A GEORGE III OAK CASED QUARTER-CHIMING EIGHT-DAY LONGCASE CLOCKHENRY GAMBLE, BRAMLEY, THIRD QUARTER OF THE 18th CENTURYThe substantial four pillar triple train movement musical chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the going train with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with arched calendar aperture and subsidiary seconds dial to the fine silvered Ho-Ho bird inhabited foliate scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute ring, with pierced blued steel hands and female-mask centred cast brass spandrels to angles, the arch with silvered boss signed Henry Gamble, BRAMLEY flanked by dolphin cast mounts, the case now with later carved decoration throughout with open arch pediment and rosette decorated frieze over hinged break-arch glazed door flanked by free-standing columns to hood, the trunk with leaf decorated ogee throat moulding over shaped-top trunk door carved in relief with Renaissance style grotesque inhabited strapwork scrolls within a leafy trail decorated surround, the raised panel fronted plinth base carved with floral motifs within geometric surround, on bracket feet.230cm (90.5ins) high, 57.5cm (22.75ins) wide, 29cm (11.5ins) deep. Henry Gamble is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Complete 21st Century Edition as born circa 1720 and working in Bramble, Leeds 1739-52. He worked at Farnley (near Pudsey) and died in 1780 'suddenly after eating a hearty dinner'.
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A FINE GEORGE III MAHOGANY QUARTER-CHIMING EIGHT-DAY LONGCASE CLOCK WITH MOONPHASETHOMAS WAGSTAFFE, LONDON, CIRCA 1770The substantial six pillar triple train movement with anchor escapement regulated by seconds pendulum, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds to the silvered centre within conforming applied Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and applied rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating engraved age-of-the-moon scale to the circumference of the lunar disc over lunettes engraved as terrestrial globes beneath signature Thomas Wagstaffe, London to upper margin, the figured mahogany case with concave-sided 'pagoda' superstructure fronted with a shaped foliate pierced fret over break-arch cavetto cornice and brass stop-fluted columns flanking the hinged glazed dial aperture, the sides with rectangular scroll-pierced sound frets and conforming quarter columns set against bargeboards at the rear, the trunk with shaped 'block-top' door fronted with flame figured veneers within complex mouldings flanked by brass stop-fluted quarter columns, the plinth base with concave top moulding over applied shaped panel to fascia, on moulded double skirt incorporating shaped apron to lower margin and squab feet.243cm (95.75ins) high, 56cm (22ins) wide, 26cm (10.25ins) deep. Thomas Wagstaffe is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Carey Street and Grace-Church Street, London 1756-93. Wagstaffe was a devout Quaker with strong ties with his brethren in Philadelphia, U.S.A. He is known to have supplied movements and dials for casing locally in Philadelphia with examples noted in Moore, George and James, Arthur Thomas Wagstaffe, Quaker Clockmaker published in the December 1976 issue of the 'National Association of Watch & Clock Collectors Bulletin' (pages 534-35). Condition Report: Movement is in fine clean working condition and is fundamentally original with the only noticeable detail being that the strike train was once converted to sound on a gong screwed to the case backboard. It has since been converted back however there are two spare threaded holes (next to the quarter train barrel pivot) and a part-round circular cut-out to the edge at the hour hammer pivot. The mechanism otherwise appears to be all-original with no other evidence of alteration or with noticeable replacements. The dial is in fine original condition with some slight mellowing to the silvering and old lacquer surface to the brass. There are no discernible losses to the painted lunar disc. The movement rests on an old but non-original seatboard onto cheek uprights of the case which have received some slight cutting back/levelling. With this detail in mind we cannot confirm whether the movement and dial are original to the case however as the fitment of an hour gong conversion is evidenced in both the movement and case it would appear that they have been together for a long time. This coupe with the fact that they are both a very good match in quality, age and fit suggests that they have always ben together.The case is in fine original condition and of good colour with notable faults limited to a slight warp to the trunk door causing the top and lower left-hand corner to project forward by around 6-7mm respectively. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and other age-related blemishes. The trunk door lock and hinges are original.Clock is complete with pendulum, three brass-cased weights, winder and two case keys. Condition Report Disclaimer
AN UNUSUAL GEORGE I WALNUT OUTER DISPLAY CASE FOR A TABLE CLOCKANONYMOUS, CIRCA 1720The domed caddy superstructure capped with a rectangular upstand set on a cavetto moulded collar and veneered with crossbanded burr-walnut to top surface, flanked by four ball finials each applied onto a projecting plinth, over generous cavetto moulded cornice and hinged front panel centred with a 7 inch glazed dial aperture enclosing interior measuring 10.75 inches wide, 6.625 inches deep and 15 inches high, the sides with gilt brass carrying handles within crossbanded panels and the rear faced with a conforming arrangement of veneers, on cavetto moulded base incorporating bracket feet.51cm (20ins) high, 35.5cm (14ins) wide, 25.5cm (10ins) deep. The current lot is unusual in that that it is clearly designed to display a 17th century table clock whilst serving as a protective case. Although outer protective cases for table clocks are known they are scarce and generally utilitarian in their form being mostly made of oak with iron fittings; one such case (for a clock by Joseph Windmills) is illustrated in Dawson, P.G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 476 (Plates 702/03). The present case, although clearly designed to house a 17th century table clock with 7 inch dial, would appear to stylistically date to around 1720. Indeed the unusual arrangement of finials are suggestive of the architectural influences of Vanbrugh and the bracket feet would indicate a date of around 1720. Furthermore the overall, slightly naïve, proportions of the case would also suggest that its origins are provincial perhaps North Country or even Irish. From this it may be reasonable to suggest that the owner of a late 17th century London-made table clock was looking to perhaps 'update' the appearance of his expensive clock, hence rather than re-case the movement and dial, he sought to have an outer case made thus retaining the clock itself in its original form. Notwithstanding the rarity of the present lot another outer case, this time designed with a glazed front applied with repousse mounts to display a clock by Nathaniel Hodges, is illustrated by Dawson, Drover and Parkes on page, 460 (Plate 677). The practice of housing clocks in purpose-made outer display cases would seem to be logical when considered alongside the contemporary approach to watches, which were more often than not pair or triple-cased.
Richard Cosway RA (British, 1742-1821)A portrait miniature of Georgiana Charlotte Cholmondeley née Bertie (1764–1838), when Countess of Cholmondeley, wearing a white dress and coral necklace, her dress and powdered hair decorated with strands of pearls. Watercolour on ivory, gold frame, the reverse with a painted ivory mourning miniature depicting a lady holding a floral wreath and standing beside a funerary plinth set with gilt wire and seed pearls, supporting a flaming heart beneath a winged cherub, set within a glazed aperture and a blue glass surround. Oval, 70mm (2 3/4in) highFootnotes:Born Lady Georgiana Charlotte Bertie to General Peregrine Bertie, 3rd Duke of Ancaster and Kesteven PC (1714-1778) and his second wife Mary. Georgiana was the eldest of three siblings. Georgiana married the British peer and politician, George James Cholmondeley, 1st Earl of Cholmondeley, KG, GCH, PC (1749–1827) in 1791. Their family home was Cholmondeley Castle in Cheshire. In 1795, Georgiana Cholmondeley was appointed Lady of the Bedchamber to the Princess of Wales when still a Countess. George was created Earl of Rocksavage (County of Chester) and Marquess of Cholmondeley in 1815. Together they had two sons and one daughter: George Horatio Cholmondeley, later 2nd Marquess of Cholmondeley, William Henry Hugh Cholmondeley, later 3rd Marquess of Cholmondeley, and Lady Charlotte Georgiana Cholmondley. Their father, when an Earl, already had an illegitimate daughter, Harriet, born around 1790 to his mistress, Madame Saint-Albin. Also living in the household was Georgiana Seymour, an illegitimate daughter of an earlier mistress, Grace Dalrymple.Lord Cholmondeley, who was fifteen years Georgiana's senior, died in 1827, and was succeeded by the couple's eldest son George. Georgiana died as the Dowager Marchioness of Cholmondeley at Carlton House Terrace in London, aged 73.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A Stuart Turner Ltd vertical engine and water tank, the cast engine stamped 270 with spark plug, 6” (15cm) 272 cast flywheel with pulley grooves, exhaust, large water tank with tap, mounted copper tank with water glass and other fittings, mounted on a stained wooden plinth, 16 ½”x8” (42x20.5cm), 20” (51cm) high. Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing
An interesting Stuart Turner vertical petrol engine with raised water tank, mounted cast cylinder with spark plug and exhaust, 3 ¾” (9.5cm) dia. solid flywheel with start pulley, carburettor, copper piping to brass water tank with two attached side tanks mounted on a turned wooden plinth the whole mounted on a stained wooden base, 11 ½”x6 ½” (29x16.5cm), 11” (28cm) high. Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing
A good two cylinder horizontal marine engine, with 1 ½” bore x 2 ½” stroke wooden clad brass cylinders each with single guide bar, side mounted valvechests, piping, lever for adjusting gears elevation and ridged solid flywheel, finished in black with gold lining, mounted on a stained wooden plinth, 21 ¼”x11 ¾” (51.5x30cm), 7 ¾” (20cm) high.Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing
A large horizontal single cylinder steam engine, installed in a church in Devon in 1880 to power the organ bellows, removed in 1920. With 2” bore x 3” stroke wooden clad brass cylinder with guides, side mounted valvechest, piping and cock stop, 11” (28cm) spoked flywheel, all mounted on a red painted cast base mounted on a stained wooden plinth, 27 ¼”x10” (69x10.5cm), 12” (30.5cm) high. Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing
BRONZE FIGURE OF THE HINDU GOD OF WAR SOUTHERN INDIA, LATE 19TH CENTURY multi-armed and multi-headed, standing on a square low plinth with a peacock at his feet, each hand holding a symbolic war elementDimensions:60cm highProvenance:Provenance: Purchased at auction in Sri Lanka in 1973 by the present vendor's familyNote: Note: Karttikeya, also known as Skanda, Subrahmanya, Shanmukha, Murugan, and Seyyon is the Hindu god of war. He is the son of Parvati and Shiva, the brother of Ganesha and a god whose legends have many versions in Hinduism. Karttikeya has been an important deity in the Indian subcontinent since ancient times, worshipped as Mahasena and Kumara in North India and is predominantly worshipped in the state of Tamil Nadu and other parts of South India, Sri Lanka, Singapore, Malaysia and Mauritius by Tamils as Murugan.
The important Founder’s Maquette of ‘Troopie’, the Regimental Memorial of the Rhodesian Light Infantry, presented to Lieutenant-Colonel J. C. W. Aust, the last Commanding Officer of the Rhodesian Light Infantry Founder’s maquette in resin used by the Fiorini Foundry in the design and casting of The Trooper ('Troopie'), the full-size bronze Regimental Memorial of the Rhodesian Light Infantry, 1978-79, the statue 235mm in height, mounted on a wooden plinth 115mm x 110mm x 60mm high, with plaque inscribed ‘Presented to Lt. Col. J. C. W. Aust, MLM, last Commanding Officer the Rhodesian Light Infantry From the Regt. - October 1980’, surmounted by the Regimental badge, the reverse of the plinth with a plaque inscribed ‘”The Troopie” Original Miniature Statue by Fiorini’, extremely good condition £3,000-£5,000 --- The 1st Battalion, Rhodesian Light Infantry was formed in 1961 in Bulawayo and moved to the Cranborne Barracks in Salisbury (now Harare) a year later. It became part of the Southern Rhodesian Army in 1964, before being reformed almost immediately into a commando battalion. When prime minister Ian Smith declared Rhodesian independence in November 1965, the Bush War that had been fought over control of the country had already been prosecuted for over a year. Smith’s minority-led government forces, which were not recognised internationally, found themselves up against the military wing of Mugabe’s Zimbabwe African National Union and the Zimbabwe People’s Revolutionary Army under Joshua Nkomo. By the time the future direction of the country was settled with the Lancaster House agreement in December 1979, Smith had been replaced by Bishop Abel Muzorewa, and the ensuing elections swept Mugabe to power in April 1980. During the 15-plus years of conflict before it was disbanded in October 1980, the Rhodesian Light Infantry had played a vital role, chiefly in putting down the counterinsurgency and ultimately serving under the Zimbabwe Rhodesia government in 1979, and then the new Mugabe government in 1980. The nature of the war meant that many of the Rhodesian Light Infantry’s actions had to be launched from the air, and in 1976 it became a parachute regiment. Its experience and effectiveness in counterinsurgent operations later provided vital lessons in tactics and planning for anti-terrorism forces across the world. In its almost 20 years of service, the Rhodesian Light Infantry suffered around 100 men killed in action, 85 of whom are listed on the Regimental Association’s Roll of Honour as being lost between March 1968 and December 1979. It was to the memory of these fallen that the Regiment decided to commission what was to become ‘The Trooper’ or ‘Troopie’ (a name given to Rhodesian Light Infantry servicemen by the Rhodesian media): a bronze of a standing Rhodesian Light Infantry soldier. Co-ordinated by the Rhodesian Light Infantry Association, whose supporters helped raise public funds to finance the project, the commission went to soldier and artist Captain Mike Blackman, who was at that time the editor of the Association magazine The Cheetah. Blackman had to work quickly in order to ensure that the statue could be cast and in position for Regimental Day 1979 at Cranborne Barracks. Indeed, it was in position that year - an especially important achievement bearing in mind that, with the handing over of power to President Robert Mugabe in 1980, ‘Troopie’ was to survive only one more Regimental Day in place. In October of the same year, the Rhodesian Light Infantry, under the command of Lieutenant-Colonel J. C. W. Aust, was disbanded. At the final parade the Regimental Colours were laid to rest and taken for safekeeping to the Salisbury Cathedral, and after 20 years the undefeated Battalion marched into history. At that final parade on 17 October 1980, Aust gave the following address: ‘In a few minutes’ time this Battalion known to the country and to the world for a short but golden period of history as the 1st Battalion The Rhodesian Light Infantry, will march off the square and into history. To mark this dramatic and to many of us heart-rending occasion, we will shortly pay a last tribute and say farewell to our Colours, which we have carried aloft with such pride and honour for more than 14 years of war. There is so much that one can say at a time like this, yet it is a sacred moment, a moment for personal meditation and reflection. There is little I can say to alleviate our sorrow. If the world neither knows nor mourns our passing, let us rest assured that the great captains of history and those who study military affairs will know that a fine regiment is lost to the honourable profession of arms this day. I should simply add that we, the final team of this wonderful regiment, must leave the square not only in grief but with intense pride, dignity and honour. We have much to be grateful for. I am eternally grateful to those fine men who served these Colours before we did; to those among us who have lost loved ones; to those who to this day bear the scars of war received while fighting under these Colours; to those friends - and there are many of them - who have stood by us in adversity; to those who fought with such courage beside us, I’m grateful that we can shout to the world this day, There are our Colours - they are unstained, undefeated, triumphant. They are covered in glory! I would like to think that those of our number who lost their lives are paraded with us this afternoon. I believe they would be proud. We have not let them down. We know that in years to come we will say to our children and to our loved ones with the greatest pride, I served in the Rhodesian Light Infantry. Finally, I offer a personal and humble prayer: May God bless our beloved Regiment and those who on this day and in the past have served her with such honour. I thank God that we have done our duty.’ After independence in 1980 - and very aware of the sensitivity of the ‘Troopie’ - Aust, together with a small select team, dismantled the statue and it was clandestinely spirited out of the country. Some time later, the statue was transferred to the British Empire and Commonwealth Museum in Bristol, England. Eventually, the Marquis of Salisbury offered the grounds of his estate at Hatfield House in Hertfordshire as a permanent home for ‘Troopie’. Lord Salisbury had a close connection with the Rhodesian Light Infantry as his brother, the journalist Lord Richard Cecil, had been killed while reporting alongside them on the Bush War in 1978, aged 30. Lieutenant-Colonel Aust’s family were among the original Rhodesian settlers who arrived in the country in 1892, and his personal heritage was embedded in the country. Regrettably, after losing his farm in 2001, he left his beloved country and was never to return. Treasured since the disbanding of the Regiment was the original miniature of the statue cast by the bronze founder Fiorini. In October 1980 this was presented to Aust by the Rhodesian Light Infantry Regimental Association in appreciation and recognition of his leadership and unswerving loyalty to the Battalion. ‘Troopie’ remains in the grounds of Hatfield House to this day, having been rededicated on 30 October 2010. Sold together with the ‘Souvenir Edition’ of The Cheetah magazine, 31 October 1980, which features ‘Troopie’ on the front cover; and the 60th Anniversary Souvenir Edition of The Cheetah magazine, 1 February 2021, which contains a full account of the ‘Troopie’ story, including a transcript of Lieutenant-Colonel Aust’s speech at the rededication of ‘Troopie’ at Hatfield House in ...
A Chinese porcelain figure of a seating smiling Buddha in a yellow ground famille rose gown bearing impressed seal mark to base 26 cm high together with an associated silkwork smoker's hat with tassel top and birds amongst foliage decoration to fit the Buddha on a bespoke wooden plinth base together with the pine box bearing paper labels to sides "Capt. L. Sawyer, the Leicestershire Regiment" CONDITION REPORTS The Buddha - in need of a clean, dirty especially to various crevices. Otherwise general wear and tear, some minor surface scratches, losses to the decoration, firing faults etc. The silk cap is very worn, appears to be older than the Buddha itself, has fraying to the edges, very badly discoloured, losses to the stitching throughout. The wooden stand has wear to some of the edges and surface scratches etc. The carry case/box is very rough in construction, has splits to the pine, the paper labels are torn and missing in various places, wear and tear conducive with age and use, has clearly protected the item itself - see images for more details on all pieces in lot
A Chinese sang de boeuf decorated vase as a table lamp, vase 36 cm high, a Chinese pale celadon glazed vase with open work side handles as a table lamp, vase 39.5 cm high and a Chinese celadon glazed vase with incised decoration and flared rim as a table lamp, vase 39 cm high (all drilled to bases) CONDITION REPORTS The sang de boeuf lamp has been drilled. There is a large chip to the underside rim not visible when the wooden plinth is on though. General firing flaws, crazing all over. Darker green lamp has been restored, the neck has been off and repaired, all over crazing. The wooden plinth base is glued to it. Clearly been drilled however. The paler green vase has been drilled, the drill hole has got some chips to the edge. There is some loss of the glaze to the handles. Otherwise all have firing faults, surface scratches etc. Generally in need of a clean - see images for more details
An Edwardian walnut wardrobe, the moulded cornice over a mirrored door enclosing a hanging space flanked by a carved panel door enclosing two shelves over three short drawers and one long drawer on a plinth base 128 cm wide x 53 cm deep x 208.5 cm high CONDITION REPORTS Piece is in useable condition. Doors and drawers shut. There is a small area of damage to the top of the right hand side at the cornice. There is damage, splits, scratches etc to both sides, including a larger chunk on the bottom left hand side and some filling to areas on the bottom right hand side. Has general wear and tear conducive to age and use to include scratches, wear to the varnish etc. See images for more details.
A 19th Century mahogany cylindrical pot cupboard with later tooled and gilded leather insert top and gilt brass embellishments, raised on a plinth base, 38 cm diameter (top) x 74 cm high, together with a brass studded leather covered box stool, a 19th Century mahogany square washstand, a D end dining table end section on square chamfered supports, a small oak occasional table and an early to mid 20th Century painted bookcase with two banks of adjustable shelving, 150.5 cm wide x 30 cm deep x 94 cm high
An ebonised and gilt decorated glazed hanging wall cupboard, the moulded cornice over two arched doors enclosing three shelves flanked by two canted arched panels on a shallow plinth base 82 cm wide x 26.4 cm deep x 78.5 cm high CONDITION REPORTS Please note catalogue description as corner cupboard incorrect. Should read wall cupboard. Over all condition basically sound though with wear and tear conducive with age and use throughout. Minor dents, scratches, knocks and scrapes throughout. Left hand side gilt beading with some loss to the rear side. Ditto to right side. See images for further detail. Presently has blu tack to hold door in place when closed. Key not present.
A Victorian mahogany chest, the plain top with moulded edge over two short and three long graduated drawers with turned knob handles and mother of pearl medallion decoration on a plinth base, 127 cm wide x 53.5 cm deep x 121 cm high CONDITION REPORTS Top with three horizontal splits, between them reaching from one side to the other, vaguely in the middle. Top with lots of dents and scratch marks. Drawers : top two with lock plates missing but key escutcheons in place. Lower three drawers all with lock plates but only middle drawer with key escutcheon, others missing. Handles with wear and tear conducive with age and use. Middle long drawer handle split. Plinth with splits and wear and tear conducive with age and use - see images for further detail. Top drawers in particular with some veneers missing to the corners. Other veneers with some signs of splitting variously - see images for further detail
A Victorian miniature mahogany tabletop chest of drawerscirca 1850with four long graduated drawers and a plinth baseheight 34cm, width 28cm, depth 21cmCondition: In good restored condition overall. The top with splits and a small repair. Two old veneer repairs to base of right side. Side return moulding to upper left side is later, one later section to its back. Each drawer with a lock, no key.
A Regency cream lacquered and gilt chinoiserie table top sewing cabinet the hinged top enclosing a fitted interior over a pair of doors enclosing three drawers with turned bone handlesheight 21cm, width 25cm, depth 19.5cmCondition: Chinoiserie with wear, chips and scratches. A particular area of wear to the lid. Fitted interior is a/f all divisions are present with lids but attention is needed. Chip to lid to top rear left corner. Base right hand corner of cabinet plinth is detached but present. Rear right hand corner of cabinet plinth is detahced and absent. Orignally on feet
A 1930s Art Deco coloured glass inkstand probably Czech, the oval stepped base in blue and marbled glass on feet, mounted with a an orange frosted glass seated French Bulldog on plinth and a pair of clear glass inkwells with swivel coverslength 29.5cm.Condition: Overall fair condition. Impact bruise to to left paw of bulldog. One foot with a slight chip
After Eutrope Bouret (French, 1833-1906) A late 19th century patinated bronze figure of the composer Jean-Baptiste Lully (1632-1687)holding a violin, and standing on a parquet floor, square base signed Bouretheight 59 cm.Condition: corrosion principally to the rear of the bronze on legs plinth and folds of clothing. Screw hole to right leg lacking pin. Slight rock to base
A carved wood novelty owl clock1930s/40sthe eyes moving when the mechanism is in motion, together with an Ansonia clock, in the form of a painted brass mammy, eyes moving, on a plinth base and a 1910/20s walnut alarm clock, striking on a bell, (3)Owl clock height 24.5cm, figural clock 28cm, alarm clock diam. 16cm Condition: The movements on these clocks have not been tested and cannot be guaranteed. The decoration to the painted figure is worn and chipped in places, especially to the face.
A Victorian mahogany wardrobe, of large proportions with moulded cornice above central glazed cupboard enclosing fitted shelves flanked by two cupboard doors on a plinth base. 211 cm high, 210 cm wide, 60 cm deep. CONDITION REPORT: The wardrobe is generally in very good order. There is a small flake of veneer missing to the left-hand side and the cornice at the top, general age-related marks to the doors, there is a brass handle to the left-hand side door and then three replacement Bakelite handles to the central and right-hand doors. The right-hand side end panel has been in sunlight and is faded internally, the left-hand side has a central rail and hanging space which will slide out, the central section is fitted with four linen drawers and then a further three drawers. The right-hand section has the same sliding rail and pegs but also has a drawer to the bottom.
A 19th century mahogany eight day longcase clock, inscribed Benjamin Barlow Oldham to the crest of the half-moon dial above a brass dial with spandrels surmounted by a broken swan neck pediment, flanked by two columns above a central cupboard door raised on a plinth base with pendulum and two weights. 228 cm high. CONDITION REPORT: The movement does look original to the case.
A symphonium style music box, with 11" discs by Nichole Freres Ltd, 21 Ely Place London EC, Regina 43376 within a heavily carved walnut case, together with a quantity of discs. 22 cm high, 38 cm wide, 35 cm deep. (see illustration). CONDITION REPORT: This music box works and runs. The teeth are all present with occasional wear to their tips. The mechanism is heavily rusted and the interior is very dirty. The case itself is much scratched and used. The embossed style decoration to the front and sides is intact but the side central cartouche has splits which are clearly visible. There is woodworm to the shaped plinth base, this would not appear to be live but it is again noticeable and throughout certain areas of the plinth. The lid opens and closes firmly but this music box does have some condition issues. This music box is part of the deceased estate of the late Mrs Pearl Wilson.
A 19th century Goldsmiths Company mantel clock, of French aesthetic design with silver plated and gilt bronzed frame (worn), having lion mask and urn finial over finial dome top containing circular dial stamped Goldsmiths Co, with Roman numeral dial containing striking movement. The case having extensive pictorial enamel panel decoration depicting birds amidst foliage on moulded acanthus plinth and segmented bun feet on shaped additional velvet plinth. Height 55 cm, width 28 cm, depth 16 cm. (see illustration).
"The Gramophone Company Limited" oak tabletop gramophone, complete with oak horn. (see illustration). CONDITION REPORT: This gramophone is not in working order. The working parts are heavily greased with pins missing so it needs to be restored. The base itself is structurally intact but with small losses to the carved plinth in the corners and small repairs to the rectangular top clearly visible so in a used state. The horn itself is again structurally intact but with some small splits and repairs evident to the rim at the top and underside.
A pair of Chinese style blue and white table lamp bases, each raised on a gilt wooden plinth and complete with shades. Overall height 64 cm. CONDITION REPORT: There are no evident or visible repairs, damage or problems with the structure of these lamps. Both have modern shades and are converted to electricity. There are occasional imperfections to the glaze. These show as indentations, brown marks or areas of pitting but overall condition is reasonable and the structures are good.
A 19th century mahogany longcase clock, with eight day movement signed John A Evans Newcastle, painted dial with New Testament scenes, the hood with finial and laurel style carved decoration over a central trunk with canted edges and Gothic central door all raised on substantial square plinth base and turned feet, with two weights. 250 cm high. Provenance: The estate of the late Bill Teasdale.
A 19th century French onyx and champleve enamel mantel clock, with ormolu style finial over blue enamel supports containing a circular dial with Roman numerals on a plinth base and bun feet. Height 39 cm, width 18 cm, depth 13 cm. (see illustration). CONDITION REPORT: There are cracks and chips to the onyx to the sides of this clock. The corners need cleaning and it has not been tested for functionality.
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