A Victorian figured mahogany eight-day precision longcase clockThomas Porthouse, London, mid 19th centuryThe substantial four pillar rack and bell striking movement with deadbeat escapement regulated by large lenticular bob wooden-rod seconds pendulum suspended from a beam applied to the top of the plates, the 12 inch circular cream painted Roman numeral dial with subsidiary seconds over signature THO'S PORTHOUSE, 10 Northampton Squ'e, LONDON to centre and with steel moon hands, the architectural case with triangular tympanum over cavetto cornice and circular cast brass hinged glazed bezel flanked by canted angles to hood, the trunk with rectangular caddy moulded door veneered in fine flame veneers over conforming plinth base with moulded skirt, 201cm (79ins) high. Thomas Porthouse is recorded in Betts, Jonathan MARINE CHRONOMETERS AT GREENWICH as born circa 1794 and possibly related to the Porthouse family of clockmakers from Penrith, Cumbria. He is recorded in 1828 as working from 210 High Street (Poplar) and then '10 Northampton Goswell Street' from circa 1835. Porthouse was primarily a maker of marine chronometers with a number of his timepieces appearing successfully in the Greenwich trials from 1823. He is also known to have made complicated watches. Thomas Porthouse died on 1860 with his business apparently continued by his widow before becoming Porthouse and French in 1864.Condition Report: Movement is in clean working condition with no visible evidence of alteration or significant replacements. The seatboard appears original and the movement and dial sits at the correct level in the case with cheeks notched to support the seatboard in a manner which appears original and undisturbed (ie. no visible evidence of subsequent adjustment) hence the movement and dial would appear to be original to the case.The dial has been refinished to a high standard with faults now limited to some very light surface wear; the minute hand appears to be a replacement.The case is generally in very good condition with faults limited to some light surface scuffs most noticeably to the front upper left hand part of the base, a veneer patch repair (to the same upper left hand corner of the base) as well as slight horizontal shrinkage to the face of the plinth. Otherwise faults very much limited to minor scuffs and other blemishes commensurate with age.Clock is complete with wood-rod pendulum, two weights, winder and two case keys. Condition Report Disclaimer
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An inlaid mahogany mantel timepieceThe movement and dial by Barraud and Lunds, London, mid 19th centuryThe circular four pillar single chain fusee movement with Harrison's maintaining power and anchor escapement regulated by lenticular bob pendulum incorporating pivoted beam rise/fall regulation to suspension, the backplate with pendulum holdfast and signed Barraud & Lund, 49 Cornhill, London to centre, the 4.5inch circular silvered Roman numeral dial with thistle engraved centre repeat signed BARRAUD & LUND over LONDON to margins and with regulation square at twelve o'clock, with blued steel fleur-de-lys hands set within engine-turned surround behind hinged bevel-glazed bezel, now in a rectangular mahogany veneered case with thick rectangular bevel-glazed top panel set within line strung borders over dial to front and conforming side panels, the rear with lift out panel, on tall line-bordered skirt base incorporating ogee top moulding and gilt brass ball feet, 32.5cm (12.75ins) high. Paul Phillip Barraud (born 1752) worked with his father at first until his death in 1795 after which Barraud turned his attention more towards chronometers. Using the valuable experience gained whilst working on Mudge's timekeepers with W. Howells and G. Jamieson to good effect, he became very successful. After his death in 1820 the business was continued by his sons taking John Richard Lund, a former apprentice of John Pennington (who developed the auxiliary compensation balance weight to correct for middle temperature changes), into partnership in 1838. The firm of Barraud and Lunds became particularly well known for their marine chronometers, fine quality watches, carriage and mantel/bracket clocks and were based at 49 Cornhill, London until 1863.Condition Report: Movement is in clean working condition with no visible evidence of alteration or significant replacements. The dial is in fine condition with no visible faults. The movement securing brackets appear to be replacements (different colour brass) and the design of the case suggests that it is Continental rather than English hence is almost certainly not original to the movement and dial however the movement sits well in the case and overall it is an attractive combination.The case is generally in fine condition with faults limited to veneer patch repairs to the upper left hand margin of the front, the leading edge of the base to the left hand side and the frame surrounding the rear lift-out panel. The front right hand corner of the base top moulding has also been repaired. Timepiece has a winding key. Condition Report Disclaimer
A very rare German Renaissance four-train double-hour and quarter-striking table clock movementUnsigned, probably Augsburg or Nuremburg, circa 1575The iron, steel and brass posted quadruple-chain fusee movement with square section corner uprights enclosing going train with verge escapement now regulated by a foliot oscillating above the top plate, set to the right beside the quarter-striking train which in-turn is positioned in front of the two side-by-side hour-striking trains behind, each originally with locking plates to the rear pivot plates (now lacking) and vertically pivoted hammer arbors, the wheelwork entirely of iron except for the spring barrel walls and fusee and each of the trains set between individual pairs of vertical pivot plates, the quarter train with nag's head release via a starwheel to the going centre arbor and countwheel set behind the dial incorporating trip for the first hour striking train, the second hour train originally tripped by the first via detents set to the rear of the movement (now lacking), the front with rectangular gilt brass dial applied with later vestigial alarm disc and Roman numeral chapter ring incorporating cruciform hour markers, with sculpted steel hands formed as a sword and halberd within applied original outer minute track set within fruit inhabited foliate scroll engraved surround incorporating inverted cupola pendant apron panel, the rear with twin side-by-side hour striking dials (one lacking annotated countwheel dial insert) applied to a conforming foliate strapwork engraved panel, distance between top and bottom plates 20cm (7.875ins); 38cm (15ins) high overall including the two-tier bell stand. Provenance: Property of a private collector; purchased at Bonhams and Goodman sale of the The Melbourne Clock Museum, 29th April 2008. When considering the potential date of the current lot a cursory survey of dated German Renaissance table clock movements made during the second half of the 16th century reveals that the use of brass within the mechanism became more widespread as the century progressed. Initially brass was employed just for the fusees and spring barrel walls, then also for the movement pivot plates, and finally (by around 1600-20) for the wheelwork as well. With this in mind the current movement (using brass only for the fusees and spring barrel walls) can be dated to around 1575. This approximate date is also supported by the lack of warning to the striking mechanism as this was not generally adopted until around 1600. In addition to this the engraved decoration to the dial panels exhibits a mixture of naturalistic leafy foliate scrolls and formal strapwork into a matted ground which can be compared to the background decoration seen on a complex astrolabe-dialled table clock dated 1568 attributed to Jeremias Metzger for Casper Bohemus of Vienna in the collection of the Metropolitan Museum of Art, New York (illustrated in Maurice, Klaus and Myer, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 185).The unusual specification of the striking mechanism, where the full-hour is repeated shortly after the initial sounding, is believed to have been adopted to confirm the hour in the event that the strike was misheard the first time around. This repeat-hour striking system is most often associated with Italian clocks using the six-hour system where it is given the term 'Ribotta'. In German Renaissance work however re-striking hours are particularly rare although not unheard of; indeed a clock utilising this system, albeit in a two train configuration, was sold at Patrizzi and Company's sale of Pre-pendulum European Renaissance Clocks held in Milan on the 24th May 2009, lot 56. The present mechanism is very unusual, perhaps unique, in that the repeat-hour employs and entirely separate second hour train complete with additional fusee. This results in the movement being 'quadruple' fusee and it is believed to be the only one of its type.Condition Report: The going train has at one time been converted to verge escapement regulated by short pendulum and has subsequently been converted back to verge with balance although regulation is now erroneously by foliot rather than balance. The second wheel is also brass (most likely left over from the pendulum conversion). The brass spring barrel wall has now been soldered to the iron/steel end plate and there is also a solder angle patch repair near the spring anchor rivet. The quarter train survives complete and appears all-original except possibly for the brass fusee which may be a replacement (colour has a copper hue). The star wheel release to the strike train is present as are the detents and countwheel.The first hour striking train (rear left) appears complete and original except for the release detent and the countwheel which are both missing; the starwheel/release pin to the under-dial motionwork id also missing. The second striking train also appears complete and original except for the release detent and the countwheel which are both missing; the hammer is also missing (vertical arbor is present) and the brass fusee may be a replacement (colour has a slightly copper hue).All four trains will turn and it seems that some careful conservation such as cleaning of pivots etc has taken place within the relatively recent past. The alarm mechanism is entirely missing leaving holes in the movement top plate, there are a few other vacant holes present relating to the previous balance and pendulum escapements as well as the case which is no longer present.The dial plate has replaced alarm disc (now fixed tight with rivets) and chapter ring - these would appear to date to somewhere between 1670 and 1740 hence are probably contemporary with the earlier pendulum conversion of the going train. The rest of the plate is original however has some small spare holes including one beyond the minute track between the IX and X numerals and another to the centre just above the apron; the purpose of these holes in not clear. The hands are probably late 19th century. The rear plate is missing one of its hour counting dials, the other appears to be a fairly early replacement made from copper. Otherwise plate is original but is missing a small length of the raised border around the left hand dial has a spare hole above each dial and a third to the centre just above the apron. Both dials are secured by modern screws.The movement has a forged two-tier bel stand but no bells or winding key. Condition Report Disclaimer
A George III mahogany table clockRobert Ward, London, circa 1770The five pillar twin fusee movement with verge escapement regulated by short bob pendulum and backplate engraved with a central pagoda over basket surrounded by stylised rococo scrolls, the 7 inch brass break-arch dial with calendar aperture and recessed shaped silvered nameplate signed Rob't Ward, London to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to the outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a vestigial subsidiary Roman numeral chapter ring dial flanked by conforming mounts, the bell-top case with pineapple finials to superstructure over double-cavetto top mouldings and front door with brass-fillet bordered break-arch glazed dial aperture and foliate scroll cast upper quadrant frets, the sides with hinged brass carrying handles over circular and concave-topped rectangular brass grille sound frets, the rear with rectangular break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with generous leafy scroll cast bracket feet, (the movement formerly fitted with an alarm mechanism now removed), 47cm (18.5ins) excluding top finial and block; 56cm (22ins) high overall. Robert Ward is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1768, gaining his freedom of the Clockmakers' Company in 1779 and working from Abchurch Lane, London until 1808. He is noted as specialising in supplying musical clocks for the Middle Eastern market.Condition Report: Movement is in dirty/oily condition however is working (will run and strike); a clean/service is required. The clock has verge escapement with short bob pendulum which appears original (there is no visible evidence of ever being converted to anchor escapement). As catalogued the alarm mechanism has been removed however the setting/release hand and arbor are present. The movement securing brackets are replacements but it would appear that their position matches that of the originals hence are of the opinion that the movement and dial are original to the case. The alarm exit hole in the case is present however has been blanked-off externally by a veneer patch repair.The dial is in good original condition; the finishes are dirty/discoloured, the hands a appear origina and are finely made.The case is generally in sound unrestored condition and of good colour however the joints to the right hand side of the front door are a little loose causing the section of veneer bordering the right hand side of the arch to be lost. There is a veneer patch repair to the upper right and another small to the bottom left. Tye mask around the dial (behind the front door) is generally in good condition. The brass side frets are replacements (probably dating to the 19th century), the lower right hand side moulding has lifted a little and now binds against the lower edge of the front door when it is opened, otherwise sides are in good condition. The rear has a small veneer chip beneath the lower left hand corner of the door otherwise is in very good condition. The superstructure is missing a length of moulding at the base of the caddy; the top finial pedestal has evidence of once being fitted with fretwork decoration to each side which is now no longer present. Faults to the case are otherwise limited to shrinkage (mostly to caddy and base joints), a few bumps, scuffs and other age related blemishes.Clock has a winder but no case key. Condition Report Disclaimer
A George III brass mounted mahogany table clockBenjamin Sidey, London, circa 1785The five pillar twin fusee bell striking movement with chinoiserie backplate engraved with a pagoda framed by a trellis and pair of pilasters issuing stylised palm leaves within a geometric border, the 7 inch brass break-arch dial with calendar and false bob apertures and silvered nameplate signed Benj Sidey, London to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to the outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a subsidiary Strike/Silent dial flanked by conforming mounts, the triple-pad top break-arch case with hinged brass carrying handle to brass fillet-bordered top panel over complex arch mouldings and hinged front door inset with conforming brass fillet surround to the glazed aperture, the sides with arched brass fishscale sound frets and the rear with break-arch glazed door set within the frame of the case, on cavetto moulded skirt base, 38cm (15ins) high excluding handle. Benjamin Sidey Jnr is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed (presumably to his father of the same name) in 1731 and gaining his freedom of the Clockmaker's Company in 1738. He subsequently worked from Moorfields, London until 1795.Condition Report: The movement has been converted from short bob pendulum regulated verge escapement to anchor escapement. This has been done with minimal intervention to the plates although the backcock is a replacement. The clock therefore has potential for reconversion (if so desired) back to verge which could be done leaving little to no visible evidence of having ever been anchor. Otherwise movement has no visible evidence of alteration or significant replacements. The movement is in working condition although a gentle clean/service is advised before putting it into service.The dial is in good original condition retaining attractive old surface exhibiting some discolouration to the silvered areas. The hands appear all-original.The movement and dial appear original to the case and retains the original seatboard which now has some metal plates to ensure sound support for the movement. The securing bolt for the base pillar is present but is snapped; there is evidence in the rear side uprights of the case of movement of simple movement securing brackets being fitted at sometime with one matching a corresponding hole on the movement backplate, these brackets are no longer present and in our opinion do not indicate/confirm that a different movement was fitted to the case at some time.The case is generally in presentable condition with faults mainly limited to relatively minor shrinkage, bumps, scuffs, bruising and wear commensurate with age and use as well as a few historic veneer patch repairs. The front door is missing vertical brass strips to the front edges and there is evidence of feet being fitted which are no longer present.Clock has pendulum, winder and two case keys. Condition Report Disclaimer
A rare German Black Forest inlaid mahogany spring-driven musical cuckoo mantel clockAttributed to Johann Baptist Beha, Eisenbach, and retailed by A. Wherly and Sheraton, Sunderland, circa 1880The wooden framed twin fusee movement with anchor escapement regulated by short pendulum with brass-faced bob, the hour strike train with outside countwheel and linkages to two bellows and a cuckoo automaton which appears from behind the door above the dial to announce the hour with a two-note call alternating with a hammer sounding on a gong fitted to the inside of the rear case panel prior to releasing a musical mechanism mounted within the base playing a tune via a 5 inch pinned cylinder and tuned steel comb, the 6 inch circular white enamel Roman numeral dial with pierced blued steel hands set within canted silvered metal surround behind hinged glazed brass bezel, the shallow-arch top case with twin doors for the cuckoo automaton to the foliate scroll inlaid tympanum and satin birch cavetto cornice over conforming scroll decorated spandrel infill to the line-bordered fascia, the sides with hinged doors with the right hand side accessing levers for silencing either the hour gong or cuckoo call, the rear with full-height lift-out panel applied with paper trade label inscribed A. WHERLY & SHERATON, CLOCKMAKERS, JEWELLERS, & c., 66 HIGH STREET WEST, (Opposite King Street), Bp Wearmouth, Sunderland... to interior, on tall ogee-outline skirt base decorated with further marquetry motif within line border to front over squab feet, 44cm (17.25ins) high; with a modern walnut wall bracket, of complex stepped moulded profile, the clock and wall bracket, the clock and wall bracket 56cm (22ins) high overall. Provenance: The property of a private collector, Hertfordshire. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father, Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert.Condition Report: Movement appears complete and fundamentally all-original and has been fairly recently (within the last five years or so) overhauled/restored to a high standard by a suitably skilled horologist hence is in full working order including the automaton and music mechanism in the base. The bellows for the bird call have been re-lined and the music mechanism in the base overhauled with no visible damage/losses to the teeth of the comb.The dial has numerous light hairline cracks to the enamel and some filled-in chips around the right-hand winding hole. The case is in good condition with significant faults limited to a well-executed repair to the left hand tip of the cornice mouldings, a patch repair to the rear panel, overall light bumps, scuffs, shrinkage and wear commensurate with age and use.Clock has pendulum and winding keys both for the clocks and music mechanisms. Condition Report Disclaimer
Small quantity of 18th century and 19th century linen and cotton bed sheets, some with embroidered initials, stitched seams etc. Condition:Cotton - Single pulled thread top, Width 82" x Length 112" - Good condition, very light small brown mark.Small cotton cot sheet - 38" wide. Several small holes.Blue "28" - Approx. Width "78" x Length "108".Blue "19" - Approx. Width 80" x Length 108". Some light brown marks.RRI 6 - Large patch, several small holes. Length 1222" x Width 65"P3RR - Stitched single "sleeping bag" made from several 18th sheets, tears to seams and small holes.
modelled standing nude beside a tree trunk with a lizard climbing, mounted on a squared base with ebonised pedestalthe bronze 15.5cm highCondition: A patch to his shoulder blade, some surface wear and light scratching. Screwed through base to affix to more modern plinth base.Footnote: The prototype for this bronze is the 1st-2nd Century Roman Apollo Sauroctonos, now in the Louvre, which in turn is based on a renowned lost original by the ancient Greek sculptor Praxiteles. The lizard may represent a form of impurity which Apollo is about to remove, although it has also been suggested that Apollo, in his role as Sun God, is rousing the animal from its winter hibernation.
A pair of large German porcelain models of raptors, late 19th century, each seated upon a tree stump, one looking down at a nest and the other a squirrel, the stumps encrusted with branches, flowers and insects, pseudo gold anchor marks, 37cm and 39cmCONDITION: Both with typical minor losses to the encrusted branches and flowers, the example with a raptor hunting a squirrel - the raptors tail has been broken off and re-attached with discoloured restoration around the area, there is also a crack across the base, not visible to each side, and the second raptor with a bird nest has some discoloured restoration to a patch on one side of the base with a hairline crack visible underneath.
Chuck Ripper (American, B. 1929) "Brown Pelican" Signed lower right. Original Gouache/Watercolor painting board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 20c Brown Pelican stamp issued October 2, 1996. The Brown Pelican is a large coastal bird that weighs eight pounds and has a seven-foot wingspan. During the breeding season, this waterfowl is characterized by a large gray bill, featherless black throat patch, white head, gray-brown body, and cinnamon-brown hindneck and nape. A colony nester, this bird often lays three eggs in a nest of dead vegetation or directly on the ground. When feeding, the young pelican practically crawls into its parent's beak to eat the partially digested food its parent produces. With its large beak, short tail and waddling walk, the Brown Pelican appears awkward and clumsy on land. When airborne, however, this bird is a graceful flier. The pelican launches into flight with several rapid wingbeats. Once aloft, it glides occasionally, flapping its wings to maintain altitude. Brown Pelicans often fly quite close to the water's surface while hunting for fish, but even 20 to 50 feet above the water a pelican can easily spot its prey. Although graceful in the air, the Brown Pelican appears to make a crash landing as it swoops down to catch a fish. This impressive bird will emerge from the water with a fish held crosswise in its beak, then effortlessly flip the prey into its pouch. Over the past few decades Brown Pelican populations have drastically declined. This is due to pesticide use that has contaminated rivers and coastal waters. The Brown Pelican absorbs the chemical through food that causes thinning of its egg shells, decreasing successful reproduction rates. Image Size: 14.5 x 12.5 in. Overall Size: 17.75 x 15 in. Unframed. (B15509)
ENGLAND INTERNATIONAL RUGBY UNION JERSEY WORN BY JOHN GUY GILBERNE BIRKETT (1884-1967) believed be his ‘International career jersey’ and worn on the Harlequins player’s England debut, versus Scotland in the Calcutta Cup match of 1906The jersey in traditional all white with fine cotton collars and with felt rectangular patch stitched to chest having a finely embroidered red, maroon, and pink English rose with two tone green and brown stems with five leaves. The sleeves are in the three-quarter length style for the England team during that period, two original buttons remain intact and there is a stitched name label to the inside of collar ‘JOHN BIRKETT’.As with the John Birkett’s England cap (Lot 574) the jersey is in super condition without notable damage. Please see Lot 574 John Birkett’s associated England cap in this auction with regards to John Birkett’s playing career, records, and achievements which include being the top try scorer and most England caps gained, the first try scorer at Twickenham and winner of the inaugural 5 Nations Championship in 1910. In this early period of International Rugby Union, players were expected to retain their jerseys for matches, even after players returned to International duty from a 4–5-year hiatus of military duty in World War 1. The English Rose badges at the time were individually embroidered for each player with differences in detail. Lot 578 in this auction is an album containing John Birkett’s England team photographs. In his debut photograph in 1906 against Scotland, one can see through a magnifying glass that the different tones of black and grey on the stem and leaves match the emblem on the jersey, proportions seem to be correct as does the angle of the stem and rose. John Birkett did play in other jerseys which can be seen in the team photographs, but we believe this to be his debut jersey and used on several England appearances. Copy of the 1906 photograph shown with this description but is not part of this lot.Auctioneer’s Note:Making his debut with Birkett in 1906 versus Scotland was James ‘Jimmy’ Peters who was the first black rugby player to represent England, and the only black player until 1988. Also playing for England was Belgian John Raphael, part of a millionaire banking family, who also played first class cricket and was killed in his home-country in 1917 during the Battle of Messines. While Adrian Stoop, the legendary Harlequins whom which their ground ‘The Stoop’ is named after played at half-back. The captain was V H Cartwright who was president of the RFU in 1928/29. In the Scottish line-up was Kenneth Grant McLeod, who was inducted into the Scottish Sports Hall of Fame for his all-round sporting ability, winning 9 caps for Scotland while also playing for Manchester City FC, cricket for Lancashire and was a successful golfer too. Also in the Sottish team was British Lions captain David Bedell-Sivright who was killed during the Gallipoli campaign.The match was played at Inverleith, Edinburgh on the 17th March, 1906, watched by some 20,000 spectators. Against expectations, after a terrible losing streak of six matches, England were the victors 9 points to 3 (3 tries to one). The victory was despite England’s forward Simpson not completing the match due to injury sustained in scoring the winning try. Newspapers including ‘The Referee’ commended the English Selection Committee and bringing in John Birkett for his debut, while The Daily Mail wrote ‘Birkett, the young Harlequins centre, whose claims to international honours have been advocated throughout the season, showed himself to be possessed of rare judgment and a considerable amount of pace; he had a hand in the obtaining of all the three tries scored by his side’. The reports of Birkett’s debut being a glorious success continued in The Morning Post, The Field and other newspapers.Provenance: the vendors of the Birkett Sporting Archive are the great grandsons of J G G Birkett (1884-1967), and the great-great-grandsons of Reg BirkettSee our digital catalogue for this collection with further images here https://bit.ly/2PixOMn
Mid 18th century Derby porcelain figure of a garland shepherd, stood with dog by his feet and letter in his outstretched hand, together with an 18th century porcelain figure, modelled as seated shepherdess with dog upon lap and sheep by her feet, each upon flower encrusted and gilt detailed scrolling base, shepherd with patch marks beneath, shepherd H19cm, shepherdess H15cm
Near pair of bocage figures, the first an 18th century Derby example modelled as a young boy holding flowers, upon a gilt detailed scrolling base, with patch marks beneath, H17cm, together with a later example in the Chelsea-Derby style modelled as a young girl holding flowers, upon similar base, H1
A 19th century turned ivory chess set, highest 8cm, in a wooden folding inlaid games box, together with a George III mahogany box, with a hinged lid and drawer below, containing a collection of Russian/English language translation cards, 15cm. This item may require export or CITES licences in order to leave the UK. It is the responsibility of the buyer to ensure that licences are in place before shippingCondition report: The chess set is complete. It is however dirty and the red pieces have marks on the tops where they have worn away the red to a white colour. One white rook is quite chipped around the top and the base with several of the castellations missing, and around half the foot rim is chipped around the edge. The box looks to be original and complete, although the veneers are lifting. There is a large white patch on the top, but this does rub away. There are several splits and light knocks around the edges, dirty and unrestored, but well made. Opens as it should and is usable.
SUKENORI: A RARE ITTOBORI WOOD NETSUKE OF A MONKEY By Sukenori, signed Sukenori 亮則Japan, Takayama, Hida province, late 19th centuryA charming carving of a monkey (saru) executed in ittobori (carved with a single knife or cutting edge). The monkey sits in a leisurely position crossing his legs and holding his knee against his body with both arms, the eyes inlaid in dark horn, and the wood stained, a patch in the back is left unstained. Pierced himotoshi in the front in-between the legs and signed underneath SUKENORI.HEIGHT 5 cmCondition: Perfect condition.Provenance: European collection.One is instantly reminded of the early 20th century cubism art movement pioneered by Pablo Picasso and Georges Braque.
Collection of vintage clothing comprising Cambridge boating style striped blazer, batik African style 1960s short sleeved mens shirt, Sam Browne belt, Russian pilots leather helmet, childs tunic and sailors cap, 2 aprons and a pair of theatrical Elizabethan style hoseCondition Report: Blazer 42 / 108cm chest. Wearable condition, would benefit from a clean, with hole above pocket, light stains and cut to lining.Batik top bears label Carnaby and fabric on seam bears wording Veritable Java Holland. Light stains to armpits, small spots on shoulders178 chest ,back of neck to hem 77cmBelt good condition. 126cm marked inside 9 A 32Helmet marked W3-78,58. Wear to sheepskin and chamois lining and outer leather Tunic underarm to underarm 88cm, neck to hem 63cm Aprons labelled Prova & Riverside. Prova apron missing small patch near left hem Hose in poor condition
Signed and dated '90, titled on verso, oil on canvas.60cm x 90.5cm (23.5in x 35.5in)Condition report: The painting is in good, restored condition. The painting has been re-lined and there is a repair patch visible on verso with corresponding overpainting. There are one or two small flecks of paint loss across the canvas. The painting is ornately framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
Small selection of evening bags, powder compact, patch box and folding scissors (6) Condition: All with general wear. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Middle Eastern-style machine-made wall hanging in the manner of a 'Hunting Carpet', the madder rose field with various wild animals within double-ended mihrab, script cartouches to the indigo-ground foliate scroll main border, 160cm x 293cm Condition: Patch of wear to one corner of field, other to main border etc, scuffing to corners, pile generally a little uneven and thin, general wear. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Manner of James Shoolbred, set of four late 19th century upholstered walnut dining chairs, the backs with carved sunflower motif and gilt metal rosette finials to the stiles Condition: Overall fading, discolouration, legs with losses to mouldings, and scuffs and scratches, braiding on later upholstered seats becoming detached in places. Back of one chair has broken and now has a significant old patch repair where stile meets seat, also plastic hessian backing removed from underside. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
A Lulu Guiness embroidered wool felt handbag, the front decorated with a bouquet of flowers in the 'Bouquet Gwyneth" pattern on a purple ground, 30.5 cm high excluding handle, maximum 31 cm wide, with original tag.Condition report: A wear patch to the front of the bag approximately 2.5 cm x 2 cm to the right of the flower bouquet, otherwise other small marks consitent with wear
6 Shot .44 Colt Army Percussion Revolver No. 19383 (matching), round barrel stamped -ADDRESS COL. SAMl COLT NEW-YORK U.S. AMERICA and deeply struck with an owner’s initials JC, colour hardened underlever rammer, rebated cylinder roll engraved with naval engagement scene, brass trigger guard, iron grip strap, one piece wooden grip. Barrel 20cms, overall 34cms. Good condition, some age wear overall, rammer, barrel wedge and nipples replaced, patch of pitting to barrel.
Fine 32-Bore Double Barrel Percussion Sporting Rifle, stub twist barrels with original brown engraved Alexr. Henry 8 South St. Andrew Street Edinburgh on partly matted top rib, fitted with 3 leaf platinum lined rearsights to 300yards, scroll engraved bolted locks signed R.T. PRITCHETT with detented actions, platinum safety plugs, scroll engraved blued iron furniture, trigger guard tang numbered 3094, colour hardened patch box, chequered small and fore, vacant silver escutcheon. Barrels 71cms, overall 113cms. Good condition and retaining most original finish overall.
Good Double Barrelled Percussion Cape Rifle by Joseph Bourne No. 3187, Damascus twist etched and browned barrels comprising 39 bore left barrel deeply cut for a belted ball, 14 bore smoothbore right barrel, signed matted top rib with 6 platinum lined graduated leaf sights (unmarked) rib engraved with trophy measure to 20”, platinum safety plugs, signed bolted foliate engraved locks retaining much colour hardened finish, engraved iron furniture retaining much original finish comprising stag engraved trigger guard bow with chequered finger rest, large rectangular patch box lid engraved with a lion, figured walnut stock, chequered small and fore, vacant nickel escutcheon; in its brass bound blue felt lined fitted oak case containing leather covered Hawksley flask, a leather shot bag (seam split), oak box with sliding lid and a few other non-original accessories (hinged brass handle to lid bent). Barrels 76.5cms, overall 117cms. Good condition.
Y A small collection of jewellery and costume jewellery, to include an early 20th century polished azurite pendant, with a gold cap, stamped 9ct, 3.6cm long; circular gilt metal Art Deco locket, circa 1920, with red stone accents, 3.5cm diameter; together with an open faced silver pocket watch, Birmingham 1879 hallmark, maker's mark A.L.D, 4.2cm dimeter; a silver heart shaped patch box, with scrolled foliate decoration, hallmarked Chester 1897, inscribed Ethel 1903, 5cm long; a silver cigarette box, hallmarked Chester 1928, 8.4cm long; together with various costume jewellery items Condition Report: There is no condition report available on this lot. Condition Report Disclaimer
A George III oak painted dial longcase clock, I & E Mason of Worcester, the 12" dial with flower spandrels, black painted Arabic numerals and a flower spray to the centre with calendar aperture below, the 30-hour four-pillar movement striking on a bell, the hood with swan-neck pediment and fluted columns, the inlaid trunk with canted corners and plain moulded door above a plain base box raised on a plinth, 206cm high, 48cm wide, 23cm deep.Condition report: Movement: winds, runs and strikes but not tested for timekeeping.Dial: typical discolouration and faint cracklure. Lower left corner enamel chipped.Hood: finials probably later. Left finial seat needs repair. Door has some splits to veneer and a small veneer patch top left corner. Fair but a little tired.Case: a little tired throughout cosmetically but sound. Base box front and sides split. Plinth worn. No key for door.
An 18th century provincial, oak 8-day longcase clock, the hood with a caddy top and enclosing a 12" square brass dial, signed 'Rd Bullock, Ellesmere', with cherubim spandrels, chapter ring, Roman numerals and Arabic 5 minute markers, subsidiary dial for seconds and date aperture, the long trunk door, with ovolo edge bead and patched where lenticle positioned, the 8-day movement with anchor escapement, striking on a bell, with pendulum and two weights, some restoration, approximately 207cm highCondition report: Caddy top probably later and probably a 19thC addition, Hood lacking lower edge moulding on left hand side return. Later drilled sound-holes left and right sides and door glass cracked in several places. Several holes below frieze on right side.On trunk large later oak patch covering the original lenticle aperture.Chips, dents and scratches consistent with age and use. Shaped plinth probably later. Overall colour - nice.
A 19th century mahogany veneered bow-fronted sideboard, inlaid with ebony stringing and dots, the cossbanded top above a frieze drawer and an apron drawer below, flanked by a deep drawer on the right and two short drawers on the left, raised on ring turned legs, later elements, damage and restorations,122.5cm wide x 59cm deep x 95cm highCondition report: Back left leg badly split, around the top where previously broken-off. Damage, including right side badly split right across and left side with 13cm crack. Front faded. Frieze drawer later. Top patched - 3cm x 1cm patch on back edge. Generally top ok, but with scratches, some old shallow gouges and small spots that are stained.Front faded. Later handles.Chips, dents and scratches consistent with age and use.
A small, well proportioned, George III oak bureau, with shield-shape bone escutcheons, the fall above two short and two long graduated drawers, with later brass drop handles, minor restorations, 68cm wide x 45cm deep x 90cm highCondition report: Later hinges and handles. Positions of original backplates evident by 'shadows' and pin holes. Fall slightly warped and with 5.5cm wide patch top right. Later beads on front stiles, disguising through dovetails visible on the sides. Lacking internal two drawers.Minor chips, dents and scratches consistent with ager and use.
A 17th century oak coffer, the twin plank top above a quadruple panelled front, the stiles unusually carved with long nulls, the top badly damaged, 135cm wide x 58cm deep x 65cm highCondition report: Later 18thC lock and patch on top in the corresponding position. Top badly damaged with sections broken off and repaired/dowelled, including 32cm front left corner and 35cm back right corner (possibly later , but if so well matched), water stained and cracked, including 43cm crack back left.Later lock, escutcheon and hinges. Remnant of one strap hing still evident.
A late George III and later, harlequin set of six provincial, mahogany, Chippendale style dining chairs, comprising a set of three with quartrefoil pierced splats, undulating cresting rails and overstuffed seats covered in later gros point, raised on chamfered square legs, united by 4 rail stretchers, with another three later examples, some damage (6)Condition report: Set of three - one with broken part of splat and consequently lacking 4cm section. Another lacking 11.5cm section in a similar place on the reverse and with a re-stuck cresting rail (formerly broken) and with restorations including both front legs (right with a visible 9cm patch top right) and 'H' stretcher on the join on the left (formerly broken) and splat strengthened with screws at the base, seat cover with small tears. The third strengthened in a similar way and with two upright sections of splat restored and seat 'sagging'. Braid not matching and worn and in need of replacement.Remainder - one with badly broken front right leg at the top.All chairs with chips, dents and scratches consistent with age and use.
A REGENCY MAHOGANY CHEST OF DRAWERS, C1820, THE TOP WITH DOG TOOTH INLAID BORDER ABOVE TWO SHORT AND THREE LONG GRADUATED DRAWERS WITH BOXWOOD LINE INLAY, IVORY KITE SHAPED KEYPLATES AND OVAL ESCUTCHEON WITH LOOP HANDLES, BOWED APRON AND SPLAYED BRACKET FEET, 117CM H X 103CM W Top with patch to back right hand corner, chip to back left corner, patch to front left corner, inlay absent on front right corner, some inlay missing to frieze and carcass, similarly boxwood line inlay to drawer edges absent with chips to apron and feet, right side with chips to back edge and filled section, left side with worm and veneer losses, replaced back
A Queen Anne style mahogany display cabinet, with arched pediment above a glazed door with wooden astragals enclosing shelves, the base with moulded edge and raised on carved cabriole legs terminating in claw and ball feet. Width 78 cm, height 192 cm. CONDITION REPORT: The cabinet is in generally very good order. It is structurally sound. The cornice is in good condition with only very minor corner nibbles. The door is not warped. It closes as it should. There is no dark patch at the top of the door, this must be a reflection or shadow. All glass panels are in good condition with no cracks. The lock is present. We do not have the key. The door is not locked. The cloth fabric inside is a little shadowed and stained n places but serviceable. All side panels are in good order. The cabriole legs are all in good condition also. There is no evidence of any woodworm. The cabinet height is 192 cm. The width is 78 cm and the depth 39 cm.
Six: Driver S. P. Hodgson, Royal Army Service Corps and St. John Ambulance Brigade 1939-45 Star; Africa Star; Italy Star; Defence and War Medals 1939-45; Service Medal of the Order of St John, silvered base metal (33793. Pte. S. P. Hodgson. Bedford. S.J.A.B. 1946/) mounted as worn, good very fine (6) £80-£120 --- Sydney Palmer Hodgson was born in Sedgefield, co. Durham, on 22 September 1914, and attested for the Suffolk Regiment (Territorial Army) on 27 February 1941. Transferring to the Royal Army Service Corps on 5 June 1941, he served during the Second World War as a Driver predominately with 5, later 236, Brigade Company in the Middle East, Africa, and Italy, and was released Class ‘Z’ on 4 September 1946. He died in Bedford on 29 May 1964. Sold with cloth formation signs for the 21st Army Group, the Second Army, and the 7th Armoured Division, and a Fitter’s Trade cloth patch; and copied service papers and other research.
A Japanese pair awarded to Gunto (Sergeant) Masaaki Yorioka, Imperial Japanese Army, who died of wounds in China in October 1937 Japan, Empire, Order of the Rising Sun, Eighth Class breast badge, silver, with lapel rosette, in original rio-nuri lacquered case of issue; China Incident Medal 1937, bronze, in case of issue, extremely fine (2) £60-£80 --- Provenance: Dix Noonan Webb, March 2010. Masaaki Yorioka was born on 17 July 1909 in the Kochi Prefecture. As a Gunto in the Imperial Japanese Army, he died of wounds in the 2nd Imperial Field Hospital on 29 October 1937. Sold with the recipient’s original named Service Book; ‘Gunto’ collar rank patch; and a photograph of the recipient in uniform.
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