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Lot 115
A George III mahogany desk or 'writing table', circa 1790, attributed to Gillows, the rectangular top lifting on a double ratchet mechanism and with hinged rear edge doubling as a candle stand, above a long drawer fitted with a leather inset slide above twelve lidded compartments each marked alphabetically, the recessed kneehole cupboard door flanked on each side by a bank of three drawers, the rear of the desk with three central drawers flanked by a cupboard door on each side, on a shallow plinth base and castors, 86cm high, 132cm wide, 73cm deep (when closed)For two closely comparable examples, to include one stamped GILLOWS LANCASTER which is virtually identical (with the exception of the handles and some other minor features) , see Susan E. Stuart, Gillows of Lancaster & London, 1730 - 1840, Antique Collectors Club, 2008, page 337 and 377. The example on page 377 (Plate GG28) also stamped GILLOWS LANCASTER, although of pedestal type (lacking central cupboards) demonstrates a virtually identical treatment of the alphabetical letters to the interior lidded divisions and also has the similar feature of the hinged candlestand section at the top of the writing surface. Gillows illustrated this and described it as ' a little rising flap on top' and is an unusual feature. For a remarkably similar example, made by Gillows in 1778, see Christie's London, The English Collector, 23rd May 2013, Lot 24 (£15,000). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old chips and splits.Some old repairs. Some additional scratches to top. Hinged rest to back edge of top does not sit flat, hinges have eased over time. This hinged rest with small old filled holes to top from where screws to the hinges beneath have come through. Two neatly plugged holes to the front edge of the top from where a rest once sat. Some fading in areas. Some later tacks securing moulding at sides. One false door front as back of desk with section of moulding detached but present. Handles at the front, back and sides vary in form from one another.Handles to the back appear original but have been re-fixed. A side of plate of one handle is a later replacement. The 'rope twist' handles to the front appear to be of the period by are replacement. Each handle plate is secured with several screws, the original holes to the drawer fronts are now vacant. No key present, all locks are open. Inset surface to the slide could possibly be a replacement. It has the expected wear, scuffs and small losses. Section of replacement veneer to the frieze immediately above the drawer where the lock would be engaged. The fitted drawer with a handle of one lid lacking its fixture. The stops preventing the fitted drawer from being pulled out of the desk are lacking. Areas of loss to the edge and underside of the slide from where the handles of the fitted drawer have slid by. Lock to fitted drawer replaced. A small fillet of replacement timber has been used in this area and two filler holes are present to the front of the drawer from where the screws have come through. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 144
A brass and green leather upholstered club fender, in Victorian style, 20th century, the L shaped seats with brass studded edges, above columnar supports and a moulded plinth base, 52cm high, 222cm wide, 64cm deepCondition Report: Additional measurements-Internal measurements (insides of the seat cushions): 185cm wide, 43.5cm deep. Internal measurements (insides of base): 195cm wide, 49cm deep. The two cushioned front seats are each approximately 74cm wide. The span of the cushion (front-back) is circa 20cm on each side.The fender bears the usual minor marks, knocks, scuffs and scratches overall consistent with age and use. The metalwork including the beading is slightly tarnished particularly to the lower fire facing edge, and would benefit from a gentle clean. There is some discolouration and craquelure to the leather, and some wear to the corners (where, inside the folded areas, the interior lighter leather shows). Overall, the fender is in presentable condition. Condition Report Disclaimer
Lot 146
An unusual paktong fire fender, late 18th/ early 19th century, possibly Chinese Export, in the manner of designs by Robert Adam, the pierced frieze centred by a stylised patera terminal, flanked on each side by a large flowerhead patera, surmounted overall by four urn finials, on a stepped plinth base, 28cm high, 121cm wide, 34cm deep Paktong, a name derived from the Chinese word meaning white copper, is a rare non-tarnishing alloy of copper, nickel and tin or zinc. Also knownas 'Tutenag' or 'India metal' on account of its importation by the East India Trading Companies, it originated in China and although it first arrivedin London in the 1720s, it was developed by the Chinese much earlier. The principal advantage of paktong is that whilst resembling silver, unlike silver it isunaffected by atmospheric conditions, and can be easily cast, hammered and polished. Its unusual qualities were especially suited to such purposesas chimney-furniture, a fact well recognised in 18th Century Europe (A.Bonnin, op. cit. 1924, pp.18-51) and from about 1750, a limited number ofarticles including grates are known to have been made in England from this material. Condition Report: The fender bears the usual minor marks, knocks and scuffs overall commensurate with age and use. The surface is slightly tarnished and there are possible minor traces of lacquer or varnish, though overall the casting is crisp and well preserved.Most of the bolts to the rear of the fender have been replaced, and the corners have been later strengthened with steel brackets. There is some slight movement between the frieze and sides, and the sides are positioned at a slightly inward angle (likely due to design).There is some polish residue to the rear, particularly inside the recesses of the beading. The rear panel of sheet metal is slightly bowed between the bolts.The top and bottom rails have an iron core, presumably to weight the sheet metal.Condition Report Disclaimer
Lot 168
A pair of fine and rare French banded amethyst quartz and ormolu mounted pot pourri urns and covers, 19th century, each domed cover with a pierced guilloche rim cast with flowerheads, descending to ovoid bodies festooned with fruiting vine and cast with twin satyr mask handles, above a waisted socle and square section plinth cast with imbricated laurel, 37cm high, 15cm wideProvenance: Private Collection, LancashireWith its striking colours and intricate figuring, amethyst quartz has been used by the finest bronziers and furniture makers throughout the late 18th and 19th centuries. A pair of vases by Matthew Boulton cut from the same, rare material, from the collection of the Earls of Portalington, was offered at Bonhams, 20 November 2007, lot 77 (£96,000). While the material was evidently used by important makers in England, the present lot is more likely French in origin. The model, with its fine fruiting garland in the style of Duplessis, and its distinctive wreath finials, has appeared at Sotheby's Amsterdam, 16 April 2007, lot 339, only the bodies were executed in white marble.Interestingly, the wreath finial and pierced rim adorned with flowerheads share distinct similarities with Meissen shapes of the late 19th century. Note for example the pair of cobalt-ground urns sold at Christie's New York, 9 June 2014, lot 286.An amethyst quartz topped gueridon by Maison Millet offered at Christie's London, 10 September 2013, lot 150 (£49,875), is a testament to this fine material's enduring popularity with renowned makers of the late 19th century.Condition Report: Each of the urns bears the usual minor marks, knocks and scuffs overall consistent with age and use, and the gilding is a little rubbed overall. It has a warm, slightly coppery colour in places.Both covers bear old chips and restorations (one of which with a lacking section of circa 1cm and old adhesive residue to the underside), and two of the corners on the bases are chipped on each urn (circa 0.5cm chips).The stone is naturally veined and variegated, with quartz inclusions, however there are areas of stabilisation and filling (in dark red) to the bodies where the stone may have chipped or was naturally irregular.One of the vases in particular has a horizontal split, which stretches approximately half way around the body, though it is not possible to ascertain how deep this fissure is. This being said, both urns are entirely stable overall.The protruding knops to the centre of the bows may have once suspended chains, though this is not certain. Condition Report Disclaimer
Lot 170
An Italian white marble bust of a pastoral maiden, circa 1880, portrayed with a scarf tied around flowing curls and wearing rustic dress, with a border of roses below the truncation, 58cm high; presented on an Italian green serpentine marble plinth, carved with ribbons and floral swags, the bust 60cm high, the bust and pedestal 110cm high overall Condition Report: The surface of the marble is quite granular and a little weathered, which has resulted in some loss of definition to the carving including to the edges of the hair, lace and flowers. One tiny chip to the edge of the medallion, and some nibbling to the edges.There are handful of shallow indentations to the hair and chest, also due to wear.The bust has an old pin to the rear truncation, probably from being previously mounted.The plinth is sectional and has a break to the base, which would benefit from stabilisation. Some chips and scratches overall.Condition Report Disclaimer
Lot 174
A pair of mahogany and gilt metal mounted cylindrical nightstands, in Empire style, 20th century, each circular variegated marble top above a single drawer and cupboard door, opening to a shelved interior, the upper shelf with porcelain lining, on a plinth base and concealed castors, each 80cm high, the top tops 45cm diameterCondition Report: Both with marks, knocks, scratches and abrasions commensurate with age and use. The tops with some minor chips to edges. Some old splits and chips to timber. Later screw to top of one cupboard beneath marble. Both doors with vertical splits (see images for extent). Horizontal split across one drawer (see image). One castor lacking, replace with a block of timber. Castors of other cupboard have moved position. Some wear to gilt of mounts. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 176
A pair of Empire patinated and parcel gilt bronze and rouge griotte mounted campana urns, early 19th century and later fitted as table lamps, in the manner of work by Claude Galle, each everted body with twin satyr mask handles, flowerhead mounts and inset bands of fruiting vine, above engine turned waisted circular socles and a square section plinth cast with further flowerheads, and gryphons supporting lyres, 51cm high, the bases 16cm squareCondition Report: The urns bear the usual minor marks, knocks and scuffs overall consistent with age and use.They have been refitted, so the interiors have not been inspected.Each socle has a circa 1-2cm chip to one of the corners, as well as one or two smaller chips to the vertical edges.There is some dust and residue in the recesses particularly the rosettes.The gilding is worn and rubbed in places, particularly the square bases and the handles.Please have lighting tested by a certified electrician prior to use. Condition Report Disclaimer
Lot 189
A Regency parquetry centre table, circa 1815, in manner of William Trotter, the circular top with radiating sectional specimen veneers centred by the central starburst motif, above the tripartite base and concave sided plinth above tapering downswept legs terminating in brass lion paw caps and casters, 75cm high, the top approximately 148cm diameter Condition Report: As catalogued this is in the manner of William Trotter, it is very much in the style in which he was working but Dreweatts do not guarantee this is by him or his workshop. Marks, knocks, scratches, abrasions consistent with age and useOverall with a polished appearance, Some splits and cracks to the veneers and inlays, some replacements to some areas too, Brass inlay is intact and not obviously lifting, some chips, losses and replacements to some beadings and mouldingsThe top secure on the base and held by the locking mechanism at time of report, however the table top does not stand upright, the top too wide for the base. There are filled repairs around the keepers for the locking mechanism - this appears to be restoration to repair the damage from genuine age and use.The top and base appear to be harmonious, the beading and the finishing is consistent with the overall design, The undersides of the legs with signs of old woodworm, overall appears entirely stableCondition Report Disclaimer
Lot 2
A South German or Netherlandish carved and polychrome painted oak allegorical group or trophy of war, probably late 17th or early 18th century, the central male figure seated before a tree trunk, portrayed partially draped and holding attributes, flanked by two putti, one holding a laurel wreath, mounted to a later ebonised circular plinth, 27cm high overall, the base 30cm diameter Please note: this group is carved out of oak and not boxwood as stated in the printed catalogueCondition Report: The group bears the usual marks, knocks and scuffs overall consistent with the lot's considerable age.There are (old) damages to the feet of the figures as well as to the roots of the tree, and there are losses to the painted finish including to the shoulders, head, chest and legs of the central seated figure, as well as to the bodies of the putti. The faces of the putti are quite bright and the paint may have been refreshed there.There is a lacquer or varnish to the rear of the tree trunk.There are a handful of tiny chips along the edge of the circular base.Please note: the rear portion of the group is in fact oak, not boxwood.Condition Report Disclaimer
Lot 200
A Victorian oak and ebonised open bookcase by C. HINDLEY & SONS, circa 1860, the rectangular top with moulded edge above three adjustable shelves flanked by roundel mouldings, on a plinth base, the top of the plinth stamped G HINDLEY & SONS, 134 OXFORD ST. LONDON, and also stamped with numbers '5228' stamped adjacent, 128cm high, 110cm wide, 34cm deep For two examples of desks made by C. Hindley & Sons, see C. Gilbert, Marked London Furniture, Furniture History Society, 1996, page 267. In 1844 Charles Hindley & Sons acquired the cabinet makers Miles & Edwards at 134 Oxford Street, London allowing them to move into the cabinet making business where they had previously been manufacturers of carpets, rugs and 'floor cloth'. The pieces illustrated by Gilbert show the quality of their work to be high.
Lot 208
Y A William IV rosewood side cabinet, circa 1835, by HOLLAND & SONS, the rectangular top above a pair of pleated silk doors, flanked on either side by a pleated silk and gilt brass grille door, on a plinth base, the top of one door stamped 'HOLLAND & SONS, 50904', the inside of the same door stamped 'FROM TAPRELL, HOLLAND & SON, Upholsterers & c, 19 Marylebone St , ST. James S, LONDON', 93.5cm high, 184cm wide, 46cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Some additional dark scratches to top. Silk panels are replaced and have some minor 'pulls' and fraying. Key present and operates locks to all doors. One escutcheon lacking. Two of the smaller shelves are later replacements.Some ring marks to shelves. Six brass shelf rests and eleven wooden dowel replacements present. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 213
A George IV mahogany folio stand, attributed to Gillows, circa 1825, the hinged slatted uprights on ratcheted adjustable stands, above rectangular tapering supports incorporating moulded roundel terminals, on rectangular bases and reeded scroll feet terminating in concealed castors, 103cm high, 61cm wide, 74cm deep Provenance: Fortgranite, Baltinglass, County Wicklow Folio stands were widely adopted in country house libraries to store and support large books. One such design by Gillows for Ferguson & Co. dated 1828 is illustrated in Susan Stuart, Gillows of Lancaster and London 1730 - 1840, Woodbridge, 2008, vol. II, p. 99, pls. 645 and 646. This print/portfolio-stand, with Grecian plinth-supported pilasters, was the type of furniture described by J. C. Loudon as useful in both drawing rooms and libraries (The Encyclopaedia of Cottage, Farm and Villa Architecture and Furniture, 1833, no. 1969).For a very similar example, see Christie's, Important English Furniture, 30th November 2000, Lot 255, £8.225.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits. The hinges to one of the slatted uprights have moved position leaving plugged holes and sections of replacement veneer to the undersides (see images). This is only visible upon close inspection. Sections of replacement timber adjacent to the hinges of the other slatted upright (see images). Old nail repair to lower slat of one upright. Very small section if replacement timber used to disguise chip to one side of base. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 223
Y A Regency gilt brass and rosewood book tray, circa 1815, the trellis cast three quarter gallery incorporating a pair of pierced handles incorporating wrythen detail above the rosewood plinth section, 17cm high, 53.5cm wide, 22.5cm deep For a near identical book tray, see Christie's, London, Christie's Interiors, 20th July 2010, lot 229 (£1,000). Condition Report: Minor old chips and splitsGenerally fair condition overallNo obvious significant damagePlease refer to additional images for visual reference to conditionMinor fading and partial ring mark would easily be remedied by waxingThe felt/baize covering to the underside is likely later as expected and with wear/ staining, some lifting and losses.One securing nut (fixed from the underside) is lacking but this only causes veryminor lifting to the corresponding area of the gallery. The gallery remains securely in place. Very good original surface and patina to the gallery.There is a slight warp to the timber plinth section overall.A fine, elegant and original example of its type.Condition Report Disclaimer
Lot 224
Y A Regency rosewood and brass marquetry open bookcase, circa 1815, the brass strung top above the frieze and moulded pilasters decorated with brass marquetry incorporating stylised foliate motifs, centred by adjustable shelves and above a plinth base, 85cm high, 86cm wide, 31cm deepCondition Report: Old marks, scratches and abrasions comensurate with age and use.Good original surface, colour and patina.All brass marquetry is intact. Small elements of the brass stringing are slightly lifting to the top. Some minimal old water marks and a dark stain towards the centre of the top. The shelves are adjustable. Long rectangular shallow veneer replacements to the rear edge of the top but very neatly executed and mainly only visible upon closer inspection. Condition Report Disclaimer
Lot 225
A mahogany library bookcase, in George III style, second half 20th century, the dentil cornice above an anthemion and stylised acanthus carved, and fluted frieze, above four astragal glazed doors opening to adjustable shelves, the serpentine fronted lower section with four slides above four cupboard doors applied with stylised fan and patera terminals, on a moulded plinth base, 220cm high, 230cm wide, 60cm deep
Lot 230
Y A George IV calamander and specimen parquetrywriting box, circa 1825, in the manner of Gillows, ofwedge shaped form, the hinged lid decorated with atessellating design of specimen timbers, opening toa baize inset writing surface, with recess and a pair ofsmall drawers beneath, 13cm high, 38.5cm wide, 35cm deep overall, together with a Regency rosewood book tray, circa 1815, the turned spindle three quarter gallery incorporating a pair ofpierced handles, above the rosewood plinth and turned bun feet, 21cm high, 41cm wide, 24cm deep For a related specimen parquetry box, see Susan E. Stuart, Gillows of Lancaster & London 1730-1840, Antique Collectors Club 2008, pages 142 and 143. Plate 683 on page 142 illustrates the pencil sketch from the firms Estimate Sketch book of the 'work box of various woods made for Miss Giffard of Nerquis Hall. Susan E. Stuart's book provides a fascinating glossary into the large variety of timbers available to makers such as Gillows. Condition Report: Writing box- Marks, knocks, scratches and abrasions commensurate with age and use. Slight lift to the front edge of the top. Some dark ink stains to the underside of the top. Baize inset writing surface is later. Cedar lined interior. Key present and operates lock. Later fabric applied to the underside. It has some wear and fraying. Some small water mark spots to sides. Very slight lifting to veneers of top. Book Tray- Marks, knocks, scratches and abrasions commensurate with age and use. A few minor chips and splits. Some fading to lower moulding of back. Condition Report Disclaimer
Lot 255
A pair of north European birch chests of drawers in Biedermeier taste, 19th century, possibly of Royal Interest. each rectangular top with crossbanded edge and rounded front corners, above three long drawers and shaped plinth base, bearing branded initials 'B L' beneath a crown motif, each 81cm high, 104cm wide, 58cm deep Condition Report: Marks, scratches and abrasions consistent with age and use Old chips and splits. small old losses. Some minor old repairs. Overall in very good clean and original condition with some old scratching but in cleaned/ restored condition. The handles and escutcheons appear original, the locks are original but lack keys. Please refer to additional images for visual reference to condition Condition Report Disclaimer
Lot 266
Manner of Frederick William MacMonnies (American, 1863-1937), an Art Nouveau patinated bronze model of a dancing Bacchante, circa 1900, the maiden portrayed nude and holding aloft a staff and bunch of grapes, on a stepped rectangular plinth, 47.5cm highThe present lot is stylistically and thematically similar to MacMonnies' renowned Bacchante and Infant Faun of circa 1893-4, a cast of which is in the collection of the Metropolitan Museum of Art, New York. The exuberant pose and style are typical of the French Beaux-Arts movement that became fashionable in the US and particularly New York towards the end of the 19th century.Condition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The patina is a rich dark brown overall, though it is a little scratched in places, particularly to the rear left shoulder. There are possible traces of varnish or polish where the surface is a little more granular, including to the underside of the left arm, where there are also some shallow inconsistencies in the surface (likely due to casting).The object the Bacchante is raising in her right hand may be lacking a piece.There is a dent to the rear left corner of the base, and another, smaller to the front left corner. The underside looks as though it was at one point mounted to a secondary base.The bronze would benefit from a gentle clean to address the dust in the recesses.Condition Report Disclaimer
Lot 278
A verdigris bronze sundial signed for Deane, Dray & Deane, London, first half 19th century, the circular Roman numeral dial with large central gnomon and inscribed DEANE, DRAY & DEANE, FINSBURY IRON WORKS. Chiswell Street, LONDON to top, mounted to a 19th century stone baluster plinth, 140cm high overallCondition Report: Marks, scratches, abrasions commensurate with age and use.Some minor old losses, including some nibbling to the base.The surface is weathered overall, consistent with outdoor exposure. The sundial itself is associated to the plinth. The diameter of the sundial is larger than the top of the plinth. The gnomon's bolts to the underside may have been replaced.Please refer to all additional images for visual reference to conditionCondition Report Disclaimer
Lot 284
A stone composition garden urn on plinth, late 20th century, probably Haddonstone, with egg-and-dart everted rim and twist-lobed body, the plinth of panelled rectangular form, overall height 155cmThe pattern of the present urn closely resembles Pulham Stoneware's 'Westonbirt' vase, illustrated in John Davis, Antique Garden Ornament, Antique Collectors' Club, 1991, p. 196.Condition Report: There is an old break to the waisted socle.Condition Report Disclaimer
Lot 289
A Victorian artificial stone tazza urn attributed to Austin and Seeley, mid-19th century, the everted egg-and-dart cast rim above a part-lobed ovoid body, on a waisted and fluted socle, presented on a carved stone plinth, with rib carved base, the urn 52cm high, overall height 109cm The present vase is closely related to Austin and Seeley's fountain in the Italian Gardens at Tottenham House, Wiltshire. That example is illustrated in John Davis, Antique Garden Ornament, Antique Collectors' Club, 1991, p. 206. For a comparable pair, see also Sotheby's Billingshurst, 27 May 2005, lot 156.Condition Report: The urn and plinth bear the usual minor marks, knocks and scuffs overall consistent with age and use. And each has some weathering commensurate with outdoor exposure.There are various cracks to the bowl, including three or so circa 10-15cm vertical ones from the edge of the everted rim to the upper edge of the lobed body. Some nibbling to the edge of the rim.Areas of old repair overall including to the socle. One of the corners of the square base (of the urn) is chipped, and there are other smaller losses.The interior has been stained dark red in places presumably from previous contents.Condition Report Disclaimer
Lot 293
Alfred Corneau & Charleville, a French cast iron pedestal, late 19th century, the tapered body relief cast with scrolling foliage in reserves, and with raised maker's mark to the square socle, 116cm highCondition Report: Overall the plinth shows remains of a red painted finish, and there are also lighter marks as well as wear commensurate with age and outdoor exposure.Light surface oxidisation overall, most visibly to the top where it is also pitted. There are tiny gaps between the side seams and panels, but this is even on all sides and is likely the design.No areas of significant damage detected.The top is 28cm squareCondition Report Disclaimer
Lot 294
A French cast iron urn on plinth, last quarter 19th century, the festooned and twin handled urn raised on a swagged square section pedestal cast with lion masks, swags and paw feet, 180cm high overallCondition Report: Overall the urn bears the usual minor marks, scuffs and weathering consistent with age and outdoor exposure. The urn can be separated from the plinth and has a small circular aperture to the socle indicating it was possibly designed as a planter. Two of the urn swags and one of the plinth swags looks like their joins at one point may have been strengthened or restored where they meet the body. There is some minor upward curling of the uppermost top part of the plinth. Would benefit from a gentle clean. Condition Report Disclaimer
Lot 79
A pair of French gilt and patinated bronze, and rouge griotte mounted figural three light candelabra, second half 19th century, each with three scrolled branches modelled as hunting horns, issuing from an upright lance hold aloft by standing and partially draped putti on integral bases cast with a stag's head and boar's head respectively, above circular socles and a further gadrooned and square section plinth, each 91cm highCf Christie's New York, 500 Years: Decorative Arts Europe, 19 - 20 October 2011, lot 110.Condition Report: Minor marks, scratches and abrasions comensurate with age and useSome areas of wear to gilding. in some areas revealing colour of underlying metal.Evidence of dirt in areas overall and may benefit from a sympathetic clean by a qualified restorer.Candle arms and nozzle and drip pan sections with some minor signs of being slightly mishapen but largely to a very minor extent.Three of the removable candle nozzles are lacking. The cherub elements very well cast and with rich patina. Condition Report Disclaimer
Lot 90
A Continental, probably Italian, patinated bronze model of Mercury after Giambologna, last quarter 19th century, on a stepped circular verde antico plinth, and presented on a further Italian green serpentine marble pedestal, the bronze 77cm high, overall height approximately 218cmCondition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The bronze has a dark brown patina, which is relatively matte overall. There is also some slight mottling to the surface, particularly the chest.The Caduceus is a little loose and slightly bent.There is a repair to the raised big toe. The smaller socle on which the bronze is perched has a handful of small chips to the edges.The top of the plinth has a repaired chip, and there are further smaller nibbles and chips to the rim. There is an old restoration to the moulding below, and there is an area of loss to the circular moulding above the base.The lot includes one large columnar pedestal. The first plinth mentioned in the cataloguing is the smaller one on which the bronze perches directly. Condition Report Disclaimer
Lot 454
A 19th century gilt painted mantel clock, with a spelter cast figure emblematic of learning, the circular cased clock with white enamel dial and Roman numerals in ornate gilt surround, raised on black plinth base, maker Ansonia Clock Co New York, approx. 30cm wide, together with an early 20th century inlaid mahogany Walker & Hall mantel clock with French movement by Japy Freres (2)
Lot 1486
A George II oak longcase clock, 30cm square brass dial inscribed Henry Deykin, Worcester, No 1169, Roman and Arabic numerals, subsidiary seconds dial, date aperture, twin winding holes, 8 day movement striking on a bell, the case with pagoda pediment flanked by turned finials, rectangular door to waist, plinth base, 209cm high, c.1750Henry Deykin was the son and successor to Worcester clockmaker Thomas Deykin and his wife, who was also a clockmaker. He was apprenticed to his mother 1744-1751 and he worked until 1788. The numbering system as displayed (very unusually) on the dial - here 1169 - is believed to have been carried over from his parents' oeuvre.
Lot 152
A Lynton porcelain oval scent bottle, painted by Stefan Nowacki, signed, with a harvest of ripe summer fruit, within a gilded reserve, the royal blue ground with a gilt floral sprig to verso, the rounded shoulders with oak leaves and acorns, gilt-metal frill stopper, plinth base, 10cm high, gold printed marks
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173444 item(s)/page