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Click here to subscribeA 19th century French ebonised cut brass and red tortoiseshell inlaid Portico clock, the 9cm white circular enamelled Roman dial stamped Le Roy à Paris within a cast gilt surround, the eight day movement with outside count wheel striking on a bell, raised on spiral columns on a plinth base, 51cm high.
A BOX OF ASSORTED ITEMS, to include a small silver trophy cup rubbed hallmark, approximate gross weight 45.7 grams, 1.47 ozt, white metal chain mail purse with kissing clasp, a Bossons white metal whistle with chain, two EPNS trophy cups one on a wooden plinth, a EPNS cup with engraved monogram, silver plate tankard, a boxed set of six butter knives, a cased set fish eaters and an oil lamp with glass cover
A GEORGIAN MAHOGANY 8 DAY LONGCASE CLOCK, turned spindles flanking a glazed door, that's enclosing an 11 inch brass dial, depicting Roman numerals, Engraved Watson of Blackburn, the trunk with a single door, on a box plinth, height 191cm (condition report: winding key, trunk key, two pendulums, historical cracks, hour hand loose so stays hanging, other signs of wear and usage)
A 19TH CENTURY MAHOGANY EIGHT DAY LONGCASE CLOCK, with brass bird finial, twin swan neck pediment, Corinthian style pillars, flanking an arched glass door, that's enclosing a painted 11.5 inch dial, depicting Roman numerals, seconds dial, and seascape painting to arch, on a trunk with a single door and box plinth, overall height 212cm (condition report: one pendulum, one winding key no weights, or trunk key, ideal for restoration, due to missing back legs, lose part to one pediment, surface marks, scuffs, other historical wear and usage)
Stoneware salt glazed figure of Merry Musicians series. Modeled as a boy seated on a tapering plinth playing ringing handbells. Incised George Tinworth initials. Doulton Lambeth impressed backstamp. Artist: George TinworthIssued: c. 1900Dimensions: 2.5"L x 2.25"W x 4.75"HManufacturer: Doulton LambethCountry of Origin: EnglandCondition: Age related wear.
Stoneware salt glazed figure of Merry Musicians series. Modeled as a boy seated on a tapering plinth playing an instrument. Incised George Tinworth initials. Doulton Lambeth impressed backstamp. Artist: George TinworthIssued: c. 1900Dimensions: 2.75"L x 2.25"W x 4.5"HManufacturer: Doulton LambethCountry of Origin: EnglandCondition: Age related wear.
Stoneware salt glazed figure of Merry Musicians series. Modeled as a boy playing the cello seated on a tapering plinth. Incised George Tinworth initials. Doulton Lambeth impressed backstamp. Artist: George TinworthIssued: c. 1900Dimensions: 2.5"L x 2.5"W x 4.75"HManufacturer: Doulton LambethCountry of Origin: EnglandCondition: Age related wear.
Stoneware figure of the Merry Musician series. Modeled as a boy seated on a tapering plinth playing a musical instrument. Incised George Tinworth initials. Doulton Lambeth backstamp. Artist: George TinworthIssued: c. 1891-1903Dimensions: 2.5"L x 2.5"W x 5.5"HManufacturer: Doulton LambethCountry of Origin: EnglandCondition: Age related wear.
From the 'DJH Ford Collection', an original, unused/uninstalled factory bench-tested RS500 engine; 'automotive art' or as a spare, either way it's magnificent. The Sierra RS Cosworth might have been the first Ford to be honoured with the Cosworth name, but the relationship between the two companies dates back to the 1960s when the American car producer funded the development of a 3-litre V8 engine for Lotus' F1 car. The resulting V8, known as the DFV, then went on to be a dominant engine in Formula 1 for over a decade, winning 155 Grand Prix.Despite reigning supreme on track and in rallying throughout the decade, by the end of the 1970s, Ford’s motorsport dominance was on the wane. Even the once all-conquering Ford-Cosworth DFV Formula 1 was starting to lose out to more modern turbocharged units. This was painfully obvious when a Ford VIP contingent visited the 1983 British Grand Prix at Silverstone, where a Touring Car race supported the main event and Ford bosses, Stuart Turner and Walter Hayes, were dismayed to witness a group of Capris being humbled by SD1s with Rover V8 power.The solution was again to be found with the engineers at Cosworth who had previously developed a four-cylinder engine for Ford's racing and rallying saloons in the late 1960s and 1970s. The Mk1 Escort RS1600, which replaced the Lotus-powered Twin Cam Escort, had a 1,600cc engine with a 16-valve head designed by Cosworth called the 'BDA'.The formula for the Sierra wasn’t dissimilar to that of the earlier homologation Escorts and Cosworth and the trusted cast iron block from Ford’s single-overhead cam, the T88 Pinto that was used in the Escort RS2000, was utilised to form the basis of this new engine. Code named 'YAA', Cosworth designed an aluminium head to suit the Pinto block with two belt-driven cams operating 16 valves; eight 35mm diameter inlet valves and eight 31mm exhaust. Compared with the basic Pinto, almost everything changed except for the cylinder block itself and the new head and valve gear were matched to a new steel crankshaft, rods, pistons, and sump, and hydraulic valve lifters were a given. A turbocharger was always part of the plan and a Garrett AiResearch T3 with an intercooler were selected boosting power to 201bhp at 6,000rpm and 205lb/ft at 4,500rpm, in road car spec.With a new facility to produce the production-ready version (now with the 'YB' prefix), the first prototype started test-bed work in Northampton in June 1984 although the first engines and test cars didn’t go to Weber-Marelli in Italy until September 1984 before subsequently being 'signed off' by mid-1985.First utilised in the 3-door Sierra RS Cosworth of 1986 - introduced for homologation to allow Ford to go 'Group A' Touring Car racing - the new production 1,993cc YBB engine proved to be legendary, both on road and track. When the ruling allowed for an 'evolution' upgraded model to compete, spawning the RS500 Cosworth, the YB engine stepped-up too, the grateful recipient of further development.To cope with the requisite extra horsepower required, the original YBB motor was switched to an uprated 'YBD' unit which featured a reinforced block (still cast-iron) with thicker walls (note, there are two main types of YB block - known as the 205 and the 200, the latter is a thicker-wall design and was found in 4 x 4 versions, such as the Escort and 1990 Sapphire; the RS500 block was also a thick-wall design but stamped 205, recognisable by its smaller core plugs). Other differences included a bigger Garrett AiResearch T04 turbo plus a larger air-to-air intercooler, pressurised oil-cooled pistons, uprated oil, water and fuel pumps and beefier (orange) air hoses for the radiator and turbo, and a re-mapped ECU.Ford pushed the limit of the Homologation rules to the maximum for the RS500 and the road car featured components that weren’t at all functional but allowed legal modifications on the race cars. The RS500's Cosworth YB engine had an inactive secondary injection system fitted so, when activated on the race cars, their engines could swallow greater amounts of fuel and produce more power (with a different engine map and the second injectors squirting fuel, race RS500s made an 'easy' 485bhp and it didn’t take much more before the engine was putting out 525bhp).In addition, the YBD’s induction system was reconfigured with a bigger intake plenum which, along with a new secondary fuel rail, required one corner of the battery tray be cut away for installation, and a slightly different thermostat housing and alternator bracket. On the road cars, the RS500's power rating went from 201bhp to 224bhp at an unchanged 6,000rpm. Peak torque was the same as the regular Sierra RS Cosworth: 204lb/ft at 4,500rpm.Although undoubtedly successful before, the Ford Sierra became really dominant when the RS500 took to the circuit, winning the 1988 DTM championship, the 1989 Spa 24 Hours, the 1988 and 1989 Bathurst 1,000km, the 1988 and 1989 Australian Touring Car Championship, the 1988 and 1989 Japanese Touring Car Championship and the 1990 British Touring Car Championship.The engine presented here is a Cosworth factory, bench-tested YBD unit, #YBD 0626, designed and built for an RS500 road car. Tested and signed off by Cosworth, confirmed by a tag, it's understood to be one of the very last YBD engines to leave the factory. We understand that it has always been complete (i.e. never as separate components), has never been apart, rebuilt nor ever installed into a car, being sat on its plinth since manufacture. All the factory elements appear to be present and correct, the stampings included, even down to the original FRAM oil filter!Meticulously kept - in pride of place even - alongside his two RS500 cars, it has been owned by our vendor for last 14 years. He sourced it from an ex-pat Ford aficionado living in Malta who had acquired it previously in the UK (some 6 years before). Rumour has it that only a handful of unused YBD engines still exist.For the serious collector or enthusiast, this 'jewel' of an engine is supplied with a bespoke glass display case and is now ready to be appreciated by its next custodian; what an opportunity.N.B. Please note this lot will be sold with a buyers premium of 20% plus VAT as per our usual memorabilia terms.Click here for more details and images
A magnificent late 1920s Icarus Bentley factory mascot, designed by sculptor and artist Frederick Gordon Crosby (1885-1943). Fine, hollow-cast, cire perdue (lost wax), silver-plated bronze construction, specially commissioned by Walter Bentley for use on the W.O. Bentley Cricklewood factory cars of the late 1920s. The mascot is signed 'Gordon Crosby' to the side in the correct font that mimics his written signature. Never used on the cars or taken into production due to copyright issues, so an amazing survivor. Mounted on a highly stylised Art Deco black and white-veined marble display plinth, coinciding with the 1927 opening of the Jack Barclay Bentley Showroom at 12 George Street, Hanover Square and displayed there until the showroom moved to 53 Berkeley Square in Mayfair. The original ‘Bentley London’ main dealer Jack Barclay plaque is proudly displayed on the front of the plinth. Offered in superb, correct and unrestored original condition.The mascot is signed 'Gordon Crosby' to the side in the correct font that mimics his written signature. Never used on the cars or taken into production due to copyright issues, so an amazing survivor. Mounted on a highly stylised Art Deco black and white-veined marble display plinth, coinciding with the 1927 opening of the Jack Barclay Bentley Showroom at 12 George Street, Hanover Square and displayed there until the showroom moved to 53 Berkeley Square in Mayfair. The original 'Bentley London' main dealer Jack Barclay plaque is proudly displayed on the front of the plinth. Offered in superb, correct and unrestored original condition.Click here for more details and images
A boxed Wrenn Railways Limited-Edition GWR 150th Anniversary OO/HO gauge Castle Class "Great Western" steam locomotive (7007) with tender in BR green livery (W2400). Includes instruction manual, wooden plinth, small piece of track and limited-edition certificate (Numbered 25 of 250) - Please note certificate is glued to underside of wooden plinth.
Bronze Ladakh / Kashmir or Tibet , 12th century Dimensions: Height 25,5 Wide 10,5 Depth 5 cm Weight: 1186 grams Standing buddha on a lotus base on a tall stepped square plinth . The Buddha’s body and head are enclosed by a pointed halo of flames, characteristic of sculpture from Kashmir in this period. The monk’s robe clings tightly to the Buddha’s slender body, clearly revealing his form. His right hand is making the ‘fear not’ gesture (abhaya mudra) while the left holds the knot of his dress.Usually made by Kashmiri artists, brass statues from the ancient Tibetan kingdom of Ladakh often display distinctive Kashmiri features along with details associated with Western Tibet (such as the irregular pattern of the incised flames on this backplate, the unusual jewellery and crown, the long garland that goes over the arms and under the left leg of the buddha). Provenance: Curio Dealers , 17/10/(19)81 Hotel Rama International , Maharashtra , India Please have a look at the pictures we uploaded for you
Bronze with Silver eyesTibet , 17th century Dimensions: Height 15 cm Wide 9 cm Depth 15 cm without baseWeight: 2404 grams with base A standing elephant supported by a pillar attached to a flat surface in the center on a plinth. The elephant is adorned with anklets, an ornamental saddle is attached by quasseled belts which are incised on the animal's body. A small noose is attached to the center of the back. Its' trunk is lowered calmly, eyes are inlaid with silver.
Metal giltTibet , 19th century Dimensions: Height 16 cm Wide 9 cm Depth 9 cmWeight: 383 grams Stupa with a conical spire of thirteen layers, surmounted by a lotus lappet canopy with a crescent moon and sun finial, all on a globular container for Buddhist relics set with a flaming mandorla, supported on a tiered plinth with a lotus lappet border and a large base cast around the sides with confronting Buddhistic lions flanking a flaming emblem. Unsealed with registration number. In the Gau a buddha painting. Please have a look a the pictures we uploaded for you here
BILDHAUER DES FRÜHEN XX JAHRHUNDERTS Bronze, weiblicher Akt mit Bogen, patinierte Bronze auf Terrainplinthe, unsig., H: ca. 20 cm. ( ohne Sockel) Sockel, H: 8,5 cm. Besch.| SCULPTOR OF THE EARLY XX CENTURYBronze, female nude with bow, patinated bronze on terrain plinth, unsigned, h: approx. 20 cm. (without plinth) Plinth, h: 8.5 cm. Damaged.
PORSCHE - Modell 911 Carrera in 925er Sterlingsilber ca. 173 g Raugewicht, unterseitig punziert 'Sterling 925 REU' und gravierte Signatur von Ferry Porsche. Mit trapezförmiger Plinthe aus transparenten Acryl mit Radausbuchtungen, mit Beschriftung 'Der Betriebsrat - Dr. Ing. h.c. F. Porsche AG' und klarem Kunststoffverdeck. Modellauto nicht fest montiert. Annähernder Maßstab 1:43 (9 cm x 3 cm). Diese Edition war nie im freien Verkauf erhältlich. HxBxT inklusive Schaukasten: 8x17,5x9,5 cm. Alters- und Gebrauchsspuren.| PORSCHE - 911 Carrera model in 925 sterling silver. Approx. 173 g rough weight, stamped 'Sterling 925 REU' on the underside and engraved signature of Ferry Porsche. With trapezoidal plinth made of transparent acrylic with wheel recesses, with inscription 'Der Betriebsrat - Dr. Ing. h.c. F. Porsche AG' and clear plastic top. Model car not permanently mounted. Approximate scale 1:43 (9 cm x 3 cm). This edition was never available for sale. HxWxD including display case: 8x17.5x9.5 cm. Signs of age and use.
ALONZO, DOMENIQUE (NACH), 1910-1930, "Weiblicher Akt auf einem Hocker sitzend" Dunkelbraun patinierte Bronze, neuzeitlicher Guss, auf einem Hocker sitzender weiblicher Akt mit hinter dem seitlich geneigten Kopf verschränkten Händen, bez. "D. ALONZO", H: 39 cm. (mit Sockel) | ALONZO, DOMENIQUE (AFTER), 1910-1930, "Female Nude Sitting on a Stool"Dark brown patinated bronze, modern cast, female nude sitting on a stool with hands clasped behind her head tilted to the side, inscribed "D. ALONZO", h: 39 cm. (with plinth)
ALBINS (Bildhauer/in 19/20. Jh.), Paar galante Kinderfiguren, Bronze, vollplastisch gegossene Figuren eines mondän gekleideten Mädchens mit Blumentopf und eines Jungen mit Zylinder, Blumenstrauß und Schriftrolle, je am Rand der runden Plinthe bezeichnet 'Albins', je auf Steinsockel montiert, H: Figuren ca. 11, gesamt ca. 13 cm. Leichte Altersspuren. | ALBINS (sculptor, 19th/20th century), pair of gallant children's figures, bronze, moulded figures of a fashionably dressed girl with flowerpot and a boy with top hat, bouquet of flowers and scroll, each inscribed 'Albins' on the edge of the round plinth, each mounted on stone base, h: figures approx. 11, total approx. 13 cm. Slight signs of age.
A French 19th century boulle work ebonised & red lacquered credenza. The credenza having a break front shape with straight top. Boulle work fitted frieze below with gilt detail embellishments. Single cupboard door with central panel decorated with floral brass inlays with alternating ebonised & gilt detailing. Central door flanked by mirrored fronted cupboard space. Each door flanked by side columns with ormolu decoration in the shape of Zephyrus. Raised on ebonised plinth base. Measures approx. 123cm x 195cm x 40cm.
A George III 19th century painted oak & pine wood open library bookcase. The bookcase having a pediment stop over a four shelved top and base. The bookcase decorated with parcel-gilt neo-classical inspired patterns on a green base. Raised on plinth base. Measures approx. 285cm x 174cm x 46cm. Books not included in lot.
A large pair of Adams Revival mahogany decorative pedestals columns stands in a Neo-Classical manner. Each column having a finial atop in the form of an urn with pine cone shaped knob & acanthus leaves carvings over a reeded body. Stepped pedestal base below over a canted edge top to the pedestal base. The squared body having a reeded fitted frieze below flanked by floral roundels. Each side decorated with carved embellishments in the form of floral swags and classical amphora. All raised on plinth base. Each measuring approx. 185cm x 42cm x 42cm.
An early 20th century mahogany watchmakers specimen chest cabinet. The cabinet having a chamfered flared top over a panelled single door with cross shaped fielded panel with gadrooned moldings. The door opening to reveal a satinwood chest of drawers with turned pull handles. Twin brass swing handles to sides. Raised on plinth base. Measures approx. 37cm x 31cm x 18cm.
A Victorian mid 19th century waterfall flame mahogany chiffonier cabinet. The chiffonier having a tall gallery back with two chamfered edge shelves with S scrolled supports to each side. Shaped top below over central twin knob handle & double panelled doors below. The body flaked by turned columns, raised on a plinth base. Measures approx. 158cm x 126cm x 54cm.
A 16th century carved Italian large Cassone converted to a desk. The heavily carved front panel in relief with scenes of scroll work and figures. Plinth banded base with the reverse comprising a series of inset short and deep drawers surrounding a central kneehole recess. The desktop of plain oak with canted corners and banded beneath to the dentil. Measures approx. 80cm x 167cm x 80cm.
A large 19th century Victorian mahogany breakfront library bookcase cabinet. Comprises a large central bookcase flanked by two smaller examples with glazed doors, raised on a breakfront base. The base with central chest of drawers flanked by cupboards with all raised on a plinth base. Dismantles into section for ease of movement. Measures approx. 228cm x 176cm x 50cm.
A pair of Neoclassical style metal amphora urn shaped desk table lamps. Each lamp having a flared neck flanked by scrolled twin handles with snake details. Baluster shaped body with classical relief design throughout. Raised on marble plinth base. Each measures approx. 55cm tall x 13cm in diameter.
An Arts & Crafts Edwardian mahogany twin pedestal desk cabinet. The cabinet having twin lead coloured glass single door glazed top with shelving interiors flanking a central double doors faux window with carved gallery top. The desk below having a squared top with chamfered edges over a central kneehole flanked by banks of four drawers. Raised on plinth bases. Measures approx. 150cm x 107cm x 56cm.
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