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Click here to subscribeAn Amber Flash and Cut Glass Openwork Crown Scent Bottle, perhaps circa 1837, with central lift-out tapering octagonal panelled bottle with Maltese Cross finial within a crown engraved with union flowers (shamrock, rose and thistle), on a gadroon cut circular base and (later associated) white marble square plinth, 15cm high
A Parian Porcelain Mythological Group, circa 1860, as a semi-nude classical maiden seated on the back of a male lion, a Bacchic infant at her feet playing with a serpent, a fox and lamb close by, on an oval base, apparently unmarked, 36cm high, beneath a glass dome on an ebonised plinth, 46cm high overall
An Italian Family Group, William Adams, circa 1870, the mother in traditional costume, holding a child on her lap, another offers her a flower over her right shoulder, apparently unmarked, 34.5cm high; and Romeo and Juliet, unknown factory, circa 1880, standing in passionate embrace, titled on the oval plinth, 38cm high (2)
Belphoebe, after W Wyon, unknown factory, circa 1870, the scantily clad classical maiden looking downwards with encrusted flowers in her hair, by a tree stump, upon a rounded rectangular plinth, impressed title and W WYON, 38.5cm high; and A Classical Woman Holding a Child, unknown factory, circa 1860, semi-nude with a child on her shoulders, by a vase on a circular base, 38cm high (2) Provenance: Belphoebe: The Thornton Collection Part 1, Tennants, 29 March 2007, lot 79.
The Mother, after Raffaele Monti, for the Ceramic and Crystal Palace Art Union, 1874, pedestal bust, as a veiled mother cuddling her child beneath a diaphanous veil, on a concave sided circular plinth impressed Crystal Palace Art Union, the bust with incised R Monti signature and 1871, stamped Ceramic and Crystal Palace Art Union, Copeland 074, 38cm high This pedestal bust is illustrated in Copeland (Robert) Parian Copeland`s Statuary Porcelain, page 218, entry and photo B.52. This bust is companion to The Bride.
A French White Biscuit Porcelain Mantel Clock, Leda and the Swan, circa 1870, the nude maiden seated on rockwork and flanked by the friendly swan over a stream, the drum movement with later white enamel circular 6cm dial with black Arabic numerals, upon a shaped green veined marble plinth, on six gilt metal toupie feet, 25.5cm high
A Japanese Carved Ivory Figure Group, late Meiji period (1868-1912), as a peasant and her little girl, holding parsnips and iris flower respectively, on a shaped oval rustic plinth base, incised two character mark on an inset red kakihan, 15cm high; A Japanese One Piece Walrus Ivory Carved Group, late Meiji period, as a peasant upholding a diminutive figure of an actor, another wielding a large club at his feet, on rockwork, on a separate flat plinth (incised two character mark), 21cm high; and Another, as a Geisha, circa 1910, standing wearing an elaborate coiffure holding chrysanthemums in one hand, a parasol in the other, 22cm high (3)
A Japanese Walrus Ivory Carved Figure of a Fisherman, late Meiji period (1868-1912), standing and smiling, holding a pipe in his left hand, supporting a basket of sea shells at his waist, and wearing a grass skirt and grass gaiters, on a shaped plinth, incised two character mark, 32cm high (parts lacking, a/f)
European Capercaillie (Tetrao urogallus), taken by Bill Brough, male, full mount, modern, perched with wings folded on a moss encrusted tree branch section on a flat moss encrusted plinth, 59cm high, overall length approx 93cm; Ptarmigan (Lagopus mutus), full mount, modern, crouched amongst heathers on a wood oval flat plinth, 52cm high; Another, full mount, in winter plumage, on rock effect base, 19cm high overall; A Fan of Wild Turkey Feathers, Abilene, Texas, 12th November 1990, taken by Bill Brough, upon a mahogany effect wooden shield, 56cm high overall; and Goat (Capra hircus), full mount, seated on its haunches by a moss encrusted tree branch section, on a circular flat wood plinth, 24cm high (5)
Roe Deer (Capreolus capreolus), Kirtleton Forest, Dumfries, Scotland, 2nd May 1989, taken by Bill Brough, full mount, leaping over a rustic three-bar wooden fence, 6 points, on a grass and fern mounted naturalistic flat plinth, with brass effect plaque with inscription (as above), overall length of entire specimen 119cm, overall height 100cm
Resplendent Quetzal (Pharomachrus mocinno), circa 1880, a pair of males, full mount, one perched on a branch, another perched on a faux rock amongst ferns and grasses, beneath a large glass dome on a carved and giltwood inner base and ogee sided walnut plinth with ceramic feet, 84cm high overall, 28cm deep
Albert Froger (French, 19th century): A Bronze Figure of a Fisherman, late 19th century, standing in a short sleeved pullover and wearing a souwester and stooped about to throw a lifebuoy, on a concave sided circular plinth, signed, stamped BRONZE GARANTI AU TITRE PARIS and foundry mark, 37.5cm high Albert Froger was born in Paris in the mid 19th century and exhibited at the Salon from 1881 onwards, and won an honourable mention in 1889 for his genre figures.
Jean Francois Theodore Gechter (French 1796-1844): A Bronze Group, Richard Comte de Warwick, signed and dated 1842, standing in full armour, holding a sword to the neck of a fallen equestrian Saracen warrior, upon an integral rectangular plinth titled on one long side, 31.5cm high, on a green marble rectangular plinth, 38.8cm high overall, 35.5cm long overall
A Pair of Bronze and Ormolu Figural Candlestands in Greek Revival Style, circa 1850-70, each modelled as a bearded classical hero holding a vase on his head supporting a triangular "oil lamp" bracket with triple campana nozzles linked by chains, on a black and red marble canted square plinth on winged paw feet, 44cm high
Thomas Wilkinson Wallis (1822-1903): A One Piece Carved Limewood Still Life Group of Three Birds, 1856, suspended by twine from a stump of blackthorn, with a snipe flanked by a warbler, and towards the base a chaffinch with a bottle-fly on its neck, amongst entwined ivy, from a rock effect base with two snail shells and other foliage, incised TW WALLIS 1856, 59cm high, beneath a glass dome on an ebonised plinth, 74cm high overall T W Wallis established a business in Louth, Lincolnshire in 1834. After initially making models of wire and clay he would carve still life subjects from a single block of limewood. He won gold medals at The Great Exhibition 1851. As well as signing his work, Wallis also used a small snail as a trademark. Works by this artist can be seen at Louth Museum, including The Heron with Bulrush and Ivy 1853, Woodcock 1854, and Brace of Partridges 1856
A Silver Butterfield Dial for Latitudes 40-60 degrees North, Etienne Francois Georg, Paris, circa 1725-75, octagonal, the compass dial with blue hand, centred by an engraved fleur de lys, signed George A Paris, and with triangular gnomon with bird beak pointer, the centre scale engraved with acanthus leaves, the underside with latitudes of various cities, inset in mahogany octagonal plinth (probably originally in a case, now associated), 7.2cm A rather similar dial is in the collection of the National Maritime Museum, London, ref AST 0320.
A "Vienna" Month Going Wall Timepiece, circa 1890, the walnut veneered and ebonised case with a shaped pediment, glazed front and side panels, waisted plinth, 6-1/2-inch white enamel dial with Roman numerals, single weight driven movement with deatbeat escapement, five wheel going train, 117cm high
A "Vienna" Wall Clock, circa 1890, the walnut veneered and ebonised case with turned finials and glazed panels to the front and sides, waisted plinth, 6-1/2-inch enamel dial with Roman numerals, recessed centre with subsidiary seconds, twin weight driven movement with deadbeat escapement and adjustable pallets, striking on a gong, movement backplate numbered 107436, 130cm high
An Edwardian Mahogany Chiming Longcase Clock, retailed by Pearce & Sons, Leicester, the arched top pediment with canted corners, pierced side frets, nicely inlaid with stringing throughout the case, moulded trunk door with a oval bevelled glass, rectangular plinth raised upon a moulded skirting, 12-inch arched brass dial with silvered Arabic chapter ring, dial centre signed on a silvered plaque Pearce & Sons, Leicester, subsidiary seconds, the arch with chime/silent selection, elaborately decorated throughout with pierced scoll work, triple weight driven movement with deadbeat escapement, quarter striking with four hammers onto four tubular bells and a further larger hammer striking a larger tubular bell for the hours, 217cm high
A Mahogany Eight Day Longcase Clock, the nicely figured case of good colour with a broken arched pediment and turned central finial, stop wood fluted columns, circular moulded hood door with blind fretwork corners, flame veneer trunk door flanked with stop wood fluted pilasters, crossbanded rectangular plinth raised upon bracket shaped feet, 13-inch circular painted dial with Roman numerals and signed J & W Howden, Edinburgh, subsidiary dials for seconds and date, four pillar movement with anchor escapement and rack striking on a bell, later seatboard, 234cm high (dial and movement circa 1810, associated to the case circa 1780)
An Unusual Scottish Mahogany Column Eight Day Longcase Clock, R.Stewart, Glasgow, circa 1850, the case with circular drum shaped top and glazed side viewing windows, column fluted trunk with side removable panel for the pendulum, raised upon a rectangular box shaped plinth, moulded front panel raised upon block feet, 13-inch circular painted dial with Roman numerals, subsidiary dials for seconds and date, four pillar movement with anchor escapement and rack striking on a bell, later seatboard, 204cm high
A Mahogany Eight Day Longcase Clock, signed Denton & Fox, Hull, circa 1810, case with pagoda inlaid pediment, Corinthian fluted columns, nicely figured moulded trunk door flanked by canted corners, rectangular inlaid plinth raised upon bracket feet, 12-inch painted arched dial with Roman and Arabic numerals, centre with seconds and date aperture and signed, the arch depicting a painted scene of a lady with her dog, floral painted corner spandrels, four pillar movement with attached falseplate stamped Wilson, anchor escapement and rack striking on a bell (bell missing), 243cm
A Mahogany Eight Day Longcase Clock, the mahogany reproduction case with pagoda pediment, stop brass fluted columns, arched moulded trunk door with flame veneered and flanked by inset stop fluted pilasters, plinth with a raised quatre form panel and upon bracket shaped feet, 12-inch arched brass dial with silvered chapter ring, engraved around the dial borders, the arch with a silvered disc inscribed John Burges Gosport, five pillar movement with anchor escapement and rack striking on a bell, (modern reproduction case, dial and movement circa 1760), 239cm high
An Irish Mahogany Eight Day Longcase Clock, signed Gordon, Dublin, circa 1810, the architectural case with fluted columns, nicely figured trunk door flanked by inset fluted pilasters, case with later inlay, rectangular plinth raised upon bracket shaped feet, 14-inch square painted dial with Arabic numerals and signed, spandrels depicting birds, four pillar movement with attached falseplate unsigned, anchor escapement and rack striking on a bell, 250cm high
A Mahogany Chiming Longcase Clock, case with swan neck pediment and fluted columns, flame veneered trunk door flanked with fluted pilasters, plinth with a moulded centre panel and canted corners, raised upon later feet, 13-inch arched brass dial with silvered chapter ring with inner date track and a corresponding centre date hand, dial centre bearing inscription Henry Rigby, Liverpool, the arch with moonphase aperture and above a silvered plaque inscribed Time Shews the Way of Lifes Decay, subsidiary seconds, triple weight driven movement with anchor escapement, quarter striking with eight hammers onto a nest of eight bells, later seatboard, 232cm high (dial associated to the movement and both are associated to the case)
A Mahogany Eight Day Longcase Clock, case with swan neck pediment, fluted columns, wavy shaped trunk door flanked by inset pilasters, plinth with raised quatre form panel and raised upon bracket feet, 13-inch brass arched dial with chapter ring signed `John Tuncliffe`, dial centre with date aperture and seconds, arch with rolling moon disc, four pillar movement with anchor escapement and rack striking on a bell, later seatboard, 224cm high (dial and movement circa 1770, associated to the case circa 1770, case with restorations)
A Dutch Mahogany Quarter Striking Longcase Clock with Calendars and Alarm, signed Klaas Johs, Andriese.Groun, circa 1780, the case with a swan neck pediment and a central carved floral mount and later figural finials, pierced sound frets, Corinthian columns, trunk door with central gilt metal mount depicting father of time applied over a glazed lenticle, plinth raised upon carved claw ball feet, 12-inch silvered chapter ring with Arabic and Roman numerals and signed, dial centre with central alarm disc, month/date and day of the week apertures, subsidiary seconds combined with date, penny moonphase combined with two apertures above at 6 for the lunar scale, below chapter ring with a painted biblical scene, twin weight driven movement with anchor escapement, quarter striking with two hammers onto two bells and a further hammer striking a bell for the alarm (alarm weight missing), 247cm high
A Mahogany Longcase Regulator, signed J.Highley, Sheerness, circa 1870, the nicely figured case of good colour, arched top with glazed opening doors to both sides, glazed front and side panels, rectangular plinth with recessed centre panel, raised upon block feet, 12-inch silvered regulator dial signed J.Highley, Sheerness, outer minute track with central corresponding minute hand, two subsidiary dials for hours and seconds, the impressive high quality five pillar single weight driven movement with deadbeat escapement, jewelled pallets, `Harrisons` maintaining power, movement secured to the seatboard with four L shaped brackets, highly polished mercury tube pendulum with circular rating disc, 182cm high John Highley is recorded in Sheerness 1861-1874. See Loomes (Brian) Watchmakers & Clockmakers of the World, page 110.
A Walnut Eight Day Longcase Clock, the nicely figured burr walnut case with flat top pediment, later pierced side frets, (later added wooden blocks beneath seatboard on both sides of the cheeks), trunk door with herringbone crossbanding and moulded borders, herringbone crossbanded side panels, re-duced plinth with later skirting, 12-inch arched brass dial with silvered Roman and Arabic chapter ring, matted dial centre signed on a silvered plaque Tho Finch, London, date aperture, subsidiary seconds, the arch with an aperture for days of the week, five pillar movement with anchor escapement and rack striking on a bell, 223cm high (dial and movement circa 1740, associated to the case circa 1740)
A Marquetry Month Going Longcase Clock, signed Nathaniel Pyne, London, circa 1690, case with flat top and rising hood, backboard with coiled spring for the rising hood, glazed side panels, barley twisted columns and convex throat mouldings beneath hood, inlaid side panels, trunk door with floral work and a central glazed lenticle, re-built plinth with marquetry front panel and later skirting, 11-inch square brass dial signed to the bottom edge Nathaniel Pyne, London, silvered Roman and Arabic chapter ring, matted dial centre with subsidiary seconds, date aperture and ringed winding holes, month going twin weight driven movement with latched pillars, five wheel going train, anchor escapement and outside countwheel striking on a bell, 204cm high, (case with restorations) Nathaniel Pyne is recorded in London 1667-1706. He was apprenticed in 1667 and became a Member of the Clockmakers Company from 1677. See Baillie (GH) Watchmakers & Clockmakers of the World, page 260.
A 19th Century Amboyna Walnut Ebonised and Gilt Metal Mounted Side Cabinet, the central section with a gallery above an open mirrored back shelf and a pair of doors mounted with opposing circular porcelain busts, with flanking cupboards enclosing shelves, the doors mounted with porcelain plaques depicting classical maidens flanked by corinthian capitals upon a plinth and turned feet, 181cms wide x 46.5 deep x 119cms high
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