We found 150138 price guide item(s) matching your search

7 assorted framed maps, 17th & 18th century style, all assumed to be reproductionPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

19th century chest, 3 long drawers, splay bracket feet- (approx size w110cm x d54.5cm x h97cm)Please note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

Oil on board of womanPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

Victorian oil painting, framedPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

3 assorted printsPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

Ship scene, assumed to be a printPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

Mixed lot comprising 2 small framed photographs plus box containing very large quantity of postcards & similarPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

Framed farm scene picture, assumed to be a printPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

19th century oil on canvas, thought to be by F Y JamiesonPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.

A GEORGE III SCUMBLED PINE HOODED WALL TIMEPIECE WITH ALARMJOHN UFFINGTON, LONDON, CIRCA 1770The posted movement with verge escapement incorporating sprung inserts to the pallets regulated by short bob pendulum, the alarm mechanism mounted on the inside of the brass backplate with verge crownwheel and vertically pivoted hammer sounding on the inside of a bell set above movement, the frame with square section corner posts riveted to both the top and bottom plates, the 7.25 inch brass break-arch dial with Arabic numeral alarm setting disc within engraved Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch signed Jn'o: Uffington, LONDON to centre flanked by conforming mounts, the case finished to resemble mahogany with concave sided 'pagoda' superstructure over break-arch cavetto moulded cornice and hinged glazed front with caddy moulded front angles, the sides with rectangular windows, over shaped front apron flanked by bracket supports incorporating concave over ogee-shaped profiles and with shaped break-arch aperture to the backboard between. 63.5cm (25ins) high, 32cm (12.5ins) wide, 18cm (7ins) deep. Notes provided by the vendor lists John Uffington as born in 1710 and apprenticed in 1727 gaining his freedom of the Clockmaker's Company in 1739. In 1790 he is listed as working from 53 Bunhill Row, Middlesex. John Uffington died in 1797 and was buried in the Bunhill Fields Burial Ground; his two wives and grandchildren are also mentioned on his headstone. A photocopy of his will is included with the current lot.The current lot is a particularly honest survivor which would have most likely been provided for 'backstairs' use in a larger house. The spring inserts to the pallets may have been intended to dampen the sound of the escapement so that it does not intrude on the sleep of the servant household, whilst the alarm would serve to wake them at the start of each working day. 

AN AUSTRIAN OAK CASED TABLE CLOCK WITH TRIP-HOUR REPEATKOTL, VIENNA, THIRD QUARTER OF THE 18th CENTURYThe four baluster-pillar twin standing barrel bell-striking movement with verge escapement and silk pendulum suspension, the 6 inch brass break-arch dial with vestigial alarm disc, concentric band decorated winding holes and scroll-bordered shaped false bob aperture to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes beyond the arcaded minute ring and signed Kotl, Wien to lower margin, with pierced steel hands and winged cherub mask spandrels to angles beneath arch centred with a Schlagt/Nicht Schlagt selection dial flanked by leafy scroll engraved infill, the case with elaborate scroll cast hinged carrying handle to the inverted bell-top superstructure with brass flambeau urn finials to angles, over front door applied with repeating leaf decorated gilt gesso surround to the glazed dial aperture and with scroll pierced and engraved upper quadrant frets enclosing conforming gilt border to the dial mask behind, the sides with lozenge-shaped apertures over break-arch windows and the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base with disc feet, (alarm mechanism removed).44cm (17.25ins) high with handle down, 28cm (11ins) wide, 16cm (6.25ins) deep. Antoni Kotl (junior) is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Vienna during the 18th century with a striking and repeating bracket clock by him residing in the Feill collection.Condition Report: Movement is in working condition and appears complete and fundamentally original except for the alarm which is no longer present and will require a pendulum. The bell hammer is currently broken (but is present with the clock) and the strike/silent function appears to have been adapted and is not currently functioning correctly. The movement is somewhat dirty/discoloured hence a clean/service is advised. The dial has lost its silvering to the chapter ring and selection dial to arch and is generally dirty/tarnished otherwise is in sound original condition. The movement and dial are original to the case.The case is in sound original condition; the handle and horizontal top pad to the superstructure is currently detached (just requires gluing back on). The right hand side top mouldings are also detached with one having a small break - again all bits are present hence should be a straightforward repair. Otherwise faults to the case are very much limited to minor shrinkage, bumps, scuff and wear as well as some light historic worm damage (not particularly visible and long gone).Clock does not have a pendulum, however a case key and winder are present. Condition Report Disclaimer

A IMPRESSIVE GEORGE III GILT MOUNTED MAHOGANY TWELVE-TUNE MUSICAL TABLE CLOCK OF LARGE PROPORTIONSEARDLEY NORTON, LONDON, CIRCA 1780The massive eleven pillar triple chain fusee movement playing a choice of twelve tunes via a 14 inch pinned cylinder on thirteen bells with sixteen hammers transversely mounted across the top of the mechanism, before sounding the hour on a further larger bell vertically mounted between the T-shaped plates each measuring 11 inches high by 18.75 inches wide at the projections, the going train with deadbeat escapement incorporating pallets visible through an arched slot cut into the backplate and regulated by 11.75 inch lenticular bob pendulum with holdfast applied just below the signature Eardley Norton London, scribed within a rococo scroll-bordered cartouche within fine rococo scroll engraving covering the entire backplate and incorporating number 1022 stamped to the right hand projection, the 12 inch brass break-arch dial applied with circular slightly convex fired white enamel Roman numeral hour disc signed EARDLEY NORTON, LONDON to centre within inner concentric calendar and with Arabic five minutes beyond the outer minute track, with fine scroll-pierced steel hands and generous rococo scroll cast spandrels to angles, beneath arch applied with a further enamel plate incorporating subsidiary STRIKE/SILENT and CHIME/NOT CHIME selection dials set within fine gilt painted stylised neo-classical scrollwork infill and the upper margin with tune selection panels inscribed MINUET five times, MARCH three times, GAVOT, AIR, DANCE and HORNPIPE, the substantial gilt brass mounted mahogany case with generous pineapple finial over concave-sided platform fronted with a fine scroll-pierced and engraved gilt brass fret over drapery swag decorated upstand, with slender cushion-capped cavetto cornice and break-arch glazed front door bordered with brass fillet mouldings to the dial aperture and with conforming engraved gilt brass sound frets to the upper quadrants, the front angles with substantial brass stop-fluted Ionic columns with gilt caps and bases and the sides with large hinged carrying handles over rectangular panels bordered with complex mouldings and inset with brass fillet-edged arch-glazed apertures (the right hand side opening to access the movement), the rear with matching frets to the concave sided upstand and upper quadrants of the break-arch glazed door flanked by caddy moulded angles, on substantial ogee moulded skirt base applied with musical trophy centred gilt drapery swag mount to front over generous acanthus decorated bracket feet.96.5 (38ins) high, 66.5cm (26.25ins) wide, 37.5cm (14.75ins) deep. Eardley Norton was thought to have been born into a farming family from Rigsby, Lincolnshire, however he was apprenticed as a clockmaker 25 May 1743 to Robert Dawson of Alford. Latterly he moved to London where he is listed as working at 49 St. John's Street, Clerkenwell between 1760 and 1794. He was member of the Clockmakers' Company being freed in 1770 and remained a member until his death in 1792. He applied for a patent for a new type of striking mechanism for both clocks and watches on 31 August 1771. Norton enjoyed Royal patronage being perhaps best known for his silver mounted four-dial astronomical clock (made in collaboration with James Ferguson F.R.S.) commissioned by George III for Buckingham House (later Palace) which still remains in the Royal Collection (RCIN 30432). He married Mary Swinnerton of Oswestry and later retired to Stonegrove House (no longer existing), Little Stanmore, Middlesex, in the parish of Whitchurch. On his death, his business was taken over by the partnership of Gravell and Tolkien. He is buried at St. Lawrence's church in Little Stanmore. A related (albeit smaller) musical movement is illustrated and discussed in Ord-Hume, Arthur W.J.G. The MUSICAL CLOCK on pages 250-51 (plate XII/10) where it is noted that Eardley Norton was one of a small number of makers who utilised the 'carriage-change system' to select tunes whereby the entire bell and hammer assembly is moved along the barrel by a leaf spring, rather than the usual arrangement where the barrel being is shunted along beneath the hammers. The 'carriage-change system' was perhaps first used by Roger Dunster and then by John Ellicott junior and provincial makers such as John Taylor of Ashton.The impressive size and quality of the current lot would suggest that it was a one-off commission no doubt for a very wealthy client as a centrepiece for an important interior. Condition Report: Movement is complete and is in clean fully-working condition including the tune selection and chime/silent and strike/silent selection dials. The movement appears to be in its original format with no visible evidence of alteration however we are aware that work has been done hence it is likely that the musical work (train, barrel and hammer assembly/carousel) have been largely re-instated but to their exact original configuration/specification. Any work that has been done has been executed to the highest standard.The dial presents as in immaculate condition but again it is likely that the enamel panels have had some restoration undertaken (again to the highest standard).The movement and dial are original to the case which is in fine condition having been cosmetically restored. The cast pineapple finial and post are most likely additions and the slender cavetto mouldings bordering the top edge of the upstand have been replaced on both sides. The mask around the dial has had a repair (insert) to the right-hand side upright (behind the veneer overlap) however the size, arch profile etc of the aperture appears to be original hence this repair is not indicative of alteration (or suggestive that the movement and dial are not original to the case). The glazed dial aperture is about 1 inch larger than the mask aperture but this would appear to be an original feature. Faults to the case are otherwise limited to minor shrinkage, a few small veneer patch repairs, re-gluing of joints and replacements to some of the small lesser mouldings; and other minor bumps, scuffs and blemishes commensurate with age.Generally a very impressive fully operational example fully restored clean condition and is complete with pendulum, winder and case key. Condition Report Disclaimer

A FINE AND RARE GEORGE II GILT BRASS MOUNTED EBONISED QUARTER-STRIKING TABLE CLOCKHENRY HINDLEY, YORK, MID 18th CENTURYThe six distinctive double-baluster turned pillar twin chain fusee movement with arched plates measuring 10.25 by 6 inches enclosing greatwheels fitted to the narrow ends of the fusee cones, the going train incorporating perpendicular contrate drive from the centre-wheel to the escapement positioned at the apex of the plates, now with deadbeat escapement incorporating Brocot-type pallets positioned between the dial and the front plate (behind a shaped bridge) and regulated by half-seconds lenticular bob pendulum swinging to the rear, the two-in-one quarter-striking train incorporating single rack for both hours and the quarters utilising a standard snail arrangement to set the count for the former, and a second three-tooth rack stop lever (acting on a pin set in the hour rack arm) to control the latter, sounding on a graduated pair of bells with the hour on the larger and the quarters on both via dedicated hammers (incorporating Hindley's distinctive 'L' shaped springs) driven by the same pin wheel with automatic positioning via lateral pump action facilitating disengagement of the quarter hammers and engagement of third single hour hammer leading up to the hour, the backplate applied with an additional second plate finely engraved with asymmetric scrolling foliage around a central circular cartouche signed Hen. Hindley, of YORK flanked by Ho-Ho bird, lion and grotesque mask inhabited strapwork, the 7 inch arched brass dial with richly matted centre within applied silvered Roman numeral dial with Arabic five minutes to outer track and signed H. Hindley, York to lower edge, with scroll-pierced steel hands and lambrequin mask centred scroll cast spandrels, the upper margin with Strike quar's/Hr/Silent selection beneath arch centred with a subsidiary seconds dial flanked by female sphinx inhabited scroll cast mounts, the plate further applied with raised ogee border mouldings incorporating architectural cavetto 'capitals' and keystone details, the ebonised bell-top case with hinged brass carrying handle and pineapple finials over complex top mouldings and arch-glazed hinged front incorporating generous gilt fillet moulding to dial aperture, foliate scroll cast gilt upper quadrant frets and applied with female term mounts to uprights, the sides with arched brass fish scale sound frets and the rear with rectangular glazed door set within the frame of the case, on stepped ogee moulded skirt base.48cm (19ins) high with handle down, 27.5cm (10.75ins) wide, 18.5cm (7.25ins) deep.Henry Hindley was born in Great Harwood, near Blackburn, Lancashire 1699, little is known about his early life, however by the mid 1720's he was making clocks in Wigan where he repaired the church clock in 1726. Hindley moved with his young family (including his son, Joseph born 1728) to the prosperous city of York where, after making clocks for the Mansion House and Guildhall, he gained his Freedom of the city in 1732. Hindley s talents were such that he equipped his workshop with tools of his own design including an important dividing and wheel cutting engine, a screw cutting lathe and a fusee engine. As well as domestic clocks Hindley received commissions for several turret clocks including York Minster and supplied a range of scientific instruments including two important equatorial telescopes for the Duke of Norfolk and William Constable. By the 1760 s Hindley s health had deteriorated to the extent that an ever-increasing proportion of the business was handled by his son Joseph. Henry died in 1771 with his son and successor Joseph unfortunately dying just three years later in 1774, before he had had the opportunity to stamp his own mark on the family firm.  According to the late Rodney Law, of Hindley's work only around 15 'spring clocks' are known versus around 40 longcases (see Law, R.J. HENRY HINDLEY OF YORK 1701-1771, PART II - published as an excerpt by The Antiquarian Horological Society). Law writes that of the examples seen by him all except one have half-seconds pendulums, all but three seconds hands and the majority have maintaining power. All also have the same distinctive design of double baluster pillar following those possibly first seen on Hindley's longcase clock of 1742 suggesting that he did not start making spring clocks until after that date. The use of fusees with the large ends positioned frontwards was to reduce the degree of friction at the larger front pivot which, with the standard design, was most apparent after winding. Further refinements include 'kneed' springs (of right-angled 'L' form), and two-in-one quarter-striking using the same rack for both the quarters and the hours. Indeed it is noted by Rodney Law that the latter detail has similarities with French work suggesting that Hindley was either well-read, having studied the works of makers such as Thiout, or was kept abreast of French work by his 'ingenious Jesuit friend'The positioning of the escapement behind a bridge towards the apex of the arch of the frontplate (driven via a vertically pivoted arbor with contrate wheels), is again typical of Hindley's work and allows space for a half-second pendulum to be installed in a standard-sized table clock as well as the provision of subsidiary seconds to the arch of the dial. Indeed when fitted with his form of deadbeat escapement Hindley's table clocks would have been very good timekeepers, hence the provision of a seconds dial will be very worthwhile. In addition to these refinements the wheel train of the current clock is very finely executed with pinion counts of eight or above which, again, ensures fine accurate running. A clock by Hindley with very similar design and layout to the current movement is illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 150-53.The separately engraved backplate fitted to the present clock is highly unusual. The decoration is finely executed by an accomplished engraver and can be firmly placed within the category of 'vine engraving 1740-1770' discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on pages 337-358. Indeed the quality of the engraving, both in its up-to-date sophisticated design and highly accomplished execution, would suggest that it was executed in London. It is therefore most probable that Hindley sent the plate to London to be engraved as a separate entity from the movement and fitted it over the plain backplate on completion of the mechanism. PLEASE SEE THE ONLINE 'PAGE-TURNING' CATALOGUE FOR THE REMAINING TEXT OF THIS FOOTNOTE. 

Y A FINE CHARLES II/JAMES II EBONY QUARTER-REPEATING TABLE CLOCK OF KNIBB 'PHASE III' TYPE SIGNED FOR HENRY MERRIMAN BUT ATTRIBUTED TO THE WORKSHOP OF JOSEPH KNIBB, LONDON, CIRCA 1685-90The five finned baluster-pillar fully latched twin fusee movement with verge escapement regulated by short bob pendulum incorporating single-footed backcock and steel holdfast hook to the symmetrical scrolling tulip engraved backplate signed Henry Merriman, London in a shallow downward curve across the centre, the strike train and quarter repeat mechanism with both racks positioned against the inside of the backplate and with typical 'Knibb' scroll design sculpted steel feet to the two bell-stands, the 6.25 inch square brass dial with matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with fine scroll-pierced steel hands and gilt winged cherub mask spandrels to angles, the upper margin with S/N strike/silent selection and the lower margin further signed in fine tightly executed engraved script Henry Merriman London, the case with later hinged scroll cast brass carrying handle and fruiting vine spray mounts to the domed caddy superstructure now elevated on a later cavetto skirt over caddy top mouldings, the hinged front with glazed dial aperture beneath elongated lozenge aperture to the upper rail now backed with gilt brass panel and applied with vine cast mount matching those to the uprights and lower rail, the sides with conforming lozenge apertures over rectangular windows and vacant slots to the lower front corners, the rear with rectangular glazed door applied with further vine-cast mounts set within the frame of the case, on stepped ogee moulded shallow skirt base now fitted with block feet.34cm (13,25ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep. Provenance: The Wrangel Family, Sweden thence by descent. Henry Merryman is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1655 and apprenticed in 1667 to Richard Bowen until 1676 although he was made free of the Clockmaker's Company in February 1674/5. He took-in eleven apprentices over the period between April 1676 and December 1703 and in 1695 he is recorded as a 'servant' in working in the parish of St. Catherine Coleman. Henry Merryman signed the Clockmaker's Company oath of allegiance in 1697 however he ceased paying quarterage in 1702. Loomes further notes (under the entry for Thomas Merriman) that a Mr. Merriman received the Clockmaker's Company Charity from 1715 until December 1717; it is not known whether this was Thomas or Henry Merryman.  The movement and dial of the current lot can be directly compared (in practically every respect) with an example by Joseph Knibb, London illustrated in Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces from The Tom Scott COLLECTION pages 368-69. Both clocks have the same layout and specification as well as the same sized plates (6.75 by 4.75 inches). The location and design of the pillars match as do the latches and the decorated bell-stands. The strike and repeat mechanisms are to the same design utilising racks for each positioned inside the backplate. Both also show evidence (in the form of slots cut into the sides of the case near the front) of having push/pull bars for the quarter repeat mechanisms (a system often used by Knibb but few other makers). In addition to being of the same dimensions the backplates are also engraved with tulip designs that follow the same layout only differing in detail with regards to the alternation of the types of bloom used. It is very clear that both backplates are engraved by the same hand which is no doubt the same individual responsible for the backplate of another almost identical clock by Joseph Knibb illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800. Other typical 'Knibb' features present in the current lot include brass hammer stops terminating with scrolls worked to match those of the bell stands, and shaped stopwork irons with sculpted pivot blocks. The dial marches Knibb's work in that the centre is devoid of calendar or false-bob apertures and the chapter ting shares the same half-hour markers, the signature across the lower edge is beautifully executed and the upper edge is equipped with an aperture for a strike/silent selection switch which, again, follows Knibb practice. The case of the current clock has seen some very noticeable but relatively minor (ie. easily reversible ) alterations, however the proportions and design of the details mirrors those of Joseph Knibb's casemaker. From Brian Loomes's research there would appear to be very little known about Henry Merryman and there are hardly any clocks by him noted. The reason for this apparent lack of output probably lies in the fact that he is listed as a 'servant' in 1695. This suggests that he was working for someone else (as a journeyman) - with his workshop undertaking part of the clockmaking process, whether it be wheel-cutting, finishing etc., rather than producing complete clocks for clients. The presence of Merryman's signature on a table clock which clearly was made by Knibb would suggest that there was some form of business relationship between the two, however there is no known evidence to support this other than the existence of the present clock.Alternatively it may be that the clock was 'bought-in' outright from Joseph Knibb by Merriman to satisfy a particular order from a client. This possibility is perhaps supported by fact that it has been consigned by a descendant of the ancient Aristocratic Baltic Wrangel family of Sweden whose roots stretch back to well before the clock was made; from this it may be appropriate to speculate that it could well have been supplied to a member of the family when new. This possibility certainly becomes more likely when the power and influence of various members of the family, such as Carl Gustave Wrangel (1613-76), is considered. If the clock was destined for an overseas client when first made it may well be that there was a short lead-in time. Therefore the acquisition of a nearly finished clock, already held in the stock of one the most prolific makers of the time, may have been the most efficient way to complete the order (especially if the recipient of the commission normally only worked as a 'servant').The Swedish aristocratic roots of the clock will almost certainly account for the slightly idiosyncratic design of the later mounts to the case which, being cast as fruiting vine sprigs, suggest Continental origins. The fact that the cosmetic alterations to the case haven't been reversed is testament to the clock's long-term family provenance. Indeed the fine state of preservation of the movement is indicative of the clock which perhaps quietly resided in the corner of a Swedish slott for most of its life. The provenance of the present clock presents a good opportunity for further research as it may well reflect the extent and breadth of the healthy export trade enjoyed by London clockmakers during the last quarter of the 17th century. Investigation into the present clock's origins can therefore only serve to add to our knowledge of the complex nuances of the London clockmaking trade at that time. 

A RARE GEORGE IV ROSEWOOD MERCURY WHEEL BAROMETER WITH FIVE-INCH DIALF. AMADIO, LONDON, CIRCA 1835The 5 inch circular concentric foliate rosette-centred silvered register signed F. AMADIO, 118 St. John Str:'t Road, London within scale calibrated in barometric inches with the usual observations within hinged cast brass convex-glazed bezel, the case with DRY/DAMP hydrometer to the swan neck pediment over bowfronted glazed silvered Fahrenheit scale alcohol thermometer incorporating cavetto surmounted upper and lower rails to the tapered baluster-outline upright, the rectangular base with recording hand setting square over circular convex glazed spirit level decorated with engraved leafy sprays to the plate and with cavetto moulded underside.98.5cm (38.75ins) high excluding finial, 16.5cm (7ins) wide. Francis Amadio is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as a prolific maker of high-quality barometers who operated from 10 St. John Street Road 1820-28 before moving up the road to number 118 from where he worked until 1844. His son of the same name appeared to work in partnership with him from around 1810 before setting up on his own at 63 Moorgate, London in 1840.A very similar barometer but with six-inch dial by F, Amadio and Son, London was sold in these rooms on 20th September 2017 (lot 301) for £500 hammer.   

A FINE AND RARE GEORGE II WALNUT MERCURY DIAL BAROMETERJOHN HALLIFAX, BARNSLEY, CIRCA 1730The 6 inch engraved brass break-arch dial with radial foliate scroll engraved centre within applied silvered concentric scale calibrated in barometric inches 28-31 divided and labelled in tenths and with additional further scale divided 1-30 over the same range to the outer track, the inner margin with annotations Tempestous, Rain Wind or Snow, Changeable, Fair or Frost, Settle Fair or Frost and Very Dry, with scroll-pierced steel hand and spandrels engraved with leafy sprays within a herringbone border, beneath arch centred with a domed silvered boss signed Jn:o Hallifax, Barnsley, Inv't & Fecit flanked by conforming leafy scroll infill and herringbone surround, the case in the form of a longcase clock with block upstand to the domed caddy surmount standing on cross-grain ogee mouldings over additional plinth to superstructure, with cavetto cornice and triple-line bordered break-arch frieze over the glazed dial aperture secured by screws and applied with slender three-quarter columns to front angles, the sides with conforming quarter columns to the rear, the trunk with concave throat moulding over triple-line edged book-match veneered panel infill around a central circular section fitted with a manual pointer for the engraved brass recording ring with concentric scales matching those of the barometer dial above, the box base with stepped ogee top mouldings over conforming book-match veneered panel to fascia and cavetto over ogee moulded inverted caddy to underside, the rear with slender door revealing mercury syphon tube and pulley mechanism for the dial. 124.5cm (49ins) high, 26cm (10.25ins) wide, 11cm (4.25ins) deep. Provenance: A Descendant of the Spencer Stanhope Family of Cannon Hall, Barnsley. John Hallifax is recorded in Goodison, Nicholas ENGLISH BAROMETERS 1680-1860 as the son of the local vicar, born in Springthorpe, Lincolnshire in 1694. The family name was originally Waterhouse but was changed by his grandfather during the previous century. John Hallifax moved to Barnsley and set up as a clockmaker after his father's death in 1711; he had seven children and was succeeded in his business by his fifth son, Joseph (1728-62), after his death in 1750. In addition to Joseph his fourth son, George, also became a clockmaker in Doncaster, where he later twice served as Mayor of the town. John's third son, Thomas, moved to London and became an eminent banker, he served as Lord Mayor and became a member of Parliament. The regard to which John Hallifax was held is evident in the inscription on his tombstone which reads: 'Whose abilities and virtue few in these times have attained. His art and industry were such as his ingenious inventions will be a lasting monument of his merit -- such as recommended him to the favour and esteem of all good men that knew him'. The current instrument belongs to a small series produced by John Hallifax during the second quarter of the 18th century. The glazed front panel over the dial is designed to be removable to allow adjustment whilst the instrument is being set-up but is then secured by screws to prevent tampering. The recording dial in the trunk allows any changes in the pressure to be observed without having to touch the principal dial. Dial barometers by John Hallifax have traditionally been very highly sought-after with examples residing in some of the most important collections of both clocks and instruments as well as fine furniture and objects. One such example was offered at Christie's London in their sale of the Samuel Messer Collection of English Furniture, Clocks & Barometers 5th December 1991 (lot 12) where it achieved £32,000 hammer. More recently another was sold at Tennants, Leyburn in their Autumn Catalogue Sale 18th November 2010 (lot 1404) for £40,000.Condition Report: The barometer is now fitted with a standard wheel barometer syphon tube which is filled with mercury. The pulley assembly is also that from a standard wheel barometer and there is evidence of a different mechanism being fitted at some point. The dial is in clean condition with good strong engraving showing only very slight wear. The hand is missing its tip.The case is in good original condition but with some historic repairs. The superstructure has historic replacements to the ogee cross-grain mouldings (most noticeably to both sides of the lower tier). The rear of the superstructure shows evidence of re-gluing hence it is likely that the barometer at some point was in fairly tired condition with a few sections missing from the mouldings. The cornice moulding has been replaced to the right-hand side and has had a repair to the front left-hand corner; the frieze above the dial also has some patching to the veneers. The glazed front panel has repaired cracks to the arch section and is a little warped; the securing screws are replacements. The trunk has some historic shrinkage to the figured veneers and some patching-in to the banded borders otherwise is in good condition. The side veneers (to both the hood section and the trunk) are in fine condition. The central recording dial has lost its silvering and the hand is a replacement. The base appears all-original but has been re-glued. The front panel also shows some shrinkage/movement within the stringing towards the margins. The rear door appears original. Faults to the case are otherwise limited to age related bumps, scuffs, shrinkage, wear and a few small additional historic repairs to the mouldings. Condition Report Disclaimer

A FRENCH GILT, PATINATED AND SILVERED BRASS NOVELTY 'QUARTERDECK' MANTEL CLOCKGUILMET, PARIS, LATE 19th CENTURYThe eight-day gong striking movement with anchor escapement regulated by compound pendulum with upper crossed spring suspension for the figural bob and stamped GLT, BREVETTE, S.G.D.G. trademark over serial number 1653 to backplate, the circular gilt Roman numeral dial with steel spade hands and canted bezel set into the cabin elevation of the case modelled as the stern of a ship with upper poop deck applied with binnacle compass before a figure cast as a sailor at the helm rocking from side-to-side with the motion of the pendulum, with curved balustrading behind terminating with lantern posts to sides over lower deck accessed via a ladder to the left and with another figure of a mariner gathering rope from a coil to the right, on moulded gilt base applied onto black marble plinth with gilt block feet.30cm (11.5ins) high, 29cm (11.5ins) wide, 22cm (8.75ins) deep. Andre Romain Guilmet was born on the 10th of December 1827 in La Ferte-Gaucher, France. He was a credited as a watchmaker and inventor who specialised in producing novelty and mystery clocks for which he applied for a number of patents for designs. Amongst his other Patents was that for a bicycle where the driving chain was set below the seat. He is best known for his 'mysterieuse' figural clock with glass pendulum, this takes the form of a woman holding pendulum in her outstretched hand and arm over a marble base containing the clock below. The pendulum is impulsed by the mechanism underneath her that moves the figure imperceptibly from side to side.  Guilmet's industrial series of clocks, which includes the current lot, features automated clocks in the form of windmills, lighthouses, automobiles, boats, steam hammers, boilers, etc. A Guilmet 'quarterdeck' clock is illustrated in Roberts, Derek Mystery Novelty and Fantasy Clocks on page 225 (figs. 22-2 a-d); and another (number 1313) was sold in these rooms on 15th September 2015 (lot 43) for £6,500 hammer. 

The British Horseracing Authority Sale of Racing Colours: FLAME RED, OLD GOLD collar, cuffs and capThe British Horseracing Authority  Sale of Racing Colours   Lots 121 to 126   What is being sold is a right: the right to register the colours in Britain for use on the racecourse, such that, should the registrant own a runner in a horse race, the rider whom he/she engages to ride the horse may don the registered colours. (In the very unlikely event that two registrants with similar colours each have a horse running in the same race, one rider may be asked to wear a distinguishing cap). One need not be a racehorse owner to register colours. Indeed many colours are registered to non-owners, who perhaps intend to own a horse at a later date or pass the right to register the colours to their children. All colours are sold as described and the buyer is purchasing the right to register these colours in accordance with the Rules of Racing. The successful bid price will include a registration period according to the price sold (see below). Less than     £10,000                          :1 year                      £10,000 - £20,000        :5 years More than     £20,000                         :10 years Please note that if the purchaser fails to formally register the colours with the British Horseracing Authority, via Weatherbys within one year of the auction date the purchaser runs the risk of losing the right to register them. The name of the registrant will be published on the Racing Administration website upon registration. Please note that the hammer price for all lots is subject to the auctioneer’s buyer’s premium of 24%. For lots 124 & 125 VAT is payable on the hammer price and on the auctioneer’s buyer’s premium. For lots 121, 122, 123 & 126 VAT is only payable on the auctioneer’s buyer’s premium. If you have any queries regarding the registration of Racing Colours please contact Registrations at Weatherbys on 01933 440077 or Registrations@weatherbys.co.uk who will be happy to assist.

The British Horseracing Authority Sale of Racing Colours: CERISE, YELLOW epauletsThe British Horseracing Authority Sale of Racing Colours Lots 121 to 126 What is being sold is a right: the right to register the colours in Britain for use on the racecourse, such that, should the registrant own a runner in a horse race, the rider whom he/she engages to ride the horse may don the registered colours. (In the very unlikely event that two registrants with similar colours each have a horse running in the same race, one rider may be asked to wear a distinguishing cap).One need not be a racehorse owner to register colours. Indeed many colours are registered to non-owners, who perhaps intend to own a horse at a later date or pass the right to register the colours to their children.All colours are sold as described and the buyer is purchasing the right to register these colours in accordance with the Rules of Racing. The successful bid price will include a registration period according to the price sold (see below).Less than     £10,000                          :1 year                     £10,000 - £20,000        :5 yearsMore than     £20,000                         :10 yearsPlease note that if the purchaser fails to formally register the colours with the British Horseracing Authority, via Weatherbys within one year of the auction date the purchaser runs the risk of losing the right to register them. The name of the registrant will be published on the Racing Administration website upon registration.Please note that the hammer price for all lots is subject to the auctioneer’s buyer’s premium of 24%.For lots 124 & 125 VAT is payable on the hammer price and on the auctioneer’s buyer’s premium.For lots 121, 122, 123 & 126 VAT is only payable on the auctioneer’s buyer’s premium.If you have any queries regarding the registration of Racing Colours please contact Registrations at Weatherbys on 01933 440077 or Registrations@weatherbys.co.uk who will be happy to assist.

The British Horseracing Authority Sale of Racing Colours: ROYAL BLUE and WHITE check, striped sleeves, ROYAL BLUE cap Identical to colours registered under US Racing jurisdiction that were carried by the legendary Secretariat. The British Horseracing Authority   Sale of Racing Colours   Lots 121 to 126   What is being sold is a right: the right to register the colours in Britain for use on the racecourse, such that, should the registrant own a runner in a horse race, the rider whom he/she engages to ride the horse may don the registered colours. (In the very unlikely event that two registrants with similar colours each have a horse running in the same race, one rider may be asked to wear a distinguishing cap). One need not be a racehorse owner to register colours. Indeed many colours are registered to non-owners, who perhaps intend to own a horse at a later date or pass the right to register the colours to their children. All colours are sold as described and the buyer is purchasing the right to register these colours in accordance with the Rules of Racing. The successful bid price will include a registration period according to the price sold (see below). Less than     £10,000                          :1 year                      £10,000 - £20,000        :5 years More than     £20,000                         :10 years Please note that if the purchaser fails to formally register the colours with the British Horseracing Authority, via Weatherbys within one year of the auction date the purchaser runs the risk of losing the right to register them. The name of the registrant will be published on the Racing Administration website upon registration. Please note that the hammer price for all lots is subject to the auctioneer’s buyer’s premium of 24%. For lots 124 & 125 VAT is payable on the hammer price and on the auctioneer’s buyer’s premium. For lots 121, 122, 123 & 126 VAT is only payable on the auctioneer’s buyer’s premium. If you have any queries regarding the registration of Racing Colours please contact Registrations at Weatherbys on 01933 440077 or Registrations@weatherbys.co.uk who will be happy to assist.

1st century B.C.-2nd century A.D. A youthful and muscular bronze statuette of the god Mercury (Greek Hermes) standing nude with his weight resting on his right leg, left leg slightly bent and the heel raised; his hair dressed in short curls, wearing the wings from petasos, naturalistic anatomical detailing to his torso, calf muscles and face; mounted on a custom-made display base. Cf. Reinach, S., Repertoire de la statuarie grecque et romaine, Paris, 1930, p.151, no.10, for the type; Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, items 27ff., for comparable examples; Menzel, H., Die Römischen Bronzen aus Deutschland I Speyer, Mainz, 1960, no.8; cf. The Metropolitan Museum, accession numbers 20.190 and 06.1057, for similar. 322 grams total, 14.5 cm high including stand (5 5/8 in.). Found 1920-1930. French family collection, Seine et Marne since the 1920s. Property of a French collector. Accompanied by an original French passport number 162088 dated 6 February 2015. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11315-190955. Mercury was the god of trade and industry, whose principle shrine in the city of Rome was at the Circus Maximus. Originally he was one of the gods of riches and profit and it was not until he was equated with the Greek Hermes that he became the god of tradesmen and merchants. He was also the god of thieves and was associated with healing mainly in Gaul where he had a number of important temples connected to sacred springs. The piece is realised in a good classic style, due to the features of the face and the workmanship of the hair, as well as the beautiful body proportions, and can be dated to the early imperial period. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

3rd-5th century A.D. A bronze hanging oil lamp with three attachment loops for suspension, later added ring handle to rear, D-shaped nozzle, circular discus with dished centre; circular filling hole at the centre; three chain links attached to suspension loops joined to a central ring and one longer suspension chain attached to a hook. Cf. The Metropolitan Museum, accession number 62.10.2, for a similar lamp hook dated 5th century; for similar examples dated to Imperial Period see Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996, no.3839; for similar lamps see no.3789. 257 grams, 34 cm high (13 3/8 in.). Acquired from a German auction house, 1990-2005. Ex G.Grimm collection, Paris, France. With Aguttes auction, Drouot, Paris, 18 December 2018. Property of a French collector. The typology belongs to that of Late Roman lamps with circular bodies and short nozzles. They were a development from the long-lived category of Loeschche VIII types, with a tendency to elongation. Most of these lamps were manufactured in the Eastern Roman Empire. [No Reserve] For this specific lot, 5% import VAT is applicable on the hammer price

Late 4th century A.D. A gold crossbow brooch with three ogival knops to the headplate, square-section bow and U-section rectangular footplate decorated with edge notches; pin and catchplate to reverse. Cf. Biscottini, P., Sena Chiesa, G., Costantino, 313 d.C.L'Editto di Milano e il tempo della tolleranza, (Constantine, A.D. 313, the Edict of Milan and the times of the Tolerance), Milano, 2012, the Louvre fibula in fig.163, p.253. 6.45 grams, 34 mm (1 3/8 in.). Ex private European collection. Acquired by the current owner in 2001. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11326-189857. In the late Roman Empire, the children of Imperial officials and dignitaries, who were part of the Militia Armata and the unarmed Militia, acquired symbols and titles of the father, from whom they usually also inherited their profession. The quality and size of the fibula could link it to the son of a military commander, a vir illustris or vir nobilissimus, and therefore belonging to a puer illustris or nobilissimus. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

Middle Kingdom, 11th-12th Dynasties, circa 1991-1786 B.C. A limestone stela fashioned as a simplified ‘false-door’ - a symbolic portal originally carved into or painted onto a tomb wall to allow the Ka (spirit) of the deceased to venture from his/her burial chamber and partake in offerings of food and drink; the raised torus border framing the central scene and texts still retaining traces of an alternating yellow, red and white block decoration, above the frame a cavetto-style cornice highlighted with similarly coloured vertical and horizontal bands; the deceased wearing a short white kilt with a prominently-pointed front, secured by a narrow belt, the free end of which projects from the waist, wearing a short black wig, his outstretched left arm with an open palm, a gesture of veneration, while his bent right arm points to his wife standing behind him; the wife’s left arm outstretched and her hand resting on his shoulder, while her right arm hangs down at her side and holds a long-handled bag(?), wearing a long white strap dress which leaves her breasts exposed; between the man and woman a simple offering table with a red-painted jar and two incense pots with long wicks (or kohl-pots with long-stemmed applicators); to the man’s right two sandals shown side on ‘floating’ above the baseline; the man standing before a rack with shelves, four incense cones to the top together with meat, vegetable, and fruit offerings; two tall tear-drop-shaped vessels painted red with white stoppers both supported on collared rings stands on the shelves; four sandals to the right of the rack, drawn as viewed from above, arranged vertically; above the pictorial scene three horizontal lines of hieratic text written in black ink on a yellow ground, the few signs that remain in the top register present the opening of an offering formula, invoking the king and the jackal god Anubis (with some of his epithets) to grant food offerings to the owner of the stela; mounted on a custom-made display stand. See Dunham, D., Naga-ed-Dêr Stelae of the First Intermediate Period, London 1937, pls. XXIV no.2, XXVIII, no. 1, for vertical arrangements of 'loose' food offerings; Leiden Museum, inv.no. F 1937/12.1, for a provincial false-door stela; Semitic Museum, inv.no. 2354, for a provincial stela with 'floating' offerings. 22.7 kg, 52 x 32.5 cm including stand (20 1/2 x 12 3/4 in.). From the collection of Pierre Vérité, Paris, begun in the 1920s. By descent, the collection of Claude Vérité, Paris, France. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11282-189916. One might wonder if the inclusion of the two groups of sandals (six in total) was especially important to the deceased - perhaps he was a leatherworker involved in their production. Overseers of sandal makers are attested at temple sites such as Abydos and Nag ed-Deir, and perhaps this modest stela belonged to a leatherworker under the supervision of just such an official. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

22nd-17th century B.C. A dark schist bowl with broad rim decorated with strips of triangular inlays in cream, red and dark grey stone, interspersed with circular recesses, one with inlay present; gently tapering shallow bowl with pedestal foot. Cf. Dani, A.H., Thapar, B.K., ‘The Indus Civilization’ in Unesco Publishing, History of civilizations of Central Asia, Volume I, The dawn of civilization: earliest times to 700 B.C., Paris, 1992, pp.271-307; Shaydullayeva, G.Sh., ‘Ceramic vessel typical of the Oxus Civilization found in the Indus Valley’ in Frontline Social Sciences and History Journal 1 (7), Tashkent, 2021, pp.36-46; Lyonnet, B., Dubova, N.A., The World of the Oxus Civilization, Ashgate, 2021. 1.9 kg, 27.5 cm wide (10 7/8 in.). Anonymous sale, Christie's London, Fine Antiquities, 13 December 1995, lot 110. Accompanied by copies of the relevant Christie's catalogue pages. Accompanied by an academic report by Dr. Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11340-189867. For this specific lot, 5% import VAT is applicable on the hammer price

Mainly Late Period, 664-332 B.C. A mixed group of wedjat amulets of various sizes and styles, most of blue-glazed composition, one stone example; all pierced for suspension. 10.5 grams total, 9-25 mm (3/8 - 1 in.). Private collection, acquired in the 1970-1980s; thence by descent. Private collection, since 1998. [13] For this specific lot, 5% import VAT is applicable on the hammer price

Circa 5th-4th century B.C. A matching pair of heavy silver penannular bracelets, each composed of a D-section body with expanded central section and flared terminals. 270 grams total, 70-72 mm (2 3/4 in.). Ex G.Grimm collection, Paris, France, 1995-2018. Aguttes Auction, Neuilly-sur-Seine, France, 19 December 2018, lot 431. Property of a French collector. Accompanied by a printout of the Aguttes Auction lot. [2, No Reserve] For this specific lot, 5% import VAT is applicable on the hammer price

Circa 8th-7th century B.C. A bifacial sceptre head modelled in the round as a master of animals, composed of a stylised central human figure, crescentic arms formed as two slender beasts with open mouths facing the master, his lower body formed as the hind quarters of a quadruped animal, the attachment loops as their long, curled tails; openwork cylindrical socket running through the centre of the whole; accompanied by a custom-made display stand. Cf. The Metropolitan Museum, accession numbers 1996.82.1, 30.97.5 and 30.97.6, for similar examples. 385 grams total, 16.5 cm (6 1/2 in.). From the collection of Franz Xaver Bachem (1857-1937), Cologne, Germany. Ex collection of Dr. Franz-Carl Bachem (1898-1976). By descent to Mercedes Bachem (1904-1987). From the estate of Monika Roth Weiler, Meersburg, Germany. Ex private collection, Cologne, Germany. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

Circa 8th-7th century B.C. A bronze openwork master of animals sceptre head element, formed in the round as two slender beasts standing on their hind paws, facing each other with roaring mouths, gripping each other's forepaws, their long curled tails forming two small attachment loops (now occluded), cylindrical socket throughout the whole; accompanied by a custom-made display stand. Cf. The Metropolitan Museum, accession number 30.97.9, for similar. 91 grams, 87 mm (205 grams total, 11 cm high including stand) (3 3/8 in. (4 3/8 in.)). Ex private French collection, Paris. Acquired on the French art market in 2013. Private Germany collection. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

2nd-4th century A.D. A schist bodhisattva head with nimbus decorated with concentric arcs of geometric motifs, texture to hair, extended earlobes and semi-naturalistic facial features; accompanied by a custom-made display stand. 2.6 kg total, 20.5 cm high including stand (8 in.). From the collection of Dr Gunter Wiedner, Bayern, Germany, 1980s-2015. Property of a French collector. [No Reserve] For this specific lot, 5% import VAT is applicable on the hammer price

1700-1350 B.C. A bronze spearhead composed of an elongated leaf-shaped blade, tapering round-section socket leading to a D-section tapering midrib to both faces. Cf. Bruno, A., Spears in context: typology, life-cycles and social meanings in Bronze Age Italy, Manchester, 2012, pl.21, no. L51; 27, no.2. 676 grams, 43.5 cm long (17 in.). Private collection, acquired in the 1970s-1980s; thence by descent. Private collection since 1998. Type LS7 of the Bruno classification of the Middle Bronze Age Italic spearheads, to which this head belongs, is represented by large spearheads, characterised by a narrow blade with small holes at its base, polygonal midrib and a short socket. For this specific lot, 5% import VAT is applicable on the hammer price

1st century B.C.-1st century A.D. A discoid gladiatorial or cavalry shield with shallow domed central panel, adorned with a circular boss bearing a stylised Medusa head in raised relief, snake heads emerging from her hair, their tails spiralling at ear height; two flat-section rectangular straps running parallel on the reverse, a perspex cylinder fixed between the straps, serving as a display base. Cf. the British Museum, museum number 1756,0101.970, for a very similar style gorgoneion; Antonucci, C., L’esercito di Cesare 54-44 a.C., Concorezzo, 1996; D’Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009; Mattesini, S., Gladiatori, San Egidio alla Vibrata, 2009; D'Amato, R., Negin A., Decorated Roman Armour, London, 2017. 1.4 kg total, 35.5 cm diameter (14 in.). Ex N.K., Paris-Geneva (1910-1996); thence by descent. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11392-189855. The typology of round Roman shields of embossed bronze, could be related to various categories of warriors. The round parma, that according to Livy (XXI,4-5), was the main shield of the Roman cavalry since the 3rd century B.C., and continued to be the typical shield of the cavalryman in the late Consular Age, as mentioned by Sallustius (Hist., IV,4). This shield, which was about 80 cm in diameter, is depicted on a monument from Via Latina, probably the grave of a Roman cavalry officer (monument now in Hever Castle, England), showing the typical weaponry of a cavalry officer. Many officers used the parma from horseback alternating with the round clypeus. An original specimen from the Castra Caecilia shows a diameter of 42 cm (Antonucci, 1996, p.31 and plate D2). The shields decorated with the head of Medusa, following the Hellenistic and Etruscan models (D’Amato-Negin, 2017, fig.13), are visible on Roman monuments until the 3rd century A.D. Other specimens of embossed Roman shields have been found in gladiatorial context. A splendid embossed example was found in the gladiatorial barracks at Pompeii (Mattesini, S., 2009, p.178). The classes gladiatoriae of the Hoplomachi were part of the fighting categories of the Parmularii, who used a small round shield. A small round shield (Parma Equestris) was used also by the classes of the Equites (cavalrymen), and some of their shields with embossed decoration were well represented on the lost frescoes from the podium of the amphitheatre of Pompeii. For this specific lot, 5% import VAT is applicable on the hammer price

2nd-mid 1st millennium B.C. A bronze spearhead composed of a waisted leaf-shaped blade with raised midrib and lateral steps to both faces, tapering tubular socket pierced twice for attachment to a shaft; accompanied by a custom-made display stand. 297 grams total, 22cm including stand (8 5/8 in.). Private collection, acquired in the 1970s-1980s; thence by descent. Private collection, since 1998. For this specific lot, 5% import VAT is applicable on the hammer price

2nd millennium B.C. A bronze ring composed of a coiled hoop and two large spiraling coiled wire plaques. 38.14 grams, 79 mm overall, 19.90 mm internal diameter (approximate size British U, USA 10, Europe 22.52, Japan 21) (3 1/8 in.). From a European collection, before 1990. Ex private collection, Vienna, Austria, acquired in 1990. Private Swiss collection, acquired 2001. For this specific lot, 5% import VAT is applicable on the hammer price

2nd millennium B.C. A bronze ring composed of a coiled hoop and two large spiral coiled plaques. 30.68 grams, 73 mm overall, 20.05 mm internal diameter (approximate size British T 1/2, USA 9 3/4, Europe 21.89, Japan 21) (2 7/8 in.). From a European collection, before 1990. Ex private collection, Vienna, Austria, acquired in 1990. Private swiss collection, acquired 2001. For this specific lot, 5% import VAT is applicable on the hammer price

11th century B.C. A bronze fibula of Posamenteriefibel lacework type with large spiral disc extending to a shank and finial spring returning to form the pin; applied wire-coil lateral decorations attached with thick rectangular bands. Cf. Beck, H. et al., Fibel und Fibeltracht, Berlin, 2000, p.37-9; Museum für Vor- und Frühgeschichte, Berlin accession no.II. 10421. 232 grams, 21 cm (8 1/4 in.). Private collection formed since 1970. Property of a gentleman from Vienna, Austria. [No Reserve] For this specific lot, 5% import VAT is applicable on the hammer price

6th-7th century A.D. A bronze bowl mount, discoid with exterior rim, reserved comma-leaf ornament on an enamelled field comprising a central roundel with reserved triskele, six surrounding roundels of which three are formed with two reserved crescents forming an 'S'-shaped motif, two with two crescent hooks each pierced at the centre by a pellet, one roundel with three radiating pierced hooks; the reverse with solder scar where it was attached. Cf. Bruce-Mitford, R., The Corpus of Late Celtic Hanging Bowls, Oxford, 2005, item 88. 13.4 grams, 40 mm wide (1 1/2 in.). Found South East England. Acquired on the UK art market, circa 2012. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11404-193157. The disc was placed at the centre of the base of a bronze hanging bowl. Such mounts are found on hanging bowls mainly in 6th-7th century Anglo-Saxon princely or royal burials. They probably formed part of the so-called 'economy of prestige' in which decorative high-status tableware and feasting equipment circulated among the leading families of the various British and Anglo-Saxon kingdoms. A number of these items have been found in 7th century burial mounds such as Sutton Hoo (Suffolk), Prittlewell (Essex) and Benty Grange (Derbyshire). The decoration and manufacturing techniques suggest an origin among the late Romano-British groups of western and northern Britain. The layout of the elements of the design is parallel to the great hanging bowl from Mound 1 at Sutton Hoo although the design there is more elaborate in its enamelled motifs. For this specific lot, 5% import VAT is applicable on the hammer price

6th century A.D. A large buckle composed of a rectangular plate decorated with some later polychrome glass inlays arranged in rectangular and triangular cells, oval buckle with chamfered sides, D-section tongue with square plate bearing X-motif; accompanied by a custom-made display stand. Cf. Menghin, W., The Merovingian Period: Europe without Borders, Archaeology and history of the 5th-8th centuries, Germany, 2007, p.566-567, for similar; Various, I Goti (The Goths), Milano, 1994, fig.IV.11, IV.13, lett.r.; fig.IV.19, IV.20.IV.24, IV.41, IV.42; cf. an example at the Metropolitan Museum of Art, accession number 1988.305a, b. 155 grams, 15 cm (302 grams total, 18.5 cm including stand) (6 in. (7 1/4 in.)). Ex N.K., Paris-Geneva (1910-1996); thence by descent. Accompanied by an academic report by Dr. Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11408-189847. In Visigothic Spain, the belt buckle was a very visible symbol of rank and status. Brightly coloured buckles inset with pieces of glass and stone were characteristic of Visigothic women's dress. Buckles were gilded, inlaid with precious stones and jewels and may even have been painted. Many of these were produced by Hispanic artisans in the service of the Court of Toledo. The models with surfaces honeycomb decoration and divided in multicoloured cells demonstrate the importance of the so-called polychrome fashion throughout the Mediterranean basin during the 6th century A.D. In the III level of production of these buckles, which chronologically runs from around 525 to 560-580 A.D., a certain integration of the Visigoth classes with the Roman ones of the Iberian peninsula also had repercussions in the production of clothing items. The rectangular plate buckles of this period show an increasingly complex alveolar decoration, with various geometric and multicoloured shapes. This kind of buckles were mainly found in Spain, but also in Merovingian Gaul, considering that some regions of South France in 6th century (like the Septimania) were still under the control of the Western Goths with a mixed Germanic and Roman population. For this specific lot, 5% import VAT is applicable on the hammer price

Circa 7th century A.D. A Merovingian or Byzantine buckle with waisted plate with decorative knops to the edge and sinuous entwined beasts to the face; five attachment lugs to reverse; D-shaped buckle loop with curved tongue, both detached. 114 grams total, 4.3-11.1 cm (1 5/8 - 4 3/8 in.). Ex N.K., Paris-Geneva (1910-1996); thence by descent. [2] For this specific lot, 5% import VAT is applicable on the hammer price

New Kingdom, 18th Dynasty, circa 1569-1315 B.C. A neat, tight weave, palm leaf or halfa grass coiled and woven basket, composed of a flat base and slightly tapering sidewalls. See Hayes, W.C. The Scepter of Egypt, vol. II, New York, 1990 (rev. reprint), p.53, fig.25, for similar examples (with lids); also cf. The Metropolitan Museum, accession number 28.3.24, for a basket of similar construction; and cf. The British Museum, museum number EA6326, for a similar basket. 85 grams, 12.5 cm wide (4 7/8 in.). Acquired 1960-2010. Old French collection of Dr Delattre, who collected principally prehistoric objects but also ancient bronzes, natural history and curiosity around the world. Property of a French collector. Accompanied by a scholarly note by Egyptologist Paul Whelan. Baskets of this size were often used to hold fruit, seeds, and other dry foodstuffs. Made from tight coils of split reed, palm leaves, or straw, baskets of all sizes were used by all sectors of society from a peasant to a pharaoh- 116 were found in the annexe of Tutankhamun’s tomb. [No Reserve] For this specific lot, 5% import VAT is applicable on the hammer price

Circa 520-500 B.C. A terracotta black-figure kylix composed of a D-section bowl and stemmed foot, bowl exterior decorated with a winged figure of Eos, goddess of the dawn, running right between two stylised eyes, repeated on both principal faces, two integral handles curving upwards, each embellished with vine motifs; gorgoneion to the interior base. Cf. The Metropolitan Museum, accession numbers 96.18.65 and 41.162.8, for similar drinking cups; cf. The British Museum, museum number 1864,1007.294, for similar; cf. Bundrick, S.D., ‘Athenian Eye Cups in Context’ in American Journal of Archaeology, vol.119, 2015, 3, pp.295-341, fig.1. 381 grams, 26.7 cm wide (10 1/2 in.). Private collection, New York, USA. Acquired from Sotheby's, New York, Friday 16 May 1980, lot 175. Ex New England, USA, collection. Accompanied by an academic report by Dr. Raffaele D'Amato. Accompanied by copies of the relevant Sotheby's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11297-189881. One of the most compelling and mysterious of popular motifs on Greek pottery is the iconographic innovation of a large pair of eyes. Eye motifs first emerged on the exteriors of Athenian black-figure cups circa 540-530 B.C., with the famous Dionysos kylix by Exekias, found at Vulci and acquired for King Ludwig I of Bavaria in 1841, ranking among the earliest surviving examples. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

7th century B.C. A Corinthian black-figure piriform alabastron with broad mouth, possibly by the Brussels painter, pierced lug handle below, the body decorated with a figure of a swan in profile with wings spread, stylised flowers of varying sizes in the field, dashes to the neck and upper face of the mouth, dots around the rim. Cf. The British Museum, museum number 1865,1214.16, for similar; cf. Amyx, D.A., Corinthian Vase Painting of the Archaic Period, Berkeley, London, New York, 1988, for an alabastron by the Brussels painter. 43.58 grams, 77 mm high (3 in.). Ex Gubelin collection, Luzern, Switzerland, prior to 1970. Black-figure vase painting comprised figures drawn in black silhouette, the internal details of which were realised with incised lines as well as the addition of red and white pigments. The style emerged in Corinth in the mid-7th century B.C. but developed into the full Corinthian style in the last quarter of that century. This Corinthian style pottery often uses Near Eastern, or 'Orientalising' motifs, depicting real and mythological animals in registers crowded with incised rosettes. The swan was often associated with the mythological figure of Leda, or with the so-called Mistress of the Animals. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

5th-4th century B.C. A terracotta red figure skyphos with carinated body, an owl standing facing, framed by olive or laurel sprays on both faces, two handles and discoid foot. Cf. The Metropolitan Museum, accession numbers 2011.604.10.143 and 41.162.100, for similar; cf. an identical owl on a red-Attic skyphos in Melnikova-Grigorjeva, Bogdanova, O., 'An owl and a mirror: on Bosch's visual motif's meaning' in Sign Systems Studies, 38, (1/4), Tartu, 2010, fig.3, p.215, in the Museum of Fine Arts, Lyon. 48.9 grams, 11.8 cm wide (4 5/8 in.). Acquired in the 1970s. Ex Olivier Vodoz, Geneva, Switzerland. The 'owl' motif is found in Ancient Greece (especially in Athens) as an attribute of the goddess Athena, and later with the Roman Minerva. The goddess of wisdom is rarely seen without her main attributes, and therefore the owl is often present. The popularity of an owl as a symbol of Pallas Athena is confirmed by Greek coins dating from 5th–2nd centuries B.C., gemstones, amphorae, but especially by a group of skyphoi with its image. This specimen belongs to a series widespread in the last quarter of 5th century B.C. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

Circa 5th century B.C. A black-glazed kylix or stemmed cup created without handles, composed of a D-section bowl with attractive whorl pattern to the centre, everted rim, spool-shaped stem and discoid foot; old label with '37' to the outside of the bowl. Cf. Sparkes B.A., Talcott L., The Athenian Agora XII, Black and Plain Pottery of the 6th, 5th, and 4th Centuries B.C., 2 vol., Princeton, New York, 1970, p.138. 230 grams, 15.6 cm wide (6 1/8 in.). Ex Louis-Gabriel Bellon (1819?-1899), France. Private collection, acquired on the French art market in 2009. This Attic pottery type, developed towards the late 6th century B.C., made from a fine light tan clay with a semi-lustrous black gloss, except for the edge and underside of discoid foot. Usually this kind of handleless kylix evidences a shallow, segmental form body with the lip curving inward and being slightly offset on the exterior. A wide circle in black is usually visible on the underside of the foot. For this specific lot, 5% import VAT is applicable on the hammer price

5th-3rd century B.C. A black-glazed plate or shallow bowl with D-section rim and everted foot, pierced twice for suspension, painted apotropaic eye decoration to the centre of the bottom. Cf. Walsh J.St.P.W., Antonaccio, C., ‘Athenian Black Gloss Pottery: a view from the West’ in Oxford Journal of Archaeology, 33 (1) 47-67, 2014, pp.47-67, fig.12. 212 grams, 13 cm wide (5 1/8 in.). Private collection, acquired in the 1970s-1980s; thence by descent. Private collection, since 1998. Athenian black pottery was used throughout the Greek ecumene. Greek use of kraters, amphorae, oenochoes, psykters and other cups during the symposium helped to create a sense of the banquet as a band of brothers (as noted in frequent literary references). In the specific case of Morgantina in Sicily, the use of Athenian cups that resembled traditional metal vessels, alongside shapes of various traditions in different wares, could also have signalled alliance between the feasters. For this specific lot, 5% import VAT is applicable on the hammer price

Circa 7th century B.C. An olpe with ovoid body characterised by typical small wheel-shaped elements on the intersection between the handle and the rim; polychrome decoration over the entire vessel and inside the rim, with three equidistant horizontal lines between; a frieze of three animals (dog, lion and horse) advancing right on the upper section of the body, all in white with red dots; dotted floral motifs the neck and body, a star motif composed of painted red triangles over white slip around the basal ring; the design on this olpe is by a rare painter. Cf. Medoru, M.L., La ceramica 'white-on-red' della media Etruria Interna (The 'white-on-red' pottery of the median internal Etruria), Bolsena, 2010, pl.XXIV;.Vistoli, F., 'Una nuova acquisizione di ceramica 'white-on-red' dall'Ager Veientanus (A new acquisition of 'white-on-red' pottery from the Ager Veientanus)' in Opuscula Annual of the Swedish Institutes at Athens and Rome, November 2008, pp.63-77, figs.5, 7, 9, 10 for similarly decorated pottery. 363 grams, 18.3 cm high (7 1/4 in.). Property of a Belgian gentlewoman since the 1970s. Andrea Pancotti collection, a gift from her husband. Bertolami Fine Art, London, UK, Auction 81, 24 May 2020, lot 5. Private Australian collection with collection number 20.06. Accompanied by an illustrated two page collector's cataloguing document. The specimen shows ornamental motifs frequently used in the decorative repertoire of the Etruscan Orientalising Period, derived almost exclusively from that of different regions of Greece, through the imitation of Hellenic artefacts through work of local artisans, or through the activity of immigrant artists. The taste for triangular ornamentation is undoubtedly of Corinthian origin, attested in the Etruscan 'white-on-red', as the main or accessory decorative motif. For this specific lot, 5% import VAT is applicable on the hammer price

4th-2nd century B.C. A life-size terracotta head of a youthful woman, modelled with semi-naturalistic facial features, hair pulled back from her face in textured layers, held by a fillet, button-shaped earrings in her ears; hollow-formed, hole to the top of head; mounted on a custom-made display base. Cf. The British Museum, museum number 1873, 0820.125, for a similar face in bronze; Torelli, M., Gli Etruschi, Monza, 2000, pp.378-379,588; the Fordham University Library collection, inventory nos.10.003, 10.008, 10.010. 2.5 kg total, 31.5 cm high including stand (12 3/8 in.). Private collection. With Galerie Serodine, Ascona, Switzerland, early 1990s. Ex collection of Dr. E.N., acquired in 1995. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11298-189874. Votive offerings in the form of heads are typical dedications from the Etruscan sanctuaries of central Italy, which became widespread mainly from the 4th to 3rd centuries B.C. This lovely bust, of natural pink terracotta, is an excellent example of the awakening sophistication of Italic artists, who over the following two centuries, fused native traditions with imported ones and gave birth to the multifaceted art of late Roman Res Publica. One cannot exclude the possibility that the sculptured head adorned a temple or funerary sculpture, and was pertinent to a full size statue. Some forerunners of this coroplastic can be seen in the famous statues from the Necropolis of the Pedata (Chianciano), from which emerges the image of the Mater Matuta. The material employed here (pink clay) is more similar however to the one used for the votive heads from the Nemi Sanctuary (Torelli, 2000, p.126), and points towards a votive or funerary function of the head. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

Late 4th-early 2nd century B.C. A votive terracotta head modelled in the round as a youthful male with short wavy hair, furrowed brow line and semi-naturalistic facial features; hollow-formed; accompanied by a custom-made display stand. Cf. Bruni, S., 'La scultura (The sculpture)' in Torelli, M., Gli Etruschi (The Etruscans, in Italian), Monza, 2000, nos.302-305, pp.630-631. 2.34 kg total, 25.5cm including stand (10 in.). Private collection. With Galerie Serodine, Ascona, Switzerland, early 1990s. Ex collection of Dr. E.N., acquired in 1995. The head, which perhaps belonged to a medium-sized terracotta statue, or to a votive bust, shows the precise features of Etruscan portraiture of the Roman age, characterised by long facial planes and grooves on the forehead and under the chin. The sculptures of this period search for the physiognomic details of the individual, with attention to the representation of the hair, often divided into locks on the high forehead. For this specific lot, 5% import VAT is applicable on the hammer price

5th century B.C. A terracotta figure modelled as a female kore standing on an integral plinth, wearing a polos, semi-naturalistic detailing to her facial features; mounted on a custom-made display base. Cf. Stanbury O’Donnell, M.D., A History of the Greek Art, Oxford, 2015, fig.I.4, p.9. 185 grams total, 20 cm high including stand (7 7/8 in.). Private collection. With Galerie Serodine, Ascona, Switzerland, early 1990s. Ex collection of Dr. E.N., acquired in 1995. This figurine belongs to the well known typology of the kore with chiton and polos, possibly a representation of the goddess Demeter. The clay figurine was one of the most common dedications in sanctuaries of the archaic period in Ionia and throughout the Aegean. The typology was characterised as a standing female with her legs and feet together and her right arm brought up to the chest, the right hand often holding a bird; the left arm hanging at the side. The head is stylised with large, almond-shaped eyes and thick lips; large ears are set high on the head. These figurines were votive offerings and were completely painted in natural colours. The archaic Eastern Greek model was widespread all around the Mediterranean, influencing also the Greek colonies of Magna Graecia. For this specific lot, 5% import VAT is applicable on the hammer price

6th-5th century B.C. A terracotta figure modelled as a kore standing facing on an integral splayed base, wearing a polos and depicted with semi-naturalistic facial features; mounted on a custom-made display base. Cf. Jenkins, R.J.H., ‘Archaic Argive Terracotta Figurines to 525 B.C.’ in The Annual of the British School in Athens, vol.32 (1931-1932), pp.23-40, Athens, 1932, pp.23-40, figs.7-8, pl.16. 330 grams, 22.5 cm high (8 7/8 in.). Private collection. With Galerie Serodine, Ascona, Switzerland, early 1990s. Ex collection of Dr. E.N., acquired in 1995. By the 7th century B.C., Greek art had begun to evolve from the geometric style to one which preferred a more naturalistic representation of the human figure. The freestanding sculptures of two main types- the standing youthful male known as a kouros, and the draped standing female kore- were the principal artistic subjects of this new style. The earliest known examples demonstrate an Egyptian influence in both pose and proportions, but over time sculptors created even more lifelike representations which were placed in sanctuaries such as the Heraion of Tegea, as well as in cemeteries, where they served as votive dedications to the deities. For this specific lot, 5% import VAT is applicable on the hammer price

3rd-1st century B.C. A large gold ring with a D-section expanding hoop and stepped oval-shaped bezel; the bezel set with a possibly later engraved chalcedony intaglio depicting a standing bearded warrior (Odysseus?) in thought, wearing a conical pilos, his right hand raised with the elbow resting on his raised knee with the foot propped up on a small rock, a spear or staff behind; possibly Ptolemaic. Cf. Osborne, D., Engraved gems, signets, talismans and ornamental intaglios, New York, 1912, pl.IX no.7; Marshall, F. M., Catalogue of the Finger Rings Greek, Etruscan and Roman in the Departments of Antiquities of the British Museum, London, 1968; Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, items 98-99-100, for type; Boardman, J., Greek gems and finger rings, London, 2001, nos.535 and 537. 18.54 grams, 30.40 mm overall, 21.21 mm internal diameter (approximate size British V 1/2 , USA 10 3/4, Europe 24.4, Japan 23) (1 1/8 in.). From an old French collection. With Delorme et Collin du Bocage, Tuesday 3 March 2015, lot 129. Property of a French collector. Accompanied by an original French cultural passport number 226548 dated 18 May 2021. Accompanied by an academic report by Dr. Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11302-190956. Boardman (2001, p.290) following Beazley, suggests this image as the iconography of Odysseus at the entrance of Hades, but also proposes that the warrior represents the same Greek hero receiving Diomedes after the theft of the Palladion in Troy (Boardman, 2001, no.1015). Odysseus was one of the most popular heroes, as he represented the embodiment of diplomacy and cunning. His popularity continued until Hellenistic and Roman times. Characteristic elements of his iconography, here visible, are that he is usually shown bearded and either wearing a semi-oval cap of a sailor and often a staff, being accompanied by a dog, Argos, or as a warrior aiding Diomedes to steal the Palladium or, in either character, seated and pondering. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

Early 5th century B.C. A bronze hydria composed of a tapering body, broad shoulder and waisted neck, the everted rim decorated with egg-and-dart motifs, three round-section handles and tiered, ogival foot. Cf. The British Museum, museum number 1875,1110.1, for a similar example dated 350-300 B.C., published in Walters, H.B., Catalogue of the bronzes in the British Museum, Greek, Etruscan and Roman, London, 1899, no.312; cf. The Metropolitan Museum, accession number 06.1078, for similar vessel dated 5th century B.C., from Galaxidi; cf. Diehl, E., Die Hydria. Formgeschichte und Verwendung im Kult des Altertums, (1964) 31 f.; Taf. 9 B 110; cf. also Mitten D. G. and Doeringer S.F., Master Bronzes from the Classical World, Mainz, 1967, pp. 108-109, no.108, for a similar example in the Fogg Art Museum, Cambridge, Massachusetts. 4.7 kg, 39.5 cm (14 in.). Old collection N.A., Niedersachsen, circa 1989-1990. With Gorny & Mosch June 2019, lot 226. Accompanied by a copy of the relevant Gorny & Mosch catalogue pages. Accompanied by an original French cultural passport number 226773 dated 3 June 2021. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11306-190969. Whilst such vessels were originally produced for holding water, hydriai were often re-purposed. From the 5th century B.C. onwards, they also had a funerary function, used in the cult of the dead and the underworld. Appearing as grave deposits, they were sometimes used as funerary urns, receptacles for the ashes of the deceased (see the MET hydria from Galaxidi, found with the bones still inside). Hydriai were also commonly associated with rituals relating to the cults of the gods, with particular emphasis on Zeus, Hera, Aphrodite, Athena, Apollo, Artemis, Demeter, Persephone, Dionysus, the Nymphs, Adonis and other gods and heroes. They have been found in temples and public buildings and have been recorded as prizes in athletic games. It has also been suggested that the more lavish examples were gifted to brides. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

Circa late 3rd-4th century A.D. or later. A colossal eagle statue or pillar cap carved in the round in white marble, gripping a round-section perch on a rectangular plinth base with concave sidewalls, the eagle modelled standing facing with head turned slightly left, wings closed, stylised detailing to the bird's massive talons, feathers and hooked beak. Cf. Bell, G.L., Amurath to Amurath, London, 1911, fig.3, p.10; Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.1135 (1949), vol.III, p.369, for similar sculptures of colossal eagles; Demir, O., La Cappadocia, culla della Storia, (The Cappadoce, cradle of History), Ankara, 1985, p.14, for a similar colossal eagle statue in marble at the Kayseri Museum. 100 kg, 1.08 m (42 1/2 in.). Ex private European collection, acquire by the current owner in 1997. Accompanied by an academic expertise by Dr. Raffaele D'Amato. Accompanied by scholarly note TL05438 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11313-189915. These colossal statues of eagles, typical of the Tetrarchic Period, warned the enemies of the power of Rome and symbolised the presence of the emperor and military power in front of the Empire’s citizens, especially in the most problematic provinces, like Egypt, Syria and Mesopotamia, which were exposed to the influence and to the attacks of the rival Sassanian Empire or to the predatory raids of Nomadic tribes. They were also cult statues in front of which incense was burned in honour of the emperor. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]

A 19TH CENTURY MINIATURE PISTOL WATCH FOB with hinged hexagonal barrel and functioning hammer with Damascus butt.40mm long

A 2008 Ford Fiesta Zetec Climate, Purple, 1388cc petrol, 3 door. 1 owner from new, full service history, current MOT, approximately 13,000 miles. TO BE SOLD AT 12 NOON We ask that all potential new bidders wishing to bid on a vehicle, please be aware that prior to the sale they will need to provide full ID in the form of a driving licence/passport and a copy of a utility bill. Buyer's premium is 10% (12 % incl VAT) on the hammer price. Agents buying on behalf of a third party must have written authority from their principal clearly stating their authorisation to bid. We will also require a 10% deposit of the lower estimate at the time of registering, which can be made during the viewing period. If unsuccessful, then we will issue a refund immediately. There will be no internet bidding on vehicles.

A Norwegian silver gilt and black enamel brooch, by Marius Hammer; A blue enamel and silver brooch, by Arthur Johnson Smith; a tiger's-eye and silver brooch; and a moonstone and silver brooch.

A hammer drill in metal case and a case of fittings and drill bits

A Black & Decker hammer drill in fitted case

A Performance hammer drill in case

A Black & Decker hammer drill