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Click here to subscribeWalker of Nantwich - Early 19th century North Country oak and mahogany crossbanded longcase clock, having a broken swan neck pediment, the painted and signed arched dial w.14", having subsidiary seconds dial, rolling date dial, and rolling moon dial over, twin winding holes for an eight brass four pillar movement striking on a bell, the case with reeded pilasters to a boxbase, h.215cm
Joseph Batty of Halifax - a circa 1800 oak longcase clock, having broken swan neck pediment, twin pilasters flanking square brass dial (w.12.5"), the chapter ring with Roman and Arabic numerals, the centre engraved with a shepherd with flock and hound within a landscape, having decorative non-functioning rolling moon dial above rolling calendar dial, blue steeled hands, 30 hour weight driven brass four pillar movement striking on a bell, the trunk having quarter turned pilasters flanking panelled door to a boxbase, h.221cm
John Gudgeon of Bury St Edmunds - early 19th century mahogany teardrop striking tavern clock, having a signed white enamel dial (dia.11.5"), single winding hole for a chain driven eight day four pillar fusee movement, having anchor escapement, the hood with hinged doors having pierced brass fishscale grilles, h.89.5cmJohn Gudgeon's dates are recorded in Haggar & Miller's Suffolk Clocks & Clockmakers as 1785 to his death in 1835. He was based in the Butter Market in Bury St Edmunds during the 1820s. Condition Report / Extra Information In running order.Dial repainted.Bubble at 3 o'clock.Case fully restored.Sides to teardrop probably replacement.
A carved Indian hardwood occasional table, possibly Bombay, late 19th/early 20th century The octagonal top, raised on a four pillar stem, the stepped carved checkerboard design base raised on four mask supports, profusely carved with scrolling lotus and chrysanthemum tendrils, 75cm high, 60cm diameter.
Two 20th Century Russian (USSR) porcelain figures by Lomonosov, one depicting Feodor Chaliapinas as Boris Godunov, modelled by Yakov Troupyanskii, bears iron red mark to base and "Made in USSR" and the other depicting an actor in 16th Century costume beside a gilt decorated pillar, bears iron red mark to base and "Made in USSR" CONDITION REPORTS 28 cm and 28.5 cm high. Figure with beard - in over reasonable condition with some general wear conducive to age, slightly rubbed. The other figure is in poor condition - finger on one hand broken and re-glued other hand re-glued at wrist and has broken finger, some repairs to the legs front and back and repainting - see images.
A 20th Century mahogany dining table in the Regency taste, the rounded rectangular top cross banded and with reeded edge and extra leaf raised on twin turned pillar supports to splayed and reeded square tapered tripod bases, lions paw caps and castors CONDITION REPORTS Has surface scratching and some bruising and vase or water marks to the top and some discolouration as well. Has general wear and tear conducive with age and use to include surface scratches etc. Dents to the legs and pillars etc. Measures 99 cm x 214 cm in length including spare leaf
A FRENCH BRASS CANDLESTICK with a dished circular base supporting a fluted stem and a gadrooned nozzle with a knop below, circa 1580, 13.5" high. See illustration Cf: for a comparable Renaissance pillar candlestick see Christopher Bangs: "The Lear Collection", published 1998, fig: 98. Provenance: Acquired from Robert Bradley, October 1979.
A Naples porcelain figure group by Cortese - The Scribe, the figure seated on a wall writing in a volume leant upon a floral decorated pillar, faux pavement rectangular base, 25cm high, base 25cm x 22.5cm, impressed and painted crown over N, impressed Cortese and numbered 364, late 20th Century (faults)
A Rare Michelin Tyres Presentation Clock A striking and most-unusual c1920/30s electric mantle/office clock, featuring a pierced brass chapter ring laid to a blue tinted glass panel with an intricate inscribed illustration of Monsieur Bibendum sat by a pillar compressor, along with 'Michelin' & 'Tyres' in script etched into the rear. The glass panel and lacquered base are both in good condition however electrical condition is unknown. An important piece of Michelin history.
2nd-3rd century AD. An Eastern Empire marble altar with rectangular base three figures of females dressed in peplos representing triple goddess Hecate (Hekate) surrounded by four smaller figures of nymphs, three dancing and once playing aulos; inscription to one side: In the 7th (?) year. For the continuance of Kl(a)udios. ......akos (the name of the dedicator"). At the behest of Artemis .....; provincial workmanship. For a Hellenistic altar pillar to Hekate and the Graces see The Glyptothek Museum, Munich, inventory number 60; Metropolitan Museum of Art, Accession Number: 1987.11.2. Accompanied by an Art Loss Register certificate. 20.7 kg, 69cm (27"). Very fine condition. Rare.Property of a European gentleman living in London; acquired in the UK 1981.Hekate was a Greek goddess who possibly originated in Asia Minor, and was later adapted also in Roman religion. As an underworld deity, she was associated with witchcraft and necromancy, often depicted holding the keys to the underworld and a flaming torch to light her way during her nocturnal travels. Her animal attendants were snakes and dogs, both associated with the underworld, and black dogs were sacrificed to her. In spite of her nature, she was relatively popular and worshipped goddess, with a small altar to her in front of every house in Athens. Hekate was also worshipped as the goddess of crossroads, traditional meeting place for ghosts and witches over who she held a patronage. She is commonly mentioned on curse tablets and magical papyri as a deity who will carry out maleficent spells. In literal sources, she appears in the Homeric Hymn to Demeter and in Hesiod's Theogony, where she is promoted as a great goddess. In the second to third century AD writings of the Chaldean Oracles, she was regarded as a ruler over earth, sea and sky, as well as a more universal role as Saviour, Mother of Angels and the Cosmic World Soul. The dedication to Artemis on the altar most likely refers to Hecate's function as a moon goddess. If Hecate's cult spread from Anatolia into Greece, it is possible that it created a religious conflict, as her role was already filled by other more prominent deities in the Greek pantheon, above all by Artemis and Selene. The triple form could be a result of religious compromise, including Hecate in the pantheon of already established moon goddesses. In one version of her origin, Hecate is a mortal priestess often associated with Iphigeneia. She scorns and insults Artemis, who in retribution eventually brings about the mortal's suicide. According to Strabo, there was an area sacred to Hecate in the precincts of the Temple of Artemis at Ephesus, where the priests, megabyzi, officiated.
Late Period, 664-332 BC. An olive green glazed composition shabti with tripartite wig, false beard, tools in the crossed hands and seed-bag over the left shoulder, dorsal pillar and square base, hieroglyphic text from Chapter 6 of the Book of the Dead to the lower body. 67 grams, 12.5cm (5"). Property of a European collector living in London; acquired before 1980. . Very fine condition.
Early 1st millennium BC. A glazed composition scarab with hieroglyphic amuletic text to the underside; mounted in a sympathetic modern gold swivel ring. 5.66 grams, 28mm including ring (1"). Property of a lady, Wakefield, UK; part of her family collection. John H Taylor, Assistant Keeper in the Department of Ancient Egypt and Sudan, British Museum writes: Thank you for the images of your scarab ring. To judge from the photos, the gold mount is modern but the scarab itself appears to be genuinely ancient. The gold mount obscures some of the design on the flat base but most of it can be made out. At the top is a vegetal-motif, probably representing papyrus plants, and below this are three hieroglyphic signs arranged vertically, side-by-side. The two at left and right are both ankh-signs, which represent the word for 'life' in the ancient Egyptian language. Between them is the djed, a stylised pillar with horizontal bars at the top. This was associated with Osiris, god of the dead, and conveyed the notion of 'stability' or 'uprightness'. Beneath these signs, but partly hidden by the mount, there seems to be a semicircular sign which could be neb, meaning 'all'. Therefore the signs below the plant could probably be translated as 'All life and stability' - a wish which would have been believed to bring good fortune to the owner. It is often difficult to date scarabs accurately, but the style of this specimen suggests that it was probably made in the early-middle first millennium BC, i.e. perhaps about 1000-500 BC. . Fine condition.
Ptolemaic Period, 305-30 BC. A pale blue and olive glazed composition shabti with tripartite wig, false beard, tools in the crossed hands and seed-bag over the left shoulder, dorsal pillar and square base, panel of hieroglyphic text to the lower body. 43 grams, 11cm (4 1/4"). Property of a European collector living in London; acquired before 1980. . Fine condition.
Late Period, 30th Dynasty, 380-343 BC. A pale blue glazed composition shabti with tripartite wig, false beard, implements in the crossed hands, seed-bag on the left shoulder, dorsal pillar, horizontal and vertical bands of hieroglyphic text. 75 grams, 13cm (5"). Property of a private collector; formerly in a 19th century collection. . Very fine condition.
Late Period, 30th Dynasty, 380-343 BC. A large blue-green glazed composition shabti with finely modelled facial features, tripartite wig, false beard, crook and flail in the crossed hands, seed bag over the left shoulder, dorsal pillar, horizontal bands of text from Chapter 6 of the Book of the Dead to the lower body. 144 grams, 17cm (6 3/4"). Property of a London gentleman; acquired before 1995. . Fine condition.
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