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Click here to subscribe*An early 19th Century mahogany bracket clock, later signed Mummery, Dover, two train movement with engraved backplate and twin fusee movement, the arched case with pierced brass scale pattern grills, plinth base on bracket feet, 15 1/4in. (39cms) high (distressed); with later associated wall bracket.
A late 19th Century ebonised and giltmetal mounted bracket clock, the ornate brass dial with silvered chapter ring and subsidiary chime/silent, slow/fast and chime on eight bells/Westminster dials above, three train quarter striking movement striking on eight bells and four plus one gongs, in ebonised case with artichoke finials, canted caryatid sides, pierced figural and foliate side panels, plinth base on foliate feet, 28in. high.
A late 19th Century stained wood bracket clock, the ornate brass dial with silvered chapter ring, two train quarter striking movement striking on gongs, the architectural style case with artichoke finials, arched glazed door, fluted column sides, plinth base with gilt enriched bun feet, 6in. high.
*Gian Antonio Signoretti (d. 1602), Giulia Pratonieri, uniface lead medal, three-quarter length bust facing right set on a voluted plinth, wearing elaborate helmet and drapery, two spears tucked under her left arm; signed on volute below her right arm, s, 68mm (Attwood 653; Arm. I, 213, 3; Clifford 154), pierced, some marks but an extremely fine contemporary cast [ex Clifford collection]. Ex Michael Hall collection, Baldwin’s, 4 May 2010, lot 168. Pollard mentions that aside from the Kress example (Pollard 522 = Kress 453, in a lead alloy) only two specimens of this medal are recorded, being those in Berlin (Bange 261, a later cast in bronze) and the Bargello (Vannel & Toderi 630, also in bronze). To these should be added the damaged gilt-lead specimen in the Ashmolean Museum, Oxford (Attwood 653a) and the lead specimen formerly in the Clifford collection (1996 catalogue, lot 154). As noted in Currency of Fame the finest examples of these uniface medals of the Emilian school are cast on wafer-thin lead flans, as is the case with the present medal and the piece formerly owned by Clifford. Signoretti’s fine mannerist style along with that of other members of the Emilian school of medallists such as Ruspagiari and Bombarda has been connected to the art of the painter Lelio Orsi of Novellara (c. 1511-87) who had an involvement with the mint of Reggio. Signoretti himself wrote two letters to Alfonso Gonzaga, Count of Novellara in December 1569 describing the coins to be struck there under Orsi’s supervision.
A SWEDISH, BIEDERMEIER STYLE SATIN BIRCH VENEERED PEDESTAL PARTNERS DESK with a black leather inset top and a large frieze drawer to each end. Each pedestal, with panelled doors to either end opening to reveal five fitted drawers with gilt lions mask ring handles and raised on plinth bases with a later fitted central compartment comprising of four drawers, overall 150cm wide Provenance: Property of Mr Pete Townshend of The Who, purchased from Rupert Cavendish Antiques.
W.H. JOHNSON, SHEFFIELD, LATE VICTORIAN BLACK SLATE MANTEL CLOCK, the 4 3/4" enamelled Roman two part dial with visible brocot escapement, powered by a drum shaped movement striking on a gong, housed in a flat top case with black veined marble pilasters, gilt carved scroll work decoration and plinth base, 14 1/2" (36.8cm) high, 13" x 6 3/4" (33cm x 17.2cm)
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