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Lot 312
A mid 19th century French gilt spelter mantel clock, the architectural case surmounted by an allegorical figure, emblematic of literature and set a drum cased movement with foliate painted Roman dial, the plinth base inset Bleu du Roi style porcelain plaques, raised on scroll feet. H.34cm W.56cm
Lot 12
A fine and rare William and Mary double-horizontal carved Portland stone and bronze sundial circa 1690 inscribed and constructed for latitude 52° 24’ N., bearing the Arms and motto of the Cornwallis family, signed Henricus Wynne Londini Fecit, the dial plate seated on three bronze bearings upon a Portland stone plinth with octagonal top and four volute supports with acanthus terminals flanking scallop shells, on moulded square base Sundial 69cm.; 27in diameter, plinth 130cm.; 51ins high The double-horizontal sundial, as the name implies, is a dual instrument, its principal features comprising a ‘double’ gnomon and complementary hour-scales on the dial plate. The primary instrument is the fiducial edge of the inclined or sloping part of the gnomon, which, when the sundial is correctly set, lies parallel to the earth’s polar-axis and aligned in the north/south plane of the meridian and the shadow of which indicates the time against the outer hour-scale on the dial plate, in hours and minutes. The secondary instrument is the sharp vertical edge of the triangular-shaped support to the gnomon, which lies in the axis of the observer’s zenith, and the shadow of which indicates the position of the sun at the point where the straight edge of the shadow intersects the hour-line on a planispheric projection of the celestial sphere, corresponding to the time indicated on the main dial. This observation provides various astronomical data, including the sign of the zodiac in which the sun is situated, the times of sunrise and sunset, the length of the day in terms of the number of hours in the day from sunrise to sunset, the altitude and azimuth (direction) of the sun, together with the means to determine the time when certain ‘fixed’ stars would transit the meridian. The Cornwallis double-horizontal sundial has a floreated gnomon, seated on a sheet-brass dial plate, which is affixed to a cast-bronze base by means of ‘hidden’ rivets. The dial plate is engraved with various scales and tables, the primary hour-scale in the outer ring being graduated in hourly, ten-minute, five-minute and one-minute intervals, within which there are inner rings calibrated to indicate direction in terms of azimuth or bearing. The planispheric projection is also engraved with an inner and outer hour-scale, to facilitate its use, being graduated with hour-angle divisions (meridians) and parallels of declination to the limits of 23½ degrees north or south of the celestial equator or equinoctial line. Two engraved arcs, representing the ecliptic, the apparent path of the sun, extend from the points where the 6 o’clock meridians or hour-circles cut the equinoctial and graze the north/south extremities of the projection at the tropics of Cancer and Capricorn. The signs of the zodiac are inscribed at their respective intervals along these two arcs. At the east/west extremities of the projection there are date-scales, graduated in months and days, whereby the date may be determined from an observation. Conversely, the date being known, the sundial may be readily be orientated and aligned in the meridian, without recourse to the more usual and protracted methods involved in setting up an ordinary common or garden horizontal dial. Other scales engraved on the dial include a semi-circular lunar hour-scale (situated within the arc of the inner hour-scale of the planispheric projection), by which the time may be deduced from an observation of the moon, and two sets of altitude scales, for use with a pair of compasses or dividers. The names of certain fixed stars are inscribed within the boundaries of these scales, together with the values of their respective hour-angles or angular distances measured eastwards of the so-called first point of Aries, the vernal equinox. On the planispheric projection this is the point, at the eastern extremity of the grid system,
Lot 16
Attributed to William Grant Stevenson: A rare Victorian carved white marble group of two water spaniels and a whippet circa 1870 signed Stevenson and with later white marble plinth 81cm.; 32ins high by 94cm.; 37ins long by 84cm.; 33ins deep Although a number of Stevenson’s are recorded as sculptors working in the second half of the 19th century, largely in Scotland, William Grant Stevenson, (1844-1919) is specifically known for his animalier pieces. A member of the Royal Scottish Academy he exhibited a bronze stag in 1894, now in the Edinburgh Museum. He also sculpted a monumental stone statue of William Wallace in Aberdeen. This unusual group would have been undoubtedly have been an individual portraits commission for a family’s dogs, interestingly the marble separates into five different sections so that the dogs maybe viewed together or as individual groups.
Lot 40
A large Blashfield stoneware urn on pedestal stamped J M Blashfield Stamford 1875 on associated plinth stamped Stiff & Sons 106cm.; 42in high overall by 95cm.; 37ins diameter John Marriott Blashfield, remarked in his essay Account of the History and Manufacture of Ancient and Modern Terracotta (1855) that he had been inspired to make a kind of artificial stoneware by seeing the kind of pieces for which Mark Blanchard had been awarded prizes at the Great Exhibition of 1851. He obtained Letters Patent in 1854 for "Improvements in the Manufacture of China, Pottery, Bricks" and other articles, made for the most part from clay and again in 1860 for "improvements in burning pottery and china ware". He had a manufactory in Millwall, Poplar with a sales outlet at No. 1 Praed Street, Edgware Road, London, but moved to Stamford, Lincolnshire in 1859, to be nearer the clay-beds. He won medals for Terra Cotta, in the glass and pottery and architectural objects classes at the International Exhibition in 1862 and a silver medal at the Paris International Exhibition of 1867. One of the most important commissions with which he was involved was supplying architectural terracotta for the decoration of the new Museum of Fine Arts in Boston, but this undertaking stretched his resources too far and by 1874 the Stamford Terracotta Company works, machinery as well as models and moulds were for sale; it finally closed in 1875.
Lot 740
A good mahogany Georgian style breakfront pedestal sideboard, with brass gallery back, a frieze drawer above tambour cupboards, flanked by pedestals that have cutlery section over drawer above cupboard, opening to reveal linen slides and wine cooler, raised on part plinth and square section tapering legs with spade foot, 214cm wide x 110cm (to top of pedestals) x 71cm deep (49.5cm height of gallery to top of finial from central surface).
Lot 667
A VERY FINE AND UNUSUAL REGENCY PERIOD BRASS INLAID AND BRASS MOUNTED BREAKFRONT SECRETAIRE LIBRARY BOOK CASE, the moulded cornice above a brass inlaid frieze and four Gothic style doors, with very attractive brass glazing bars, enclosing adjustable shelves, on a conforming base, with pull out drop front secretaire drawer, enclosing a fitted interior, with drawers pigeon holes and a centre brass inlaid cupboard, flanked to either side with two box type drawers, each with a brass knob depicting a portrait in relief and four similar brass inlaid doors below, on a short plinth, 98in (249cm)h x 104in (264cm)w. (1)
Lot 760
A GEORGE III STYLE BOW FRONTED INLAID AND CROSSBANDED MAHOGANY SATINWOOD AND HAREWOOD CORNER CABINET, the top with a segmented fan panel above two bow fronted doors, each inlaid with a two handle urn flanked with fluted pilasters to each side on a moulded plinth, 34in (87cm) high, 30in (76cm) wide. (1)
Lot 825
A VERY UNUSUAL DOMESTIC PINE BAR, the dentil moulded cornice above three shelved sections, two with arches, each with turned pilasters and carved doric capitals, the shelves with mirror backs on a base with similar compartments and shelves and fluted pilasters, raised on a plinth, 93in (236cm)h x 96in (244cm)w, the paneled counter with a moulded top above five front panels, flanked with fluted pilasters and double shell carved corbels, and six shelves verso, raised on a plinth, 41in (104cm)h x 93in (236cm). (1)
Lot 834
A FINE BRASS MOUNTED ROSEWOOD CHIFFONNIERE, 19th century, the mirror back under a shelf with three quarter pierced brass gallery on ornate brass supports, above a central brass trellis panel door, with pleated fabric, flanked to either side with two arched slender mirror arched panels and two arched conforming brass trellis doors and raised on a plinth, 49in (125cm)h x 54in (138cm)w. (1)
Lot 835
A GOOD MID 19TH CENTURY MAHOGANY PEDESTAL WRITING DESK, the rectangular moulded top with a tooled leather inset, above three frieze drawers and raised on two pedestals, each with three drawers, the reverse with three frieze drawers and two cupboard in doors, on a moulded plinth, 67in (157cm)w x 29in (74cm). (1)
Lot 1088
A FRENCH BRASS WHITE AND BLACK MARBLE DOUBLE OBELISK MANTLE CLOCK, with silk suspension movement and outer count wheel, striking on a steel bell with convex enamel dial with Roman and Arabic numerals, and a date hand, the cylindrical brass case surmounted with a classical woman wearing a plume helmet and holding a spear and a shield, and supported by two brass mounted black marble obelisks, each standing on a plinth, with brass hanging chains, on a rectangular platform, with eight small brass bollard's, united by brass chains with brass trellis panels and brass feet, 21in (53cm)h 15in (38cm)w. (1)
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173444 item(s)/page