe du cylindre, un carburateur sans tube d'admission pour éviter la condensation et un pont arrière renforcé ». Autrement dit, un petit frère plus moderne du fameux modèle Alfonso XIII qui procurait néanmoins de solides performances, grâce à son quatre cylindres de 2 612 cm3 à culasse en T et, bien sûr, accompagné de tous les attributs qui faisaient l'identité de la marque, de l'emblématique radiateur avec son logo à la qualité et au raffinement inégalée de sa construction. Dans l'ouvrage de Polo, les voitures comme celle proposée aujourd'hui sont entièrement détaillées dans leur moindre caractéristique pour chaque modèle. En se basant sur les données du livre, Polo liste les modèles 15-20 HP fabriqués entre 1910 et 1914 et la série 80 est constituée de 25 voitures construites en 1911, numérotées de 641 à 665, au milieu desquelles se situe notre voiture. La 15-20 HP numéro 658 a rejoint la Dolleschel Collection en 2014 avec trois exemplaires très différents du même modèle. En accord avec le goût et l'appétit particulier de l'acquéreur pour l'originalité, c'est une Hispano des débuts particulièrement représentative et séduisante, acquise auprès du marchand et de l'amateur réputé Christoph Grohe. M. Grohe avait lui-même acheté la voiture dans son pays d'origine et a pu procurer une série de documents fascinants qui retracent l'histoire de la voiture jusque dans les années 1950. En combinant ces données avec l'immatriculation d'époque et les plaques d'agent sur la voiture, on peut en déduire qu'elle a probablement été livrée et éventuellement aussi carrossée à l'origine par Vda e Hijo de G. Gausachs, Aragon 347 à Barcelone. Neuve, elle fut immatriculée dans la ville de Murcie, sous le numéro MU 49 qu'elle a porté pendant toute sa vie en Espagne. Un précédent propriétaire, peut-être le premier, est noté sur les plaques d'immatriculation d'époque comme étant Andres Canovas et des documents attestent que la voiture est passée de Canovas, au début des années 1960, aux mains de Javier Toda à Madrid. Une facture de 1973, au nom de M. Toda, décrit un rafraichissement de la voiture qui est probablement la restauration ancienne dans laquelle se présente aujourd'hui l'Hispano.Les Hispano-Suiza de l'ère édouardienne arrivent très rarement sur le marché, ce qui donnera au prochain propriétaire une excellente opportunité d'avoir un exemplaire de cette période de la production pour une fraction du prix d'une Alfonso. Un charmant et authentique exemplaire de la marque qui mérite une attention particulière. 1911 Hispano-Suiza 15-20HP TourerChassis No. 80-658Engine No. 80-658In Emilio Polo's exhaustive reference work, La Hispano-Suiza – The Origins of A Legend 1899-1915, he describes the 15-20hp model thus, translating from the contemporary company materials: 'With the object of providing motorists with a car having low consumption, lower weight and of a comfortable size, which could serve in town, but which also, thanks to its greater power, can be easily used in the country, we have put into production this new model that has the advantages over others die to the location of its spark plugs on the cylinder axis, a carburetor without an inlet tube to avoid condensation and a reinforced rear bridge.' In essence a younger, smaller brother to the famed Alfonso XIII models, it nonetheless provided lively performance from the T-Head 2,612cc four-cylinder engine and of course all the hallmarks of the marque's identity are in place already from its iconic radiator and logo, to the sheer quality and refinement of its build. In Polo's book, cars such as that offered today are comprehensively detailed right down to the specifications of each model. Cross-referencing with that book, Polo lists the 15-20hp model to have been built between 1910 and 1914, and the Series 80 to have consisted of a 25 car batch, which were built in 1911, and numbered cars 641-665, which this neatly fits into the middle of. 15-20hp car number 658 joined the Dolleschel Collection in 2014, arriving alongside 3 very different examples of its brethren, yet true to its acquirer's distinctive taste and appetite for originality it is a particularly honest and appealing early Hispano. Acquired from noted dealer and enthusiast Christoph Grohe, Mr. Grohe had himself acquired the car in its country of origin and was able to provide copies of a series of fascinating documents which chart the history of the car back to the 1950s. Combining this with the period registration and agency plaques on the car allows us to deduce that it was likely originally supplied by, and possibly also bodied by Vda e Hijo de G. Gausachs, on Aragon 347 in Barcelona. As new, it would have been registered in the city of Murcia, under plate MU 49 which it appears to have worn throughout its life in Spain. A former, possibly the original owner, is noted on the period registration plaque as Andres Canovas and documents appear to show the car passing from Canovas in the early 1960s and becoming the property of Javier Toda of Madrid. An invoice to M. Toda in 1973 describes a sympathetic refreshing of the car, which is likely the now aged restoration that the car wears today. Edwardian era Hispano-Suizas rarely arrive on the market, which provides the next owner an excellent opportunity to sample this era of their production for a fraction of the cost of an Alfonso. A charming and authentic example of its breed, this is deserving of close attention.For further information on this lot please visit Bonhams.com
1923 Hispano-Suiza H6B LandauletCoachwork by FranayChassis no. 10762Engine no. 300813• Unique coachwork design by Franay • Comes with a substantial history file• In the current collection for the past 8 years• Carrosserie unique conçue par Franay• Livrée avec un important dossier historique• Dans la collection actuelle depuis 8 ansFootnotes:Hispano-Suiza H6B landaulet 1923Carrosserie FranayChâssis n° 10762Moteur n°300813Choisie par les cours royales européennes, les Maharajahs indiens, les stars hollywoodiennes et les capitaines d'industrie, la légendaire Hispano-Suiza recevait une mécanique sophistiquée et fut imitée sans vergogne par certains des plus grands constructeurs internationaux. Bien que la marque fut d'origine espagnole, ces sont les Hispano-Suiza construites en France qui la mirent au premier rang des constructeurs d'automobiles de luxe après la première guerre mondiale. Durant le conflit, les moteurs Hispano propulsaient certains des meilleurs avions de chasse alliés et, dans l'après-guerre, la marque adopta l'emblème de l'Escadrille des cigognes de l'as français Georges Guynemer, dont le biplan Spad utilisait un V8 Hispano.Sans surprise, la première Hispano de l'après-guerre profitait de cette expertise, propulsée par un six cylindres de 6 597 cm3 à double arbre à cames en tête conçu par Marc Birkigt et constitué d'une moitié de V12 aéronautique. Construit sur un vilebrequin à sept paliers disposant d'une lubrification sous pression, celui-ci était associé à une boîte à trois rapports et faisait appel à des pistons en alliage d'aluminium coulissant dans des cylindres à chemise d'acier vissée dans le bloc en alliage léger. La puissance maximale était de 135 ch à 2 400 tr/min et la courbe de couple, presque plate, permettait de passer d'une allure de marcheur à pied à une vitesse de plus de 140 km/h sur le seul rapport supérieur. Une poignée de prototypes H6 fut construite à l'usine de Barcelone – le roi Alphonse XIII prenant livraison d'un des premiers exemplaires en avril 1918 – avant que la production proprement dite ne commence à Bois-Colombes, près de Paris.La H6, qui fit sensation au Salon de Paris en 1919, reposait sur un châssis léger mais rigide à frein aux quatre roues, assorti en termes d'innovation au moteur à la pointe du progrès technique. Son freinage servo-assisté était si efficace que Rolls-Royce en acquit les droits pour le construire sous licence. La H6 combinait la performance avec la souplesse, le confort avec une excellente tenue de route et la sécurité avec la fiabilité qui permettait à Hispano-Suiza de rivaliser sans peine avec Rolls-Royce, Bentley, Bugatti, Isotta Fraschini et les marques américaines de prestige. Assez grande pour recevoir des carrosseries formelles, elle était aussi suffisamment rapide pour séduire les sportifs. André Dubonnet, le roi des apéritifs, remporta la Coupe Boillot à Boulgone en 1921, tandis que tous les carrossiers d'Europe se battaient pour offrir les carrosseries les plus raffinées sur ce châssis véritablement aristocratique. La finition des Hispano-Suiza relevait du superlatif et la fascination pour ces voitures était telle qu'elles figurent dans deux romans populaires des années 1920, L'Homme à l'Hispano de Pierre Frondaie et The Green Hat de Michael Arlen. La H6, la voiture la plus en avance de son temps et pour encore de nombreuses années, resta au catalogue jusqu'en 1933, époque à laquelle 2 158 châssis de tous types avaient été construits.L'Hispano Suiza H6B, châssis numéro 10762, porte une carrosserie unique réalisée par le carrossier français Franay de Levallois-Perret, près de Paris. La carrosserie française était l'une des meilleures du monde dans les années 1920-1930, quand posséder un châssis coûteux habillé d'une carrosserie sur mesure par les Kellner, Labourdette, Franay ou Saoutchik était considéré comme une marque d'immense prestige. Jean-Baptiste Franay avait fondé son atelier en 1903 dont le contrôle passa à son fils Marius en 1922. Franay s'était spécialisé dans l'habillage des châssis prestigieux et se fit une réputation d'excellence, remportant plusieurs prix dans les concours d'élégance au cours des années 1930. Les six fenêtres latérales à vitres descendantes de cette élégante carrosserie la rendent particulièrement légère et illuminent son intérieur.En 1971, l'Hispano fut acquise par un célèbre musée des Pays-Bas et fut entièrement restaurée avec le plus haut niveau d'exigence, une tâche entreprise il y a une trentaine d'années et date depuis laquelle elle a été peu utilisée. Quelques photographies et des factures se rapportant à la restauration sont incluses dans le dossier avec un échantillon de la garniture intérieure. Restée au musée jusqu'au début des années 2010, la voiture fut l'objet d'un échange avec le collectionneur et passionné Christoph Grohe. Une fois entre ses mains, elle a été entièrement révisée et essayée sur route par son mécanicien sur plus de 1 200 km pour s'assurer de sa bonne tenue de route et le cumul des factures s'élève à 20 000 francs suisses. Proposée à la vente par Grohe, elle fut achetée par M. Dolleschel en 2014, date depuis laquelle son utilisation a été à nouveau très parcimonieuse. Sa restauration est encore en bon état pour son âge, mais en raison de son usage très limité au cours de ces quarante dernières années, il serait sage de faire une révision avant de la soumettre à un usage régulier. Un dossier historique substantiel qui contient un ensemble de courriers des précédents propriétaires remontant à 1969 accompagne la voiture, ainsi que des photographies d'avant sa restauration du début des années 1970, des copies d'articles de magazine, une publicité Hispano Suiza parue dans la presse, des informations sur les autres Hispano Suiza à carrosserie Franay, une demande de candidature à l'America Hispano Register (1974) et des papiers d'enregistrement tamponnés pour l'exportation. 10762 fait partie d'un quartet d'Hispano en vente aujourd'hui qui illustrent l'ensemble des créations de la marque et représente une rare opportunité d'acquérir un modèle de légende de l'un des plus prestigieux constructeur du monde.1923 HISPANO-SUIZA H6B LANDAULETCoachwork by FranayChassis no. 10762Engine no. 300813The choice of European Royalty, Indian Maharajahs, Hollywood film stars and industrial tycoons, the legendary Hispano-Suiza was superbly engineered and imitated unashamedly by some of the world's leading car manufacturers. Although the marque was of Spanish origin, it was Hispano-Suiza's French-built cars that established it in the front rank of luxury automobile manufacturers following the end of WWI. During the conflict, Hispano engines had powered some of the Allies' finest fighter aircraft, and post-war the marque would adopt the stork emblem of French 'ace' Georges Guynemer's Escadrille des cigognes, whose SPAD biplanes had used Hispano's V8 aero engine.Not surprisingly, the first post-war His... For further information on this lot please visit Bonhams.com
A late 19th/early 20th century French ormolu 8-day mantel clock, by Grohe of Paris, relief embossed foliate dial with hand painted Roman numeral enamel hour plaques, blued steel hands, foliate case and gilt plinth, with movement striking on a bell, backplate no. 2726120, overall height 32cm, not seen working, with pendulum but no keyMovement has not been seen working, case is slightly tarnished all over and dull on high points, felt-covered base is quite worn
A 19th century French gilt-bronze ormolu 8-day mantel clock under glass dome, by Grohe of Paris, gilt floral dial with blue painted Roman numeral enamel hour plaques and blued steel hands, with scrolling foliate case on velvet padded stand, under tall glass dome with ebonised base, movement striking on a bell, overall height to top of dome 42cm, clock case height 26cm, with pendulum and key, working orderNo obvious damage, movement currently working, all plaques in good condition, ormolu and case gilding still very bright, dome also in good order
A late 19th century French engraved gorge cased repeating carriage clock with alarm, original travelling case and a winding keyGrohe, Wigmore Street, London, no.2162The case with rippled handle over a bevelled glass oval inspection panel, the highly engraved rear door with shuttered winding apertures, the signed white rectangular Roman dial with blued-steel Breguet style hands over the subsidiary alarm dial. The twin train movement with silvered lever platform escapement and bimetallic compensated balance striking the hours and half hours on a coiled blued-steel gong mounted on a block stamped G.B. Ticking, striking and repeating. Sold with the original velvet lined travelling case with glass inspection panel and replaced handle, and a double ended brass winding key. 16cms (6ins) high (3)Footnotes:Purchased from Gerald Marsh in May 2014.For further information on this lot please visit Bonhams.com
18ct gold cased ladies pocket watch, the gilt 32mm dial with black Roman Numerals and signed Grohe Geneve, the movement similarly signed, the inside case inscribed No. 2373 Grohe, Wigmore Street, Cavendish Square, London, the case stamped 18K, the exterior foliate scroll engraved, weight 33g approx.
Ex-Schlumpf and Mercedes-Benz Museum Collections1901 Panhard et Levassor Type A2 7hp Twin-Cylinder Rear-Entrance TonneauRegistration no. BS 8623Chassis no. 3114*Copies of factory Panhard-Levassor records on file*Copiously researched and fresh from extensive restoration by noted specialists*'The definitive London to Brighton car' with early start time*Dated by The Veteran Car Club of Great Britain1,648cc, Side-Valve Twin-Cylinder Phenix Inline Engine7hp, Single CarburettorThree-Speed Manual Transmission with Chain DriveFront Suspension, Fully Elliptic Leaf Spring, Rear, Semi-Elliptic Leaf SpringTwo-Wheel Contracting Band Brakes, with additional Transmission BrakeFootnotes:'...the two-cylinder car must be regarded as one of the most reliable and best-made machines of the Veteran era' – John Bolster, of the Panhard-Levassor.The dawn of the automobile may be in the Benz camp, but in many ways the Système Panhard, pioneered much of the concept of how a car was operated and continues to be today. The engine was moved to the front, beneath a 'bonnet', the transfer of speed was mechanical, cog on cog, rather than by belt, and Panhards were the first to encase their geared transmission in a 'box'. Piano style pedals were used for operating clutch and transmission brakes. First a tiller was used to operate the directional control of the car, but within a few years this was replaced with a 'steering' wheel. It all sounds obvious today, but the Panhard was the first car on which these concepts were seen. Only one main aspect shows its age, that of the transfer of power to the road by chains from the transfer 'box', this part of the mechanism would remain fashionable through the introduction of the Daimler 'Mercedes' product for at least a decade, but still to many the idea of a chain drive car remains very appealing!Type A2 Panhard-Levassors such as this magnificent example may be considered as a transitional model as they retain the Daimler-Phénix powerplant which the brand, and arguably the industry, had been built upon, but it was now mounted in a car with a lower frame and of proportions that were more user friendly. In addition to their importance and stature in the history of the automobile, in today's age of vociferous documentation and proof of history, Panhard-Levassor cars are head and shoulders above most in that the original ledgers recording their order and supply survive, definitively proving their age, which can be a challenge for some cars.This example has been extensively researched by its owner, enabling much of its fascinating history to be charted. To begin with, copies of the Panhard-Levassor ledger records describe this motor car as being built with 7hp engine number 3114 on 25 October 1901, with 'caisse carrosserie ordinaire' bodywork, being their reference to a standard rear-entrance tonneau, 'garniture en cuir noir tendue, porte arriere montante jusqu'en haut' - tight black leather trim, rear door rising to the top (confirming tonneau), and electric ignition. Today, the car sports a coachbuilder plaque for La Carrosserie Industrielle, which it has worn since at least the 1960s, who were Paris based and were more than likely the builder of its body for Panhard. The car was sold to Palais de l'Automobile – a dealing agency for a number of automobile manufacturers, situated at 219 Boulevard Peraire in Paris. Precisely who the Palais delivered 3114 to is not known, but documented through the French vehicle registration system its ensuing history starts as early as 1909, when the car was registered with the licence number '415 BB', a Bordeaux plate. Its owner at this point was one A. Kossotty a 'Constructeur & Mecanicien' of Avenue Gambetta in the town of Saintes. Beneath the annotation on the hand-written records, its next owner is Paul Cureau. As it turns out, these two gentlemen were father and son-in-law, Paul Cureau marrying Marguerite Kossotty in 1902 in Paris and later taking over Mr. Kossotty's business. It is conceivable that Cureau had bought the Panhard in Paris, and brought it with him to the Bordeaux region later, or else more likely that either had bought the car as an intriguing piece of engineering history a few years after it would have been current. It is also possible that they were responsible for the light revisions to its guise in which the car was presented to the Association des Proprietaries de Vielles Voitures Automobiles 'Les Teuf-Teuf' on 30th July 1937, by which time it can be seen to have had its rear seats removed, and its standard bonnet replaced with a more angular affair which it retains to this day. The seller surmises that perhaps Kossotty or Cureau had customised it to participate in sporting events held in that region by Le Petite Gironde. The owner in July 1937 is listed to the 'Teuf-Teuf' as Albert Streit of Cachan, a Paris suburb, who cited ownership on his application of a Hurtu car also. From this point, the Panhard was used in the club's events, notably as late as 25th June 1939 on a Paris-Rouen rally, and returned to use immediately after the war. Period film footage exists of this and other 'Vieux Tacots' parading through Paris on 1st January 1947. Its use continued through this period, it being seen on other news reel footage of 1950s events in France, in Pau, and in Paris, and a magazine article of it in Clermont-Ferrand. At some point it seems that it appeared on the radar of the Schlumpf brothers who were busy quietly amassing their huge collection on their textiles business property in Mulhouse. Although best known for more than 100 Bugattis that they accumulated, there are many veteran cars, and it is believed that the Panhard at least for a little while was one of those. A photo on file shows the car with another Schlumpf collection car in the 1960s. According to information supplied to the last but one owner when the car was purchased from the reserve collection of the Mercedes-Benz Museum via their Classic Center, it had arrived in their collection described as an 1898 (sic) Panhard, but for the reason of its Daimler engine, and had come from Schlumpf in exchange for the Silberpfeil – or Silver Arrow Grand Prix Mercedes-Benz, which remains in that collection today. Certainly, the Panhard resided with Mercedes from 1965, and emerged when included in a group deal with the Louwman Collection in 2010. It was sold as part of a separate group deal from that collection to noted Swiss Enthusiast and dealer Christoph Grohe in 2012, from whom the current owner acquired the car. Over the course of the last 7 years, the Panhard was first researched thoroughly to ensure that a restoration would be as accurate as possible, and then entrusted to experts in their respective fields. The majority of this work was carried out by the team at Tattersalls Veteran to Classic, the mechanical aspect was refurbished where necessary, including rebuilding of the engine with new bearings, repair to one of its mountings, new drive cogs, and the fitment of a modern starter motor to assist with its use. Interestingly, during this exercise the pistons were found to have domed heads, suggesting an attempt at increasing its performance. To match its build sheet, Tattersall's woodwork expert David Thompson ensured that the rear of bodywork was rebuilt to its original rear entrance tonneau design, using comparisons with a surviving factory 1901 car. At the same time the now much bowed wood members of the frame were replaced (the original bars remain with the car), and an additional transverse leaf spring which was fitted to the rear was removed, to return it to its original format. The upholstery work was undertaken by esteemed trimmer Julian Taylor of Protectus, complete with a two-piece front/rear tonneau cover in double-duck. The whole car was brush painted in period style in Brewster Green by Daniel... For further information on this lot please visit Bonhams.com
Grohe, Wigmore Street, Cavendish Square, London. An 18K gold key wind full hunter pocket watchDate: London Hallmark for 1891 (rubbed)Movement: Gilt English lever, cut and compensated bi-metallic balance, No.5443Dial: White, black Roman numerals, black outer minute track, subsidiary seconds at 6, blued steel spade handsCase: Engine turned hinged, No.5443Signed: Cuvette, dial & movement, case stamped GHSize: 42mm Accompaniments: Yellow metal chain, keyFor further information on this lot please visit Bonhams.com
DROCOURT No 9827 A 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK REPEATER RETAILED BY GROHE WIGMORE STREET LONDON the gorge case with folding handle finely engraved masked white enamel dial with Roman chapter ring and Arabic outer markings fronting an eight-day spring-driven movement with lever balance escapement, hour/half hour strike on a coiled gong and push-button hourly repeat 16.5cm high handle up
Grohe gold full hunter pocket watch, round dial with Roman numerals and minute tract, mechanical movement, gold case engraved with intricate floral pattern, inside case engraved 'No 9620, Grohe 7 Wigmore Street, Cavendish Square, London' inside case stamped 18 ct . CONDITION18 ct gross weight 43.2 gramsenamel dial has chip at 12 o'clock and a crack going from 7 o'clock to 10 o'clockpocket watch is currently working but has not been tested for time keeping Ewbank's do not guarantee the working order or accuracy of any lots sold
Grohe of London. A Victorian ormolu hour repeating calendar carriage clock, in ornate engraved gorge case with winged angel headed plinth, three enamelled dials, one signed Grohe, 7 Wardour Street, London, sliding panel back door and signed movement number 3979, striking on a gong, overall height 7.25in.
A FRENCH BRASS CARRIAGE CLOCK, GROHE, WIGMORE ST LONDON, LATE 19TH C the movement retaining the original platform lever escapement and striking on a bell, backplate stamped GROHE A PARIS, in gorge case, 12.3cm h excluding handle, tooled leather case++Dusty, dirty but complete, movement not running, possibly over-wound, striking the hours and passing half hour correctly when the hands turned, gilding rubbed and discoloured from handling. The enamel dial undamaged, back door lacking the small knob ,replaced by a bent pin, all five of the bevelled glass panels undamaged. Leathr case dusty with slight scuff marks, purple velvet interior frayed and stained. Retaining both the gilt brass flaps which secure the lid but one lacking the turn-anchor so only secured by the other. No engraving or erasure of initials or inscription
FRENCH JACOB PETIT PORCELAIN FLOWER ENCRUSTED MANTEL CLOCK AND STAND 19TH CENTURY the silvered engine turned Roman numeral dial in a waisted Rococo style case encrusted with flowers and painted with a reserve of lovers in a garden, against a bleu celeste ground with gilt details, the movement signed 'GROHE/ PARIS' and striking a bell, the rear bezel with a presentation inscription dated 1838; the stand with a floral reserve and raised on scroll feet, underglaze blue mark 43cm high
A diamond set yellow metal and enamelled lady's key wind open faced pocket watchThe 3.25 white enamelled dial with Roman numerals, the inner case signed Grohe, Wigmore Street, Cavendish Square, London and numbered 9479, the movement unsigned, monogrammed. CONDITION REPORTS: Generally good condition, expected wear, losses to diamonds, chips to enamel, approximately 36 grammes all in.
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