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Click here to subscribeJohn Frederick Herring, Snr. (British, 1795-1865)At the forge signed and dated 'J.F.Herring Senr/ 1845.' (lower left)oil on canvas71 x 91.5cm (27 15/16 x 36in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Louis Toffoli (French, 1907-1999)Blacksmith signed in Latin (lower right)oil on canvas 92 x 60cm (36 1/4 x 23 5/8in).Footnotes:ProvenanceThe private collection of a Brazilian industrialist.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Paul Aizpiri (French, Paris 1919-2016)L'Arlequinsigned 'Aizpiri' (lower right) oil on canvas 99.7 x 81.3cm (39 1/4 x 32in).Footnotes:ProvenanceWith The White House Gallery, Illovo.This work is accompanied by a certificate of authenticity issued by the Association Paul Aizpiri.Paul Aizpiri was born in 1919 in Paris, to an Italian mother and Spanish father. He studied at the École des Beaux-Arts, and held his first solo exhibition at the age of Twenty-four. During the 1950s, Aizpiri met several artists in Paris who undoubtedly influenced his work such as Picasso, Soutine, Foujita and Utrillo. His career took another turn during this period when well-known art galleries started to sell his work around the world. In 1951, Aizpiri received the Prix National at the Salon de la Jeune Peinture as well as a prize at the Venice Biennale. Aizpiri is popular for his figural paintings, often depicting theatrical characters such as clowns, harlequins and other figures of the commedia dell'arte. This present work, which depicts a smiling harlequin is a great representation of the artist's use of vibrant colours which is in keeping with the characteristics of many of his works.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Emile Eisman-Semenowsky (Polish, 1857-1911)Oriental beauty signed in Latin (lower right), inscribed and dated 'Paris 1884' (lower left)oil on board32 x 26cm (12 5/8 x 10 1/4in).Footnotes:ProvenancePrivate collection, Greece.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Emile Eisman-Semenowsky (Polish, 1857-1911)Portrait of a young woman signed in Latin, inscribed and dated 'Paris 1883' (lower left)oil on board32 x 26cm (12 5/8 x 10 1/4in).Footnotes:ProvenancePrivate collection, Greece.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Francisco Miralles y Galup (Spanish, 1848-1901)The promenade; On the beach, a pair signed 'F.MIRALLES' (one lower left, the other lower right)oil on panel20.6 x 8.2cm (8 1/8 x 3 1/4in).Footnotes:ProvenanceWith Castle Street Fine Art, Edinburgh.Private collection, UK.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
* Subleyras (Pierre, 1699-1749). The Visitation, and The Presentation of the Virgin in the Temple, oil on paper laid to panel, 42 x 26 cm (15 x 9 ins), in early ornate moulded gilt frames with striated, foliate, ribbon and acanthus leaf motifs (64 x 48 cm)QTY: (2)NOTE:Provenance: Collection of Madame Krebs, Sotheby's (Catalogue of fine old master drawings and paintings, including the property of the Rt. Hon. Lord Balfour of Inchrye ... Sir Charles Cave ... the late Herman Cameron Norman ... the Hon. Mrs. Robert Bruce ... Madame Krebs and ... Major S.V. Christie-Miller), 22nd February, 1956, lot 174, where purchased by Agnew & Sons for £350 (hammer); Thomas Agnew & Sons, their label verso, with attribution to Fragonard; Collection of Sir Lawrence Gowing (1918-1991), with Agnew's 1956 invoice (included with this lot).Pierre Subleyras (1699-1749), a leading 18th century French painter who settled in Rome in 1728, where he worked for Pope Benedict XIV. He is most highly regarded for his religious pictures, which are more serious in spirit than most French works of the Rococo period.
Roman Republican Coinage, L. Scribonius Libo, Denarius, c. 62, diademed head of Bonus Eventus right, bon event before, libo behind, rev. Scribonian wellhead decorated with garland and two lyres, hammer at base, pvteal above, scribon in exergue, 3.88g (Craw. 416/1a; RSC Scribonia 8a). Obverse slightly off-centre, otherwise good very fine and toned £150-£200
Roman Republican Coinage, T. Carisius, Denarii (2), 46, head of Juno Moneta right, mon[eta] behind, rev. implements for coining money, anvil, die above, tongs and hammer on either side, all within laurel wreath, 3.09g; draped and winged bust of Victory right, wearing pearl diadem and necklace, rev. Victory driving galloping biga right, t carisi in exergue, 3.48g (Craw. 464/2, 4; RSC Carisia 1-2) [2]. Nearly fine and nearly very fine £100-£120
A REGENCY BRASS MOUNTED MAHOGANY BRACKET CLOCK IN THE MANNER OF THOMAS HOPE WITH WALL BRACKETLEPLASTRIER, THE CASE POSSIBLY BY BANTING AND FRANCE, LONDON, CIRCA 1825The five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum with holdfast to the geometric border-engraved backplate, the pendulum with fine screw slider for regulation and conforming concentric engraved decoration to the bob, the 7 inch circular convex cream painted Roman numeral dial signed LEPLASTRIER , MARK LANE, LONDON to centre and with steel spade hands set behind hinged convex-glazed cast brass bezel milled with continuous repeating husk design, the case in the Romano-Egyptian taste with brass pineapple finial to the radial gadroon-carved hipped 'chamfer top' upstand incorporating ogee moulded collar and flanked by honeysuckle carved acroteria finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply cut horizontal fluted infill and canted cast gilt brass mummiform mounts decorated with pseudo hieroglyphs to angles, the apron with shaped brass fillet inset panel flanked by canted acanthus scrolls supporting the figures, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets and the rear with rectangular glazed door set within the frame of the case, on fluted panel inset skirt base with stylised fan carved feet; the wall bracket with shallow triangular pediment upstand to the table over fluted panel to frieze and generous scroll-carved support beneathThe clock 52.5cm (21.75ins) high, 33cm (13ins) wide, 19.5cm (7.75ins) deep; the clock on wall bracket 76.5cm (30ins) high overall. The movement of the present lot is most likely either by either Isaac Leplastrier or his son, John who are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Mark Lane, London 1813-20 and 1817-25 respectively. A partnership between 'Leplastrier and Son' (most likely Isaac and John) is also noted by Baillie as working in London 1820-25. The case of the current lot belongs to a series which share the same basic form and many core details. A slightly simpler variant (without the mummiform figures to the front angles) was offered in these rooms on 28th August 2014 (lot 116) which was stamped with the initials 'B.F.' to the interior of the case. Another further example (perhaps the earliest from this series), this time with a movement by Atkins and Son and formerly in the possession of the Marquesses of Bristol, was sold by Christie's, King Street, London at their 'Ellerslie House' sale, 24th May 2001 (lot 65). The first Marquis of Bristol employed the firm of Banting, France and Company to supply furniture for Ickworth, Suffolk including the state bed which shares similar details such as the 'acrotoria' finials with the 'Atkins & Son' clock and the current lot. This presence of the other example stamped 'B.F.' and another provenanced as most likely being from an interior furnished by Banting and France would suggest that this series of cases were probably made by them perhaps to special order. Indeed the design, with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrates the strong influence of Thomas Hope who, in his 1807 book Household Furniture published designs considered to be the height of fashion at the time. When considering his designs for smaller pieces of furniture such as for 'Recesses in the shape of ancient hypogea' (see Hope, Thomas Household Furniture plate XXVII no. I) the inspiration for the current lot can clearly be seen.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The dial retains old surface but with filling/retouching around to several areas around the edge most noticeably between the X and XI numeral. The numerals show wear and some retouching (as does the signature) the hands appear undamaged. The case is generally in fine original condition and of very good colour with faults limited to relatively minor genuine age-related blemishes. The front is lacking very slender stringing to the upper downward-curved edge of the apron panel (only noticeable on very close examination), both finials have small chips to the apex of each. The rear door is lacking its lock and there is noticeable overall losses/chipping to the veneer overlap to the to and left-hand margins. Faults are otherwise very much limited to minor shrinkage cracking and a few light bumps, scuffs etc. The bracket has a small chip to the lower left hand corner of the table fascia. The underside has overall slight shrinkage cracking and some bruising to the rear left hand corner (commensurate with a series of light hammer taps to adjust the platform lever during mounting on a wall). Clock has pendulum, winder and a case key. Condition Report Disclaimer
A FINE EBONISED ARCHITECTURAL MINIATURE LONGCASE TIMEPIECE WITH EARLY TIC-TAC ESCAPEMENT AND ALARMTHE MOVEMENT ATTRIBUTED TO JOHN WISE, LONDON, CIRCA 1673 AND LATERThe four double-baluster turned pillar movement with plates measuring 6.375 by 4 inches enclosing four-wheel train with the earliest form of tic-tac escapement regulated by lenticular bob half-seconds pendulum, the right hand side fitted with a transverse weight-driven alarm mechanism with verge crownwheel and vertically pivoted hammer for sounding on a bell mounted set above the plates, fitted with a 7 inch square gilt brass dial with Arabic hour engraved silvered alarm setting disc to the matted centre within applied narrow silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes within the minute track, with fine sculpted steel hands and gilt winged cherub mask spandrels to angles within line border interrupted by engraved text John Wise Londini fecit to lower edge, in a finely executed case most probably constructed using period elements with rising hood incorporating triangular pediment over crisply moulded projecting cornice, Knibb-style alternating scroll-and-circle pierced alarm sound fret to frieze, and Corinthian three-quarter columns with gilt caps and bases flanking fixed the dial aperture, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards rising past the lintel to meet the cornice overhang at the rear, the trunk with convex throat over 38.5 inch slender rectangular door applied with two long around a central short raised panels within a half-round moulded surround, on stepped ogee top plinth base decorated with high-position step to the box.174cm (68.5ins) high, 32cm (12.5ins) wide, 20.8cm (8ins) deep. John Wise senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Banbury, Oxfordshire in 1624 and apprenticed to Peter Closon through Thomas Dawson in 1638, gaining his Freedom in October 1646. He apparently lived in Warwick 1653-68 where he repaired the clocks at St. Nicholas and St. Mary`s churches, the latter providing the venue for the baptism of three of his children. He moved back to London in 1669 where he was re-admitted to the Clockmakers` Company by redemption. He took many apprentices including no less than six of his sons; Richard (Free 1679), John (Free 1683), Thomas (Free 1686), Joseph (Free 1687), Peter (Free 1693) and Luke (Free 1694). He worked from 'neer the Popeshead in Moorfields' and was recorded as a recusant in 1682/3. John Wise senior died in 1690 and was buried at St. Andrew's, Holborn. The double-baluster form of the movement pillars of the current lot can be directly compared to those of a table clock by John Wise sold in these rooms on 6th September 2011 (lot 151) for £46,000 hammer and on a month-duration longcase clock (case later) with 9.5inch dial sold at Cheffins in their Fine Sale 11th September 2019 (lot 427) for £6,000. In addition to the double-baluster design pillars these two clocks also shared the same unusual portrait engraved decoration to the maintaining power winding hole shutters. When considering this unusual pillar design and the overall feel of the movement of the current lot an attribution to the workshop of John Wise would appear certain.The tic-tac escapement of the current lot is of the earliest form utilising an escape wheel with teeth profiles essentially matching those of a 'normal' wheel. This configuration can be compared to that seen on a short duration astronomical timing movement made for St. Andrews University by Joseph Knibb (at the order of astronomer James Gregory) in around 1673 illustrated in Dawson, Percy G.; Drover C.B.; and Parkes, D.W. Early English Clocks on page 137 (Plate 177). Although the escape wheel and pallet arbor in the present movement appear original the very small pallets are probably replacements most likely required dur to wear; not withstanding this the escapement would appear to be a significant survivor.The dial and case are most likely restorations/recreations executed to the highest standards resulting in an exquisite miniature clock of the finest proportions and detailing befitting of the fine early movement.Condition Report: Movement is in fine condition with original wheel-work to the going train; the second wheel arbor has been repaired with a sleeve and the escape wheel re-pinioned. The pallet arbor appears original but the pallets themselves have probably been reworked. The alarm mechanism appears as it should although the release/locking detent may be a replacement. Although the movement has an overall oxidised/patinated appearance it is in good working order having been carefully conserved to retain old surfacers to the mechanism. The dial is very well made but with some noticeable casting faults to the plate. The mellow colour/patination is very good but we suspect that it may be a very well executed restoration/reconstruction hence is best described as being of indeterminate age. The case is almost certainly of relatively recent construction (within the last 20 years or so) but is exquisitely made, beautifully detailed and of perfect proportions. The carcass almost certainly uses 'period' timber and the overall feeling of age with shrinkage and patination is very well expressed. The only notable blemishes to the case are a slight water stain to the left-hand front hood column and the fact that the trunk door is missing its lock.Timepiece is complete with pendulum, weights and a 17th century style engraved brass winding key. Condition Report Disclaimer
A SWISS RENAISSANCE IRON CHAMBER CLOCKUNSIGNED, CIRCA 1600The two train weight-driven countwheel bell movement with verge escapement regulated by horizontal balance contained between angled extensions of the front and rear pivot bars, the strike train with single arbor warnless locking released via nag's head engaging with a pin fitted to the rim of the going train greatwheel and overlift provided by a shaped cam cut with a slot for locking, both trains pivoted between iron vertical bars which locate via tenons into slots cut into a horizontal strip at the base, the top secured with another strip terminating with angled ends forged with pierced tenons passing through slots in the uprights and secured by wedges, the iron box-form case with a single lugged bell supported within domed bearer decorated with forged iron flower buds, the front with visible hour wheel and gilt painted arrow-shaped hand reading against a cream painted chapter ring with Gothic Roman numerals within upper and lower borders polychrome painted with symmetrical bird inhabited foliate scrolls on a chocolate brown ground beneath moulded gilt band and panel painted with an owl within conforming field, the sides with hinged doors secured by sprung clasps and painted with conforming large floral sprays, the rear with forged hanging hoop and spurs, (escapement restored, case decoration refreshed, left side door probably replaced, lacking weights and lines).26.5cm (10.5ins) high, 12cm (4.75ins) wide, 13,5cm (5.25ins) deep. The general construction and layout of the current lot can be directly compared to a spring-driven example illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES (English version translated by H. Alan Lloyd) on page 203 which is described as probably made in Zurich about 1630-40. The basic construction of the movement frame (formed essentially as a vertical rectangular loop around the movement) has its roots in the earliest form of domestic striking clock and can be directly compared with a clock dating to around 1500 illustrated in Muhle, Richard and Vogel, Horand M. Alte Uhren (Verlag Georg D.W. Callway, Munchen 1976) on page 152 (figure 256).Condition Report: Movement - All wheelwork with the exception of the escapewheel and balance appear original, the greatwheels have four crossings, all other wheels have three, all arbors except the escapewheel arbor are faceted. Both pulleys appear to be replacements mounted onto the original greatwheel arbors. As catalogued the current escapement is a restoration. Evidence in the movement bars and backplate indicate that the clock was once fitted with an anchor escapement with pendlum swinging to the rear. In order to allow clearance for the anchor pallet arbor the fly was moved to one side and pivoted between extension plates riveted to the centre and rear movement bars, the fly has now been returned to its original position and the later plate extension pieces removed (leaving stopped rivet holes and other witness marks). There is a mall keyhole shaped hole and two small rectangular slots (one in the front movement bar, the other to the top bar just in front of the balance arbor), the purpose of these is unknown but unlikely to be from an alarm mechanism due to lack of space for lines to pass beneath hence most likely to be from another escapement configuration fitted to the clock at some time (possibly French vertical verge and pendulum arrangement as often seen on Comtoise region clocks?). The nag's head lifting piece, locking detent and arbor are replacements however the curved pivot carriers fitted to the from and rear movement bars appear original. The hour wheel appears original but is now on a replacement arbor/pivot and is driven by a replacement four-prong pinion of report fitted to the original greatwheel arbor. Case - Dial plate appears original and is forged in two sections joined behind the moulding above the chapter ring and is in turn rivetted to two forged uprights each with angled brackets applied with threaded stub at each end (for fitting to the case top and bottom plates). The dial has been repainted and the rear of the plate has also been cleaned and painted. The rear of the case also appears original and is made from two relatively thin guage metal vertical panels which overlap and are rivetted together. This is then fitted onto two metal bars as pof the dial. The rear of the backplate has two horizontal strips rivetted which carry the hanging hoop and spurs and are formed into hinge knuckles for the side doors ar each end. The backplate appears to retain old surface and has two filled (with lead solder) holes left over from the earlier conversion to anchor escapement (from pallet arbor and pendulum backcock). The left hand door is a replacement made from poorly matched iron plate with curious texture (left over from the panels earlier use) and does not fit well. The right hand door appears original and retains its clasp. the baseplate also appears to be original and is fitted with replaced pivot arm (to transfer motion from the strike hammer pins to the vertical hammer pivot) to original pivot forged to the underside of the plate. Their are a few small redundant holes to the baseplate suggesting that the clock may have been located onto a wall bracket at sometime. The top plate is almost certainly a replacement made from salvaged iron plate as it is thicker gauge than the rest of the case and three of the four surfaces (and the various holes in the plate) appear relatively fresh. The bell support appears to have age and seems to be made from forged rather than sheet metal however it is difficult to be entirely sure whether it is original or not. The bell is a replacement with the lugged fitting being applied (via a screw from beneath) to a bell of standard construction. The clock is missing two of the eight case screws (which hold top and bottom plates to frame uprights). Clock is currently not in working order due to slightly loose balance top pivot and dislocated pawl spring to the winding pulley click. No doubt other minor fettling will also be required to bring it back to working condition. There are weights or line present with the clock. Condition Report Disclaimer
A CHARLES II MINIATURE BRASS LANTERN TIMEPIECE WITH ALARMSIGNED FOR JOHN KNIBB, OXFORD, CIRCA 1680The going train with verge escapement regulated by short bob pendulum swinging outside of the frame to the rear and motionwork for two hands, the rear with alarm mechanism incorporating verge crown wheel driving vertically pivoted yoke-shaped hammer fitted to the backplate and sounding on the inside of the bell mounted above, the dial with rose-decorated alarm disc within a band of engraved scrolling flowering foliage issuing from a three-petal bloom to the lower margin to centre, within applied Roman numeral chapter ring with squat fleur-de-lys half hour markers and punched dot minute marks to outer track, the frame with one-piece corner castings formed as Doric columns beneath vase finials with collar-turned shoulders, the front and sides applied with symmetrical pierced cast and engraved brass dolphin pattern frets with the front incorporating inscription John Knibb to the lower margin, beneath domed bell bearer capped with a conforming vase finial, with brass side doors, twin iron hanging hoops and spurs to rear, on integral ball-shaped feet, (with probable restoration).23cm (9ins) high, 9cm (3ins) deep, 10.5cm (4.5ins) deep. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph's larger concern in London. The strong similarities between John's best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The present lot would appear to conform with the earlier group of miniature lantern clocks produced both during Joseph's time in Oxford (up to around 1671) and subsequently by John Knibb. These clocks are generally characterised by their one-piece corner castings incorporating well-detailed vase finials decorated with a distinctive incised band just beneath the shoulder. Latterly (perhaps from around 1680) the Knibb workshops generally adopted different castings which incorporated simple small concave sided projections for the finials and button feet. Several examples with the 'earlier' type of frame are illustrated in White, George English Lantern Clocks on pages 257-58 (Figures V/108-11) and again in detail on page 261 (Figure V122), whilst an example of the later type is featured on the front cover of Hana, W.F.J. English Lantern Clocks. Although the current timepiece appears to utilise the earlier type of castings they have perhaps been more tightly turned/finished a little less generously than usual.In conjunction with the vase finial frame castings the Knibb workshops invariably used dolphin pattern frets which are described by George White as a being 'wafer thin' and, more often than not, carried the signature along the lower border. The frets on the current lot can certainly be described as thin, delicate castings. The engraving to the dial centre is very close to that of the later-type frame example illustrated by Hana, however the squat fleur-de-lys half-hour markers appear identical to those on a clock, this time with the earlier vase finial frame castings, by John Knibb illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on page 162 (Plate 176). From these details it would be perhaps appropriate to suggest that the present timepiece was made as the earlier vase finial castings were being phased-out in favour of the later simpler frame.The two-handed configuration of the present timepiece is unusual but not unheard of with regards to Lantern clocks in general. Indeed two-handed clock (albeit quarter chiming) Lantern clock by John Knibb is illustrated by George White on page 260 (Figure V/117). This clock also has 'dot' minute markers (as part of the outer track). There is a possibility that the present clock has been converted to two-handed configuration, if this is the case then it has been executed to a very high standard. Finally, when the considering the present the clock as a whole, other details typical of those originating from the Knibb workshops can be seen; most notably the shaping of the escapement top potance and backcock, as well as the presence of two hanging eyes fixed to the rear of the top plate.Condition Report: Movement is in relatively clean working condition with delicate wheelwork commensurate with the Knibb workshops. The pivot holes show no evidence of re-bushing or noticeable wear; the pinions also exhibit little in the way of wear. Due to the lack of wear evident we cannot rule-out whether the train is a restoration however it is not unusual for such timepieces to exhibit little use as historically they were often only used occasionally (whilst travelling). There is no obvious evidence that the greatwheel arbor has been modified to allow combined hour and minute gears to be fitted (rather than just having a square for the pinion of report) hence it would appear that the train was made for two-handed motionwork. The alarm mechanism is in similar condition to the going train - ie. complete and well-made but shows negligeable wear.The dial is in fine original condition and, as catalogued, conforms with those seen on other examples emanating from the Knibb workshops. The alarm disc is most likely a restoration. The hands are very well made but are somewhat 'clean' in appearance. The 'dot' minute markers to the outer edge of the chapter ring do not appear to have been added recently hence there is a strong argument that they were executed at the time the chapter ring was made. The frame is in sound original condition however the shaft to the front left hand upright has an inserted section around 1.5 inches long let-in. This is most likely to repair a casting fault at the time of making and is mostly obscured by the chapter ring and side door. The rear left hand finial is a replacement. The top and bottom plates exhibit no evidence of alteration. The frets appear original although the left-hand side fret is not fully finished. The bell bearer is probably a replacement and the bell itself has been repaired (although it rings fine). The side doors appear correct, the left-hand door has a slight casting fault. The hanging hoops and spurs appear a little 'clean' hence may be restorations although the threads securing the spikes are correctly hand cut and show signs of age (slight corrosion and wear). Timepiece is complete with rope lines and weights. Condition Report Disclaimer
A FINE AND HOROLOGICALLY SIGNIFICANT JAMES I 'FIRST PERIOD' LANTERN CLOCKWILLIAM BOWYER, LONDON, CIRCA 1620The separately wound trains with iron-cheeked pulleys to the great wheels, the going train with reinstated verge escapement regulated by horizontal balance oscillating above the frame top plate, the strike train sounding the hours on a lugged bell mounted above the frame via an iron countwheel with overlift provided by an iron-walled hoop wheel cut with a single slot, the dial finely engraved with a large chrysanthemum bloom over twin entwined stalks set within a field of scrolling flowering foliage to centre, within applied narrow silvered Roman numeral chapter ring incorporating floating asterisk half hour markers and concealing fine signature William Bowyer of Lon Fecit engraved in a downward curve to the plate behind the lower part, with fine sculpted steel hand and foliate engraved infill matching that of the centre occupying the upper quadrants and the lower margin, the frame with finely turned generous Doric column corner posts beneath distinctive ovoid vase finials with banded waists, the front and sides applied with symmetrical scroll pierced cast brass frets with the front incorporating foliate engraved detail, beneath domed iron bell bearer capped with a conforming vase finial incorporating pinned plinth upstand for securing the lugged bell, with brass side doors and the rear with iron hanging hoop over spurs applied to the brass backplate, on collar-turned ball feet.40cm (15.75ins) high, 15cm (6ins) wide, 18.5cm (7.25ins) deep.William Bowyer is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as the son of Ralph Bowyer (yeoman of Warfield Berkshire) who is believed to have been married to Alice Mansworth in 1590. William was probably born around this time and by 1616 was a member of the Pewterers' Company when he took-in Thomas Taylor (son of Ralph Taylor, a milliner from Halesowen, Shropshire) as an apprentice. Bowyer took-in no less than five further apprentices prior to the formation of the Clockmakers' Company in 1631, including John Pennock (son of William Pennock of Guisborough, Yorkshire) in 1620. Although he subscribed £5 towards its charter and was made free of the City in 1630, William Bowyer did not apparently join the Worshipful Company on its establishment the following year.Bowyer is thought to have been first married to Margery Barlow of Litchfield, Staffordshire, however, by 1631 he was married to Prudence with whom he had five children (three of which sadly died in infancy). By 1638 Bowyer was living in the parish of St. Andrew Undershaft, he took-in Joseph Jackson (through Thomas Dawson) as apprentice that year and during the following decade took-on at least four more, this time through the Clockmakers' Company. One of these apprentices was Nathanial Allen (probably around 1641/2); Allen subsequently married a Phillipa Bowyer in 1646 hence became related to William through marriage.In 1640 William Bowyer was invited to become an Assistant of the Clockmakers' Company, however it appears that he was reluctant to serve the Company as in July 1642 he gave 'a great chamber clock' in return for excusal from any further duties. Nevertheless he became an Assistant in 1651 and a Warden in 1653 the year of his death.The present clock belongs to a group of less than half-a-dozen surviving particularly early examples made by Bowyer either just before or around 1620. Of the others the first (dated 1617) was sold at Bonhams, London sale of Fine Clocks 11th July 2018 (lot 60 for £43,750) and the second is illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 79 (Figures 7.1-4). Another is illustrated in White, George English Lantern Clocks onpage 101 (Figure II/125 showing movement only), and possibly a fourth on page 113 (Figure II/145).All of the above examples share the same frame castings which are very closely related to those used by the earliest of English Lantern clock makers, brothers Robert and Thomas Harvey. These frames are characterised by having well-proportioned Doric column corner posts surmounted by slightly shouldered ovoid vase finials each decorated with a ring around the waist beneath a disc knop. The ball feet are also cast with a collar matching that of the finials. Indeed when the frame of the present clock is compared with that of an example by Thomas Harvey illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers it can be seen that the castings differ only in very slight detail.In addition to sharing the same design of frame castings it has been noted by Brian Loomes in his article William Bowyer, an exciting and important discovery published in 'Clocks' magazine, June 2018 (pages 9-12) that the movement pivot bar castings follow the same form as those used by Robert and Thomas Harvey. This suggests that these castings may have a common source, most likely the Harvey workshop. It is therefore likely that, during his formative years, William Bowyer had some form of connection with this very important workshop. From the images available it can be seen (with the possible exception of the last clock illustrated by White on page 113) that this group of clocks are all essentially identical with regards to the layout and detailing of the movements. All have iron countwheels, iron-walled hoopwheels, straight hammer checks and iron cheeks to the pulleys (where the originals survive). They also share the same frets hence only essentially differ in the treatment of the dials, and whether an alarm was originally fitted. These inherent similarities suggest, that even at this very early date, a degree of standardisation was being adopted mostly through the use of common castings.The present clock is noticeably well finished with each of the cruciform movement pivot bars having decorative scroll-shaped detailing just above the hammer arbor pivots. This attention to detail is carried forward to the dial which exhibits fine albeit unusual foliate decoration to the entirety of the dial centre. It is perhaps interesting to compare this decoration with that of Bowyers celebrated 'Memento Mori' great chamber clock of 1623 illustrated in Bruce, W.F. EARLY ENGLISH LANTERN CLOCKS 1600-1700 (2013) on page 17. Although the decoration of this larger clock lacks a large flowerhead (or any other large single element) the foliate infill has a similar feel to that of the present clock, albeit in a perhaps slightly more developed form incorporating scrolls and loops to the design.Please see the page-turning catalogue to continue reading the final part of this footnote.
A RARE WOODEN SPIT JACK MECHANISMPROBABLY SWISS, SECOND HALF OF THE 18th CENTURYThe weight-driven three-wheel train with lantern pinions formed as part of the elaborate baluster-turned arbors, the greatwheel with drum for the driving weight set on an arbor with winding square opposing take-off for a pulley, the third wheel cut as a contrate for driving a fly pivoted within the top bar, the 'door' type frame with extensions to the uprights passing through slots in the top bar for securing by pegs, the bottom bar with pinned mortice-and-tenon joints and threaded holes for securing into position with large wooded screws, (fly, pulley and winding crank lacking, winding clicks incomplete/inoperative).54cm (21.25ins) high, 38cm (15ins) wide, 24cm (9.5ins) wide. The wheelwork of the current lot, most notably the incorporation of lantern pinions within the decorative arbor turnings, can be compared with that of a Swiss wooden-wheeled clock illustrated in Tardy LA PENDULE FRANCAISE, 3,me Partie: Provinces et Etranger on page 456 (upper right). The traditional centre for Swiss wooden-wheeled clock manufacture was Toddenburg; indeed a weight-driven wooden chamber clock of the Toddenburg-type was sold in these room on 2nd October 2019 (lot 104) for £2,800 hammer.
A QUEEN ANNE EBONISED THIRTY-HOUR LONGCASE CLOCK WITH ALARMWILLIAM BROCK, AXBRIDGE, CIRCA 1715The substantial posted countwheel bell striking single-handed movement with rectangular section steel uprights and anchor escapement regulated by seconds pendulum, the alarm mechanism positioned to the lower right hand side of the movement and sounding on the hour bell via verge crownwheel and vertically pivoted hammer, the 10 inch square brass dial with generous rose engraved alarm disc to the matted centre within applied Roman numeral chapter ring with cruciform half-hour markers and signed W'm Brock, Axbridge to lower margin, with scroll-pierced iron hand and gilt twin-cherub-and-crown cast spandrels to angles, in an ebonised pine case with box upstand to the domed caddy superstructure and generous ogee moulded cornice over hinged glazed dial aperture applied with parcel gilt three-quarter columns to angles, the sides with rectangular glazed windows and conforming quarter columns set at the rear, the trunk with concave throat moulding over 43 inch rectangular door centred with a brass-edged circular lenticle, on plinth base with moulded skirt.222.5cm (82ins) high, 49.5cm (19.5ins) wide, 29cm (11.5cm) deep. William Brock is recorded in Moore, A.J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as living in Cheddar but working from Axbridge from 1707 until around 1730. From Moore's notes he appeared to principally work as a turret clock maker and repairer; however entries in Dr. Claver Morris's diary indicate that he was a very competent maker as these relate to the 'mending of my repeater' (watch) and the making of 'a very fine Month Clock with a Pendulum of 5 feet long'.Condition Report: Movement appears entirely original and is complete with no visible alterations, significant replacements or losses. The mechanism is dirty/discoloured/patinated but is essentially in working order albeit with some noticeable pinion wear. The dial appears all original but again is in dull/dirty condition with the exception of the spandrels which exhibit strong rich gilding.The seatboard is a replacement hence we cannot offer any assurance with regards to the movement and dial being original to the case although they are a very good match. The case has survived in essentially sound original condition; the domed caddy superstructure is a restoration and the lower nine inches or so of the backboard has been replaced otherwise the case appears fundamentally original but re-ebonised over historic surface worm damage and other historic bumps, scuffs, minor repairs and age related defects.Clock has a weight but no pendulum or case key. Condition Report Disclaimer
A RARE WILLIAM III RACK-STRIKING LONGCASE CLOCK MOVEMENT WITH ELEVEN-INCH DIALJAMES DELANCE, FROME, CIRCA 1695The four (formerly six) finned pillar rack and bell striking movement with anchor escapement for regulation by a seconds pendulum and substantial steelwork for the rack striking mechanism, the 11 inch square brass dial with subsidiary seconds dial, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Jam's Delance, Froom fecit to lower margin, the angles with applied winged cherub mask and scroll case spandrels (lacking hands, pendulum and weights).32cm (12.5ins) high, 28cm (11ins) wide, 13.5cm (5.25ins) deep. James Delance is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam in Frome prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Lawrence Debnam who died in 1683 at the age of 40. Delance is recorded as undertaking work on clocks for Lord Weymouth at Longleat from at least 1694 until 1703. By 1721 Delance had moved to Downton, Wiltshire and was still working in 1736.Condition Report: Between the plates the movement appears to survive in good original condition with the only noticeable replacements being the escapement pallets. The underdial hour strikework is intact and appears all-original although the rack assembly pivot has been relocated slightly. The centre minute pipe is fitted with an additional quarter rack indicating that at one time the clock also sounded the quarters. There are also spare holes to both plates (and a pivot post to the frontplate) indicating an additional hammer was fitted along with respective detents etc for quarter strike-work. In addition to this there are two pairs of vacant holes indicating that the movement was originally fitted with two additional pillars. Although essentially in working condition the movement is dirty/neglected hence will require a gentle clean/service before putting to use; the twelve-hour hour wheel (fitted to the hour pipe) also has a folded tooth which will require repair. The dial is in sound original condition although the lower right corner has a loss to the tip of the plate. There are also three slight casting/stress cracks to the edge of the plate. The matting is finely executed and is in good unworn condition except for a couple of light surface scratches. The chapter ring has some localised patchy discolouration, the spandrels appear original and are in good condition. As catalogued there are no hands, lines, pulleys, weights, pendulum or seatboard present with the current lot. Condition Report Disclaimer
AN UNUSUAL GERMAN PROVINCIAL OAK CASED WEIGHT-DRIVEN WALL CLOCKINDISTINCTLY SIGNED, WIPPERFURTH, DATED 1761The posted key-wound bell striking movement with four-wheel trains set side-by side and pivoted between vertical steel movement bars within an iron frame constructed with rectangular corner posts riveted to both the top and bottom plates, the going train with anchor escapement regulated by long lenticular bob pendulum and the strike train with gravity rack and vertically pivoted hammer for sounding on a bell mounted on top of the case, the 11 inch square oak dial panel applied with circular brass disc with ringed winding holes to centre within pewter Roman numeral chapter ring with stylised sword-hilt half hour markers, Arabic five minutes beyond the minute track and indistinctly inscribed Johan Jorg...., in Wipperfurth beneath 1761, Den 15, December to lower margin, with pierced steel hands and angles applied with wooden roundels within brass plate infill, in a case with cavetto cornice over moulded hinged glazed dial aperture to front and solid panel doors to sides, the rear with forged iron hanging loops to upper corners and the base applied stepped ogee mouldings.50cm (19.75ins) high, 44.5cm (17.5ins) wide, 19cm (7.5ins) deep. The overall design and layout of the movement of the current lot (albeit to a much smaller scale) is similar wall clocks made in the Comtoise region of Eastern France.
Y A FRENCH LOUIS XV GILT BRASS MOUNTED SMALL BOULLE BRACKET TIMEPIECE WITH SILENT PULL QUARTER-REPEATANTOINE THIOUT, PARIS MID 18th CENTURYThe eight-day movement with tapered plates incorporating concave lower angles united by four angular baluster pillars pinned through the backplate signed Thiout AParis to lower margin, the silent pull repeat mechanism sounding on a bell mounted within the superstructure of the case, the 5.5 inch circular thirteen-piece cartouche numeral dial with convex white enamel centre within chapter ring with blue-on-white Roman hour numerals within rococo borders and Arabic five minutes to outer track, with sculpted blued steel hands the engraved cut brass and brown shell marquetry decorated case with seated putto surmount to the concave-sided superstructure veneered with leafy scroll decoration and applied with foliate mounts to angles over generous leaf cast arched cornice, the front with brass-framed arched glazed door enclosing marquetry decorated floor and back panel to interior and incorporating cast panel featuring an eagle grappling a serpent to apron, the surround decorated with leafy scrolls within line border, the sides with recessed arched windows within leaf cast surrounds over hipped swollen base sections, on feet cast as dragons with foliate apron between.49.5cm (19.5ins) high, 28.5cm (11.5ins) wide, 15cm (6ins) deep. Antoine Thiout is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as a 'very famous maker' born in 1692, appointed Jure in 1743 and dying in 1767. He is perhaps best known for his 1741 publication Traite d'horlogerie which is generally considered as one of the classic horological works of 18th century. Amongst his patrons were the duc d'Orleans and the Dowager Queen of Spain; examples of his work reside in many important European collections including a bracket clock in the Garde Meuble, Paris.Condition Report: Movement has been converted from verge escapement to anchor and the going train will run. The wheelwork of the repeat train is complete however the rack-pull lever is lacking (snail and starwheel are present). The spring box is intact and the train will run through. One of the two vertical hammer arbors are lacking as are both the hammer arms. The dial has hairline crack across the enamel disc centre and the I, IIII and VI cartouche numerals have small edge chips; the rear is lacking a securing latch otherwise dial is in good original condition albeit a little tarnished/discoloured and with finely worked hands.The case is in fine condition with faults limited to some light blooming to the shell veneers in places and some patchy tarnishing to some of the brass marquetry.Clock has a case key but no pendulum or winder. Condition Report Disclaimer
A GEORGE IV CARVED MAHOGANY BRACKET WITH TRIP-HOUR REPEATJAMES MCCABE, LONDON, CIRCA 1825-30The five pillar twin chain fusee bell striking movement with anchor escapement regulated by half seconds lenticular bob pendulum with geometric ring engraved bob and stirrup regulation, the geometric border engraved shouldered backplate with pendulum holdfast and conforming oval cartouche signed James McCabe, Royal Exchange, LONDON to centre, the 8 inch circular convex cream painted Roman numeral dial inscribed JAMES McCABE, Royal Exchange, LONDON, 1075 to centre, with blued steel fleur-de-lys hands and Strike/Silent selection switch at twelve o'clock set behind hinged convex-glazed engine milled bezel, the lyre-shaped case with generous fluted urn surmount to the triangular pediment over applied acanthus scroll and rosette bordered waisted ogee-outline front and conforming shaped sides, the rear with shaped rear door inset with a brass grille sound fret, on bead and foliate gadroon-carved moulded base with generous projecting foliate rosette carved bracket feet, (dial refinished).61cm (24ins) high, 40.5cm (16ins) wide, 23cm (9ins) deep. Provenance:Purchased by the vendor from Dukes, Dorchester sale of Silver, Jewellery and Furniture Thursday 9th April 1998 (lot 842) for £3,600 hammer. James McCabe junior succeeded his father of the same name was one of the most successful English clock and watchmakers of the 19th century. He was apprenticed to Reid and Auld of Edinburgh and was admitted to the Clockmaker's Company as a Free Brother in 1822. Around this time McCabe entered into a short-lived partnership with Strahan (probably Charles who gained his freedom of the Clockmaker's Company in 1815). From 1826 James McCabe managed the business alone from 97 Cornhill until 1838 when he was forced to temporarily relocate to 32 Cornhill due to a major fire at the Royal Exchange. It was at this time (1825-43) that Thomas Cole worked for McCabe before setting up his own to produce distinctive and highly decorative timepieces in his own unmistakable style. The business was subsequently continued by Robert Jeremy until his retirement in 1883. Condition Report: The movement is in fine clean working condition with no visible alteration or noticeable replacements. The dial finish has bee restored to a good standard and is now free from visible faults. The case is in good original condition. The rear door has a few small losses and historic veneer patch repairs to the veneer overlap and the top pin hinge needs re-securing. The surface finish to the rear and right hand sides are a little flat hence requires 'freshening-up' (but are not faded). The top has a small veneer patch repair to the front left hand corner and another to the apex at the rear, otherwise the case is in fine condition with good figured veneers and faults very much limited to very minor shrinkage and a few slight bumps, scuffs and other age related blemishes.Clock is complete with pendulum, a wander and two case keys. Condition Report Disclaimer
Amendment please note VAT applies to the hammer price on this Lot.Stephen Buckley,British b.1944-Untitled (black and pink), 1977; Untitled (spaced out coloured squares), 1999; Untitled (condensed coloured squares), 1999 ;each etching with aquatint in colours on wove,(i) signed, dated and numbered 24/50, sheet: 69.5 x 49.5 cm,(ii) signed, dated and numbered 24/50, sheet: 70 x 49.5 cm,(iii) signed, dated and numbered 7/50, sheet: 64.5 x 49.5 cm,(framed)(ARR)(3)(VAT charged on hammer price)Provenance: Saatchi & Saatchi London
Amendment please note VAT applies to the hammer price on this Lot.Stephen Buckley,British b.1944-Untitled (black on white); Untitled (black on blue); Untitled (blue squares), 1977; Untitled, 1977 (beige abstract);two lithographs on wove; two etching and aquatint on wove,each etching is signed, titled, dated and numbered 24/50 and 7/50,(i) sheet: 69.5 x 87.5 cm(ii) sheet: 69.5 x 87.5 cm(iii) sheet: 65 x 49 cm(iv) sheet: 70 x 49.5 cm(framed)(ARR)(4)(VAT charged on hammer price)Provenance: Saatchi & Saatchi London
Michael Heindorff,German b. 1949-Tasso Trees: IV, IX, XIII, 1986;each screenprint in colours on wove,(i) signed and numbered 16/100,(ii) signed and numbered 38/100,(iii) signed and numbered 78/100,published by Bernard Jacobson Gallery, London,each: 91.8 x 69 cm,(unframed)(ARR)(3)(VAT charged on hammer price)
Silver-plated replica of a FIFA 1950 World Cup medal presented for the participation of Stan Mortensen of Blackpool FC, area of wear to plating along edge and reverse bearing evidence of being stuck down at some point The 1950 World Cup was the first occasion England participated in the FIFA tournament. Mortensen's England cap for the match v USA was sold at Graham Budd Auctions Special World Cup sale in November 2022 fetching £7,000 hammer price.
Dahl, Roald. Presentation Copy. The Gremlins, New York: Random House, 1943. Dahl's scarce first book. Signed & inscribed by the author to W.C. John Alexander, D.F.C. (who formed a friendship with Dahl when they were serving together in the RAF), 'To John, who wrote the bloody thing anyway. Roald Dahl, 25/5/43.' First edition, possibly an earlier state or proof, the text-block stapled within quarter-cloth and pictorial boards (not glued or attached to boards), with corrections by Dahl in pencil (including two instances where Dahl has amended 'Barry' to 'Gus', and an arrow with the word 'No' pointing to a colour illustration of a gremlin next to a teapot).14 full-page colour illustrations (including one double-page). Contents generally good and bright with occasional light discolouration/marks, a couple of little nicks at edges of two pages, ffep has lifted away from staples of text-block but is not loose (bound to cloth spine as issued), boards vibrant with some light rubbing/wearProvenance: Ex-Lot 26 in our Library Auction, 21-26 May 2020 (hammer £6,500 plus premium), and featured in issues 2443 and 2448 of Antiques Trade Gazette. By descent from W.C. John Alexander, D.F.C. to our previous vendor - who believes Alexander helped come up with the plot for this book
Arc de Triomphe Street Scene from "Paris Suite of 3 Serigraphs 1994" artist proof numbered 41/50, hand-signed, immaculately framed. LeRoy Neiman was born in St. Paul, Minnesota, and studied at the Art Institute of Chicago, De Paul University, and the University of Illinois. Neiman taught at the Art Institute of Chicago for ten years, and moved to New York City in 1963 when he had his first one-man show at the Hammer Gallery. For the next 49 years LeRoy Neiman continued to portray the people, locales, and events of the world he knew best, or which intrigued him most. Overall size: 37 x 42 in. Image size: 20 1/2 x 25 1/2 in.
Rear View of Notre Dame Cathedral from "Paris Suite of 3 Serigraphs 1994", artist proof numbered 41/50, hand-signed, immaculately framed. LeRoy Neiman was born in St. Paul, Minnesota, and studied at the Art Institute of Chicago, De Paul University, and the University of Illinois. Neiman taught at the Art Institute of Chicago for ten years, and moved to New York City in 1963 when he had his first one-man show at the Hammer Gallery. For the next 49 years LeRoy Neiman continued to portray the people, locales, and events of the world he knew best, or which intrigued him most. Overall size: 33 1/8 x 30 in. Image size: 17 x 13 1/4 in.
Eiffel Tower from "Paris Suite of 3 Serigraphs 1994", artist proof numbered 41/50, hand-signed, immaculately framed. LeRoy Neiman was born in St. Paul, Minnesota, and studied at the Art Institute of Chicago, De Paul University, and the University of Illinois. Neiman taught at the Art Institute of Chicago for ten years, and moved to New York City in 1963 when he had his first one-man show at the Hammer Gallery. For the next 49 years LeRoy Neiman continued to portray the people, locales, and events of the world he knew best, or which intrigued him most. Overall size: 29 3/4 x 33 1/4 in. Image size: 13 1/4 x 16 3/4 in.
Vintage books and magazines, mainly Annuals, to include Batman, The Avengers, Outer Limits, Cliff Richard, The Saint, No Hiding Place, along with Life with Andy Capp, Laugh with Andy Capp etc and magazines to include 6 Hammer House of Horror, 1 x Supernatural Horror Filming, 1 x Stingray 1983, 3 x Showtime etc.
A DOUBLE BARREL PERCUSSION POCKET PISTOL, PARKES, LONDON 19th century, with 6cm (2 1/2 inch) rotating barrels, foliate engraved decoration, a dolphin hammer, sliding safety catch, concealed trigger and a chequered walnut grip, overall 17.5cm long. Condition Report : Mechanism in working order: half cocks, fully cocks and releases on trigger. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A PAIR OF PERCUSSION POCKET PISTOLS, WILLIAMS & POWELL, LIVERPOOL 19th century, each with a 4.5cm (1 3/4 inch) barrel, foliate engraved decoration, dolphin hammer, sliding safety catch, concealed trigger and a chequered walnut grip, overall 15.5cm long. Condition Report : Mechanisms in working order: each half cocks, fully cocks and releases on trigger. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A 'BELLS IN SIGHT' MUSICAL BOX Swiss, late 19th century, the 18cm (7 1/18 inch) pinned cylinder set to a gilded steel bed, playing sixteen airs and flanked by a winding lever to one side, and stop / start and change / repeat levers to the other, the mechanism with butterfly hammers striking on three bells mounted sideways in a shallow pyramid, the lid interior with a printed and hand-written tune sheet, the grained and part ebonized case with boxwood stringing and transfer-printed decoration to the lid exterior, 23cm high, 49cm wide, 28.5cm deep. Condition Report : Mechanism working; comb with all teeth present; one hammer currently inoperative; case rubbed, with loss to grained finish. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Two early 20th century French gilt brass carriage timepieces, each enamelled dial with black Roman hour numerals, each corniche case with swing handle and bevelled glass panels, heights 14.7cm and 14cm, with winding keys.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A silver cushion cased gentleman's wristwatch with unsigned jewelled movement, the circular enamelled dial with Arabic hour numerals and subsidiary seconds, the case back interior numbered '94134', import mark London 1924, case width 3.2cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An 18ct gold cased keywind open-faced lady's fob watch with unsigned jewelled movement, the fruiting vine engraved gilt dial with black Roman numerals, gold inner case, the case back engraved with foliate scroll framing a blue enamelled garter belt, total weight 39g, case diameter 3.8cm (minor enamel loss).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Omega gilt metal fronted and steel backed gentleman's wristwatch, circa 1970, the signed 601 caliber movement numbered '30863015', the signed silvered dial with baton hour markers, case diameter 3.5cm, on a black leather strap, together with a Garrard Automatic steel cased gentleman's wristwatch, case diameter 3.4cm, an Ingersoll gilt metal lady's bracelet watch and a silver rectangular cased lady's wristwatch, Edinburgh 1934.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Accurist Super Waterproof 400 stainless steel cased gentleman's wristwatch with jewelled Landeron 61 caliber movement, the signed black dial with baton hour markers and two subsidiary dials, the case with rotating bezel, case diameter 4cm, on a steel bracelet.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Omega Dynamic Automatic steel cased gentleman's wristwatch, the signed black dial with baton hour markers, centre seconds and date aperture, case width 4cm, on a brown leather strap.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A late 19th century Louis XV style ormolu cased mantel clock with eight day movement striking on a bell, the backplate stamped 'Oppenheim, Londres-Paris', the circular enamelled dial with blue Roman hour numerals and outer Arabic minutes, the rococo scroll moulded case with flower surmount and scroll feet, height 29cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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