A rare mid 18th century Cornish ebonised table clock with tic-tac escapementWilliam Anthony, TruroThe inverted bell top case with single handle and four cone finials over shaped glazed side panels on a plinth base and block feet. The 7.75 inch arched brass dial with strike/silent subsidiary over foliate scroll spandrels, the Roman and Arabic chapter ring, matted centre with apertures for mock pendulum and date, signed on an applied arched plaque. The twin gut fusee (gut on the going train broken) movement with tic-tac escapement and rack striking on the bell, with hour pull-repeat cord to the underside. The thick plates united by five knopped pillars, the backplate centred by an engraved pagoda within foliate scrollwork 54.5cms (21ins) high. For further information on this lot please visit Bonhams.com
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A mid-nineteenth century engraved brass carriage timepiece depicting Windsor and Balmoral CastlesDent, London, No. 1036The gilt brass Anglaise riche-style case with frilled eels handle over a bevelled glass inspection panel within an elaborate pattern of engraved foliate scrolls on an engine turned ground, framed by four turned finials over reeded columns to a plinth base on three turned feet, the rear door depicting the Royal Castle at Windsor, the right-hand side showing a vase of flowers, the left showing Balmoral castle, all within elaborate borders, The 2-inch gilt rectangular Roman dial with delicate fleur de lys hands within a grapevine border. The single chain fusee movement with jewelled English Lever escapement, substantial monometallic brass balance and Harrison's maintaining power, the signed and numbered back plate with integral hand-setting knob. Ticking, together with a winding key. 19 cms (7 ins) highFootnotes:The 'House of Dent' began in 1840 as 'E.I. Dent' in reference to the founder, Edward John Dent, who had previously been in a ten-year business partnership with John Arnold. In 1841, he was awarded a Royal appointment, which lasted until his death in 1853. After this point, the business was taken over by his stepchildren who ended up splitting the business into two competing firms; Frederick William Dent inherited 61 Strand and 34 & 35 Royal Exchange shops, whereas his brother, Richard Edward Dent inherited 33 Cockspur Street. In 1854, Frederick William took over the contract to build a clock for the Houses of Parliament that his stepfather had agreed to undertake in 1852; the clock eventually being installed in 1859, along with its bell, Big Ben. Richard Edward Dent died in 1856, at which point the shop was run by his widow, Marianna Frederica, who also renamed the firm 'M. F. Dent'. Frederick William Dent died in 1860, at which point the two shops in his ownership were renamed 'E. Dent & Co.' by his sister and brother-in-law, who also took over the business. Until 1858, both firms used the name 'Dent, London'; in 1858, at the coercion of 'E. Dent & Co', 'M. F. Dent' clarified on all the products they produced that they were a separate entity to 'E. Dent & Co.' and all the accomplishments of 'E. Dent & Co.' were quite separate to those of 'M. F. Dent'. In 1921 the separated firms re-joined and continued until finally closing their doors in 1976.The clock for this lot is signed 'Dent London 1036' which complicates assigning it a definitive maker. However, it has been noted that 'M. F. Dent' seem to have started numbering both their clocks and watches at 12000, whereas 'E. Dent & Co.' began numbering their clocks from 1. This would suggest the latter company was responsible for this clock. One of their carriage clocks, numbered 693, has been dated to 1845, while another numbered 1302 is dated to 1850. If their carriage clocks were numbered sequential, which is not confirmed, it would make sense for this clock to date to around 1848. Interestingly, one of the scenes engraved on the case is of Balmoral Castle. In 1857, Frederick William Dent made a turret clock for Balmoral Castle; it might be that this clock was made to highlight that achievement, though this is purely speculative.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A fine and rare early 19th century French Gilt and Patinated bronze Pendule L'amerique after DeverberieModelled as a seated woman wearing a feathered headdress and skirt, holding a bow and spear, one foot resting on a stylised alligator, its tail wrapped around a palm tree, raised on a 'D' ended plinth base with applied floral festoons over toupie feet, the 4.5 inch enamel Roman and Arabic dial with gilt hands, the drum movement with flattened lower edges to the plates, silk suspension and outside count wheel strike to a bell. 49cms (19ins) highFootnotes:A similar model is illustrated in Pierre Kjellberg's 'Encyclopedie de la pendule Francaise, Les editions de l'ameteur 1997, pages 352 and 353, fig. B and C, while a further example can be seen in Elke Niehuser's 'French Bronze Clocks 1700-1830', Schiffer 1999, page 147, figs 237 and 238 and page 148 fig 239.For further information on this lot please visit Bonhams.com
A good early 19th century ormolu-mounted marble and slate mantel timepiece with Royal provenance. First sold to the Duke of Clarence, later King William IV, on 19th January 1808.Vulliamy, London, Number 405The case surmounted by a gilt urn on a plinth over the reeded drum, set on a pair of carved scrolls set on a double stepped slate plinth with ormolu beaded border and recessed panels to the front and sides, the whole raised on turned toupie feet. The drum flanked by a pair of recumbent lions, each facing outward and holding a gilt ball. The 3.5 inch restored white enamel Roman dial with pierced and engraved gilt fancy hands, each numeral picked out in gold and with a dotted gilt minute border framing the whole. Set within a beaded concave bezel. The single wire fusee movement with four slender tapered pillars, suspension spring regulation and half deadbeat escapement, the back plate engraved Vulliamy London No 405. Protected by a turned brass push-on cover. Ticking with a winding key and matching numbered pendulum. With sincere thanks to Roger Smith for his help in researching the early history of this clock. 29 cms (11 ins) highFootnotes:Provenance:From the late Sir Ernest and Lady Caroline Oppenheimer Collection and hence by descent.The firm of Vulliamy & Son were the most fashionable clockmakers in late Georgian London. Their shop at 74 (later 68) Pall Mall was situated close to St James's Palace, and although Benjamin Vulliamy (1747-1811) did not become head of the firm until 1797, he had been Clockmaker to King George III since 1772. His grandfather Benjamin Gray had been Watchmaker to George II, while his father, the Swiss immigrant Justin Vulliamy, was clockmaker to Queen Charlotte until his death in 1797 (for an example of his work, see lot 110 in this sale). The official warrant as Royal Clockmaker later passed to Benjamin's son, Benjamin Lewis Vulliamy (1780-1854). [1] In the 1780s, Benjamin Vulliamy decided to challenge the dominance of imported Parisian clocks in the homes of wealthy Britons by making clocks that were not only of the highest quality but also in the latest taste. His first range of ornamental clocks appealed to the fashion for neo-classicism, with white marble cases, sometimes in the form of a broken column, flanked by Classical Greek figures made of Derby biscuit porcelain. [2] However, by the late 1790s Vulliamy's customers were tiring of the restrained elegance of these sculptural clocks and demanding the richer 'Empire' style that was becoming fashionable in France. This encouraged Vulliamy to produce a new range of clocks in a variety of coloured marble cases ornamented with pairs of 'Roman' lions (or sometimes sphinxes), and vase or eagle surmounts, cast in ormolu or bronze. Although inspired by French originals, the overall design of these clocks was created by Vulliamy himself, who then organised their production through a network of independent suppliers and outworkers based mainly in London. However, he also maintained some contact with Continental Europe in spite of the long years of war which followed the French Revolution and the rise of Napoleon Bonaparte. Among his foreign contacts was the leading French bronzier Jean-Baptiste-Maximilien Delafontaine (1750-1820), former syndic of the Corporation des Fondeurs-Doreurs-Graveurs in Paris, who stayed with the Vulliamy family in London during the Revolutionary summer of 1789. He subsequently returned to Paris, where he lived in the faubourg St Honoré. Delafontaine kept in touch with Vulliamy, and a few years later sent him two pairs of lions which were subsequently used as patterns for Vulliamy's first lion clocks. These lions, which were in (approximate) mirror-pairs, were described by Vulliamy as 'after the antique', and may have been inspired by the famous Medici lions in Florence, though the lions on the clocks are lying down rather than standing. While the two pairs supplied by Delafontaine were of related design, they were in two sizes, the smaller being available by 1798 while the larger model first appeared in 1801. It is the larger model that features on clock No. 405 in the current sale. [3]Thanks to the survival of the relevant Clock Book in the collection of the British Horological Institute, there is detailed information on the craftsmen and suppliers employed by Vulliamy to make this clock and what they were paid. [4] The largest individual payment was £6-18s to Mr Day for the marble case, while Jackson received £5-10s for the timepiece movement with Vulliamy's characteristic half-deadbeat escapement. Basic casts of the two lions (from Delafontaine's models) were supplied by the brassfounder Barnett for a modest £1-2s-6d, but Houle charged £5 for chasing them. Seagrave was paid a total of £3 for gilding various elements, while several other craftsmen received smaller sums. [5] The clock was finished by 19 January 1808 when it was sold to the Duke of Clarence, younger son of George III and later King William IV, for 42 guineas (£44-2s), including a stand and glass shade. However, it was soon returned by the duke and sold again (at the same price) to R. Pole Carew Esq. on 30 March 1809. [6] The buyer was presumably Reginald Pole Carew (1753-1835), then Member of Parliament for Fowey in Cornwall, who had inherited an estate at Antony in Cornwall, near Plymouth. Following the death of his first wife, he had married again in May 1808, to Caroline, daughter of Lord Lyttelton, and it is possible that the purchase of the clock was part of a refurbishment of his large country house at Antony. [7]It should be noted that the records of sale for this clock in both 1808 and 1809 describe it as having a black marble case with gilt ornaments but bronze lions, rather than black and white marble and gilt lions as now seen. That might suggest later alterations, but an earlier clock of this pattern, No. 389, is also described as having a black case, although it is black and white like No. 405. On the other hand, its lions are bronzed in conformity with the description, and there is consequently no reference to gilding in its Clock Book entry. The fact that the corresponding entry for No. 405 shows a significant payment for gilding to Seagrave confirms that any changes from the original specification for No. 405 were carried out during manufacture and not subsequently. [8] Notes1. For a brief history of the Vulliamy watch and clock makers, see entry in The Oxford Dictionary of National Biography (2004).2. A full account of the production of these sculptural clocks is A. P. Ledger and Roger Smith, Benjamin Vulliamy and the Derby Porcelain Manufactory, 1784–1795(Derby: Museums and Art Gallery, 2007).3. For a detailed account of the design and production of Vulliamy's lion clocks, see Roger Smith, 'Vulliamy Lions: their designers and modellers', Furniture History, vol. LVI (2020), pp. 69-82.4. British Horological Institute, Vulliamy Records, Clock Book vol. 1 (1797-1809).5. Day, Jackson and Houle are listed in the Vulliamy Watch Day Books as Mr Day, statuary etc, Brewers Row, Westminster; Mr Jackson, clock maker, 11 Chapel Row, Spa Fields; Arthur Hoole (sic), 1 Middle New Street, Fetter Lane. (The National Archives, C104/58/2, extracts published in Francis Wadsworth, 'Some early 19th Century Workmen', Antiquarian Horology, Summer 1991, pp. 401-12.) 6. The National Archives, C104/58/2, Day Book 32, 19 January 1808; Day Book 33, 30 March 1809.7. Antony house is now in the care of the National Trust. For brief biographical details of Reginald Pole Carew MP, see his Member Biography in The History of Parliament (online).8. No. 389 was sold by Bonhams 11 J... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A very early 19th century brass-banded mahogany single pad top bracket clock with wall bracketJames Amos Scott, Tottenham Court RoadThe brass handle set on a brass-bound pad over a moulded edge and four ball finials, the sides with geometric pierced brass sound frets, the front and back doors both glazed, on a moulded plinth and ogee bracket feet. The one piece 7.75 inch arched silvered dial with engraved Roman chapter ring, strike/silent subsidiary and date dial above VI, signed across the centre Scott Tottenham Court Road, with pierced, blued steel arrow hands. The twin gut fusee movement with five knopped pillars and anchor escapement, the signed backplate with running swag and leaf border. Ticking and striking with wall bracket and some paperwork. The frontplate of the movement is stamped Thwaites and numbered 2829. The clock 48 cms (18.5 ins) high, 69 cms (27 ins) high with bracketFootnotes:The note accompanying this lot relates that the clock, Thwaites 2829, was supplied to James Amos Scott in 1802, according to the Managing Director of Thwaites and Reed in 1963.For further information on this lot please visit Bonhams.com
A second half of the 18th century ebonised table clockJohn Fletcher, London The bell top with handle over a swag mount and four cone finials, the moulded top above circular and shaped side frets backed by red silk, to a plinth base with repeating mount along the front, on low ogee bracket feet. The seven-inch arched brass dial with strike/silent over a silvered chapter ring, scroll spandrels and matted centre with decorated date aperture and shaped recessed signature plaque. Twin chain fusee movement with knife edge verge escapement and rack strike on the bell, with trip repeat for the hour. 51cms (20ins) high. Footnotes:A handwritten note in the case suggests that this was the John Fletcher apprenticed in 1727, who became a member of the Worshipful Company of Clockmakers in 1744.This clock is featured in Dzik, S. (2019) Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800, Wild Boar Publications, pg. 366 (F12-1).For further information on this lot please visit Bonhams.com
A late 18th century mahogany musical table clock playing six tunes on 12 hammers and 12 bellsRobert Sampson, Westminster The broken arched case with caddy top and five matching ball finials over side handles and fish scale frets flanked by twin reeded quarter columns on a moulded plinth base raised on brass ogee feet, the rear of the base bearing a lacquered brass plaque with Cyrillic lettering 'NKID' and the number 7544. The 8 inch arched engraved gilt brass dial plate framing the (restored) signed Roman and Arabic dial with matching hands below twin subsidiaries for strike/silent and choice of tune comprising 'song; march; air; song; dance and air' the upper corners further decorated with engraved martial and agricultural motifs. The substantial triple gut fusee movement with substantial plates and knopped pillars, the verge escapement playing a choice of six tunes on the hour. The backplate with repeat-pattern border framing the symmetrical pattern of scrolls centred by a basket of fruit over the initials RS. Ticking and playing music, but strike train with broken gut line. Together with a later crank winding key. 62cms (24ins) high Footnotes:The Cyrillic letters 'NKID' are an acronym for the 'People's Commissariat for Foreign Affairs' of the Soviet Union, similar to the United Kingdom Foreign Office.For further information on this lot please visit Bonhams.com
A good late 18th century mahogany quarter chiming longcase clockJames Allen, LondonThe pagoda top with ball and spire finials sitting on ribbed mouldings, the centre with shaped apron over silk backed sound frets mounted on brass stop-fluted Doric columns over a long door with flame veneer flanked by matching quarter columns on a doubled stepped plinth with applied moulded panel. The 12 inch arched brass dial with strike/silent over a Roman and Arabic chapter ring and scroll spandrels framing the matted centre with recessed seconds and applied arched signature riband. The movement with heavy plates united by five large knopped pillars, the going train with anchor escapement, the original pendulum with brass strip and lenticular bob suspended from a substantial back cock on the backplate, striking the hours on a bell and chiming the quarters on eight bells and hammers. Together with three brass-cased weights 2.55m (8ft 5ins) high. Footnotes:James Allan, also spelt Allen, was born in Forres, Scotland likely around 1739. He seems to have been initially apprenticed to a blacksmith in Forres, and after completing his apprenticeship he moved to London. By chance, he shared a house with a sextant maker, and apparently Allan would assist the sextant maker in the evenings. Allan must have preferred instrument making to blacksmithing, as by 1786 he was making Borda circles, likely with Jesse Ramsden, whom he appears to have remained close to throughout his life. In 1790, he was listed as working at 76 New Gravel Lane, before moving to 12 Blewit's Buildings, Fetter Lane around 1800, where he would remain for the rest of his career. In 1809, he is listed in the trade directories at this address as a 'divider of mathematical instruments'. In 1816, he published his own method for making highly accurate screws and was subsequently awarded a silver medal for his screw making, by the Society for the Encouragement of Arts, Manufacturers and Commerce. This same organisation gave him several awards throughout the years: two gold medals, one for his self-correcting dividing engine (1810) and another for a theodolite of his own manufacture (1815), as well as another silver medal for a new Reflecting Repeating circle (1811). On 3 February 1820, he received another award, of £100, this time from the Board of Longitude for his 'Self-Correcting Dividing Engine' used for the manufacturing of theodolites, sextants, etc. This engine is now in the Science Museum in London. It seems that shortly after this he moved back to Forres, where he died a year later, on 7 September 1821, his obituary being published in the Inverness Courier. James Allan would later be mentioned by Thomas Reid, in his Treatise on Clock and Watch Making: Theoretical and Practical, as a late watchmaker of London and a 'master in the art of dividing mathematical and astronomical instruments'.One of his sons, also James, served an apprenticeship to the well-known instrument maker Charles Fairbone, then worked in Ramsden's shop between 1813-1816, before transferring to Matthew Berge's shop located at 196 Piccadilly. In 1819, he and Nathaniel Worthington, a former apprentice to both Berge and Allan (Snr.) inherited the business on Berge's death, setting up the partnership of Worthington and Allan. Interestingly, James Allan, of 196 Piccadilly, was enrolled at the London Mechanics Institute between June 1825 to March 1826. The partnership between Worthington and Allan continued until 1835, after which point Worthington assumed full control, until his death in 1851. Whether Allan died in 1835, or the partners simply had a falling out, remains unknown.Another son, John, seems to have worked with his father between 1790-1794, before he established himself as a marine instrument maker in Baltimore, having left the UK in 1807. His adverts boasted that all the instruments were made using his father's improved dividing engine.Reid, T (1832) Treatise on Clock and Watch Making: Theoretical and Practical. Philadelphia: Carey & Lea.McConnell, A. (2016) Jesse Ramsden (1735–1800): London's Leading Scientific Instrument Maker. Abingdon-on-Thames: Routledge.de Clercq, P. R. (1985) 'Nineteenth-Century Scientific Instruments and their Makers: Papers presented' Fourth Scientific Instrument Symposium. October 1984.The British Antique Dealers' Association (2022). Worthington & Allan-London. Available at: https://www.bada.org/object/worthington-allan-london-outstanding-flat-wall-bow-front-mahogany-stick-barometer-circa-1820Public Ledger and Daily Advertiser. Friday 25 February 1820Inverness Courier.Thursday 13 September 1821Grace's Guide (2020) James Allan (London). Available at: https://www.gracesguide.co.uk/James_Allan_(London)#cite_note-3 This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A good late 19th century burr walnut four-glass library timepieceBirch and Gaydon, 172 Fenchurch St., LondonSurmounted by a glazed panel within a stepped cornice over bevelled glass sides to a stepped and moulded plinth with recessed burr panel on block feet, the 3.75 inch signed silvered Roman dial with engraved foliate spandrels and blued steel hands, four-pillar chain fusee movement with anchor escapement, signed on the backplate. Ticking, with pendulum. 25cms (10ins) high.For further information on this lot please visit Bonhams.com
A rare mid-19th century French carriage clock with chaff cutter escapementPaul Garnier, Paris number 2976The early multi-piece case with facetted handle over a bevelled glazed inspection panel (the repeat button passing through the glass), moulded uprights and a plinth base, the solid rear door with hinged shutter opening to reveal the winding and setting squares. The Roman white enamel dial with minute track and numerals picked out in light and dark blue, the centre signed Paul Garnier Hger de la Marine Paris, above blued steel trefoil hands and a subsidiary Arabic alarm dial with blued steel setting hand. The three-spring barrel movement with Garnier's own chaff-cutter escapement with three-arm monometallic balance, and extremely delicate arbors throughout, rack striking the hours and half-hours on a bell. The back plate signed Paul Garnier Paris, and numbered on the backplate under the bell, the rear door, shutter and base also repeat numbered. Ticking, striking, sounding the alarm and repeating. Together with a double-ended winding key. 18cms (7ins) highFootnotes:Paul Garnier (né Jean-Paul) was born in 1801 in Épinal, France, moving first to Luxeuil to carry out a watchmaking apprenticeship, and then to Paris in 1820 to join Lépine's workshops, before finally establishing his own business in 1825. In the 1827 Exhibition he exhibited an astronomical clock and some mantel regulators, which won him a silver medal. He would win silver medals again at both the 1834 and 1839 Exhibitions, before winning a gold medal in 1844. Around this time, he seems to have written to the formidable Antide Janvier, asking for permission to use the title 'Elève de Janvier', as Garnier, at some point, attended the free Horological school Janvier established in 1802. Janvier readily assents to this request, and Garnier used the title on his carriage clocks until about 1835, and in his written correspondences until at least 1844. Around 1835, Garnier makes use of the title 'Horloger (or Her) du Roi', which in turn is supplanted by 'Her De La Marine' after the 1848 revolution and the deposition of the monarchy.From 1830 Garnier began to make affordable, semi-massed produced carriage clocks (pendules de voyage) and could be said to have established the Parisian carriage clock industry. He was able to do this by combining a basic, easily made design with his patented 1830 escapement. This escapement, alternatively called the 'chaff-cutter', 'Gautier', or 'chopper', could be machine made, drastically reducing the time and cost of making. It is a type of frictional rest escapement, comprising of pallets in the form of a single roller (a circle with about 4/9ths of its circumference cut off at an angle and the sides ground) made of either jewel or hardened steel, the latter being more common with repaired rollers. The escape wheel is in fact two separate wheels mounted on the same arbor a specific distance apart. The wheel teeth are bevelled along the edge that interacts with the roller.The combination of basic shape and cost saving escapement meant that pendules de voyage, having previously been economically unattainable to the vast majority of people, were reduced in cost to the price of a standard mantle clock.Despite being affordable, these clocks were not poorly made, exhibiting very fine diameter pivots (even by French clock standards) and usually having rack striking, which was a desirable feature, being much easier to set than count wheel striking. The clocks would also only strike the half hour and the hour, which saved on cost compared with the more common repeaters. In the early clocks, engine turned dials, one-piece cases, and barrel stopwork were all very common. With clocks made between 1830-1840, it was common to fit a coloured-paper covered block of wood into the base of the hollow casting.In addition to carriage clocks, in 1847 Garnier presented a novel master clock and slave clock system, and at least one chronometer has been assigned to him. He also pursed scientific instrument making, his obituary eventually being published in the Society for Civil Engineers bulletin in 1869.His son, also Paul Garnier, was born in 1834 and continued the business after his father's death. Additionally, he submitted drawings and models of his father's design for a free-sprung chronometer escapement to the Conservatoire National des Arts et Métiers and the Revue Chronométrique. Before his death in 1916, he donated his family's collection of watches and clocks (the former including examples from the 16th century) to the Musée des Arts et Métiers.R. A. E. (1890) 'A Few Words About M. Paul Garnier's Collection', The Horological Journal, Vol. 33 (3), pgs. 33-34.Arnott, P. (2011) 'Constant Force Chronometer No. 1 Attributed to Paul Garnier', Antiquarian Horology, Vol. 33 (1), pgs. 58-65.Weld C. R. (1868) 'Parliamentary Reports on the Paris Universal Exhibition, 1867', The Horological Journal, Vol. 11 (4), pgs. 43-50.British Horological Institute (1877) 'Entirely Detached Gravity Escapements', The Horological Journal, Vol. 20 (1), pgs. 4-6.Allix, C. (1993) 'Paul Garnier Revisited', Antiquarian Horology, Vol. 20 (5), pgs. 411-425.Boquillon, M. (1863) 'Horology at the International Exhibition, London, 1862', The Horological Journal, Vol. 5 (8), pgs. 90-93.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A good mid 19th century rosewood four glass library clock with deadbeat escapementTupman, Londonsquare topped case with facetted handle on foliate uprights over bevelled side panels to an ogee base on moulded plinth and brass button feet, the 3.25inch rectangular signed silvered Roman dial with minute band enclosed by foliate scrolls on a hatchwork ground and blued steel Breguet-style hands within an angled sight ring, a strike/silent lever above XII. The twin chain fusee movement with maintaining power to the deadbeat escapement, rack striking on a gong mounted on a separate upright stand in the back of the case, the polished backplate signed Tupman, Old Bond Street, LONDON. Ticking and striking, together with a winding key and two case keys. 26cms (10.25ins) high.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A good early 18th Century quarter repeating ebonised bracket timepieceMatthew Holland, LondonThe arch top case with handle set longitudinally across the top, above an intricately moulded cornice and pierced side sound frets, on moulded plinth base with block feet. The 4.75 inch arched brass dial signed in a silvered plaque to the arch over a Roman and Arabic chapter ring framing the matted centre with mock pendulum aperture, chamfered date and good blued steel hands. The single gut (now wire) fusee movement united by five knopped pillars, with verge escapement repeating the hours and the quarters on two bells and three hammers, the engraved backplate centred by a basket of flowers amid a flowing pattern of foliate scrollwork. Ticking and repeating. Sold together with a case key and later winding key. 32cms (12.5ins) high.For further information on this lot please visit Bonhams.com
An extremely rare late 18th century weight driven walnut-cased floor standing regulatorHenry Ward, BlandfordThe obelisk-form case with shallow pointed arched top over tapering sides to an upright rectangular base on a plinth with moulded lip, the circular dial aperture set into the front of the full-width hinged door. The 9-inch one-piece engraved silvered dial with curved aperture to show the minutes via a rotating minute ring with Arabic fives read against a tapering blued steel pointer, below the minute aperture sit two engraved subsidiaries, to the left is a 24-hour dial with Roman hours marked in three hour intervals marked to the nearest quarter of an hour (i.e. four divisions per hour) read by a simple blued steel tapering hand; to the right hand side is a twice 0-60 second subsidiary dial, marked in individual seconds and named every ten, again read via a simple blued steel tapering pointer. The weight driven movement with unique inverted truncated pyramid shaped backplate (suggestive of a parallelogon) secured directly on to the back of the dial via three 7cms (2.75ins) long turned pillars, the single going train consisting of two large (c.13cms (5ins)) finely cut wheels with screwed collets and eight-leaf pinions driving a 7.5cms (3ins) 'scape wheel with 60 pins. The steel impulse and exit pallets are set directly on the pendulum rod. The pendulum is set on a substantial brass bracket mounted on the walnut block, and is constructed in three parts - two steel arms centred by a zinc core, of octagonal section, set at the upper end with a pair of steel pallets mounted on a brass block, the lower end terminating in a very heavy spherical brass bob with additional auxiliary timing weight (the largest bob approximately 13cms (5ins) in diameter and weighing approximately 10.5kg (approx 23lbs). 1.78m (5ft 10ins) high. Footnotes:Henry Ward was born around 1776; it is unknown where he was born, though he would spend most of his working life in Blandford, Dorset. However, his brother Richard, described as a watchmaker, lived in Middlesex. The details of his early career remain unknown, though, in 1797 a Henry Ward is listed in the Charing Church warden's book as having been involved with the upkeep of the clock for that year. Unlike many of the other listed clockmakers, his place of residence is not recorded. In 1804, Henry Ward of Blandford supplied and installed a turret clock to Milton Abbey, though the actual movement appears to have been manufactured by John Thwaites in London. This, along with his brother's place of residence and the Charing Church records, suggests Ward may have at least been apprenticed in London. In 1805 he received his first of four awards from the Royal Society of Arts, in the form of 15 guineas for a new simplified striking system. This system was noticeably different from other striking systems, as it did away with a separate striking train, instead using the pendulum to power the hammer via front plate levers: The hammer and the pallets are joined together with a rack; a lever is attached to the pallets and once the clock is striking, the pallet lever moves the rack tooth by tooth. Each movement of the rack connects with the hammer tail and causes a blow to be sounded. Ward notes that he uses this system with a deadbeat escapement. Interestingly Edmund Beckett Denison, later Lord Grimthorpe, in his Rudimentary Treatise On Clocks, Watches, & Bells For Public Purposes advocated for a crutch-less escapement. He noted that an escapement which had the pallets on the pendulum would be much more effect, though he did say that this was 'hardly possible [...] to manage behind a clock of regulator size.'Less than two years later Ward had received another award from the society, this time in the form of a silver medal, for his compensation pendulum. This pendulum consisted of two hammered iron rods on either side of a zinc rod, all secured by several screws along the length of the rods. These screws acted as adjustment, according to Ward; unscrewing the screw by one thread, would result in an alteration of the clock's going by about one quarter of one second per day. Ward was quite thorough in his experimentation, making up two pendulums, one using un-hammered iron and the other with half-hammered iron, and observing the change in their respective timekeeping based on the temperature. He even installed a rudimentary heat lamp in each clock case, to be able to test increases in temperature without being dependent on the weather. He eventually refined his pendulum to have chamfered edges and hammered iron rods, both of which he claimed further stabilised the clock's rate. This same year, he also received 10 guineas from the Society, for his invention of a locking crank mechanism for telegraph machines. His final prize from the society would come in 1814, in the form of another silver medal and five guineas for a simplified equation of time complication. This manifested itself as a minute dial with two hands; one hand recorded mean time, and the other tracked solar time. Ward explained in his submission to the Society that he thought it was essential to depict solar time, as the difference between it and mean time could be as much as -14/+16 minutes depending on the day of the year. That this complication was uncommon on standard domestic clocks, Ward ascribed to the cost, expertise, and skill of manufacture necessary. He viewed his complication, which relied on a cam, quadrant rack and a few additional wheels, as simplified and easier to make, with the hope that it would be adopted by more manufacturers. Unfortunately, Ward would die less than a year later, on 23rd February 1815. He is listed in the Blandford Forum burial records for 5th March of that year. Interestingly, he is listed as 'Henry, Ward Snr' opening up the possibility that a son of the same name was still alive as of 1815, though this conjectural child has not yet been located. His brother Richard, and his friend James Ferris, the latter of whom worked from Poole, having been apprenticed to Thomas Wright of London, served as the executors of his will. Richard Ward continued to work in London, at 27 Banner St., St. Luke's until at least 1853. A possible description of his house from 1815 suggests that he had three paying lodgers in his house at that time. This same source also references Mary Ann Ward, who was the daughter of Richard Ward; it seems likely that this is the same Richard Ward, though this cannot be confirmed.Passing reference has also been made to a Henry J. Ward, who was apprenticed to a Thomas Mayne as a watch finisher in 1792 at St. Luke's, London. Assuming Henry J. Ward was 14 at the time of his apprenticeship, he would have been born two years after Henry Ward. Whether this is actually Ward's younger brother, or simply an amusing coincidence, remains unknown.An early 19th century turret clock is known by Ward; it has a pinwheel escapement, with pendulum mounted pallets and a vertical fly. He seems to have been partial to a pinwheel escapement as several of his more complicated clocks used one. Longcase clocks of 30 hour and eight-day duration, as well as silver pocket watches, including one with a duplex escapement, are all known by him as well.Kelly (1843) Post Office London Street Directory, London: Kelly's Directories Ltd.University of Leicester (2022) Historical Directories of England & Wales: London 1808-1915. Available at: https://specialcoll... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A GOOD LATE 19TH CENTURY ROSEWOOD STRIKING AND REPEATING 'FOUR GLASS' LIBRARY CLOCKAldred & Son, Yarmouth The rectangular case with bevelled glass inspection panel over a broad concave cornice and bevelled glazed panels to an ogee base on a moulded plinth and adjustable brass button feet, the repeat button set to the right-hand side sounding the last hour on demand. The 3.5-inch engraved gilt dial with polished Roman chapter ring with strike/silent lever above XII and Breguet style blued steel moon hands, set within a pattern of foliate scrollwork and engine turning against a hatched ground with bold signature in a polished reserve below VI, all framed by a silvered sight ring. The signed twin chain fusee movement with substantial plates united by turned pillars screwed through the back, the anchor escapement striking and repeating on a blued steel coiled gong. 24cms (9ins) high. Footnotes:Provenance:P. A. Oxley, 2004.Aldred & Son were clockmakers and goldsmiths working in Great Yarmouth from 1873 to 1900.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A good early engraved one-piece cased repeating carriage clock with duplex escapement, day, date, alarm and quarter repeatJ.B. Beguin, ParisThe elaborately engraved case with shaped and facetted handle above the large, glazed inspection panel over three bevelled glass panels, the rear door solid and sliding upwards in a pair of runners to reveal the winding and setting squares, raised on a plinth base with shaped corners and decorated all-over with finely engraved borders of stylised wheatears, tied ribbons and feather banding. The main dial with Roman hours and blued steel trefoil hands within a minute track, signed below VI and set above three subsidiaries for alarm, day (in English) and date, all with matching trefoil hands and set within an engraved foliate scroll mask. The spring barrel movement with gilt platform for the brass three-arm balance with compensating screws and jewelled duplex escapement, rack striking the hours and quarters on two bells and hammers. The strike/silent lever is set on the backplate with the engraved options 'Striking' or 'Stillness'. Ticking, striking both the hours and the quarters. Operational repeat, and alarm trains, together with a double ended key.Footnotes:This clock, or an identical one, is referenced in Carriage Clocks Their History and Development by Charles Allix and Peter Bonnert on page 432. Extant examples survive, not only of two other carriage clocks by Beguin, but also a handful of mantle clocks, including a skeleton clock.In 1870, he was recorded as working on the Rue Faubourg Saint-Antoine in Paris.The duplex escapement is usually seen in early Carriage clocks, being supplanted later by the lever and cylinder. However, in the early years of French carriage clock manufacturing the duplex escapement was regarded as the epitome of quality.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A French brass, marble and enamel automata 'Bras en l'air' mystery clockThe back of the front panel signed A ROUSSEAUThe cast brass standing female figure set within a pillared arch with lotus leaf cornice and fancy side columns, dressed in a gathered robe, her articulated arms poised to the sides and raising to show the time against the white enamel hour and five-minute arcs, against an enamel background of scrolling white speckled foliage on a deep blue ground, all set on a stepped plinth with gilt brass mounts. The later single barrel movement with silvered lever platform escapement with stepped cam to activate the arms above (linkages lacking). The rear of the front panel stamped A.ROUSSEAU 35cms (14ins) high.For further information on this lot please visit Bonhams.com
An early 18th century ebonised quarter repeating basket top table timepieceCharles Gretton, LondonSurmounted by an elaborate cast fish-and-fowl handle on a repousse basket top with four brass foliate urn finials over an elaborately moulded cornice, the glazed sides with repousse masks, the moulded base now with later plinth. The 6.5 inch square brass dial framed by winged cherub head spandrels, silvered capter ring with Arabic five-minutes and arrow-head half-quarter marks encloising a minute band, Roman numerals with half hour markers signed between V and VII Char Gretton, London and inner quarter hour track, the finely matted centre with chamfered date aperture, turned decoration and ringed winding square, with well sculpted pierced blued steel hands. The single gut fusee movement with five knopped, ringed and latched pillars, later converted to anchor escapement, the back plate richly engraved with iris, anemones, narcissi and tulips in symmetrical foliate scrolls, repeating the quarters and hour on three bells. Ticking, repeating, together with the pendulum and loose front door mounts. 40cms (15.5 ins) highFor further information on this lot please visit Bonhams.com
A good and rare late 18th century brass-mounted ebonised quarter repeating small bracket clockHenry Long, LondonWith brass banding to the bell top surmounted by a handle and four cone finials, set over circular and shaped glazed side panels to a moulded plinth on block feet, the glass panels and doors all framed by a quarter-round cast brass moulding. The five-inch arched brass dial with twin subsidiaries for rise-and-fall regulation and strike/silent set either side of the applied silvered signature plate, silvered Roman and Arabic chapter ring enclosing a matted centre with mock pendulum and date apertures. The twin fusee movement united by five knopped pillars, pivoted verge escapement with rise-and-fall regulation and rack striking on a bell. Repeating the quarters on demand via the pull cord to the right-hand side of the case on a nest of six graduated bells and hammers. The backplate engraved with a symmetrical pattern of scrolling acanthus and centred by the pendulum holdfast block. Ticking, but strike fusee chain damaged. 38cms (15ins) highFor further information on this lot please visit Bonhams.com
Y A REGENCY ROSEWOOD AND GILT METAL MOUNTED SIDE CABINETCIRCA 1820With variegated marble top93cm high, 114cm wide, 34cm deepCondition Report: Cabinet with the marks, knocks, scratches and abrasions commensurate with age and use. Some old splits, chips and minor losses. The marble top with the expected chips and 'nibbles' to the edges. Some dark filler in places. A strip of moulding to one side of the cabinet is detached but present. Another sections of moulding to one side of the plinth base is also detached but present. Key present and operates lock. Pleated silk panels to doors are later replacements. The backboards to the doors are also replaced. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
AFTER PRINCE PAUL TROUBETZKOY (RUSSIAN/ITALIAN, 1866-1938) EQUESTRIAN BRONZE 'AMAZONE' EARLY 20TH CENTURY Depicting Miss Adah Nathan Berra riding her horse Cinderella, signed and dated 1896 to cast, on variegated green marble plinth base 48.5cm high overall, base 38 by 16.5cm Paul (Paulo) Troubetzkoy was born in 1866 at Intra, a town on the shore of Lake Maggiore in northwest Italy The son of a Russian prince and an American opera singer- he studied initially with Ernesto Bazzaro in Milan. With the advantages of birth and title- Troubetzkoy travelled across Europe and later America creating portraits of the foremost figures of the day: artists, socialites, aristocrats and industrialists. This rare work was one of his first equestrian portraits. Condition Report: Wear, marks, knocks and scratches as per age, handling, use but generally in good condition- minor repair to left hand rein at junction with head- otherwise only mild wear to raised areas with paler patina and small wear to basePlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A painted papier-mache, faux-granite figure of Nandi, the Hindu sacred cow, probably 20th century, the recumbent cow in elaborate ceremonial dress, with decorative saddlecloth, strings of bells and head ornament, on a stepped plinth with floral and lappet borders, 13in. (33cm.) high. Small chip to one upper corner of plinth and another larger to one lower corner. Otherwise good.
A set of eight Chinese Sancai glazed pottery tomb figures of Court Attendants, with separate, unglazed heads with painted features, Ming Dynasty (1368-1644), the figures glazed in deep green and straw yellow, with unglazed edges, comprising four female figures carrying bowls, and four male attendants carrying boxes or books, each on an integral hexagonal plinth base, approx. 19in. (48.25cm.) high overall. (8)
Bernard Winskill for Royal Worcester porcelain limited edition 'Marlborough' figure, equestrian figure from 'The Famous Military Commanders on Horseback' series, limited edition 140/350, printed mark, raised on rectangular inset wooden plinth with brass plaque, 18 ½in. (47cm.) long, 18 ¾in. (47.7cm.) high, right hand damaged, with framed certificate of Authenticity and large original cardboard shipping box.. * Right hand is damaged - the fingers are missing. No other faults.
Danbury Mint "The Defender" painted resin sculpture on wooden plinth, with five period coins including half penny, sixpence, etc and commemorative coin, together with a Danbury Mint "D-DAY" painted resin sculpture of a Spitfire on wooden plinth having two inset coins and "The Complete Wren Farthing collection" the wren detached. (three sets)
An early 19th century mahogany eight day longcase clock, the bell strike movement fronted by a circular Roman dial with subsidiary seconds at noon, indistinctly signed, the architectural case with peaked and eared cresting on scroll carved brackets, over a plain trunk and plain plinth base, 83 ¼in. (211.5cm.) high.,
A George III mahogany 8 day longcase clock by John Distin of Guernsey, the bell strike movement with four knopped pillars, fronted by an arched brass dial with moonphase and 'High Water at Guernsey' to the arch, gilt floral and foliate spandrels and silvered Roman chapter ring, the brass centre signed and engraved with flowers and swags, with subsidiary seconds dial and date arch, the case with arched pediment on fluted tapered columns, on a later plinth base, 81in. (205.8cm.) high, glass cracked.
A fine English gilt brass double fusee carriage clock with hour strike, mid-19th century, unsigned, the slightly convex, 6.5cm. white enamel Roman dial within a deeply engraved, gilt brass mask with scrolling foliage, fronting a double fusee movement with substantial plates united by four turned gun barrel pillars, below a gilt platform with 'Slow' Fast' adjustment to the back edge, the steel balance over an underslung lever escapement, the hours striking on a bell, in a column case with bevelled glass panels to the front, sides and top, solid removable rear door, plinth base and adjustable counter feet, turned, the octagonal section handle on S-scroll uprights, 6 5/8in. (16.8cm.) high. Not currently running - runs extremely briefly and hesitantly when moved or the hand set knob is turned, but clearly requires some attention. Strikes correctly. The dial has a small demi-lune crack at the edge of the dial between 8 and 9, otherwise good. The case in clean and bright overall, with just a little spotting and some small scratches to the gilt finish in a few places. Both side glass panels have a chip at the lower edge in the centre.
A 19th century French rosewood, faux-rosewood and marquetry portico clock by Troup à Paris, the signed, 4in. white enamel dial with blue Roman numerals, within a gilt brass bezel, fronting a signed, twin barrel, bell strike movement with outside countwheel strike, the case with serpentine pediment on faux-rosewood barleytwist columns, on a reel moulded plinth base, 20¼in. (51.5cm.) high, faults. Requires some restoration. The movement is not running - the pendulum spring is missing and the guide is bent. The clock does strike correctly. The minute hand is broken off (although present). Repaired chip to dial at XII and chipping to edge & crack at six. The case is dirty, with minor veneer chips to edges and dulled polish.
After Henri Louis Levasseur (1853-1934), a brown patinated bronze figure of a philosopher, sitting reading a book, raised on square plinth, signed 'H. Levasseur', brass plaque reads 'à MR BERNARD DIRECTEUR REGIONAL LE PERSONNEL DES P. T. T. DE LA GIRONDE1925', 16 ½in. (42cm.)., Nice patina, nothing note.
Caroline Wallace (British, 20th century) - a bronze race horse figural group "Fast Work", damaged, for restoration, depicting two horses jockey up, racing in full gallop, signed and dated 1985, limited edition No. 4/9, raised on shaped wooden plinth, 21 ½in. (54.6cm.) long, 13½in. (34.4cm.) high, rear horse off - broken at base of back leg. The rear horse is broken off at the base of the back leg, just above the hoof. No metal is missing. The bronze is otherwise good, with no other faults. Sold for restoration.
A William IV goncalo alves chiffonier, the foliate scroll and lappet carved back with a single shelf, over two concealed frieze drawers above a pair of lancet panelled doors flanked by barley twist columns, on a moulded plinth with bun feet, 44 x 17in. (111.75 x 43.2cm.), 53½in. (136cm.) high.. *
A French painted oak glazed dresser, early 20th century, the serpentine cornice over a raised superstructure with a pair of glazed doors enclosing a single shelf, raised on slatted trestle supports with the cupboard base with two drawers over a pair of panelled doors, on a plinth base, 51½ x 20½in. (131 x 52cm.), 90½in. (230cm.) high.. *
A northern French (Brittany) cherry wood glazed dresser, late 20th century, in the 19th century style, the flared cavetto cornice over a pair of arched glazed doors flanked by fluted pilasters, the pale grey painted interior with three adjustable shelves to both sides, over a double cupboard base with two long and four short drawers, on a plinth base, 95 ½ x 21in. (242.5 x 53.25cm.), 91 ¼in. (232.25cm.) high.
A very rare Beilby enamelled opaque twist wine glass, circa 1765-70The round funnel bowl painted in opaque white with a landscape vignette featuring an elaborate urn set on a cylindrical fluted plinth or column, the small figure of a gentleman with a staff walking his dog to the right, amongst trees and shrubs, faint traces of gilding to the rim, on a double-series stem with a pair of heavy opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 15.1cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionWhilst several Beilby enamelled glasses are decorated with similar urns on pedestals, the inclusion of the figure of a man with his dog is most unusual and no other similar example would appear to be recorded. For a glass depicting a similar urn on a pedestal, see that sold by Bonhams in Part 1 of this collection on 21 June 2022, lot 98. Another from the A C Hubbard Jr Collection was sold by Bonhams on 30 November 2011, lot 140 and is illustrated by both L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.335, no.1091 and Ward Lloyd, A Wine Lover's Glasses (2000), pp.78-9, pl.100a. See also lot 39 in this sale.For further information on this lot please visit Bonhams.com
A George III oak cased swan neck pediment longcase clock with silvered dial, eight day movement, maker John Scott, Edinburgh. Height 205 cm. CONDITION REPORT: We have the two weights and pendulum. We have not had the movement operating but it does appear to be complete. The seat board is original and in our opinion the case and movement are not a marriage. The case is in generally good condition with no significant issues. The hood is in good order. The trunk door is not warped. It closes as it should and we have the key. The plinth base is in generally good condition. The bottom edge moulding looks to be a fairly old but later replacement. We can see no evidence of any woodworm.
A Victorian walnut and inlaid credenza, with ormolu mounts, the glazed cupboard doors enclosing two adjustable shelves. Height 114 cm, width 117 cm, depth 30 cm (see illustration). CONDITION REPORT: The credenza is structurally sound and in generally very good order. The top has a few minor ring marks. The cornice has a tiny piece of veneer missing at the rear right-hand corner. The sides are in good condition with only minor stress fractures to the veneers. The doors are not warped, they meet in the middle as they should. We have the lock and key. The plinth base has minor marks around the bottom extremities as one would expect. The backboards are original. The velvet lining to the shelves is in generally good order but does have some minor discolouration. We can see no evidence of any woodworm
A Victorian mahogany sideboard, with rear upstand frieze drawers, and inverted breakfront with three cupboards and plinth base beneath. Height 122 cm, width 154 cm, depth 58 cm. CONDITION REPORT: The sideboard is structurally solid. The rear upstand is in good order with no significant issues. The top is flat without splits. It does have the usual surface marks and scratches that one would expect. There are also some liquid marks. The moulded edge is in good order all round. The sides of the piece are in generally good order with no splits. All doors are in good condition also with no splits. There are minor scratches and marks and small veneer losses to the plinth base but no serious condition issues.
A William IV rosewood bookcase, in two sections the top half fitted with a series of adjustable shelves, the base with moulded edge also above open shelves and raised on a plinth. Height 163.5 cm, width 228.5 cm, depth 34 cm (see illustration). CONDITION REPORT: The height is actually 163.5 cm. The width at the cornice is correct at 228.5 cm and the maximum depth at the waist is correct at 34 cm. The bookcase is generally of good quality and in good structural order with only minor issues. The very top surface is very dirty and dusty. The crossbanded edge to the cornice has small sections of banding missing on the left and right-hand returns. The sides of the top both have some veneer losses to the bottom right-hand edge. The pilasters to the upper section are in good order as are the shelf fronts. The top of the base is in generally good condition. There are no splits. There are some old liquid marks and minor surface scratches but no difficult issues. The moulded edge is in good condition all round. The sides of the base are in generally good order. The right hand side has some polish issues. The base pilasters are all in good order. The plinth base has the usual marks and scuffs that one would expect. The backboards are original. We can see no evidence of any woodworm.
A Victorian walnut dressing table, with mirrored superstructure, bow front and four drawers to each side raised on a plinth. Width 123 cm, depth 58 cm. CONDITION REPORT: The dressing table is structurally sound and in generally good order. The superstructure is all in good condition. The top has a plate glass. The veneers underneath are in generally good order with only minor blemishes. The sides of the dressing table are in good order with no splits. All drawer fronts are in good condition and run smoothly. The plinth base is in good condition all round. We can see no evidence of any woodworm.
A late Victorian oak desk, with green tooled leather writing surface and fitted with three frieze drawers, each cupboard opening to three drawers and all raised on bracket feet. Height including superstructure 89 cm, width 130 cm, depth 62 cm (see illustration). CONDITION REPORT: The desk is structurally sound and in generally good order. The rear superstructure has some liquid marks to the top surface but no splits or cracks. The three drawers run smoothly and have the original handles. The tooled leather has some minor marks and surface scratches but no significant issues. The oak surround has some ring and scuff marks but again no major issues. The frieze drawers all run smoothly. The right-hand drawer handle drop is missing. The pedestals are in generally good order. All interior drawers to each pedestal are present. The doors are not warped and close as they should. There are minor marks and scratches around the plinth base but again no significant issues. There are no splits to the side pommels and the backboards are original. There is no evidence of any woodworm.
A 19th century rosewood bookcase, with detachable moulded cornice above a pair of glazed doors with wooden astragals, the base fitted with a pair of panelled cupboard doors raised on a plinth. Height 119 cm, width 140 cm, depth 37 cm. CONDITION REPORT: The bookcase is in generally good order. The cornice is in good order all round. There is slight rippling to the veneers in places but no losses and no loose sections. The sides of the top and base are both in very good order and of good colour. The doors are not warped. There is one pane of arched glass missing to the left-hand door, all other glass panes are in good order. The lock is present and we have the key. There is some crossbanding missing to the right-hand side of the upper edge of the lower section which is visible on our image. The base doors are in generally good order. There are minor veneer losses to the centre edging strip of the right-hand door. The right -hand door is also slightly warped although does close and lock into the left one. The plinth base has some veneer losses but no significant issues. The backboards are original. We can see no evidence of any woodworm.
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