Modell einer Einzylinder-Balancier-Dampfmaschine, um 1920 Fein ausgearbeitetes Funktionsmodell aus Messing, Stahl und Gußeisen, mit gußeiserner Mittelsäule, obenliegender Laufbalken, parallel laufende Steuerung nach Watt, Zylinder Ø 70 mm, Speisepumpe, über Zahnrad angetriebener Geschwindigkeitsregler, Typ Watt, Hebelsteuerung für die Umkehrschaltung, Schwungrad mit Speichen Ø 14 cm, Gesamtmaße 50 x 43 x 37 cm. Der Mechanismus müßte gereinigt und geölt werden. Start Price: EUR 600 Model of a Single-Cylinder Center-Pillar Beam Engine, c. 1920 Finely-engineered working model, brass, steel and cast iron, with a cast center single-pillar supporting an overhead walking beam complete with Watt's parallel linkage, Ø 2 ¾ in. cylinder, rod-driven feed pump, gear-driven Watt-type governor, lever-operated reversing circuit, 5 ½ in. spoked flywheel, overall 19 ½ x 17 x 14 ½ in., mechanism in need of cleaning and oiling. Start Price: EUR 600
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A mahogany occasional or lamp table in the French style, marble top, gilt metal mounted with a frieze of applied porcelain medallions, raised on turned pillar & shaped tripod supports, 33cm diameter x 79cm highCondition report – Cracks to the marble top, including across the centre, some gilt wear, small crack (1cm) at the top of the stem but stable, wear to tripod feet, scuffed, some colour loss.
19th c. oak 8-day long case clock by R. Murray of Lauder, Scotland, the arch topped dial with painted decoration of Scottish soldiers and a scene of interior of blacksmith's and farrier's workshop with heavy horse and a banner reading "By hammer and hand - all arts do stand", the 4 pillar movement striking on a bell with weights, pendulum and key, 7" tall to swan neck top
George III mahogany quarter chiming bracket clock on turntable base by Tomlin, London, the arched case surmounted by a hinged handle above a glazed door with pierced brass sound fret and brass twisted pillars enclosing a floral painted dial with Roman and Arabic dial above a subsidiary calendar dial, with a signed eight day six pillar triple fusee movement having anchor escapement with full engraved backplate, chiming the quarters on eight bells, and the hour on a larger bell, 52cm high, with pendulum, keys and winderBiography Edward Tomlin is recorded working at the Royal Exchange having been admitted to the Clockmakers Company in 1768 until 1798. A bracket clock signed by him is illustrated in Cescinsky & Webster English Domestic Clocks Fig. 359 page 315, published 1914 by George Routledge & Sons. Examples of both clocks and watches by Tomlin are displayed in the Science Museum, LondonCondition Report: Face re paintedGood overall condition with some cracks and knocks to the case commensurate with use and age Front door key, back door key and winding key presentWe cannot guarantee whether it works
A George III ebonised brass mounted bracket clockThe dial and movement signed William Thomas Hay, Shrewsbury, the rectangular case with moulded swept caddy top with ball finial and four conforming finials to the corners, the front with foliate pierced sound grills to either side of the arched door, the sides with similar pierced grills below brass carrying handles, the arched brass dial with Slow/Fast subsidiary dial, all set within foliate scrolling spandrels, the brass four pillar twin fusee movement with engraved backplate striking on two bells, with brass bob pendulum, 52.5cm high.Condition report: Generally good overall with some marks, scratches and wear to the case, especially localised on the front left side where it has been opened for winding and setting. The silk inserts behind the fretwork soundboards may have been replaced. One retaining bolt has been replaced on the right side. No evidence of worm. Movement winds, runs and strikes - not tested for timekeeping or longevity.
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
Peter Green, Liverpool, a mahogany musical longcase clock for the Danish market, late 18th century, with restorations to the case, the 15inch brass dial with six tune selection to the arch, scroll engraved centre with seconds dial and concentric calendar, mask spandrels, the three train movement with 16 bell 33cm pin barrel, six-pillar shaped plates, striking on a larger bell, the case with dentil moulded swanneck pediment hood above arch top trunk door, upon a panelled base with concave shaped skirting and ball feet 250 cm highFootnote: Peter Green was one of the best-known clockmakers working in Denmark, at Aabenraa, or 'Apenrade', as the signature is written on most of his clocks. Peter Green emigrated with his wife and children from Liverpool to Aabenraa around 1745 and worked there until his death in 1795. He had two sons, William and Jonathan, who also became clockmakers in Aabenraa. William had a son, Jakob, who continued making clocks until his death in 1847. Condition report: case probably later than the dial and movement, with some repolishing and restored elements. lacking a few gilt 'dentelles'. movement untested
A Bow porcelain model of a classical lady standing by a pillar, dagger and anchor mark, 20cm high; a Bow porcelain model of a seated Turkish lady 17cm high Provenance: From a Norfolk Country HouseCondition report: Turkish lady, badly restored which is now cracking, missing a thumb. Other figure has restoration to the hands, factory crack to the bottom rim
A 19th century mahogany chest of drawers, two short over three long with wooden knob handles and raised on bun feet. Height 107 cm, width 120 cm, depth 55 cm. CONDITION REPORT: The cabinet is in generally extremely good condition. It is structurally very sound. The top has probably had some form of superstructure at some point as there are four pegged repairs indicating pillar mounts. The top is flat with only minor surface scratches. The centre panel is in good order. Both doors close as they should and lock. We have the keys.
An Edwardian inlaid mahogany display cabinet, with centre figural foliate and scroll panel flanked by a glazed door and with plush lined interior all raised on short legs with spade and turned feet. Height 102 cm, width 60 cm, depth 38 cm (see illustration). CONDITION REPORT: The cabinet is in generally extremely good condition. It is structurally very sound. The top has probably had some form of superstructure at some point as there are four pegged repairs indicating pillar mounts. The top is flat with only minor surface scratches. The centre panel is in good order. Both doors close as they should and lock. We have the keys.
A George III mahogany longcase clock by John Player Reading, with two train striking movement, the hood with broken arch pediment and glazed door, the base raised on ogee moulded bracket feet. Height 232 cm. CONDITION REPORT: The clock interior lining is in good condition. There are no cracks to the glass and the legs and front feet are in good condition. The backboards are original. There is no evidence of any woodworm. We have both weights and pendulum. The movement is relatively clean. It winds on both trains and is currently ticking away. The movement does strike when manually advanced. There is some issue with the movement of the hour hand. The second pointer is currently detached. There is unlikely to a great deal wrong with the mechanism as stated it seems very clean. The silvered brass dial is in generally good order with the exception of the seconds ring which is tarnished. The clock is likely to be a marriage as the cheeks are built up on both sides. The mask around the face does however fit with the hood in situ. The hood is in generally good order. The glass is not cracked. The pillars are firm. The trunk door closes well and is only very slightly warped. There is a tiny gap at the top of the door which could probably be rectified by slight movement of the door hinges. There are some stress fractures to the veneer at the top and bottom of the door but no significant losses. The left hand pillar has a small loss. The sides of the case, the base and feet are all in generally good order with only minor scuffs and marks.
A George III-style mahogany six-pillar dining table,c.1900 and later, with four additional leaves, on barrel turned columns, swept reeded legs, brass paw feet, and castors, brass clips are present,668cm extended106.5cm deep76cm highCondition report: The top has been repolished and finished with a lacquer.There is some slight movement in the pedestals at the joint with the column and block.Some of the leaves appear to be solid mahogany as you can see the grain all the way through, other sections are more difficult to be sure.
MATTHEW NORMAN - a rhodium plated Helios Skeleton 8-day mantel clock, silvered chapter ring with Roman numerals and pillar supported case with exhibition glass, 19 jewel movement, serial no. 22497, case height 16cm, working orderMovement - currently workingDial - cleanGlass - no chips or cracksHands - goodCase - clean
Francis Raynsford, London, an unusual early 18th century 8-day five pillar movement long-case clock, part stained and Japanned oak , the 29 cm gilt and silvered dial with subsidiary seconds and four calendar apertures for date / month / day / zodiac, complete but a/f - movement / dial appears original and complete but requires overhaul, the case with old stained / Japanned finish, dull, dirty, reduced in height at the base, overall dial width of square plate - 30.5 x 30.5 cm, two weights and pendulum present
P. WEBLEY & SON, BIRMINGHAM A .450 SIX-SHOT REVOLVER, MODEL 'BELGIAN LEFAUCHEUX TYPE', serial no. 26952, circa 1875, probably acquired from Belgium and finished by Webley in Birmingham, with an octagonal 5 1/2in. barrel (good bore) signed 'P. WEBLEY & SON, BIRMINGHAM, turned pillar fore-sight, sighting notch to the rear of the bevelled top-strap, short fluted cylinder marked around the centre 'CENTRAL FIRE PISTOL .450 BORE WITH SAFE' and 'SAFETY PATENT DEP 4473', Birmingham and Liege proofs, solid frame with rearward hinged load-gate locking the cylinder when open, double action mechanism, flared chequered walnut grips, lanyard ring, guarded trigger and plunge ejector, traces only of finish. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Sections 7.3 and 7.1 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement. * Please note this item is subject to 5% VAT on the hammer price (UK Buyers only).
A SCARCE 22-BORE PERCUSSION TAKE-DOWN SINGLE-BARRELLED SPORTING-GUN, UNSIGNED, no visible serial number, continental, probably Belgian or German circa 1745 with later conversion to percussion from flint, 35 1/4 octagonal to sixteen-sided to round barrel originally detaching at the end of the octagonal section but now frozen, hooked breech, plain top-tang with raised sighting groove, plain slightly curved flat lock with pointed tail and retaining remnants of the pan, walnut half-stock with detachable butt-stock joining via a bowtie shaped keyway at the centre of the wrist (some age cracks to wood), hollow butt with trapdoor access at heel-plate, the trapdoor released via a button disguised as a screw in the heel-plate spur, iron furniture including pillar fronted trigger-guard bow, two white metal ramrod thimbles, replacement ramrod and fitted with a later leather sling. * Please note this item is subject to 5% VAT on the hammer price (UK Buyers only).
TRANTER FOR COGSWELL & HARRISON A CASED 80-BORE TRIGGER-COCKING REVOLVER, MODEL 'TRANTER'S DOUBLE-TRIGGER', serial no. 16996T, circa 1857, with blued octagonal 4 1/2in. barrel, engraved band at muzzle, scroll engraving to barrel throat, dove-tailed pillar fore-sight, standing notch rear-sight to the back of the top-strap, the top-strap signed 'COGSWELL & HARRISON 223 & 224 STRAND, LONDON', borderline engraved plain cylinder, borderline and scroll engraved solid frame marked with additional number to front of frame '5456', 'S' shaped spring cylinder arbor release and 'Y' shaped safe spring, spur-less hammer, swept chequered walnut saw-handled grip with engraved iron pommel-cap and guarded trigger with auxiliary cocking trigger below the guard, the whole retaining a strong amount of blued finish where appropriate (some shallow bruising and frosting) and complete with its makers oak storage case (lock escutcheon and key missing), compartmented and lined in green baize, Cogswell & Harrison parchment trade label inside lid and complete with Tranter trademarked bullets and grease, an un-numbered Tranter's patent double cavity mould, a fine condition bag-shaped flask by Dixon, oil-bottle and period japanned tins for caps or nipples.
A PIPE-CASED 5mm PINFIRE PURSE-PISTOL, UNSIGNED, no visible serial number, Belgian circa 1870, with nickel-plated octagonal 2 3/8in. barrel, pillar fore-sight, plated open frame, plain ratchet-locking six-shot cylinder, spurred hammer, folding trigger, plunge ejector and chequered walnut birdshead grips, strong amount of original finish remaining and contained in its moulded wood casing covered in textured black paper and lined inside the lid with red satin, the tray with moulded compartment for the pistol in velvet, faded to golden brown. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament
FIVE BOXES AND LOOSE BOOKS, CDS, DVDS, RUG MAKING KITS AND SUNDRY ITEMS, to include seventy books with titles to include children's books, annuals, history, Prince and Bon Jovi booklets etc, approximately forty CDs by artists including Madonna, Macy Gray and Destiny's Child, a selection of promotional CDs in cardboard sleeves, twenty DVDs mainly action films, two Anchor wool rug kits in Poppies and Newtons Law designs, two boxed Yardley English Lavender gift sets, a large sealed basket of toiletries, a Laura Ashley cosmetics bag, sealed pillar candles, a Fred the HomePride Man flour sifter (sd), boxed Philips Geometricks (untested), vintage and modern clocks, baskets, etc (sd) (5 BOXES + LOOSE)
A COLLECTION OF TAMWORTH CRESTED CHINA, by various manufacturers each bearing Tamworth's coat of arms, approximately seventy pieces to include a Shelley tea plate, a W&R Carlton China candlestick, a WH Goss vase standing on three feet on a plinth depicting Tamworth on one side and Warwickshire on the other height 9cm, a WH Goss 'model of an ancient ewer found at Louth', 'model of Ancient Bronze Mace Head...' and 'model of a puzzle jug', other pieces to include a rabbit, an umbrella, a pillar box, a dog, a stool, a cottage, a swan, a cheese dish, a golf ball, etc (Condition report: pieces appear in generally good condition) (Qty)
Benjamin Heeley of Deptford - a mid-18th century ebonised longcase clock, the hood having twin three-quarter turned pilasters flanking the 12" arched brass dial, signed to convex plaque to the arch, having silvered chapter ring with Roman and Arabic numerals, cast cherub mask gilt brass corner spandrels, matted centre with subsidiary seconds dial, date aperture and twin winding holes for a brass eight-day five-pillar weight driven movement striking on a bell, the case with panelled door having glass lenticle, to a boxbase, h.218cmCondition report: In running order.Has been subject to a recent complete overhaul as per attached invoice.Some minor age wear and blemishes only.
John Justice of Fourmle House - an early 19th century mahogany longcase clock, having a 12" arched brass dial, signed to a silvered strike/silent disc to the arch, silvered chapter ring with Roman and Arabic numerals, matted centre, rolling date dial and subsidiary seconds dial, twin winding holes for a brass eight day four pillar weight driven movement striking on a bell, the case having reeded quarter turned pilasters, h.205cm
John Marie of Hertford - a late Georgian mahogany longcase clock, having a domed hood with twin stop-fluted pilasters flanking an arched brass 12" dial, signed to a convex disc to the arch John Marie Hertford, having a silvered chapter ring with Roman numerals and Arabic outer scale, cast brass mask spandrels, matted centre with subsidiary seconds dial, rolling date aperture, twin winding holes for a brass eight-day five pillar striking movement, the London case having stop-fluted quarter turned pilasters flanking arched panelled door to a box base, h.215cmCondition report: Currently lacking bell.
Victorian Figured Walnut Ladies Combination Worktable and Desk, the hinged top with boxwood inlay opening to a satinwood fitted interior including tooled green leather writing surface over a frieze drawer with divisions and a slide out storage well, raised on twin pillar supports with castors, 64cm wide x 75cm high
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30663 item(s)/page