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Lot 428
A fine quality late-Victorian Arts & Crafts style honey oak breakfront secretaire library bookcase - of imposing proportions, the balustrade cornice over a pair of bevelled mirrored doors enclosing three adjustable shelves, above an open shelf with mirrored back, flanked by glazed bookcases each side with three adjustable shelves fringed with gilt tooled leather, over a base with central secretaire drawer with well fitted interior, over an open single fixed shelf beneath, flanked by short drawers above three panel mirrored doors to each side, on a plinth base with short bracket feet. (LWH 184 x 55 x 265 cm) * Provenance: Beckwith & Son, Hertford, Herts, c.2002
Lot 433
An Edwardian walnut and marquetry display cabinet of small proportions - probably for tabletop use, the moulded, boxwood strung cornice over a marquetry-inlaid frieze and single glazed door enclosing a velvet-lined interior with two fixed shelves, flanked by marquetry inlaid muntins with oak leaf and acorn gilt-brass mounts, on a bevelled plinth base with short bracket feet. (LWH 51 x 23 x 68.5 cm).
Lot 518
A pair of painted, carved beech wood pedestals in the 18th century Italian style - originally made as table pedestals, the square tops on waisted square supports to foliate carved, flared square pedestals, on foliate scroll feet, each resting on a moulded plinth, each 58 cm square, 76.5 cm high.
Lot 5
An early 19th century pearlware figure of Cleopatra by Enoch Wood - the reclining figure dressed in loose robes and resting on one elbow, a serpent wrapped around her left arm, on a naturalistic-style base with blue plinth, (LWH 33 x 10 x 22 cm), old restoration.* Condition: Old restoration to the raised right arm and a large firing crack to to foot end of the figure at the back, plus another much smaller close-by. Paint flaking from the rockwork base and serpent - there is also extensive retouching to paint flakes to the rockwork and yellow robe at the back of the figure, plus a few retouches in blue to paint flakes on the base.
Lot 463
A Victorian mahogany glazed cupboard bookcase - the moulded cavetto cornice on foliate carved brackets, above a pair of glazed doors enclosing three adjustable shelves, the base with two ogee drawers above two panelled doors, enclosing an interior with single shelf and deep drawer to the right hand side, on a bevelled plinth base. (LWH 126 x 48 x 213 cm)
Lot 611
A Grand Tour marble inkwell in the form of Scipio's tomb - in carved Sienna marble, the removable lid inscribed 'Cornelivs C. N. F. Scipio' and the scrolled ends finely carved with lappets, the interior with three recesses for ink and nibs, the base similarly inscribed, beneath a dentil cornice over a floral rosette and fluted pilaster frieze, on a moulded plinth to a separate veined black marble base, (LWH 20 x 6 x 12.6 cm), the lid repaired. * Condition: The lid has been broken into two pieces and has an old glued and filled repair, which has been well executed. Both the lid and base have a few small chips plus a number of frits and tiny nibbles to the edges and raised detail. There is a curved crack in the stone to the upper back left of the base. The black marble base is later and there is old glue residue to the underside of the base from either baize or attachment to an earlier base.
Lot 204
A fine quality Victorian figured mahogany serpentine shaped Drinks Cabinet, with moulded top over a frieze drawer, with two panel doors decorated with carved applied design, flanked with shaped half pillars on a shaped plinth base, 54cms (21'') deep, 127cms (50'') wide, 110cms (43'') high. (1)
Lot 334
A fine quality Georgian period mahogany Wardrobe / Cabinet, the dentil moulded cornice above central astragal glazed doors and series of graduating drawers with brass handles, flanked either side with figured mahogany panelled doors and faux drawers on plinth base, approx. 224cms high x 226cms wide (80" x 89"). (1)
Lot 223
A fine French Art Nouveau three piece Mantle Clock Garniture, in red Griotte marble, the clock with typical Art Nouveau gilt brass mounts around a painted enamel dial with Arabic numerals and striking on a gong, 39cms (15 1/2"); together with a pair of gilt bronze Urns each with two handles, and body cast with scrolling foliage and hanging fruit clusters on a three stage square plinth in red Griotte marble with gilt brass mounts, 25cms (9 3/4"). (3)
Lot 114
FOLLOWER OF GIOVANNI PAOLO PANNINI CAPRICCIO WITH ROMAN RUINS AND STATUE Oil on canvas Bears the indistinct signature 'P.P. ***' (lower left) 55 x 40cm (21½ x 15½ in.) Condition Report: The canvas is relined and presents a thin yellowing layer of dirt and varnish. UV light reveals various retouches on the bottom left corner, on the plinth where the statue rests; such retouches are of about 2 cm of width. A similar retouch is present on the right of the statue and on the arch at the centre. The most evident retouching is on the marble relief on the bottom right corer: the whole area in shade has been repainted with a few small dotted brushstrokes on the left side of the relief. Condition Report Disclaimer
Lot 242
JOHN WAINWRIGHT (BRITISH 19TH CENTURY) STILL LIFE OF FLOWERS, INSECTS AND A TERRACOTTA VASE Oil on canvas Signed and dated '1860' (lower left) 90 x 66cm (35¼ x 25 in.)Provenance: Purchased from Richard Green, London Sale, Christie's, London, British Pictures 1500 - 1850 & Victorian Pictures, 30 November 2001, lot 94 Condition Report: The canvas is relined. UV light reveals an uneven varnished across the whole surface, a small retouch on of 0.3 cm on the right of the plinth, and a few scattered retouches at the border of the painting. Condition Report Disclaimer
Lot 169
FYP Creations 1/43rd scale - a pair of Rolls Royce models (1) 1962 Phantom V "Queen Mother" by Mulliner / Park Ward, maroon and black, (2) 1978 Phantom V1 "Royal Car" with figures, maroon and black . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 163
FYP Creations 1/43rd scale - a pair of Rolls Royce Silver Wraith models by Hooper (1) Nubar Gulbenkian, green and silver, (2) ALW II "Nigeria", black . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 171
FYP Creations 1/43rd scale - a pair of Rolls Royce Silver Cloud III models (1) 1964 by Mulliner / Park Ward, blue and white, (2) 1964 by Mulliner / Park Ward, olive green . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 168
FYP Creations 1/43rd scale - a pair of Rolls Royce models (1) Phantom V Sedanca De Ville by James Young, two tone blue, (2) 1962 SC III drophead coupe, grey (with a hint of lilac) . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 165
FYP Creations 1/43rd scale - a pair of Rolls Royce Phantom II models (1) Sedanca De Ville by Brewster, maroon and black, (2) 1934 drophead cabriolet by HJ Mulliner, white and red . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 261
Danbury Mint 1/12th scale 1957 Chevrolet Bel Air Convertible - blue with white/blue interior, white folded hood and chrome trim - missing nearside mirror otherwise generally Excellent but not checked for completeness, some additional accessory parts in boot, comes with custom wooden plinth inner packing & good outer box.
Lot 172
FYP Creations 1/43rd scale - a group of Rolls Royce models (1) Silver Cloud III "Flying Spur" by Mulliner / Park Ward, blue, (2) Silver Cloud III "Flying Spur" by Mulliner / Park Ward, dark green, (3) Silver Wraith Limousine by Freestone and Webb, silver . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 166
FYP Creations 1/43rd scale - a pair of Rolls Royce Phantom II models (1) Sedanca De Ville by Windovers 1933, yellow and black, (2) faux cabriolet by Gurney Nutting, black . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 519
Dinky 100 Lady Penelope's FAB 1 - pink body with silver trim to headlamp surrounds, clear canopy with twin pink stripes, light gold plated interior complete with Lady Penelope & Parker figures, bare metal base, cast hubs with pointed centre caps, missing harpoons - Excellent to Excellent Plus with some tarnishing to base & usual distortion to plastic canopy in a Good detailed picture box, inner pictorial display stand is also Good with scuff marks to plinth. Still a nice example.
Lot 246
A mixed group of 1/43rd scale models including MA Collection No. 80A Bugatti 101 Antem, Durham Classics DC4 1938 Lincoln Zephyr 2 door coupe, Bugatti EB 16.4 Veyron Showcar, plus others. Condition - Fair to Good (some minor damage and attention to cleaning required) within Good Plus rigid perspex cases/boxes (MA 80A Bugatti is within a perspex case and plinth, but does not have the outer box).
Lot 54
Matchbox Models of Yesteryear Mixed Group to include YY901 1936 Jaguar SS100 - Pewter with wooden plinth, Lesney Giftware Series - Y16 Spyker Ceramic Stand, Matchbox Dinky DY8-B 1948 Commer 8 CWT Van - "Earls Court Motorfair", some promotional models and unboxed examples, plus others - Fair to Near Mint in Fair to Good boxes ().
Lot 167
FYP Creations 1/43rd scale - a pair of Rolls Royce Phantom II models (1) Limousine by Barker, yellow and black, (2) Sedanca drophead coupe by Gurney Nutting, black and tan . Condition - Fair to Good (some minor damage and attention to cleaning required) within Excellent rigid perspex case and plinth - no outer box.
Lot 367
MID 19TH CENTURY the ebonised top above a pair of cupboard doors with raised oval panels in red tortoiseshell premiere partie marquetry, on a plinth base, with gilt metal mounts throughout 132cm wide, 112cm high, 43cm deep Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the UK, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 309
VICTORIAN CARVED OAK QUARTER CHIMING TABLE CLOCK, BY CLERKE, LONDON 19TH CENTURY the silvered arch dial with Roman numerals, signed ‘Clerke, 1 Royal Exchange, London’ and numbered ‘5030’, engraved foliate spandrels, the arch with subsidiary ‘Chime/Silent’ and ‘Westminster Chimes/Chime on Eight Gongs/Chime on Eight Bells’ dials, the large bell top case with carved female mask foliate pediment, the front flanked by carved acanthus caryatids, the sides with pierced foliate grills, on a breakfront plinth base with bracket feet, triple train chain fusee movement, striking the full hour to a large coiled blued steel gong, chiming the quarters to either a pin wheel activated nest of eight coiled blued steel gongs or nest of eight bells, the backplate also signed ‘Clerke, Royal Exchange, London’ and numbered ‘5030’ 44cm wide, 65cm high, 31cm deep The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire
Lot 164
PAIR OF OAK, LARCH, AND EBONY MARQUETRY SLATE-TOPPED CABINETS, ATTRIBUTED TO GEORGE BULLOCK EARLY 19TH CENTURY in the Greek Revival style, the grey slate tops above long frieze drawers and pairs of ebony moulded panel doors inlaid with stylised palmettes. anthemions and flower heads, the corners marked with bullseye roundels, enclosing shelved interiors, on bracket feet raised on integrated plinth bases (2) 85cm wide, 97cm high, 45cm deep Note: Several cabinets associated with Bullock are decorated with the same pattern on the door panels and further details are given in Clive Wainwright ed., George Bullock, Cabinet-maker, 1988, pp. 65-66, cat. no. 4 and fig. 24, pp. 104-5, cat. nos. 40-1. The cabinet is also typical of his furniture with its moulded top and heavy plinth. For an example attributed to George Bullock with a similar raised plinth, see Frances Collard Regency Furniture, pg. 112; and for an example with matching inlay to the doors, also attributed to Bullock and supplied to Blair Atholl, Perthshire, in 1817, see the same publication, pg. 134. A cabinet with similarities to the present pair and with identical marquetry to the doors is in the collection of the Victoria & Albert Museum, Access. W.32:1 to 33-1979. The design for the marquetry is among a collection of tracings, originally bound in a scrapbook inscribed 'Tracings by Thomas Wilkinson from the designs of the late Mr. George Bullock 1820' (Birmingham Museum and Art Gallery, unbound no.240). The tracing for this particular design is dated August 1816 (unbound number 240).
Lot 342
FRENCH LOUIS XVI GILT BRONZE AND WHITE MARBLE MANTEL CLOCK BY LEPINE CIRCA 1780 the white enamel dial with black Arabic numerals and Arabic quarter markers, signed in puce ‘Lepine, A Paris’, the white marble pendule d’officer style case with beaded door with rose branch bow swag below, surmounted by a figure of winged Cupid descending on billowing clouds to greet a figure of Venus with two doves between them, mounted on a white marble inverted breakfront plinth base with acanthus moulding, the front with a classical frieze of putti, on front toupie feet flanked by two pairs of column base feet, the twin barrel movement with silk suspended pendulum and outside countwheel, striking on a bell, the backplate signed ‘Delaruelle AParis’ 32cm wide, 39cm high, 14cm deep There is a limited corpus of known Lepine clocks from the same period with a similar composition to the present clock, all featuring a pair of gilt bronze figures representing allegories of love flanking the case incorporating doves. A similar model, signed Lépine, can be seen in the collection of the Residenzmuseum, Munich, another housed in identical case can also be found at Château de Fontainebleau [See Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 248, pl. 4.6.13]. That model also features an allegory of Cupid, this time in the guise of a putti, descending from the opposite side. The modelling and chasing of the clouds is nearly identical to the present clock and the framing of the figures around the case is similar. Another similar model, signed Lépine, resides in the Collection of the Louvre Museum, Paris, and came from the collection of Queen Marie-Antoinette [See P. Kjellberg, La pendule française du Moyen-Age au XXe siècle, Les Éditions de l’Amateur, 1997, p.251 (pendule C) et 246 (pendule A), Archives nationales O13510)]. That model represents the “Return of Love" and shows figures of a winged putti offering a dove to a young maiden arranged in a similar posture around the clock. Both of those signed Lepine examples have very similar dials to the present clock, with the style of both the Arabic numerals and the signature near identical.Jean-Antoine Lépine (1720-1814), was one of the most important Parisian clockmakers of the second part of the 18th century. He was appointed clockmaker to both King Louis XV and Louis XVI, to whom he supplied a large number of clocks to the Palais royaux. Lépine was also patronised by the French aristocracy as well as the Spanish, British and Swedish royalty. Lépine initially worked as an “ouvrier libre”, then became a master on March 13, 1762, and taking over the stock of his colleague Caron, who held the title of Horloger du Roi et du Garde-Meuble de la Couronne. Having settled in the rue Saint-Denis in 1756, the place Dauphine in 1772, the rue des Fossés Saint-Germain-l’Auxerrois in 1777, and then the rue des Vieux-Augustins during the Revolutionary period, Lépine led one of the most productive and renowned workshops of the reign of Louis XVI. He was also very aware of integrating scientific excellence with aesthetic beauty and thus only used cases by the finest bronziers such as Jean-Baptiste and Robert Osmond, Etienne Martincourt and Jean-Rémy Carangeot as well as the ébénistes Balthazar Lieutaud and Nicolas Petit and also employed the services of the gilders Noël, Martin and Henry. Lépine’s attention to detail also included the dial face, his early dials only had Arabic numerals for the hours and minutes. This was one of Lépine’s specialities, which he continued to use until about 1789 when he reverted back to the more usual combination of Roman and Arabic numerals.In the late 18th century there were two clockmakers named De La Ruelle that were active in Paris. The first being André De La Ruelle (born in 1740), was apprenticed in 1754, registered his letters of mastery on October 13, 1762 and set up his workshop on rue Saint-Martin from 1772 to 1789 (See P. Verlet, Les bronzes dorés français du XVII siècle, Paris, 1999, p. 435). The second, Nicolas De Là Ruelle, seems to have started his career at the end of the reign of Louis XV and set up his workshop successively in Enclos des Quinze-Vingt, rue Croix des Petits-Champs and rue Richelieu at the Revolution.
Lot 186
VICTORIAN GOTHIC REVIVAL CARVED OAK QUARTER CHIMING BRACKET CLOCK BY WILLIAM ROSKELL & CO, LIVERPOOL, 19TH CENTURY the cream enamel dial with Gothic Roman numerals, signed ‘Wn. Roskell & Co., Liverpool’ and numbered ‘2684’, with a ‘Strike/Silent’ level to the top, the architectural case with Gothic spire surmounted with three trifid berry finials and Gothic tracery, flanked by quatrefoil columns on a plinth base with bracket feet, the triple-train chain fusee movement striking on a coiled steel gong and chiming on a nest of eight bells 38cm wide, 77cm high, 20cm deep
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