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Click here to subscribeA diamond and enamel sporting bar brooch, in the form of two horses and jockeys jumping two riding crops See illustration Condition report Approx. 5 cm wide Approx. 3.5 cm high We do not comment on diamond weight without official certification Brooch displays general/light wear. No major damage of note would appear present.
An ivory part dressing table set, initialled, a silver mounted strut mirror, and other items Condition report Report by JB Shoe horn displays general signs of wear and marks. No major damage of note. Brush 1 displays general wear and markings, along with Brush 2, which has two vertical cracks forming on either end. The Comb is worn, with one tooth missing to the centre. The Hairbrush displays general wear and light hairline cracks to the surface, running vertically. The hand mirror is worn, slight discolouration to rear, with a few dark patches. A few small hairline cracks to exterior around glass. The Silver Strut frame is noticeably worn with a number of holes present to the surface with some loss; Other silver items - discoloured and worn Please see illustrations for details
α James Humbert Craig, a river landscape with a figure and cattle near farm building, oil on canvas, signed, 55.5 x 76 cm See inside front cover colour illustration Condition report Sourced from a local deceased estate, the deceased client probably inherited the item from an Irish estate in the early 1970s. Unfortunately the painting is quite discoloured due to the fact that the previous owner was a heavy smoker, thus colours quite dull. Some light cracking to the surface, most noticeably to the left centre, centre top and bottom right. Painting has been relined at some point. In need of a good clean. Signed in the bottom left corner. However quite difficult to read due to discolouration. Painting needs a good clean.
John Buxton Knight, a view of Dublin from Rathfarnham, oil on canvas, signed and dated '86, 56.5 x 71 cm See illustration Condition report Report by JB Sourced from a local deceased estate. The client had inherited these items from an Irish estate in the early 1970s. Unfortunately this painting has been affected by tobacco smoke thus, noticeable discolouration and yellow tinge present to skyline and main body of the image. There are some patches of tar build up and light brown markings, most noticeably in the skyline. Light cracking/crazing can be observed to the surface, most noticeably around the field in the middle ground and villages. There are small pit marks to the surface also in that region. Heavier cracking and some loss can be observed to the bottom left and bottom right of the image, again with general markings. The rear of the canvas feels relatively taut, suggesting it has been relined at some point. The frame displaying moderate wear, with general marks Please see illustrations for details
After Sir Edwin Hendry Landseer, King Charles Spaniels (The Cavalier's Pets), oil on canvas, 70 x 90 cm See illustration Condition report Report by JB The surface painting displays general wear. Is very smooth to the touch, which suggests it may have been cleaned at some point. There is light cracking and crazing to certain regions, most noticeably above the two spaniels and on the white and brown spaniels' ears. There are a couple of noticeable scratches to the surface with some loss just to the right hand side of the white spaniel, and above the black spaniel's back. There are also some minor paint loss on the black spaniel. There are a couple of small patches of loss to the bottom left. The canvas relatively loose to the touch Please see illustrations for details
A Powell, Harvest Time, watercolour, label verso, 48.5 x 74.5 cm See illustration Condition report Overall the painting would appear to be in relatively good order. Some light discolouration, most notably to the skyline, couple with a few patches of foxing to the top left and top right corners. Otherwise the colours would appear to be in relatively order. There are no major tears or rips. There is a slight rippling to the surface in regions. Please see photos.
Alfred Walmark, a still life of lilies, oil on canvas, 75 x 54 cm (unframed) Condition report Report by JB The painting signed in the bottom left corner with a capital W in black and marked Alfred Walmark to the rear. Generally grubby, with noticeable dirt or discolouration to the white areas of the flowers. Light cracking to the surface, mainly contained to the centre and stems of the flowers. There is an unfortunate tear to the centre, just left of one of the flowers, ripping right through the canvas and with loss to the sand like staining.
α Hugh Brandon-Cox, Misty Morning Flight, watercolour, signed, 36 x 50.5 cm See illustration Condition report Report by JB General condition would appear good, only a couple of light marks to the top centre right middle, close to the skyline and not quite as rich as foreground and sailing vessel, slight rippling to the surface around the boat, otherwise no major damage would appear present Please see illustrations
Folio Society, The Letterpress Shakespeare, The Tempest, limited edition, with box file, and nine other Letterpress Shakespeare's (10) Condition report Box 1 Contains both books of As You Like It. The large version and the smaller edited version by Alan Brissenden. Both in good order. Box 2 Contains both books of The Winter's Tale and the smaller edited version by Stephen Orgel. Both books in good order. Box 3 Contains both books of The Tempest. The smaller version edited by Stephen Orgel. Both books in good order. Box 4 Contains both books of Much Ado About Nothing. The smaller version edited by Sheldon P.Zitner. Both books in good order. Box 5 Contains both books of A Midsummer Night's Dream. The smaller version edited by Peter Holland. Both books in good order. Box 6 Contains both books of Measure for Measure. The smaller version edited by N.W.Bawcutt. Both books in good order Box 7 Contains both books of The Taming of the Shrew. The smaller version edited by H.J.Oliver. Both books in good order. Box 8 Contains both books of The Merchant of Venice. The smaller version edited by Jay L.Halio. Both books in good order. Box 9 Contains both books of All's Well that Ends Well. The smaller version edited by Suzanne Snyder. Both books in good order. Box 10 Contains both books of The Twelfth Night. The smaller version edited by Roger Warren & Stanley Wells. Both in good order. Only light marks and cobwebs to outside of boxes.
E Gignous, a mountainous river landscape, oil on canvas laid down, signed, 57 x 34 cm See illustration Condition report Report by JB The painting displays general discolouration, most noticeable to the top skyline. Few marks and signs of wear, however nothing would appear serious. Please note this canvas is laid down and the painting has been trimmed around the corners. Light cracking present in areas, mainly around the edges. No other major damage of note. Please see illustrations for details
Herbert E Butler, a half length portrait of a gentleman with a moustache, oil on canvas, 75 x 50 cm, and his companion (2) Condition report Report by JB No major damage would appear present to the surface of the painting. Some light discolouration around the face region. Back would suggest re-lining at some point. The female companion is in similar condition, slight indentation to the canvas around the right ear, almost forming a hole, again back would suggest re-lining at some point Please see illustrations for details
After Thomas Gainsborough, The Honble Mrs Henry Fane, oil on canvas, a painted oval, inscribed, 90 x 69 cm, and its companion, The Honble Mr Henry Fane, 75 x 62 cm (2) See illustration Condition report Report by JB The image of the young lady displays varying levels of wear. There is light cracking/crazing to the bottom right region, and around the left shoulder. Slight discolouration to skin regions, marks and chips, with some loss to the surface, most noticeably to the top left, cracking and marking running along the top section of the frame. Surface feels rather smooth, suggesting a cleaning, and the rear of the painting would also suggest that as well. The frame also displays noticeable wear, with some loss around the top left hand side and bottom, along with general cracking and splitting. The portrait of the young gentleman also displays light discolouration to skin areas and white collar region. General markings and scratching also present to surface. Painting is smooth to the touch, suggesting cleaning at some point, which is consistent with cleanliness and tautness of the rear. Frame in similar condition, with the areas of loss concentrated to the centre right and bottom Please see illustrations for details
Attributed to William Osborne, a hunter and two dogs in a wooded landscape, a lake and cottages to the left, oil on canvas, 62 x 75 cm See inside front cover colour illustration Condition report Report by JB This painting is from a local deceased estate. The deceased client would have inherited it from an Irish estate in the 1970s. Unfortunately the painting has suffered from tobacco smoke staining and is in need of some cleaning. There is light cracking/crazing running across the entire surface of the painting. Some marks can be observed to the top right and top left. Including some dark areas. A few light white marks can also be observed to the bottom right. Frame is also heavily stained, showing general signs of wear with a few horizontal and vertical cracks forming in regions Please see illustrations
α Sean O'Sullivan, The River Liffey, oil on board, signed, 34.5 x 41 cm See illustration Condition report Report by JB The painting's source is from a local deceased estate, the client would have inherited the painting from an Irish estate in the 1970s. The painting is in need of a good clean, having suffered from heavy tobacco smoke discolouration, some build up of tar. Other generalised marking can be observed mainly across the centre of the image, running up to the right of the corner. Colours are probably reasonable under tobacco film. Some slight loss of paint work running across the bottom rim, and most noticeably to the right corner, apart from that, there wouldn't appear to be any other major damage, apart from the aforementioned smoke damage. The rear looks as though it has been relined within the last twenty years or so, the frame displays general wear and light cracking Please see illustrations
C J Porritt, Stokesay Castle from Churchyard Salop, watercolour, signed and dated 1915, 30 x 47.5 cm, four others by the same, and two other pictures Condition report Report by JB This is on the watercolour Castle from the Churchyard: Discolouration can be observed to the top right of the skyline. There are some more noticeable markings to the centre top, including a dark stain, coupled again with more light discolouration. The foreground and the buildings are in relatively good order. Colours quite bright and there does not appear to be any damage of note in these regions. A slight fold line can be observed to the right hand side running the length of the painting, but this would not appear to have caused any damage. Slight rippling to some regions Please see illustrations for details
A 19th century mahogany bow front chest, of four drawers, 87 cm wide Condition report Surface of the chest displays general markings, surface dents ranging from light to deep. There are a number of horizontal splits, mainly coming from the left hand side. Running from a quarter of the way up to half way in, and one from top right corner running a quarter of the way in. Some light fading and a few marks to the centre. Otherwise ok. The rear of the chest is intact. Left hand side of the chest displays a few generalised markings and dents. The same can be said for the right hand side. Front displays general wear, knocks and nicks. Handles replaced. Drawers in working order. Front feet noticeably worn and dented with some loss. Please see photos.
A George III mahogany bureau, 107 cm wide Condition report Condition report by JB General marks and wear present to the surface that you would expect from use. Backboard intact, the top section displays scratches ranging from light to deep with some gouges to the right corner also some areas of restoration also present. The left hand side displays general scratches and markings some more noticeable than others. The right has one large vertical split running from the base approximately just under half way up the side. The interior displays pigeon holes to the centre section flanked by sets of drawers. A number of ink stains and marks can be observed to the rest section, the hinges look as though they have been replaced, no leather insert or writing area would appear present. Handles have been replaced, drawers in working order, some have a small amount of repair to the fronts otherwise again displaying general marks and wear. The left hand support section which pulls out is recessed and stuck whereas the right is in working order. Please see photos.
An oak joint stool, and an oak candle box (2) Condition report Stool Stool displays noticeable wear, mainly concentrated to the legs, lower sections and around the underside. Top section displays scratches, knocks and nicks ranging from light to deep. Slightly warped and split down the middle as at different levels. Some loss of detail to side decoration. Pits and wear with some loss present in majority of areas. No provenance with items.
A George III mahogany tripod table, on a tapering barrel column, 84 cm diameter See illustration Condition report Number of marks and scratches present to the surface, along with dark stains in regions, light fading to one side. There would appear to be a few impact marks/bruising. Wear to underside consistent with age and use. The locking mechanism has been moved or replaced at some point. Reasonable wear to the centre console. General wear to supporting column and feet with medium to light scratches.
An early 18th century Italian cedar wood cassonne, the front carved figures, mythical beasts, and foliage, 152 cm wide See illustration Condition report Report by JB The surface of the chest is noticeably worn, with scratches ranging from light to deep. There are a number of pit marks to the surface. There is a small area of repair to the left hand side. The left top section around the hinges look as though it may have been broken and repaired in the past. The rear of the coffer is missing some backing board to the bottom right corner, otherwise it is slightly warped with general markings. The left hand side marked, with a horizontal split near the top section and bottom feet, border missing. It is also coming away from the jointed section to the front. The right hand side displays two horizontal splits with feet base section present. Front section displays general wear again with scratches, some loss of detail in areas. Bottom left corner displays some warping and splitting along with a hole which has been repaired. More gouges and knocks can be observed to the base region The interior of the chest displays horizontal splitting and gouges to underside of the top part. Lock repaired with noticeable damage within the region. Hinges have been replaced. Overall the interior of the chest displays multiple cracking and splitting combined with general marks and nicks. Some sections are starting to come away from joins front and back Please see illustrations for details
A nest of three mahogany occasional tables, the largest 48 cm wide Condition report Report by JB General marks and wear that you would expect from age and use. Light scratches and denting/pitting to the surfaces. Knocks and nicks to the edges where they slide in and out. Slight rubbing to pillar supports on majority of tables, along with a bit of water staining, most noticeably to the central section. Rubbing and knocking to the feet. All three tables have a slight wobble, however are intact and don't appear to have been broken. Smaller tables have a darker interior colour compared to the main table. Please see illustrations
A George III inlaid oak bureau, the fall front above an arrangement of five short drawers and two long drawers, on bracket feet, 97 cm wide Condition report Report by JB Bureau displays general wear that you would expect from age and use. Backboard intact with general markings. General markings, dents, scratches and fading to top section of the bureau, with some loss of veneer decoration to the left hand side. Interior contains multiple drawers and columns, which also work as drawers. Centre detail door noticeably worn and cracking. There are no pigeon holes but there are hidden crevices under the left and right hand side drawer. Some repair can be observed around the hinge section, along with replacements. Leather inset area has been replaced by blue felt. Top section of the drawer outside with general wear, nicks and loss. Noticeable vertical crack to right hand side, some repair to the veneer around detail. Front of bureau displays general wear, more noticeably to veneer detail on the top two sections of drawers, otherwise scratches range from light to deep and some dents to bottom drawer. Handles have been replaced. Drawers would appear to be in working order. Feet and base sections display general signs of wear that you would expect from age and use. Please see photos.
A 19th century mahogany chest, of four graduated long drawers, on bracket feet, 93 cm wide Condition report Report by JB No visible water splatter to the top of the drawers, marks ranging from light to deep, combined with scratches. It would appear the rear section of the top surface has been restored and there are some light horizontal splits forming on the bottom right corner. Backboard replaced at some point. The left hand side of the chest has a split forming down the join running the length of the chest. Same for the right hand side. Handles replaced. Base of drawer linings starting to split and some as though they have been paired. Front of the chest displays general wear and some slight fading on certain drawers.
A George III oak lowboy, on cabriole legs with pad feet, 75 cm wide See illustration Condition report The two top panels of the lowboy are different colours, the lighter at the front, the darker at the rear. They both display general markings and wear that you would expect from age and use. These include scratches, dents to the surface and coffee rings ranging from light to deep. The left hand side is in relatively good order. There is a noticeable gouge mark to the rear. The right hand side is the same. The back of the lowboy shows signs of woodworm, suspect dead, along with noticeable cracks to the right hand side rear leg. Front of the chest displays general wear, knocks and nicks. Handles replaced. Drawers intact and working. Front feet worn with general splits and gouge marks. Rear feet have been cut off at an angle and also display general signs of wear. The woodworm area seems to be limited to the rear of the lowboy, moving slightly forward on the underside.
An Arts & Crafts style carver chair Condition report Report by JB This chair is not of great age. Has no provenance. Structure displays general wear, including rubbing, scratches from light to deep, and some water marks. Woven seat section starting to fray in areas and pulling apart in the very centre. Chair has a small wobble, but there would not appear to be any major cracks or splits. Some home made knotting can be observed to the underside Please see illustrations
A set of ten George III style mahogany dining chairs, with pierced vase shaped splats, with drop-in seat and tapering square front legs (8 + 2) (10) See illustration Condition report Report by JB The width of the carver from the widest point is 72 cm, the interior section of the seat is approx. 50 cm, and the width below that is 56 cm. The regular chair's width, at the front is 49 cm tapering back to 40 cm, so the tapering back end on the carver is 45 cm Carver 1: displays general wear, fading to armrest region. The right hand side armrest front detail section has been broken off at some point and repaired. The back support veneer is peeling off in regions. Chair does wobble, quite a few knocks and nicks to legs, split can be observed to the wood in the top right section at the backrest. The chair otherwise appears to be intact. Carver 2: not as faded as Carver 1. Again displaying general wear, knocks and nicks. Some damage to backrest detail. A number of scratches can be observed to the armrests. The chair again would appear to be intact, apart from the aforementioned wear. The regular chairs display varying levels of wear and damage. One seat back is completely broken, however, the bits would appear present for repair. Five display fading and possible water damage to varnish. Three have a noticeable wobble, one cross strut to the seating back is loose, and will wobble back and forth. General wear and nicks present to feet sections. One is missing a noticeable chunk from the right rear supporting foot, light splitting and loss of veneer can also be observed across the range Please see illustrations for details
A George III mahogany chest, of two short and three graduated long drawers, on bracket feet, 96 cm wide See illustration Condition report General markings to the surface, including scratches and surface dents ranging from light to deep. A horizontal split can be seen running diagonally across the front, along with two noticeably dark patches. Right hand side of the chest also displays general markings, including scratches and dents ranging from light to deep. Two vertical splits can be observed, one running the length of the chest, the other approx. a quarter of the way up. The left hand side is in similar order with a split running the full length and a small patch of restoration near the bottom. Handles have been replaced. Front of chest displays general wear and tear. Some light water stains running down the two centre drawers around the lock area. Lock escutcheon has been bent outwards on two regions. Feet reasonably worn with general wear that you would expect from age and use.
A Victorian loo table, of shaped oval form, veneered in burr walnut, 151 cm wide See illustration Condition report Table displays general signs of wear, marks, scratches and indentations ranging from light to deep. Cracking can also be observed, most noticeably around the edges. Running into the table. Some slight lifting. Certain edge sections slightly knocked. Mechanism in working order, displaying general wear, marks and scratches. Some cracks and loss to supporting section where the screws are. A few patches of repair present in areas (to the underside). Legs again display similar wear, knocks, nicks and scratches. However there doesn't appear to be anything serious
Edward Waters, Cockle Pickers at Llanstephan, Carmarthen Bay, oil on canvas, signed, 32.5 x 47.5 cm Condition report Some light discolouration evident to the image, along with noticeable cracking to the oil on canvas. This is mainly concentrated around the donkey in the right hand corner and below the front cockle picker. Wear is also present to the left hand side middle and marking is present on the bottom right hand side where part of the canvas has come away from the frame. There appears to be a small indent or warp around the donkey again on the right hand side, otherwise there appears to be no other major damage of note. Frame shows light wear with no major damage present
Britains set 9356 Canada Governor General`s Guards, 11 pieces strung in cellophane fronted display box, partial and including correct set 2134 RCMP in box and 1633 Canadian Light Infantry (7 unboxed) figures generally G, 1 mounted figure P, boxes F (12 including boxes) 9356 box crushed one end with piece missing, dirty & worn, 2134 box faded, lid with one split, one includingorrect figure missing arm, 1633 figures G,
Malleable Mouldings and Herald 1950s Plastic Lifeguards; MM 1940s plastic figures comprising Mounted 6th Dragoon Guards (3) and Mounted Lifeguards (4) stamped Made In England, on light blue plastic bases, F-G, one lifeguard lacks head (7) Herald Lifeguards mounted on two part horses comprising Trumpeter, Standard Bearer and Trooper with Wendal aluminium Ceremonial figures, Royal Horse Guard, Life Guard and Standard Bearer, all mounted with four other figures, P-G, one herald horse lacks tail (10)
Large Twelve (12) Light Art Nouveau style Bronze Chandelier with Glass Flower Shades. Unsigned. Good Condition or Better. Measures Approximately 26 Inches Tall (plus chain and canopy) and 42 Inches Wide. We will not ship this item because in our opinion it needs to be crated. We will happily recommend a list of outside vendors upon request. Starting Price: $1,800.00
A pair of World War I medals, the War medal and Victory medal, awarded to '26143 R.J. Luckham Som. L.I.', together with dog tag, a chalk carving of a shield and badge of the Somerset Light Infantry, a continental silver cased pocket watch, the case stamped '0.800' and personal notes from family members
Eugéne Galien-Laloue (1854-1941) 'Place de la Republique' Signed, also inscribed on a plaque attached to the frame, Gouache heightened with white on tinted paper, 18.5cm x 29cm Provenance: Eugéne Galien-Laloue was born in Paris in 1854. He was mainly known for his impressionist portrayal of Parisian street scenes. In 1877 he was a student of Charles Laloue, a long-time member of the Artistes Français. During the early part of his career he used a number of pseudonyms to overcome an exclusive contract with a major gallery. These included L. Dupuy, J. Lievin and E. Galiany, all of which are listed in the catalogue raisonne. Galien-Laloue worked mainly in gouache with a light, expressive style. He depicted the Parisian street scenes of the early 1900's with an accuracy that reflected that iconic era. Indeed he was one of the first painters to historically represent these bustling streets and as such has been a great influence to a host of later artists, such as Edouard Cortès and Antoine Blanchard.
Albert Goodwin R.W.S (1845-1932) 'Gezsaw, Lake Lucerne', signed and inscribed, watercolour and gouache with scratching out, unframed, 20cm x 23.5cm *The size incorporates the artist's original washline edge, image size 18cm x 22cm Provenance: By Direct Descent from the Artist to the Present Vendor. The Painter was an ardent admirer of Joseph Mallord William Turner, his first exhibit was at the Royal Academy in 1860, when he was aged just,15, during the next decade he was a pupil of the Pre-Raphaelite Painters Arthur Hughes and Ford Maddox Brown who introduced him to the Art Critic and Painter John Ruskin who took him on a trip to Italy, some of the drawings we are selling may relate to that tour in 1872. He travelled widely in Europe, India, Egypt, and the South Sea Islands. He studied the effects of light and atmosphere very carefully and Hardie wrote, 'he can be counted as one of those who have successfully dealt with twilight and sunset'. He experimented with methods of sponging and stippling and was one of the first to use a pen-line in combination with watercolour wash. Reynolds wrote 'he often reached a higher plane of poetry, with even a hint of mystery in his pictures'.
Eugene Galien-Laloue (1854-1941) 'Port Dieppe' signed, inscribed on a plaque attached to the frame, oil on canvas, 34cm x 47.5cm Provenance: Eugene Galien-Laloue was born in Paris in 1854. He was mainly known for his impressionist portrayal of Parisian street scenes. In 1877 he was a student of Charles Laloue, a long-time member of the Artistes Français. During the early part of his career he used a number of pseudonyms to overcome an exclusive contract with a major gallery. These included L. Dupuy, J. Lievin and E. Galiany, all of which are listed in the catalogue raisonne. Galien-Laloue worked mainly in gouache with light, expressive style. He depicted the Parisian street scenes of the early 1900's with an accuracy that reflected that iconic era. Indeed he was one of the first painters to historically represent these bustling streets and as such has been a great influence to a host of later artists, such as Edouard Cortès and Antoine Blanchard.
A CHINESE CARVED RED CINNABAR LACQUER (TI HUNG) TABLE SCREEN on a carved stand decorated with a figure on a terrace, various other attendant figures in a garden setting with distant mountains and pine trees, the reverse with children playing in a garden on a black lacquer ground, the frame with carved dragon decoration, 19th Century, panel 63.5cm wide x 47cm high, overall 72cm high x 76cm wide The pair to the screen was sold at Mallams Cheltenham 1st May 2013 - Lot 278. This panel and stand came to light abroad as a result of the sale of the previous lot.
Franz Richard Unterberger [1838-1901]- The Gulf of Salerno, possibly Positano All Saints` Day:- signed F R Unterberger bottom right oil on canvas 82.5 x 70cm * Provenance. West Country Private Collection. * Biography. Born into a large bourgeoise family in Innsbruck, Franz Richard Unterberger studied at the Academy of Munich under Clemens von Zimmermann and latterly at the Academy of Dusseldorf. The favoured academy for Scandinavian painters painting abroad. Consequently Unterberger was drawn to Scandinavia where in the early 1860s he produced a number of atmospheric mountain scenes. Following this period Unterberger moved to Brussels, where he felt the art market was more lucrative; he was to live and work there periodically for most of his life. He was becoming by now a truly European artist, travelling extensively from Norway to Sicily, exhibiting throughout Europe, Hamburg ,Antwerp, Brussels, Berlin, Stuttgart, Paris, Munich, Vienna, additionally in the U.S.A. at Philadelphia and Boston. From the 1870`s Unterberger was painting panoramic Italian scenes, coastal landscapes set in Southern Italy ,Capri, Naples, Amalfi, Sorrento, Palermo and views set in Venice; his works suffused with warm Mediterranean light and a shimmering silvery tone. In 1884 he exhibited in London at the International Universal Exhibition, in the Austrian section, increasing his huge International reputation with resultant sales and commissions. Southern Italy and Venetian scenes, formed the great majority of his output in the 1890`s; in his later years Unterberger moved to a studio in Neuilly-sur-Seine where he died on the 25th May 1902.
Two Dutch light baluster glasses: each with pointed round funnel shaped bowl on an annulated and inverted baluster stem containing a series of tears on a conical foot, one engraved beneath the rim with drapes, pendant husks and flowers, 18.5 cm high each, mid 18th century, tiny chips to feet. (2)
A French Belge noir marble and bronze figural mantel clock garniture, late 19th century, the eight-day bell striking movement with gilt on black circular Roman numeral dial within a bevel glazed cast brass bezel, the case with cast bronze figural surmount modelled as a seated Classical scholar above bound waisted side sections flanking projecting gilt scroll incised dial surround, on conforming skirt base, 48cm (19ins) high; the garniture side pieces formed as five light candelabra each with central sconce and four scroll cast branches hung with fine chains above conforming waisted black marble plinth base with gilt incised decoration, 59cm (23.25ins) high.
A French brass mounted onyx mantel clock garniture, late 19th century, the eight-day bell striking movement with circular cream Arabic numeral enamel dial within bevel glazed cast brass bezel, the case with twin handled urn surmount above foliate scroll cast pierced mounts to crest and flanking dial, the sides with projecting gilt scroll decoration, on plinth base with brass paw feet, 44.5cm (17ins) high, the garniture side pieces formed as five light candelabra each with central sconce flanked by four scroll cast branches above twin handled urn upright and stepped plinth base with paw feet, 54cm (21.25ins) high.
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