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Early 19th century oak snap top pillar table on triform base. (B.P. 21% + VAT)

AN OPTIMUM PILLAR DRILL

A Vintage Pillar Clock for Spares and Repairs Only

Hornby Dublo 5006 plastic engine shed extension kit in very good condition with eight roof/pillar fixing screws, boxed. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A Draper pillar drill

A cast iron pillar marked Hill & Smith, Brierley Hill, Height 180cm.

Thomas Donald Plenderleith (1921-1995) - West Pentire Fields - A large 20th Century oil on board landscape scene painting depicting a large field of poppies and other blossoming flowers with arrangement of small stones, rocks and bush with off centre pillar bellow a blue cloudy sky. Signed by artist to lower left corner. Label to verso. Set to a gilt painted frame. Measures approx; 71cm x 82cm.

Thomas Donald Plenderleith (1921-1995) - Penwith Stone - A large 20th Century oil on board landscape scene painting depicting a large field  with arrangement of small stones, rocks, fence and bush with off centre pillar bellow a blue cloudy sky. Signed by artist to lower left corner. Label to verso. Set to a gilt painted frame. Measures approx; 71cm x 82cm.

Attributed to Bradley & Hubbard - An early 20th Century Arts & Crafts table lamp. Palm tree form with two tone bronze tree top with black cast and gilt fret pierced leaves raised on twin spot twin chain bulb holders. Central globular section column over cylindrical pillar raised on square base over flat bun feet. Cast B&H makers mark to underside. Measures approx; 50cm x 30cm.

A George II 'red walnut' tilt-top tripod table, circa 1750 The large circular top formed from two wide boards, on a cage-block support, columnar-turned pillar and three downswept legs with pad feet, 85cm diameter, 74cm high

A William & Mary oak tripod table, circa 1700, The circular top with ovolo-moulded edge, tilting on a bird-cage mechanism, on a baluster-turned pillar and three shaped silhouette supports,  68cm wide, 68cm deep, 73cm high Provenance: John Keil private collection, Forelands Farm, Stratfield Saye, Reading

A rare and good early 18th century brass ejector chamberstick, NurembergHaving a ribbed pillar stem, with three adjustable candle height positions, and moulded flange and finger loop, threaded into a flat circular drip-pan with domed centre and straight-sided flared rim, 18.5cm high, diameter 15.8cm

A late 17th century walnut candlestand, circa 1690 and laterHaving a circular dished top, on a spiral turned pillar with finial terminal, on three downswept scroll legs, 30cm wide, 95cm high

Good English mahogany double fusee verge bracket clock with six pillar movement, the 6.75" brass arch dial signed John Herbert Dort on an arched silver plate to the matted centre with false pendulum bob and calendar apertures, enclosed by a silver chapter ring and surmounted by a moon phase to the arch, the six pillar movement with verge escapement and fine foliate engraved back plate, striking the hours and half hours on a bell, within a stepped case surmounted by an inverted bell top, four finials and carrying handle, 19.5" high (pendulum and door key)

English ebonised and ormolu mounted double fusee verge basket top bracket clock, the 7" square brass dial signed M.Crockford, London on the silver chapter ring at six o'clock, enclosing a matted centre with false pendulum bob and calendar apertures, the five pillar with movement with pull repeat striking the hours on a large bell and the quarters on to smaller bells, the finely foliate engraved back plate also signed Matt Crockford, London, within a stepped case surmounted by a two tier basket top pierced with cherubs and foliage, also with eight turned brass finials and an ornate carrying handle, 19.25" high (pendulum and key) * The movement has been overhauled but the quarter striking is blocked.  It has also been converted back to verge. ** The maker Matt Crockford of London is recorded as working between 1693 and 1718

French ormolu and marble pillar two train mantel clock, the 4.25" white enamel dial signed Caillouel Hger...á Paris, within an ormolu drumhead casing, the movement with silk suspension and outside countwheel striking on a bell supported upon black and white marble pillars to the rectangular beaded and ormolu mounted base, surmounted by two ornate ormolu lyre pillars and a floral urn finial, 20" high (pendulum and key)

French ormolu Empire mantel clock emblematic of music, the 3.25" white enamel dial inset into a classical pillar surmounted by a lyre and attended to one side by a standing robed figure playing a harp and to the other with musical instruments fastened to a shaded pole, the movement with outside countwheel, silk suspension and striking on a bell, upon a stepped plinth and cone feet, 14.25" high (pendulum and key)

French bronzed and black marble two train figural mantel clock, the Japy Freres movement striking on a bell, the 3.75" black marble dial inset into a classical pillar attended by a robed standing lady holding a portrait pendant, upon a stepped rectangular base, 20.5" high (pendulum and key)

Good French bronze and black marble two train figural mantel clock, the Vincenti movement with outside countwheel striking on a bell, the 3.75" white dial inset into a pillar surmounted by scrolls and attended by a reclining bearded robed scribe, upon a rectangular stepped base with rounded ends, 16.25" high (pendulum and key)

French green onyx and gilt metal mounted two train mantel clock garniture, the Mougin movement with outside countwheel striking on a bell, the 3.25" cream painted dial inset into a pillar over a stepped base and surmounted by a kneeling Cupid, 13.5" high (pendulum and key); also a pair of matching two light candelabra, 11.25" high

French black slate and gilt metal figural two train mantel clock, the Japy Freres movement striking on a bell, the 3.25" black dial within a pillar casing surmounted by the bronzed figure of a seated lady holding a scythe, upon a serpentine stepped base applied with gilt metal mounts, 18.75" high (no pendulum)

French black slate and red marble two train mantel clock, the Japy Freres movement striking on a gong, the 4" white dial inset into a classical pillar and sgraffito with gilded scrolling foliage, surmounted by a rounded arched cornice, 12.25" high (pendulum)

French black slate and orange veined marble two train mantel clock striking on a bell, the 4.5" white dial within a fluted pillar and scrolling surround over a stepped base, 12.5" high (pendulum)

French black slate and blackened metal figural two train mantel clock, the Vincenti movement with outside countwheel and striking on a bell, the 4" white dial inset into a pillar attended by a robed lady leaning over, upon a fluted stepped breakfront case, 19.25" high (pendulum)

Early black forest two train wall clock, the 9.75" painted arched dial with raised chapter ring signed Laurent Eschle á Arpayon to the centre, the arch painted with recumbent griffins either side of a classical pillar, the eight day movement striking on a gong, 15.25" high overall (pendulum and two weights) 

An unusual and rare Baccarat Maltese Cross / cruciform glass paperweight 19th century, the rich pillar-box red ground set in the centre with an opaque-white cross and surrounded by a garland of white star-head florettes with green centres, 2¾in. (7cm.) diameter.* Provenance: Sotheby's New Bond Street, London, late 1960s/early 1970s - auction catalogue clipping with lot. Footnote states lot previously sold at Sotheby's London, 27th June 1966, Lot 144.** Condition: Natural tiny inclusions inside the glass. Some scratching to edge of base and several scratches and tiny nicks to surface of glass to centre of base. A few tiny nibbles to foot rim. 

A TWIN PILLAR DINING TABLE 76 x 182 x 92 cm

A good Victorian Regulator Longcase clock attributed to Moore and Son of London. (Clock attributed to Moore as a result of family provenance and hand written note attached to movement base board).12 inch silvered circular dial with typical regular dial design. Contained in a lovely flame mahogany case. With chamfered trunk and hood case sides panel to the base. With a substantial 5 pillar single train weight driven movement, anchor deadbeat escapement. Wooden pendulum attached to rear of the case. Brass weight. Untested.Provenance:Lightwater, Surrey:From: Jamie MandevilleDate: 13 September 2022 at 1:26:24 pm BSTSubject: ClocksMy parents started to care for mr and Miss Moore in approx 1974, Mr Moore was John moores grandson, he was Edward Gorden Moore, and his dad was Edward Lock Moore, John Moore's son.The regulator was a gift to Edward Gordon Moore from his dad on his dads 80th birthday(see paper attached) Edward Lock would have owned this clock form when it was made by his dad John Moore.Miss Moore died first in 1979 and Edward Gordon died in 1984.These clocks made by the Moore family then went to my parents and have never been on the market for sale.Regards Jamie Mandeville

A pair of 19th-century "Ecclesiastic- Gothic" gilt brass table lamps with pierced cup drip pans above vine-wrapped "Solomonic" columns and a pieced tripartite base with stylized lion's paw feet. 26 cm wide at the base x 66 cm high to the drip pans.(Now with lamp holders removed fitted with a pair of tall pillar candles)Private estateThe wiring is in place but the bulb holders are removed but would be simple to reinstate.

Einhell BT-BD 501 Pillar drill with Clarke 3 cast iron drill press vice and Stanley Bridges drill pressDimensions: Height: 65cm  Length/Width: 22cm  Depth/Diameter: 50cmCondition Report:Good visual condition, untested

REGENCY MAHOGANY TWO PILLAR DINING TABLE EARLY 19TH CENTURY the rounded rectangular top with a moulded edge and one leaf insert, raised on turned column supports and outswept tripod bases ending in brass caps and castorsDimensions:184cm long, 74cm high, 121cm deep

FLEMISH CARVED OAK HALL STAND, lion mask drawer facade and carved cup & cover pillar supports

Y A REGENCY CALAMANDER SOFA TABLEEARLY 19TH CENTURYWith two concealed frieze drawers to one side70.5cm high, 148cm wide, 60cm deepProvenance:Private Collection, Tim Rootes and Obby Waller, Barton Hill House, GloucestershireCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, vertical cracks to the turned pillar with some signs of old filler here also. Some old chips and losses to veneers, some slight lifting and bubbling to some veneers/inlaysThe handles are replacements throughout, there are old holes where the previous handles have been visible to the interior of the drawer frontThere are marks and signs of wear and stains to the top including ring marks and old water spottingOverall solid and stableDirt and discolouration to the gilt metal elements and inlays, signs of old polish deposits to the recesses of the metalwork. One piece of decoration is detached but present to one scrolled leg, this will need fixing in place, it will sit in place on its securing nail - it is susceptible to loss when in transit. It is in the drawer for safety/securityPlease refer to additional images for visual reference to conditionThis table is 91cm wide with the flaps downCondition Report Disclaimer

Circa 1st century B.C. A carved marble herm boundary marker carved in the round as the bust of an adult male wearing a conical cap and with a full beard; dorsal pillar terminating behind the head. 7.3 kg, 31.5 cm high (12 3/8 in.). French collection, 1960s-early 2000s.From an important Paris gallery, France. Possibly an architectural element or herm: herma (Ancient Greek: ?????, usually called a 'herm' in English), is a sculptured stone block with a head and often a chest above an undecorated lower section on which male genitals may additionally be carved. From the Neolithic period onwards, in parts of Europe, divinities were worshipped in the form of either a heap of stones (cairn) or a wooden column. Piles of stones were created beside roads and at the borders of fields as they were cleared of pebbles, and religious respect was shown through the custom of each passer-by throwing a stone on the heap or offering a libation. In due course, the addition of a carved head (and phallus) to the column encouraged the belief that these monuments were especially favoured by divinities. A video of this lot is available to view on Timeline Auctions Website.]

Late New Kingdom, circa 1550-1070 B.C. A blue glazed composition figure of the advancing god Ra (possibly Ra-Horakhty), falcon-headed and wearing a sun disc, set on an integral rectangular base, left leg positioned in front of the right, arms held straight by his sides, wearing a wig and kilt; tapering pillar with suspension loop behind solar disc; repaired. 18.4 grams, 87 mm high (3 3/8 in.). Acquired from Dr Jan Beekmans, circa 1982.UK private collection. In ancient Egypt, Ra sat as the king of all the deities and the father of all creation, the god who could not only govern the sun, but who transformed himself into the sun. He was associated with the falcon, hence he is typically portrayed as a human with a falcon's head. The major cultic centre for Ra was the ancient city Iwnw, known as Heliopolis to the Greeks, which today lies under modern Cairo. The ancient Egyptians were an agricultural society inhabiting a desert; the sun (and thus Ra) was an integral component of their world view. Placed on the chest of the deceased, this amulet offered the wearer the chance of eternal renewal each morning with the sun. A video of this lot is available to view on Timeline Auctions Website.]

Late New Kingdom, 1350-1070 B.C. A glazed composition figure of the goddess Sekhmet advancing with feline head and sun-disc headdress; dorsal pillar and rectangular base; repaired. Cf. similar figure in the British Museum, London, under accession number 9,9,86,64. 19.8 grams, 86 mm high (3 3/8 in.). Acquired early 1990s.Ex private American collection; thence by descent.Private Swiss collection since 1998. [For this specific lot, 5% import VAT is applicable on the hammer price] A video of this lot is available to view on Timeline Auctions Website.]

Late Period, 26th-30th Dynasty, circa 664-343 B.C. A white limestone figure of the god Ptah with false beard, wearing an enveloping cloak and a broad wesekh-collar, holding the shaft of a was sceptre; serene, oval face with almond-shaped eyes and fleshy lips; remnants of dorsal pillar to reverse; mounted on a custom-made display stand. Cf. The Walters Museum, accession number 54.1017, for a similar figure in bronze created within this time period. 1.39 kg total, 22.3 cm high including stand (8 3/4 in.). Ex private Belgium collection, 1960s. with Vanderkindere Auctions, Brussels, Belgium, 26 February 2013, lot 261. English private collection.Accompanied by a scholarly note by Egyptologist Paul Whelan. Ptah is attested from the beginning of ancient Egypt’s dynastic history and was a creator god, a god of craftsmen, and the patron deity of the Memphite region. The principal temple of the god was located in the city of Memphis. The fragmentary back pillar on this statuette indicates that it was most probably a temple offering, originally inscribed with an invocation to Ptah together with the donor’s name. Such votive figurines with back pillars naming the god and the dedicator occur in various materials, including faience and stone. A video of this lot is available to view on Timeline Auctions Website.]

Late Period, 30th Dynasty, circa 380-343 B.C. A pale blue glazed mummiform shabti for an Imy-Khent priest, modelled standing on a rectangular base, arms crossed over the chest and holding a pick and a hoe, seed bag over the left shoulder, wearing a tripartite wig and false beard; two vertical columns of hieroglyphs to the front of the body, plain dorsal pillar; some of the hieroglyphs spelling the owner's name are poorly rendered, but appears to be Ba-ankh-sa-sobeky. Cf. The British Museum, museum number EA49422 'Green glazed composition shabti of Tjahorpata', for a similar shabti figure of this period; cf. The Metropolitan Museum, New York, accession number 30.8.187, for a priest shabti of this date. 99 grams, 13.5 cm high (5 1/4 in.). From a Worcester deceased estate.Property of a Cambridgeshire gentleman.Accompanied by an academic report by Egyptologist Paul Whelan. Although the name of the shabti’s owner and, in particular, that of his parent, are rather unclear, the titles are clearly written and inform us that Ba-ankh-sa-sobeky served as an ‘Imy-khent priest’ associated with the Delta city of Mendes, where the principal deity was the sacred ram god Ba-neb-djedet (meaning ‘Ram, lord of Djedet’). The hieroglyph of the standing ram (Ba) forms the first part of the priest’s name. From the Late Period onwards the priestly title of the nearby city of Hermopolis Parva, ‘One who Separates the Two Gods’, also appears in Mendesian title strings, perhaps indicating that Hermopolis Parva and its religious cults had come under the control of Mendes; indeed, Mendes is thought to have been the capital of Egypt during the 29th Dynasty. The crocodile god Sobek was also worshipped at Mendes in later periods and Ba-ankh-sa-sobeky’s name appears to reflect both this reptilian deity and the traditional ram god of the city. A video of this lot is available to view on Timeline Auctions Website.]

7th-1st century B.C. A glazed composition shabti with square base and plain dorsal pillar, tripartite wig and false beard, arms folded across the chest holding agricultural tools and a seed bag to the left shoulder; nine horizontal bands of worn hieroglyphic text from Chapter Six of the Book of the Dead to the lower body. 212 grams, 19.5 cm high (7 3/4 in.). Acquired early 1990s.Ex private American collection; thence by descent.Private Swiss collection since 1998. [For this specific lot, 5% import VAT is applicable on the hammer price] A video of this lot is available to view on Timeline Auctions Website.]

A Leitz black-enamelled Binocular Dissection or Inspection Microscope, with one objective set, mounted on gimbal with clamp and hinged arm sliding on pillar, with clamp, on cast metal circular base

A VICTORIAN CAST IRON & BRASS SAMPLE FIREPLACE, 17.5cms H, 15.5cms W, a Victorian cast iron bank of hexagonal pillar form, the domed cover pierced with a money slot to either side and inscribed 'Bank', the body with two panels pierced with birds and foliage, the other panels cast with stylised flower heads on a spreading base, Registered 187026, 17.5cms H and a cast iron 'Slug iron' with turned wooden handle, 13cms H

A brass telescopic lamp standard in the form of a lamp post, on turned pillar and domed circular base, (extends to 210cm).

An Act of Parliament clock, the dial signed Thos Smith, YORK, the black japanned cased later decorated with chinoiserie birds, flowers and lattice work, having four pillar eight day timepiece movement, with brass pendulum and lead weight, 147.5cm high, 74cm wideProvenance: Sothebys 28th April 1988Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.Condition Report: Act of Parliament Clock: This clock has had major restoration and repair work. The case and trunk timber is largely old although there are newer elements such as the foot board and side doors and later blocks to interior. The face has all new paintwork but is constructed using old timber, but we cannot be certain that it started life together, as there are newer elements such as they framing to reverse. The finials are newer additions, and one is detached but present. The decoration to the trunk is all later, including the birds, blossoms and gilt foliage. The movement appears to be late 18th century.There is wear to the case, with splits, knocks, chips to edges, and scratches, to include: splits to the dial, splits and knocks to trunk, losses to paint and lacquer, holes and splits to backboard.The backplate has hammered dents, scratches and tarnishing, the movement with some surface scratches. The weights with knocks and wear consistent with age. The pendulum with tarnishing and wear.

A collection of six carousels, comprising: one by Gill Murkin, painted wood, ribbon, with an elephant, seal and clown perform on a rotating platform, approx. 42.5cm high; one by Robert Baldry, wood, string, with six ducks on a rotating platform, approx. 49.5cm high; one by Fred Bonan, painted wood, twine, with four white and yellow painted ducks, marked POPS to underside, approx. 35.5cm high; another by J Sawyer, wood, painted wood, ribbon, with simple cut-outs of animals, approx. 31cm high; one designed by Sevi, Italy, made in Sri Lanka, coloured wood, cord, with four clowns suspended by four cords from the top of the central pillar, with printed Sevi label, in original box, 27cm high; and a Czechoslovakian example, wood, coloured wood, string, with four clowns, approx. 26.5cm high (6) Sir Nicholas Goodison noted: Gill Murkin Carousel: As in all carousels of this type, the platform on which the elephant, seal and clown perform is suspended by the ribbons. Rotating it winds the ribbons round the post, from the top of which the ringmaster directs the performance. As the ribbons unwind the platform rotates in the opposite direction, and continues to rotate backwards and forwards under the momentum imparted by the winding and unwinding of the ribbons until it comes to rest. Roseberys do not guarantee the working order of any automata or toy. Condition Report: The carousel by Sevi - one of the clowns hang a little loose and falls towards the middle of the carousel.  The Czech carousel with four clowns missing a finial to the top of the central column.The Robert Baldry carousel with a screw to the top of the central column which is a little crude and looks like it could be a replacement.The J Sawyer carousel with two spots of red paint to the central column,Overall, all the carousels are currently in working order with very minor wear consistent with use.Roseberys do not guarantee the working order of any automata or toy.

A Rhino pillar drill

A limited edition brass pillar clock, by Geoffrey Bell, Alresford, 1975, 36cms high, with box.

A pair of Japanese brass candlesticks, of pillar form with dragon motif decoration in high relief, each 33.5cms high.

A black pillar stand, carved wood with designs to the stand, 115cm h x 41cm wUsed condition with marks consistent with age and wear.

A collection of Post Office pillar box and public telephone box models to include trinket boxes, cruets and similar and a small quantity of diecast Royal Mail vehicles.

A group of miniature and small scale Post office pillar box models, smallest approximately 2 cm (h).

A collection of various Post Office pillar box models, money banks and similar.

A collection of Post Office pillar box models and money banks to include ceramic and tin examples.

An Elm, two plank topped snap-top bird-cage mechanism circular occasional table standing on a turned pillar with three splay feet. 34 3/4" max diameter, 27 3/4" high approx.

A Walnut and other woods Workbox Table having two drawers and raised on four turned pillar supports, the feet united by a central stretcher, 22 3/16'' wide x 16 11/16'' x 30 3/8'' high approx.

A dark Oak three panel Blanket Chest of peg-joyned construction, the front with half-round decorative pillar details, 52 3/8'' long x 20 3/4'' deep x 27 1/4'' high approx (the paper lining to lid being part of the Hereford Times 31st Dec. 1853).

An unusually slender Oak cased long-case Clock, the case decorated in relief with bows and swags, a torch and a quiver of arrows, the fluted pillar details to either side terminating in buds/flowers, the brass face having a silvered chapter ring, the arch with the name "Nicolas de Beefe, a Malines", and with cast spandrels, the chapter ring has Roman numerals and Arabic minutes, the pediment depicts a well-carved depiction of a basket of trailing flower blooms. 100'' high x 15 1/2'' wide approx.

A papier mache snap-top occasional Table, the top decorated with flowers in polychrome colours and with mother of pearl highlights, raised on a baluster design pillar, the floriate base having three flared metal feet, the top 27 1/8'' x 23 3/8'' and 26'' high approx.

A circa 1900 Mahogany single pedestal drop-leaf Dining Table standing on a heavy turned pillar having four elegant swept feet each with a brass capped castor. 47'' x 25'' extending to 56'' and 28 1/4'' high approx.

A giltwood Floor Lamp having a lobed urn base raised on a triple paw footed plinth and with a tapering turned and fluted pillar, formerly wired for electric light, 50'' high to bulb holder, complete with pale blue shade.

A small Oak miniature chest of drawers with two small over two long drawers having turned pillar decoration to front and small white porcelain knobs, 17" x 9" x 14 1/2" high.