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Click here to subscribeTwo English enamel patch boxes and a snuff box, late 18th/early 19th century, one circular and decorated in the manner of Jasperware with a Classical figure and a falcon, another of navette shape and decorated with a feathered floral design on a blue ground, the last moulded with a scallop shell lid with blue ribs on a seaweed tendril ground, some restoration, 5.7cm max. (3)Provenance: from the estate of the late Barry Lock.
A South Staffordshire enamel patch box commemorating the Treaty of Amiens, c.1802, decorated with the figures of Fame and Plenty standing back-to-back beside ships at sail, Plenty holding a victory wreath above her cornucopia, Fame with a banner suspended from her trumpet, inscribed 'Duncan, Jervis, Abercrombie, Nelson, Howe', above them inscribed 'Fame Proclaiming her Heroes, Peace with Plenty', the base coloured a dark blue, the interior cover fitted with a mirror, a little fill to the base, 5.4cm.Provenance: from the estate of the late Barry Lock.The short-lived Treaty of Amiens lasted only one year but engendered the only period of true peace between 1793 and 1814. The uneasy truce was ended by Britain declaring war on France in May 1803, following Napoleon's increased attempts to control Western Europe.
A rare South Staffordshire enamel patch box of military interest, early 19th century, the oval form printed and coloured with a head and shoulders portrait of Count Matvei Ivanovich Platov, inscribed 'General Platoff', within a white beaded border, raised on a pale blue base, internal mirror fitted, some restoration to the base, 4.7cm.Provenance: from the estate of the late Barry Lock.Platov was a Russian general who commanded the Don Cossacks during the Napoleonic Wars. The print is taken from a portrait by Karl Friedrich Schulz.
A Bilston enamel commemorative patch box of Royal interest, c.1791, the oval form inscribed 'May the Duke and Dutchess [sic] of York possess Unbounded love and happiness' within a blue pennant border, the white oval base with a continuous band of blue flowers, some restoration to the top, 5.2cm.Provenance: from the estate of the late Barry Lock.In 1791, Frederick the Duke of York and Albany married Frederica, Royal Princess of Prussia. Despite the fervent good wish expressed on this box, the marriage was not a happy one and ended within a few years.
Henry Frederick Lucas Lucas (1848-1943) - Alert and Twopenny in their stable, oil on canvas, signed and dated 1887 lower right, 50 x 65cm Three very small patch repairs to canvas back, otherwise canvas is very good.Paint good and stable, no varnish residue.Some blistering and paint loss to lower left corner.In replacement frame with no apparent faults.
A Large Derby Figure of James Quinn as Sir John Falstaff, circa 1780, wearing a puce coloured overcoat and his waistcoat ground in pale yellow embellised with flower sprigs and gilding, raised on a Rococo style scroll moulded base edged in turquoise and gilt, patch marks39cm highRestoration to the top of his hat and under the base. Further repair to the shield, sword and right hand.
A Derby Porcelain Figure of Minerva, circa 1770, wearing a helmet and cuirass, holding a shield and on a Rococo moulded base, patch marks26.5cm highA Similar Bow Figure of Venus, circa 1760, modelled leaning against a tree stump and with a pair of doves at the base25.5cm highA Worcester Porcelain Bowl, circa 1770, scale blue ground and painted in gilt scrolling reserves with Japanese style flowers, underglaze square seal mark15cm diameter (3)Derby figure - loss to helmat and a section of the base. Some firing cracks. General wear.Bow figure - both arms lacking and with restoration at the arms. Right hand doves left wing restored. Some losses. Glaze pitted.Bowl - no chips, cracks or repair. Some glaze pitting and wear.
Charles Johnson Payne ''Snaffles'' (1884-1967)"Ubique Meant - 'Bank', Olborn Bank - A Penny All the Way"Signed in pencil with the bit blindstamp, a colour reproduction, 47cm by 71cmProvenance: John Mathieson & Co., Edinburgh Debris and a number of thunder flies trapped under the glass. Pronounced time staining and discolouration to the mount. Foxing and possible water marks sporadically across the mount. Stain to centre right of mount. Image with areas of notable time staining to include patch around right hand horse and dog, wheels of carriage etc. Overall slightly down on colour. No evidence of cockling. Not examined out of frame. For further information please contact the department.
Federico Mazzotta (1839-1897) ItalianAn interior with two children and their sleeping grandmotherSigned, oil on canvas, 35.5cm by 47cmIn fully restored condition. Stiffly relined, cleaned and revarnished. Restoration has somewhat flattened and abraded the surface. Now covered in a thin layer of dirt and discoloured varnish. Paint thin in places. Under UV there are several passages of retouching and infilling throughout the background. More notable patch to upper right hand corner. Patch of strengthening to the shadows in the old woman's skirt and the folds of the young girls skirt. The boys hat and details of his clothing have been strengthened. There is an area of incongruous paint around the bottle on the shelf in the background. This is possibly a repaired damage. The surface of this area is different and slightly raised. For further information please contact department.
Alfred Lyndon Grace (1867-1949) "His Favourite Pipe"Signed and dated (19)39, inscribed verso, oil on canvas, 39.5cm by 29.5cmOverall appears sound. Light surface dirt and discoloured varnish. Canvas is uneven. Small patch of losses to upper right hand corner. Areas of thin paint. Sporadic areas of retouching and infilling. Most notable patch to upper left hand corner above tankard, upper right hand coner, and throughout the brickwork of the fireplace.
William Edward Frank Britten (1848-1916) An ethereal figurative sketch Signed and dated 1899, pastel, 26cm by 21.5cm Glazed. Some surface dirt trapped under glass. Areas where the ground is visible through the pastel (likely by design). Slightly uneven patch to the lower left hand corner. No evidence of cockling. Not examined out of frame. Otherwise appears sound.
Elizabeth Marion Nelson (fl.1890-1930)"Kobeomer"Signed, inscribed and dated 1923, oil on canvas, 29.5cm by 34.5cmOverall in a reasonable state of preservation. Some light surface dirt and discoloured varnish. Frame rubbing to edges, most notable to upper left hand corner. Visible stretcher shadow. Several areas of thin and abraded pain. The odd sporadic scuff and mark. Tiny damage with associated losses within the dog's pink bow, no more than 0.2cm across. Slight paint loss towards upper right hand corner by the slip. Patch of discolouration to lower right hand corner.Provenance: Private Collection, North East England
W* H* Chapman (19th Century)White terrier at rest on a cushion Signed and dated 1859, oil on canvas, 24cm by 36cmProvenance: Private Collection, North East EnglandFairly stiffly relined, cleaned and revarnished. Some light surface dirt and discoloured varnish now in evidence. Surface slightly flattened and abraded by restoration process, although retains some impasto. Some areas of retouching are visible under UV. Most notably a patch to the floor at the left hand side of the sleeping dog, and sporadic areas elsewhere, most likely infilling to old craquelure. The outline of the resting dog have likely been strengthened and possibly so has the signature. Overall in a broadly good and stable state of preservation.
A Regency Mahogany and Boxwood-Strung Pembroke Table, early 19th century, with reeded edge and two dropleaves above two small pine-lined drawers, on turned tapering legs with brass-capped toes and castors and joined by a stretcher49cm by 32cm by 72cmA Similar Smaller Example31cm by 40cm by 72cm (2)Larger table - with a water or heat mark (as photographed). Reasonable colour, however, one of the drop leaves has a patch repair. The legs/structure is slightly weak. Second table - has a light hue to the polish. With a fault to one of the drop leaves. Some scuffs and faults around the legs.
A 17th Century Oak Table Box, dated 1668 and initialled GF, of nulled construction, the superstructure with three carved drawers between carved caryatid figures, the hinged writing slope with a chip-carved geometric border enclosing a vacant interior, with carved panels below centred by a mask74cm by 43cm by 35cmThe hinged lid has a patch repair (as photographed). There is some old decay throughout the hinged lid, as well as numerous deep scratches.
Owen Bowen ROI, PRCamA (1873-1967) Assorted Roses in a silver vase Signed and dated (19)29?, oil on canvas, 38cm by 58.5cmProvenance: Walker Galleries, HarrogateIn fully restored condition. Relined, cleaned and revarnished. Paint surface slightly flattened and abraded by the restoration process although maintains areas of good impasto. Areas of thin paint, mostly throughout the background and table upon which the vase sits, although not exclusively. Some very light retouches visible under UV, but more notably a circular patch of overpainting to the background, lower right hand side, likely a repaired damage. Two areas of slightly incongruous brown paint in the background towards lower left corner.
Attributed to David Roberts RA (1796-1864) Scottish"Old Warehouse - Rouen"Signed and dated 1861, oil on canvas, 34.5cm by 24.5cmIn fully restored condition. Relined, cleaned and revarnished. Surface flattened and abraded by restoration process. Many areas of thin paint, flattened impasto etc. Now with surface dirt and discoloured varnish in evidence. Uneven canvas. Patch of small sized, stable craquelure to just above centre of painting within the sky, although not exclusivley. Frame rubbing to edges. Area of repaired damage visible with eye to brickwork of building just to right of centre. Patches of retouching, infilling and overpainting throughout, notably to woodwork of building centre left, outline of figures to lower right, composition of central group. Almost the entirity of the sky has been repainted, and several patches of the building to the right hand side in and around the aforementioned area of damage have also been overpainted/strengthened. In comparison with the extensive campaign of restoration and retouching elsewhere, there is no evidence to suggest that the signature has been added or strengthened. For further information please contact the department.
Anton Weinberger (1843-1912) GermanA well behaved PugSigned and dated 1879, oil on canvas, 49cm by 39cm Provenance: Christie's, South Kensington, Sporting Art, Wildlife & Dogs, 7th November 2007, Lot 319Covered in a layer of dirt and discoloured varnish. Some frame rubbing to edges. Sporadic patches of finely spaced stable craquelure, most notably within the lower third but not exclusively. Small patch of minor losses to lower edge (see image). Small loss to upper right hand corner (see image). Notable paint loss to left of dog's head approx 2cm across (see image). Repaired damage to dog's back left leg is visible with the naked eye and there is an associated repair to the reverse. Under UV there is a notable patch of overpainting and infilling around this area and extending to the end of the paw. Other patches of overpainting and retouching are visible under UV, most notably an area approx 5cm across within the dog's collar, and a larger area in the background above the dog's head. The signature would appear to have been strengthened. For further information please contact department.
* Shaw (19th Century)Study of a duckMixed media, 25.5cm by 29.5cmHoused in a modern frame. Dirt and debris trapped under glass. Relatively pronounced time staining to sheet. Work slightly down on colour. Work would appear to be stuck down. No evidence of cockling. Not examined out of frame. The odd sporadic foxing spot. Patch of brown marks to sheet approximatley 3cm to right of duck's legs. Other sporadic patches of spots / marks to sheet elsewhere. Patch of white spots - approximately 6 - just below duck's beak. Possible patch of surface bloom on duck's wing. For further information contact department.
Ernest Higgins Rigg (1868-1947) Cattle grazing in summer pastures Signed, oil on canvas board, 28cm by 38cmCovered in a layer of dirt and discoloured varnish which is slightly more apparent to the edges and to areas of white pigment. Several areas of thin paint, likely by design. Slight frame rubbing to edges. Signature partially obscured by the frame. Several small black flecks across composition, likely paint and contemporary with the rest of the work but do appear somewhat incongruous. The odd patch (i.e lower left) where the canvas is visible, likely by execution. Otherwise appears in sound condition.
Elizabeth Marion Nelson (fl.1890-1930)Study of a Japanese Chin sporting a blue bow Signed, indistinctly inscribed and dated 1916?, oil on canvas, 54.5cm by 44cmCovered in a layer of dirt and discoloured varnish. Visible stretcher shadow. Pushmarks from back to front at upper left and lower left corners. Some areas of thin paint. Two notable patches of overpainting/retouching visible under UV, both in the background approx 3.cm to the left of the Chin's head. Other more minor retouches to background elsewhere. The patch of overpainting nearest the Chin's head is visible with the naked eye and stands slightly proud of the rest of the paint surface. Small pin hole just to right of the blue bow. The odd sporadic knock and scuff. Otherwise appears sound.
A pair of 1930s mahogany and flame mahogany cylindrical bedside cupboards, each with shaped swivel mirrors, further swivel tops, single frieze drawer over conforming cupboard door to squat cabriole supports, h.78cm (to top surface), dia.53cmNo locks.One stands a bit off balance, especially evident when handled.Each swivel mechanism good.One with several veneer patch losses to back edge of raised gallery at top surface.Each generally worn, sun-bleached and faded throughout.Formerly end section to dressing table.Screw holes visible from where previously joined to mid section.
Walter Linsley Meegan (British c1860-1944): Hull Dock Offices and Wilberforce Monument by Moonlight, oil on canvas signed 25cm x 35cm Provenance: private East Yorkshire collection, purchased Dee, Atkinson & Harrison 19th November 1999 Lot 586Condition Report: Overall light craquelure, small patch verso (no signs recto), no signs of overpaint under UV light - ready to hang.
Thomas Barrett (Staithes Group 1845-1924): 'Clovelly Fishing Boats', oil on canvas signed and dated 1879, titled on label verso 14cm x 22cmCondition Report:Good original condition. Light craquelure, one small patch of overpainting in the sky visible under UV light. Well presented - ready to hang.
A GLASGOW GIRLS PENDANT in white metal and champlevé enamelled with Mackintosh style roses in blues and greens, the pendant suspended on a fine silver trace chain. Length of pendant 5.2cm, length of chain, 49cm, weight 11.1gms Condition Report:"The pendant is not hallmarked, it is white metal (silver) As it is not signed I cannot tell you who made it or when (within first quarter of 20th Century). The vendor had collected many of the Glasgow girls items that are also in this sale and by family connection knew many of them. As this is only hearsay we cannot use this information.the chain is hallmarked 800 for continental silver, a couple of the dots around the rim no longer have enamel, the rest of the enamel is in 'as made condition' with various bits of crawl back to edges, and a patch on the counter enamel where is rested on the base during firing and fused to the surface, leaving a rough patch. The box also is the correct period."
A WW2 BRITISH EMPIRE MEDAL GROUP OF FIVE Awarded to Flight Sergeant Leslie S. Rockey (R.A.F. 569639) R.C.A.F., comprising George V British Empire Medal (B.E.M.), War Medal, Defence Medal, 1939-1945 Star and France and Germany Star; together with dog tags stamped "GB 53981 Officer LS Rockey CE RAF", early-War officer's bullion embroidered cap badge, with band affixed, uniform buttons, badges and Wings cloth patch Condition Report:Available upon request
Space. Apollo VIII Collection. James Lovell William Anders and Frank Borman Signed 10 x 8 inch NASA colour photo. 10 x 8 inch colour photo showing first lunar orbit. Apollo 8 FDC with May 5th, 1969, postmark. Mission Patch Included. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
A George III silver teapot by Duncan Urquhart & Naphtali Hart. With foliate scroll and fruiting vine embossed decoration and gadrooned borders, the hinged lid with ivory finial, the silver handle with ivory insulators, raised on four ball feet, London 1808, height 15cm, 21.1 toz. Ivory exemption certificate number U1P17LFYThere are several sections of silver soldered repairs. There is a large rectangular patch to the body. Please see images.
1990 Citroen 2CV6 'Dolly' Registration Number: G557 BRX Chassis Number: VF7AKZA00KA866377 Engine number: 0909533826 Described by the motoring writer L J K Setright as 'the most intelligent application of minimalism ever to succeed as a car' and a car of 'remorseless rationality', Citroën’s ‘Deux Chevaux’, or 2CV, is perhaps one of the most widely recognised vehicles in the world. Like the Volkswagen Beetle, the 2CV was conceived in the 1930s to make an affordable car for the masses, in the 2CV's case with an eye particularly on French rural use with simplicity, frugality and flexible suspension as major criteria. While neither were put into full production until after the Second World War, like the Beetle, the 2CV became not only a million-plus seller, but also one of the few cars in history to continue a single generation in production for over four decades. Over 3.8 million 2CVs were built in various factories around the world. The peak of sales in the UK was reached in 1986, thanks in part to the trendy 'Dolly' special editions, with production ending in 1990 due to toughening legislation. A 'late' 2CV manufactured in 1990, this 2CV6 Dolly was supplied new on 30 April 1990. It is fitted with the 602cc two-cylinder air-cooled engine mated to the four-speed manual gearbox. Finished in the desirable colour combination of maroon and cream, or 'plums and custard', with grey cloth interior upholstery, 'G557 BRX' is a very low mileage, seemingly original example. Mileage is extremely low with just 32,789 recorded miles from new at the time of cataloguing. In the vendor's ownership since December 2020, the 2CV is offered with two sets of keys and a history file containing an original book pack presented in the Citroën wallet. Further paperwork includes the handbook and service book, a selection of recent invoices and a current V5C. MOT valid until 23 August 2024. Condition ReportThe 'Dolly' has recently had some work done, details of the invoice are attached and sailed through the MOT without any advisories. There is an extensive history file, but nothing more recent than 2017. The paint and decals are a little faded and paint is thin on the bonnet, along the shape lines and one patch on the passenger door, showing a little of the pale blue undercoat paint on these highpoints There are of course other marks and the rear off-side mud guard is slighlty mis-shapen, viewing is strongly recommended to satisfy any potential purchaser as to condition. It has been cleaned and detailed recently and the fold back roof was a replacement in 2017.
A small mahogany desk with a raised back, 19th century and later, fitted with a bank of eight small drawers and a cupboard, the base with a baize-covered slide and fitted drawer with gilt-brass handles, raised on square tapering legs and castors,65cm wide53cm deep97cm highCondition ReportInk stains to the flat surfaces, veneer repair patch to the top of the left leg.
Indian School,Punjab, late 19th century, a ceremony with ten Sikh gurus and attendantsgouache on paper68 x 86cmCondition ReportOverall: 90 x 105cmThe paper is rippled and lightly creased. There is foxing starting to emerge in places. Light surface abrasions and scratches throughout. There appears to be a small 4cm x 2cm patch repair to the top left. Not viewed out of glazed frame.
Sir Donald Bradman (1908-2001), signed framed photo of Australian Cricket legend Sir Donald Bradman (1908-2001). This frame includes a fabric Australia Cricket patch, Test career stats metal plaque. First class career stats metal plaque. 2x shorthand accounts of Sir Donald's achievements in Cricket. COA by Peter Wood sporting memorabilia & autographs. Frame size 21x19inch.
Oiva Toikka (Finnish, 1931-2019) for Iittala, Finland. Pair of glass birds. Each signed and dated 2007 along the underside. One with a spiderweb design of white and blue. The other in dark green and deep amber.Blue; height: 6 1/2 in x width: 4 in x depth: 11 in. Black; height: 7 1/2 in x width: 5 1/2 in x depth: 12 in.Condition: There are no visible cracks, losses, or restorations. Very light wear throughout. There is a small patch of roughness along the tail of the blue bird.
Ancient Greek Attic painted terracotta lekythos depicting Heracles fighting the Cretan bull, ca. 5th century BCE. With a catalogue number on base.Height: 7 in x width: 2 1/2 in.Condition: Chips, scratches, and wear throughout consistent with age and use. Some mineral deposits throughout the piece, especially along the neck and shoulder. Some losses to the pigment throughout. There is a sticker affixed along the underside; there is a small patch of sticker residue along the underside.
CINEMA: A good selection of multiple signed 10 x 8 photographs by various film stars, some of them Academy Award winners, including Lauren Bacall & Claire Trevor (alongside Humphrey Bogart in a scene from Key Largo), Jeff Bridges & Rachel Ward (together in a scene from Against All Odds), Shelley Winters & Elizabeth Hartman (together in a scene from Patch of Blue), Shirley MacLaine & Debra Winger (together in costume from Terms of Endearment) and Nigel Havers & Alice Krige (together in a scene from Chariots of Fire). All are boldly signed, largely to clear areas of the images, and only one is inscribed. Generally VG, 5
[MANHATTAN PROJECT]: A rare original United States of America war department diploma, one page, oblong 4to, Washington D.C., 6th August 1945. The partially printed document, completed in typescript, was issued by the Army Service Forces, Corps of Engineers, Manhattan District, and certifies that William E. Stringer of E. I. duPont de Nemours & Co. Inc. 'has participated in work essential to the production of the Atomic Bomb, thereby contributing to the successful conclusion of World War II'. At the base appears the facsimile signature of Henry L. Stimson (1867-1950) American statesman who served as Secretary of War 1911-13 and 1940-45, thereby overseeing American military efforts during World War II. Together with an original cloth insignia patch issued to the personnel of the United States Army Manhattan Project District, the blue background representing the universe, with a white cloud and lightning bolt forming a question mark (representing the secret nature of the project) which extends down to split a yellow atom, representing atomic fission, and with a red and blue star to the centre of the cloud, being the insignia for the Army Service Forces to which soldiers working on the Manhattan Project were assigned. Some very light, minimal age wear, VG, 2 E. I duPont de Nemours & Co. Inc., better known by the shortened name of DuPont, are an American multinational chemical company which were formed in 1802. During World War II, as the inventor and manufacturer of nylon, DuPont helped produce the raw materials for parachutes and tyres. The company also played a major role in the Manhattan Project in 1943 by designing, building and operating the Hanford plutonium producing plant in Hanford, Washington.
A GEORGE III MAHOGANY TABLE CLOCKJOHN HIGDON, LONDON, CIRCA 1775The five pillar twin fusee bell striking movement with anchor escapement regulated by disc bob pendulum and asymmetric rococo-scroll engraved backplate, the 7 inch gilt brass break-arch dial with calendar aperture and fan-shaped recessed silvered plate signed John Higdon, London to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced blued steel hands and scroll cast spandrels to angles beneath arch centred with a Strike/Silent selection dial flanked by conforming mounts, the flame-figured mahogany veneered bell-top case with hinged brass carrying handle, brass pineapple finials and double cavetto top mouldings, over hinged front with raised mouldings bordering the glazed dial aperture and rocaille scroll cast brass upper quadrant frets, the sides with circular over concave-topped rectangular scroll-pieced sound frets, and the rear with rectangular break-arch glazed door applied with conforming raised mouldings set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.46cm (18ins) high with handle down, 28.5cm (11.25ins) wide, 19cm (7.5ins) deep. A clockmaker with the name John Higdon appears not to be recorded in the usual sources as working in London during the latter part of the 18th century, however it is most probable that he was connected to the Higdon family of clockmakers who were active in Somerset from around 1760. Condition Report: The movement is in fully working condition however is a little dirty/neglected hence a gentle clean/service is advised. There is no visible evidence of the clock ever having verge escapement however we are inclined to believe that it has been converted from verge with short bob to anchor escapement but done in a manner as not to leave any visible evidence of the original arrangement. The pendulum is a little long for the case requiring a slot to be cut in the baseboard to allow clearance for the bob; a blanking panel is applied to the underside. The dial is in fine original condition and is particularly well finished with fine matting and gilding to the plate and spandrels. The silvering is a little tarnished/discoloured. The case is in sound original condition but would benefit from some cosmetic attention. The polish is a little 'bloomed' in places most noticeable to the base mouldings. All four finials are present (one is detached). The right-hand side is faded and has a small veneer loss to between the lower hinge and the fret aperture as well as a similarly sized historic patch repair adjacent to the upper hinge. The frets are 19th century replacements and the left-hand side main fret is cracked with a couple of small losses; the silk backing has also degraded. The front door hinges are replacements otherwise locks and hinges appear original. The skirt base has a small chip/loss to the front and a small veneer loss towards the rear left hand edge. Faults are otherwise limited to minor age-related bumps, scuffs shrinkage and other minor blemishes.Clock has a winder but no case key. Condition Report Disclaimer
A GEORGE III MAHOGANY SMALL TABLE/BRACKET CLOCK WITH SILENT VERGE ESCAPEMENT AND ALARMJOHN TAYLOR, LONDON, CIRCA 1800The five pillar twin fusee bell striking movement with verge escapement incorporating sprung pallets regulated by lenticular bob pendulum with holdfast to the backplate, the alarm powered via a line-wound external standing barrel applied to the upper left hand corner of the movement and sounding via a vertically pivoted hammer on the hour bell, the geometric border engraved backplate signed John Taylor, London to an oval cartouche to centre, the 6 inch single-sheet silvered brass arched Roman numeral dial with alarm setting disc and signed John Taylor, LONDON to centre within Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands beneath subsidiary foliate trail decorated STRIKE/SILENT selection dial to arch, the break-arch case with hinged brass carrying handle over dupont and cavetto top mouldings and arch-glazed front door incorporating brass fillet mouldings to the aperture and rounded brass stringing to leading edges, the sides with arched brass fish scale sound frets and the rear with arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.33cm (13ins) high with handle down, 24.5cm (9.75ins) wide, 18cm (7ins) deep. Several makers with the name John Taylor are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working around 1800 including one apprenticed in 1796 and another working in Clerkenwell 1805-24. The provision of an alarm together with a 'silent' escapement indicates that the present clock was most likely made principally for use in a bed chamber. Traditionally table or bracket clocks were made the intention to be used upstairs at night and then taken downstairs during the day. This is the reason why carrying handles are normally fitted and repeat-work often incorporated (to allow the time to be ascertained during hours of darkness). Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements, The dial is in fine condition; the hands are possibly well-made replacements. The case is in very good condition with noticeable faults limited to some minor front-to-back shrinkage cracking to the curved top, and some historic small patch repairs to the veneer overlap of the rear door as well as to the lower edge of the left hand side fret aperture. Faults otherwise appear to be very much limited to minor shrinkage and a few historic bumps and scuffs etc.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer
AN UNUSUAL WILLIAM IV BRASS INLAID MAHOGANY HOUR-STRIKING WALL CLOCKTHE DIAL INSCRIBED FOR LITHERLAND, DAVIES AND COMPANY, LIVERPOOL, CIRCA 1830The five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum and cavetto-shouldered plates, the 12 inch convex cream painted Roman numeral dial inscribed LITHERLAND, DAVIES & Co., Church Street, LIVERPOOL to centre and with blued steel spade hands, set behind hinged convex-glazed caddy-moulded cast brass bezel applied to a mahogany surround continuing down to form a balloon-shaped panel incorporating concave-sided glazed lenticle beneath the dial and secured to the drop-trunk type case with pegs, the sides with lozenge-pierced doors and the base with frieze inlaid with brass scroll motif flanked by rosettes over canted underside incorporating down-hinged pendulum access flap to front.58.5cm (23ins) high, 35.5cm (14ins) wide, 18cm (7ins) deep. The firm of Litherland, Davies and Company is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as 'Inventors, patentees and Manufacturers of the lever Watch' also suppliers of chronometers and imported clocks trading in Liverpool 1814-51. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The dial retains old surface however the black numerals and signature have been 'strengthened'. There is also some slight touching-in around the winding holes and to a few small chips towards the edge of the dial. The bezel is in good condition and retains its lock. The case is in very good condition with faults limited to a small veneer chip to the rear left hand edge of the 'chin' and a similar historic repaired chip to the right-hand side. The canted front panel has a well-executed veneer patch replacement towards the front left hand corner. Faults are otherwise very much limited to minor bumps, scuffs and other blemishes commensurate with age.Clock is complete with pendulum, winder and two case keys. Condition Report Disclaimer
A FINE RARE GEORGE III TWELVE-TUNE MUSICAL BRASS MOUNTED MAHOGANY TABLE CLOCK WITH DOUBLE AUTOMATON THOMAS MONKHOUSE, LONDON, CIRCA 1775The substantial eight pillar triple fusee movement sounding the hours on a bell positioned behind the automaton above the T-shaped plates each measuring 8.25 inches high by 12 inches wide at the top before playing a choice of twelve tunes via an 11 inch pinned cylinder on thirteen bells with twenty-four hammers transversely mounted across the top of the mechanism, the going train with verge escapement regulated by short bob pendulum with holdfast hook to the symmetrical foliate scroll engraved backplate signed Tho:'s Monkhouse, London to centre, the 9 inch arched brass dial painted with an English arcadian landscape with figure tending sheep before a lake and castle and with recessed shaped signature plate engraved Tho's Monkhouse, LONDON to upper margin to centre, within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced blued steel hands and rococo scroll cast spandrels to angles with the upper two interrupted by polychrome floral painted subsidiary Strike/Silent and Chime/Silent selection dials, the arch with fine painted scene of a quintet incorporating triple-action automaton features to simulate playing of string instruments, set on a gallery over recess painted with backdrop of a crowd with two companion male a female automata figures with articulated waists appearing from each side and moving to simulate dancing whilst the music is in play, flanked by curtain-draped columns within arch applied with curved silvered plate engraved with tune selections Cassino, Minuet, Cicely Badger, Sukey bids Me, Minuet, Scots Bonnet, March, Berks of Abergeld, The Waterman, Langolee, Air de Jolie and The Egg Hornpipe with scroll-pierced steel selection pointer pivoted from the centre of the lower edge, the figured mahogany veneered inverted bell-top case with brass flambeau urn finials over double cavetto top mouldings and rectangular front door with brass fillet bordered glazed dial aperture and scroll-cast brass upper quadrant frets, flanked by canted angles applied with generous cast brass female terms, the sides with substantial hinged brass carrying handles over concave-topped rectangular brass fish scale sound frets within fillet surrounds, the rear with break-arch glazed door incorporating scroll-pierced upper quadrant frets flanked by canted angles applied with conforming female terms, on generous cavetto moulded skirt base with moulded brass squab feet.71cm (21ins) high, 43cm (17ins) wide, 27.5cm (10.75ins) deep. Provenance:Purchased at Bonhams, London sale of FINE CLOCKS 19th June 2019 (lot 41) for £17,562.50. Thomas Monkhouse is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Complete 21st Century Edition as working in London circa 1760. Although very little is known about him Thomas Monkhouse was clearly a very skilled maker who appeared to specialise in the production of musical and chiming clocks. The tunes played by the current clock aid to dating with the most relevant being 'The Waterman', which is from a comic opera of 1774 by Charles Dibdin. Amongst the other melodies 'Scots Bonnet' also known as 'Blue Bonnets Over the Border' was first registered in 1857; 'Cicely Badger' relates to a character in Samuel Richardson's 1753 Novel 'The History of Sir Charles Grandison'; 'Cassino', registered in 1770, was a country dance tune popular in both England and America; and 'Sukey Bids Me' was a country dance printed in 'The Universal Magazine of Knowledge and Pleasure in 1749. Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The dial is also in fine condition with minimal rubbing/wear around the winding holes; the painted finish appears original with some slight touching-in in places. The tune selection pointer appears to be a well-made replacement, the other hands are original and in good condition. Both automata are operational - the upper with the band playing is connected to the escapement hence operates whilst the clock is running; the lower dancing figures whilst the music is playing.The case is in fine condition with only minor repairs/restoration evident. The mask around the dial has been 'strengthened' by adding thin timber plates/packing to the inside around the arch and to the lower corners. The rear door hinges where attached to the carcass of the case have been strengthened by applying filler paste to consolidate the timber at that point. The front door has a veneer patch repair to the lower right-hand corner, otherwise faults to the case are very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use.Clock is complete with case key and a winder. Condition Report Disclaimer
Y A FINE AND RARE FRENCH LOUIS XIV BOULLE 'RELIGIEUSE' TABLE CLOCKCOUPE 'ANGLOIS HORLOGEUR DU ROY', PARIS, CIRCA 1675-80The two-train going barrel movement with plates measuring 5 by 5.75 inches united by five shouldered baluster pillars pinned at the rear and enclosing five-wheel trains and twin large diameter going barrels, the going train with verge escapement regulated by disc bob pendulum incorporating silk suspension, and the strike train with decorative scroll-pierced sculpted steel detent gates and high-position numbered countwheel for sounding the hours via a vertically pivoted hammer on a bell mounted behind the pediment of the case, the 10.25 by 8 inch engraved gilt brass dial with calendar aperture to the finely matted centre within silvered Roman numeral chapter ring with stylised leafy half hour markers and every minute numbered to the outer track, with scroll pierced sculpted steel hands and fine leafy flowering scroll engraved infill to the upper spandrel areas and lower margin flanking a boldly executed lambrequin panel signed Coupe Anglois Horlogeur, du Roy, Paris, in a case with three gilt brass flambeau finials and arched pediment incorporating complex mouldings bordering the tympanum faced in contra-parti marquetry with female mask flanked by Berianesque acanthus scrollwork executed in red shell and pewter into a brass ground, above conforming ebonised cornice and rectangular glazed front door applied with bead cast gilt brass surround within marquetry leafy scroll border, flanked by canted angles applied with full-height Corinthian pilasters further decorated with interlaced strapwork panels and leafy pendants to shafts and with cast multi-piece acanthus capitals, the sides with slender break-arch windows within pewter outlined panel decorated infill, the rear flush with rectangular panelled door, on complex ogee moulded shallow skirt base with brass bun feet.50cm (19.75ins) high including finials, 35cm (13ins) wide, 14.5cm (5.75ins) deep. James Cowpe is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as becoming a Free Brother of the Clockmakers' Company in September 1654; he worked in the Vauxhall area of London and took an apprentice, Edward Worthington, in 1655. James Cowpe is noted as 'gone away' by 1662 and did not sign the oath of allegiance in 1697; although he appeared in the Company quarterage list in 1698 he was recorded as not paying quarterage for 39 years. An Edward Cowpe, (most likely James's son) is recorded as becoming a Free Brother in January 1688 but is believed to have left soon after. James or Jacques Coupe is recorded as being clockmaker to the King in Paris in 1680 and Edward Coupe similarly in 1683. From this it would appear that during the 1660's James moved to Paris and possibly sent his son, Edward, to London to become a Free Brother of the Clockmakers' Company in 1688 before returning to Paris to probably continue working in his father's footsteps. James also has a daughter, Elizabeth, who also became a clockmaker with Loomes noting that she signed her clocks 'Coupe Horlogeuse a Roi A Paris'. Loomes notes that some of the work of James Cowpe resembles that of Edward East suggesting that it is possible that he worked for East at some time. With this in mind it is perhaps interesting to note that the particularly fine and attractive dial engraving exhibits shows notable similarities to that of a longcase clock movement and dial by Edward East sold at Bonhams, London Fine Clocks 6th July 2016 (lot 103); and again, with the dial of an East table clock illustrated in Dawson, P. G., Drover C.B. and Parkes, D.W. Early English Clocks on page 85 (Plate 104). The bold signature lambrequin is also reminiscent of those seen on clocks on clocks by various London makers during the 1670's. The design and layout of the movement, however, is commensurate with those made by Parisian clockmakers from around 1675; a comparable movement by Gaudron Paris dating to around this time is illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700 on page 69, (Figure 121). The five-wheel trains are delicately executed and allow the clock to run for at least eight-days, the strike train incorporates finely worked scroll pierced strike detent gates typical of the best Parisian work of the period. When considering the 'English' style of the dial engraving alongside with the specification and layout of the movement a date of 1675-80 would seem most likely hence it is most probable that they were made by James Cowpe, rather than Edward. Although the pattern for the marquetry for the case does not appear to match other examples analysed in Plomp, Reinier Early French Pendulum Clocks, 1658-1700, two clocks by Thuret, both with matching elements within the marquetry (most notably to the column shafts), are illustrated in Tardy LA PENDULE FRANCAIS, I're Partie, De l'Horloge Gothique a la Pendule Louis XV on page 97. Condition Report: Movement is in fine clean fully working condition and is presented in its original form. A couple od spare holes to the plates near the reception suggest that the escapement may well have been converted to Brocot type recoil/anchor and subsequently reconverted. If the escapement is a re-conversion it has been executed to very high standard perfectly replicating the original. The frontplate has two holes (to the right of the escapement) suggesting that the hour bell was once supported on a stand screwed to the movement hence the present configuration with the bell mounted on the top of the case is a reinstatement of the original configuration. The dial is in fine original condition with some slight mellowing to the finishes only. The case is in fine fundamentally original condition with no problematic lifting or losses to the marquetry. There is some evidence of cosmetic restoration in the past (re-securing lifting to the marquetry and small veneer patch repairs/replacements to the pewter stringing to the sides. The movement and dial appear original to the case (there is no evidence of any other movement ever being fitted), the turn-latches that secure the movement in position (to the rear of the dial mask) have been re-positioned due to their original holes screw becoming worn.Clock is complete with pendulum, case key and winder. Condition Report Disclaimer
† A GEORGE III EBONISED BALLOON-SHAPED TABLE/BRACKET CLOCK WITH FIRED ENAMEL DIALJ. LEROUX, LONDON, CIRCA 1795The five knopped pillar twin fusee bell striking movement with rounded angles to the rectangular plates and anchor escapement regulated by long bob pendulum with an effective length of approximately 11.5 inches, the backplate signed J. Leroux, London to centre over pendulum holdfast to lower edge, the 7 inch circular slightly convex fired white enamel Roman numeral dial signed LEROUX, CHARING CROSS to centre, with fine pierced steel hands and Arabic five minutes to outer track, the waisted case with brass pineapple to the concave sided pyramidal upstand over drum housing the movement applied with hinged convex glazed cast brass bezel to front and brass carrying handles to sides, over hipped concave-sided section forming the base and the rear with keyhole shaped door incorporating fine scroll-pierced sound fret set within the frame of the case, on generous cavetto moulded skirt base incorporating break-arch recess to apron and with ogee bracket feet.35.5cm (21ins) high, 28cm (11ins) wide, 18cm (7ins) deep. Provenance:The property of a central London financial institution; acquired prior to 1925 to form part of a collection housed in a purpose-built prestigious Georgian style office building. John Leroux is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as an 'eminent maker' who worked from Charing Cross 1781-1808. He was particularly well known as being one of the first makers to incorporate the lever escapement within his watches and was succeeded by James Rigby. A very similar clock by Leroux is illustrated in Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 page 147 (plate IV/95). Condition Report: Movement is in fine clean working condition with no visible evidence of alteration or noticeable replacements. The dial has some shallow chipping to the left hand winding hole and a couple of miniscule chips to the right hand hole, otherwise appears free form visible damage (has not been removed form caser for inspection). The minute hand has probably been repaired. Case is in sound original condition with faults limited to historic veneer shrinkage cracking to the drum-shaped section; veneers however appear stable and the cracking is not disfiguring. The keyhole to the left-hand side has had a patch repair to the veneer around the hole to restore its shape. Otherwise faults are very much limited to minor historic bumps, scuffs wear etc.Clock is complete with pendulum, a case key and winder. Condition Report Disclaimer
† A REGENCY BRASS MOUNTED MAHOGANY TABLE/BRACKET CLOCKTHE DIAL INSCRIBED FOR GEORGE LEFEVRE, WISBECH, CIRCA 1825The five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob pendulum incorporating stirrup-type regulation adjustment and holdfast to the geometric border engraved backplate, the 8 inch circular slightly convex cream painted Roman numeral dial inscribed Geo. Lefevre, WISBECH to centre and with pierced steel hands, the break-arch case with hinged brass carrying handle to the curved top applied with central raised pad bordered with brass fillet mouldings, over complex top mouldings and hinged front applied with cast convex-glazed cavetto moulded circular brass bezel over pair of brass fish scale lower quadrant frets flanked by moulded brass inset front angles, the sides with arched windows and the rear with arch glazed door set within the frame of the case, on generous cavetto moulded skirt base with brass ogee bracket feet.41.5cm (16.25ins) high with handle down, 33cm (13ins) wide, 20cm (8ins) deep. Provenance:The property of a central London financial institution; acquired prior to 1925 to form part of a collection housed in a purpose-built prestigious Georgian style office building. A George Lefever is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Wisbech circa 1830-40. Condition Report: Movement is in clean fully working condition with no visible evidence of alteration or noticeable replacements. The numerals and signature to the dial have been re-touched; the cream ground is old/original with some very slight rubbing/wear in places. The case is in sound condition. The top has some shrinkage cracking/movement but no losses tot eh veneers (except for a tiny chip to the rear right hand corner of the pad). There is a small historic well-matched veneer patch repair to the left hand flat top surface towards the rear. The front door has old veneer patch repairs to the arch above the dial and just beyond the brass bezel between IIII and V. The left hand side has slight wear/losses to the veneer overlap bordering the leading edge of the arched aperture and small historic veneer slip repairs to the opposing rear edge. The left-hand side has similar repairs to the aperture overlap and a small chip to the arch section. The front left-hand corner near the hinge, faults are otherwise limited to minor bumps, scuffs, shrinkage etc. commensurate with age and use. The rear door is lacking its lock.Clock has a winder but no case key. Condition Report Disclaimer
Ɵ LEE, RONALD A. THE KNIBB FAMILY * CLOCKMAKERS, OR AUTOMATOPAEI KNIBB FAMILIAEIManor House Press, Byfleet, Surrey 1964, 1st limited edition numbered 814/1,000, titled blue cloth, dj. Condition Report: Bundle of pages covering 91 to 102 inclusive are no longer attached at the spine but are present otherwise a good relatively clean copy with minimal soiling to the page ends. Binding with light edge bruising only; dust jacket with some rubbing to rear and a patch repair to the lower edge of the spine. Condition Report Disclaimer
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