Y A REGENCY EBONY AND BRASS INLAID MAHOGANY BRACKET CLOCK WITH TRIP-HOUR REPEATDESBOIS AND WHEELER, LONDON, CIRCA 1820The five pillar twin fusee bell striking movement with lancet-shaped plates and anchor escapement regulated by lenticular bob pendulum with an effective length of 12 inches and incorporating stirrup-type regulation adjustment to the rod, the backplate signed Desbois & Wheeler, Gray's Inn Pafsage in flowing script towards the lower edge, the 6.75 inch circular convex cream painted Roman numeral dial signed DESBOIS & WHEELER, LONDON to centre, with decorative scroll pierced steel spade hands and STRIKE/SILENT selection switch at twelve o'clock within a laurel-leaf milled gilt brass surround set behind hinged convex glazed cast brass bezel, the lancet-top case with lipped cavetto cornice over ebony tracery decorated infill above the dial, down-curved reeded band to waist, and brass-rosette highlighted stylised foliate spandrel decorated ebony line-inlaid apron panel beneath, the sides with brass foliate ring handles over brass fretwork lancet-shaped frets and the rear with pointed break-arch glazed window set within the frame of the case, on canted moulded skirt base with brass inverted acorn feet.48cm (19ins) high, 25cm (9.75ins) wide, 16cm (6.25ins) deep. Daniel Desbois was apprenticed to John Johnson at Gray's Inn Passage and took over his business from circa 1790, working until 1846 and died two years later in 1848. The partnership between Daniel Desbois and Wheeler is recorded in Baillie, G.H., Clutton, C. and Ilbert, C.A. BRITTEN'S Old Clocks and Watches and their Makers as working from Gray's Inn Passage, London 1803-35. Condition Report: Movement is complete with no visible evidence of alteration or noticeable replacements but is a little dull/tarnished in appearance. The movement is in full working condition however a gentle clean service is advised before putting the clock into long-term use. The seatboard has two holes to the centre suggesting a pendulum holdfast was once fitted which is no longer present. The dial retains old surface with faults limited to wear around the winding holes, a few minor chips and some concentric wear/rubbing. Case is generally in very good original unrestored condition with faults essentially limited to minor shrinkage, bumps, scuffs, wear, a couple of small veneer patch repairs to the rear door as well as the rear door lock being loose. The silk to the side frets is degraded and the frets themselves need securing.Clock has pendulum, a case key but no winder. Condition Report Disclaimer
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A FRENCH GILT BRASS CARRIAGE CLOCK WITH PUSH-BUTTON REPEAT AND ONE-PIECE CASEATTRIBUTED TO HENRI JACOT FOR DENT, PARIS, CIRCA 1855The two train eight-day bell striking movement with gilt platform lever escapement regulated by sprung bimetallic balance, the inside lower edges of both the front and backplates stamped 231 and the lower edge of the rear engraved Dent, the rectangular white enamel Roman numeral dial with blued steel trefoil hands and incorporating signature DENT. PARIS within the minute ring at six o'clock, the satin-gilt 'Garnier second series' type one-piece bevel glazed caddy moulded case with hinged baluster turned carrying handle over large top glass and repeat plunger to front rail, the rear with hinged glazed door and on cavetto moulded skirt base incorporating inset rounded angles.12.5cm (5ins) high with handle down, 8cm (3.125ins) wide, 6.5cm (2.675ins) deep. Provenance:The property of a deceased gentleman. The current lot can be directly compared to another example signed by Dent (numbered 297) offered by Leigh Extence Fine Antique Clocks (Exeter). In his listing Extence notes that 'the movement (of number 297) is identical to others seen as signed for Henri Jacot and his working partner Louis Baveux, and includes the double-finned dial pillars, the unique layout of the under-dial work, and the style of engraving to the lettering of the signature amongst other features'. He then notes direct comparisons with Jacot number 489. Edward John Dent was a talented horologist who at the age of 17 transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1817 he had become well known as a watch and clockmaker receiving commissions from the Admiralty for a 'Standard Astronomical Clock' and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks. In 1843 the firm expanded taking on a second premises at 33 Cocksur Street, with the Strand premises moving down the road to number 61 by 1851. In 1852 Edward Dent successfully tendered to make the 'great clock' to be housed in Stephen's tower at the New Palace of Westminster. The clock was completed by 1859, apparently at a financial loss to the firm, however it ensured that Dent became a household name synonymous with fine clockmaking.Unfortunately Edward John Dent did not live to see the installation of the 'great clock' as he died in 1853. He was succeeded by his stepson Frederick Rippon Dent, who, in partnership with his brother Richard, continued to expand the business. By 1862 the firm had added 34 Cockspur Street and 34 & 35 Royal Exchange to their list of addresses and, although having seen natural passage of ownership over the intervening years, the business still continues to trade today as Dent & Co. Henri Jacot is recorded by in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working from 31 Rue de Montmorency, Paris as well as possibly having a factory in Saint-Nicolas-d'Aliermont. The business was awarded Bronze Medals at the Paris 'Exposition' in 1855 and in London 1862; Silver in Paris 1867, 78 and 89 and Gold, again in Paris, 1890. Although Charles Allix notes that Henry Jacot senior died in 1868 and was succeeded by his nephew of the same name further research by Leigh Extence has revealed that after his death Henri's business was actually continued by his brother Julien who was essentially only 'keeping the bench warm' until his son, and Henri's nephew Albert, was able to take over and move the concern forward in 1874. The business is thought to have continued until around 1920. Condition Report: Movement is in clean working condition with no visible evidence of alteration or noticeable replacements. Although it is working a precautionary gentle clean/service is advised. Dial is free from outwardly visible faults although a very slight chip can be seen at the bottom left corner on very close examination viewing from an oblique angle. Case is in very good condition with no visible chips to the glasses and faults limited to some very slight bumps to the frame as well as some light oxidation/discolouration to the gilding.Clock is complete with a winding key. Condition Report Disclaimer
A GEORGE II BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE/BRACKET CLOCK WITH TRIP REPEATJOHN ELLIOTT, EXETER, MID 18th CENTURYThe substantial five (formerly six) pillar movement with plates measuring 8.25 by 7 inches, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, now with anchor escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension, the backplate engraved with a basket of fruit within symmetrical foliate vine scrollwork centred by a large gadroon-bordered shaped cartouche signed John Elliott, Plymouth, the 8 inch brass break-arch dial with shaped false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute ring, with scroll-pierced steel hands and applied female mask and scroll cast spandrels to angles with the upper interrupted by subsidiary Strike/Silent selection and regulation adjustment dials, the arch further date of the month dial flanked by strapwork scroll cast mounts, the ebonised case with five brass disc-and-spire finials to the inverted bell-top superstructure incorporating brass mouldings at the junction between each section, over brass-edged double cavetto top mouldings and opening front inset with brass fillet mouldings to the glazed dial aperture and scroll pierced and engraved upper quadrant frets flanked by brass bound rounded angles, the sides with hinged cast brass handles over concave-topped rectangular scroll pierced and engraved sound frets centred with a basket of flowers over a stylised lions mask within brass fillet surround, the rear with conforming rectangular break-arch glazed door set within the frame of the case, on two-tier cavetto moulded skirt base edged in brass over generous cast ogee bracket feet.57.5cm (22.75ins) high, 35cm (13.75ins) wide, 23cm (9ins) deep. Very little of John Elliott of Plymouth is known with only his marriage, in November 1732, being recorded. As was the tradition for clockmakers to marry after completing their apprenticeship this would suggest that he was born in around 1710. The engraving to the backplate of the present clock broadly conforms to designs illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 pages 301-03 (Figures 17.8-17.10) which would date the present lot to around 1740-50. Condition Report: Movement is complete and in good original condition with the only noticeable replacements being the escapement and the going train third wheel. The going train will run however both the strike and quarter trains are presently not functioning. Both of these trains appear intact, unaltered and will wind; they will just about operate with manual assistance but will not trip/run when hands are advanced. As the movement is somewhat dry/dusty a gentle clean/service and some adjustment will be required before it can be put to use. The movement is generally well made/finished and generally exhibits minimal wear or rebushing etc.; there is no trip-repeat line fitted at present. The dial is generally dull/discoloured with mellowing to the castings and patchy oxidation to the silvering. The centre has two smallish plugged holes within the matting (near the IIII and VIII numerals) almost certainly left over from fixing an arched silvered signature plate which is no longer present. As with the movement the dial is of good quality and well finished. The case is generally in good original condition. The caddy superstructure has some slight veneer shrinkage only, as does the front door which opens to reveal only a couple of small losses/repairs and cracking to the veneer overlap of the mask bordering the dial. Both sides have some shrinkage cracking with the most notable being to the rail beneath the fret aperture to the left-hand side; otherwise are in good original condition although the frets are somewhat tarnished/discoloured. The rear door, surround and skirt base are all in good original condition with only slight wear and other age-related blemishes evident.Generally a well made clock in very sound original condition (except for the escapement) which has a pendulum, case key and a winder. Condition Report Disclaimer
A GEORGE I BRASS DRAUGHTSMAN'S FULL CIRCLE PROTRACTOR COLLIER, LONDON, CIRCA 1725The ring tapering to the outer edge and divided to half degree increments with annotations for every ten 0-180 twice in both directions, the centre with single slightly offset crossing to provide a bisecting rule line edge to upper margin and signed Collier fecit.14.3cm (5.625ins) diameter. William Collier is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as a Mathematical Instrument maker who was apprenticed to Thomas Tuttell in 1699 and gained his freedom of the Goldsmiths Company in 1703. He subsequently worked at 'Ye Atlas, the end of Wood St. Facing Cripplegate London' from 1707; then 'Chick Lane, West Smithfield' from 1720, and finally 'Ye Atlas next the Fountain Tavern without Newgate, London' from 1731 until 1745.
A WILLIAM III WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK WITH TEN-INCH DIALJAMES MARKWICK, LONDON, CIRCA 1695The six finned and latched pillar inside countwheel bell striking movement with slender tall plates measuring 7.375 by 5 inches and anchor escapement regulated by seconds pendulum, the 10 inch square gilt brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the finely matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, small Arabic five minutes beyond the outer minute track and signed Jacobus Markwick, Londini to lower margin, with fine sculpted scroll-pierced steel hands and applied gilt winged cherub mask and scroll cast spandrels to angels incorporating leafy trail engraved infill to margins between, the case with ogee moulded cornice and fretwork frieze over floral marquetry trail decorated hinged glazed dial surround applied with Solomonic twist-turned three quarter columns to front angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 42 inch rectangular door centred with a circular brass-framed lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground within applied half-round crossgrain edge mouldings, the sides veneered with two line-outline panels, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on bun feet.197cm (77.5ins) high, 46cm (18ins) wide, 27cm (10.5ins) deep. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1656 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. Condition Report: Movement is in fine clean fully working condition having been given a gentle service prior to consignment. There is no visible evidence of alteration or noticeable replacements and there is minimal pinion wear evident. Some of the pivot holes have slight punching (historic repair to counter wear) and the top left of the backplate has two vacant threaded holes for a bracket to secure the movement into the case - the bracket is no longer present although there is a steel counterpart secured to the case backboard at the appropriate height. The bottom two pillars are very slightly bent in a downward curve from tightening the movement onto the seatboard. The front of the dial plate has been regilded however appears free form any visible evidence of alteration or noticeable replacements and faults limited to some oxidation spotting and light patchy discolouration to the chapter ring, and a repair to the minute ring. The movement rests on an old seatboard which sits directly on the cheek uprights of the case with no apparent evidence of alteration and in-line with a scribed-line to the case backboard. This would suggest that the movement and dial are original to the case. The case is generally in very good original condition with no visible evidence of alteration or significant restoration/replacements. The hood top board may be an old replacement and the fret to the frieze is most likely a restoration, otherwise the hood appears to be in fine original condition with faults limited to historic movement and shrinkage to the cross-grain mouldings and veneers. The hood appears to have been originally made with a front door - there is no evidence to suggest that it has been converted from a rising hood with fixed front. The trunk and base are in similar condition with the backboard retaining its original height with splitting to both the upper and lower sections which may benefit from being secured. The trunk door has had fillet repair to hinge side of the panel at the rear which continues for the full height between the upper and lower 'clamps'. This in most likely to address historic worm damage to the edge of the board as evidence some of this is visible just beyond the join in places. The door veneers are in good condition having only one small loss (to the ebonised ground only) towards the lower margin at the join between the clamp and the vertical section of board forming the trunk door. There is also some small localised repairs to the marquetry along the rest of this joint and to the corresponding joint at the top of the door (but to a much lesser degree). The sides have noticeable slight bowing, a few minor veneer patch repairs to rear edge and some cracking/movement to the veneers. The case appears to retain its original structure veneers except for some replacement to the fascia crossbanding to the lower left-hand corner. The right-hand side has a horizontal crack and there are small patch repairs to the lower front corners. The carcass of the box has horizontal joins in the front and side panels about an inch up from the lower surface - however the backboard continues down past these joints and the veneers appear largely undisturbed hence we are inclined to believe that the slips forming the lower edge of the front and sides of the box carcass are an original feature. The bun feet are replacements and there is historic evidence of past minor worm infestation which has long gone. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age, The colour is generally good but would benefit from a little attention from a furniture finisher to revive it a little.Clock is complete with pendulum, two brass-cased weights, two case keys and a winder. Condition Report Disclaimer
A FRENCH GILT BRASS AND CLOISONNE ENAMEL CARRIAGE TIMEPIECEUNSIGNED, CIRCA 1900The eight-day single train movement with replaced platform lever escapement regulated by sprung monometallic balance, the backplate numbered 117 to inside lower edge, the circular slightly convex cream enamel dial with vertically aligned Arabic numerals and blued steel spade hands set within a rectangular polychrome enamel mask decorated with floral sprays within a powder blue ground and cobalt border interrupted by cream spandrels at the angles, the frosted gilt brass bevel-glazed case with chain-link decorated hinged square baton handle over small top glass, cavetto cornice and chain-link frieze, the angles with channelled uprights and the rear with hinged glazed door, on outswept skirt base further decorated with a chain-link band; with an English cast gilt brass carriage timepiece, Fema, London, late 20th century, the eight-day movement with platform lever escapement regulated by monometallic balance and stamped FEMA, MADE IN ENGLAND to backplate, the white enamel Roman numeral dial with blued steel hands, the bevel-glazed case with hinged leaf cast carrying handle over top glass set within convex superstructure decorated with cherub inhabited foliate scrolls, with architectural uprights to angles over rococo scroll cast base; and a gilt brass and faux lapis lazuli desk timepiece, Jaeger-LeCoultre, mid to late 20th century, with single train movement set behind rectangular dial applied with stylised gilt Roman numeral chapter ring onto a faux lapis ground signed JAEGER-LECOULTRE to centre, in a simple rectangular glazed frame case with stepped platform base, (3).The first timepiece 11.5cm (4.5ins) high with handle down, 7.5cm (3ins) wide, 5.5cm (2.5ins) deep; the second 14cm (5.5ins) high with handle down, 10cm (4ins) wide, 9cm (3.5ins) deep; the third 14cm (5.5ins) high, 11.5cm (4.5ins) wide, 3.5cm (1.375ins) deep. Provenance: The Estate of a deceased Gentleman. Condition Report: The first timepiece - movement is reasonably clean and in working condition; a precautionary gentle clean service is probably advisable. As catalogued the escapement has been replaced. The dial appears free from visible damage. The case is in good condition with only very small chipping to the upper left hand corner of the left glass visible with the naked eye; the frosted gilt finish has some localised tarnishing/discolouration and the front uprights were probably inset with chain link decoration to the leading edges which are no longer present. Timepiece has a winding key.The second - Mainspring is 'slipping' hence requires replacement; the winding click spring is also broken, otherwise movement appears to be in sound reasonably clean condition but would probably require a gentle clean/service at the time of repair. The dial appears free from visible faults and the case is in fine condition with faults limited to slight rubbing/localised discolouration to the gilt finish.Timepiece does not have a winding key.The third - the winder turns without resistance indicating that the mainspring is broken. Movement otherwise appears sound but will probably require a gentle clean/service at the time of repair. Dial is in fine original condition. Case has patchy oxidation to the finish otherwise is in good original condition.Timepiece has an integral (attached) winding key. Condition Report Disclaimer
A FRENCH LOUIS XVI ORMOLU MOUNTED WHITE MARBLE MANTEL CLOCKUNSIGNED, PROBABLY PARIS, LATE 18th CENTURYThe circular eight-day two train bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension regulation, the 4.75 inch circular slightly convex white enamel dial with concentric date-of-the-month within vertically aligned Arabic hour numeral chapter ring, with pierced and engraved gilt brass hands set behind convex bevel glazed hinged engine-milled brass bezel, the case with central brass drum housing the movement fitted with hinged glazed rear cover and surmounted by an obelisk applied with mounts cast as ribbon-tied trophies, supported via cast looped brackets between a pair of reeded baton columns, each decorated with crossed reeded gilt brass straps and surmounted by a stooping eagle issuing chains from its beak, set on gilt flaming trophy decorated architectural plinth uprights over inverted breakfront base incorporating bowfronted stepped central section flanked by rectangular panels inset with symmetrical leaf cast mounts to front and engine-milled infill to sides, on six brass toupe feet.47cm (18.5ins) high, 35.5cm (14ins) wide, 13cm (5ins) deep. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The calendar hand however does not seem to advance when the hands are moved by hand past midnight and the mechanism would probably benefit from a gentle clean/service. The dial has filled chips near two o'clock as well as numerous hairlines, chipping to the left hand winding holes and the edge in at least three places; the minute hand has also been repaired at the centre. The case is generally in very good original condition with faults essentially limited to minor edge wear/some chipping to the marble, some overall discolouration, age-related wear and oxidation to the mounts.Clock has a pendulum and a winding key. Condition Report Disclaimer
A FINE AND RARE CHARLES II EBONISED TABLE CLOCK OF THE 'EDWARD EAST' SCHOOLWILLIAM CRAYLE, LONDON, CIRCA 1665-1700The substantial twin fusee movement with plates measuring 8.25 by 7 inches united by six heavy double-knopped pillars pinned through the frontplate and secured with large cross-headed steel screws to the rear, and an additional seventh square-section pillar secured in a similar manner to the centre at the base, the trains with large diameter barrels incorporating pinned flanged caps and fat fusees, the going with reinstated verge escapement regulated by short bob pendulum incorporating knife-edge suspension to the single-footed backcock, the strike train with external rosette-centred numbered countwheel set on the fusee arbor, distinct cocked external locking detent and sounding the hours on a vertically orientated bell supported above the plates via an unusual serpentine-shaped stand screwed to the frontplate, the 8 inch square fire-gilt brass dial engraved with a central nine-petal rose bloom within a concentric band of intense tulip and other flowering foliage alternating with matted infill and incorporating a burnished pendant panel signed William Crayle, Londini at six o'clock, within applied narrow silvered Roman numeral chapter ring with very small stylised wheatear half hour markers and Arabic five minutes within the outer minute track, with scroll-pierced sculpted blued steel hands and the spandrel areas finely engraved with a symmetrical arrangement of radial leafy tulip blooms flanked by foliate floral sprays filling the quadrants continuing to meet and provide infill to the margins around the chapter ring between, the rectangular case finished with thick hand-cut ebonised veneers with substantial tied foliate bud cast hinged carrying handle to the flat top, within projecting cushion edge mouldings painted in various shades of brown to simulate repeating acanthus marquetry over complex moulded cornice moulding, plain frieze and conforming tightly cut architrave painted with a band of laurel leaves, the hinged front panel with glazed dial aperture opening to reveal veneered mask bordering the dial, the sides with tall rectangular windows and the rear with rectangular glazed door set within the frame of the unveneered flush fascia, on quarter-round and fillet moulded skirt base further painted with a larger band of laurel leaves to front and sides over bun feet.41cm (16.25ins) high with handle down, 28cm (11ins) wide, 16cm (6.25ins) deep.Provenance:The property of a private collector. Previously Sold at Christie's New York sale of THE CONNOISSEUR'S EYE - PROPERTY FROM THE ABBOTT-GUGGENHEIM COLLECTION 2nd June 2015, Lot 254, for $22,500.William Crayle is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as probably the son of Richard Crayle. He was a watchmaker and a member of the Blacksmiths' Company in 1651, who took an apprentice, John Chatfield, in 1659; and another, Thomas Penn, in 1661. Loomes records his marriage to Elizabeth Alkin at St. Peter Paul's Wharf in 1658 and note that he was working in Fleet Street in 1662. The London Gazette posted in their 13th July 1676 issue a reward notice for a lost watch referencing 'Mr. William Crayle a Watchmaker at the Black Boy in the Strand, near the Savoy', and in 1683, his daughter, Francis, was married to William Rymer at St. Mary Savoy. He did not sign the oath of allegiance in 1697 so is thought to have died by then; although a watch signed 'William Crayle in Fleete Street, London' was raffled by Andrew Brown in Edinburgh the following year. Loomes notes that only one or two watches by him survive, hence it is most likely that the present clock is the only example by him known.The dial engraving of the current clock is amongst the finest that is likely to be seen on a clock of this date and can be closely compared to that seen on an important early architectural longcase clock (in an oyster laburnum case) by Edward East which was sold at Christie's, London sale of PROPERTY FROM THE COLLECTION OF A NOBLEMAN 23rd May 2012 (lot 350) for £313,250. The intense but symmetrically laid-out tulip engraving to the spandrel areas are very close in their composition and are clearly executed by the same hand. The engraved signatures also match stylistically (most evident in the script for 'Londini'). Two others dials for clocks by Edward East, also exhibiting closely related engraving, are illustrated by Richard Newton in his article Dismantling the 'East School' - Edward East and the clock trade in seventeenth-century London printed in the June2024 issue of ANTIQUARIAN HOROLOGY (pages 176-196) on pages 181 (Figure 7) and 182 (Figure 8). In the footnotes for the text (14) Richard Newton indicates that, with the exception of one anonymous example, this type of engraved spandrel pattern appears unique to Edward East. The engraved central rose and foliate ring decoration to the matted centre also appear in dials by makers of the 'East School', most notably for a clock by Samuel Haley illustrated by Newton on page 177 (Figure 1.).The layout of the movement with symmetrical arrangement of seven pillars, large flanged spring barrels and fat fusees can be compared to a grouping of three clocks (two by John Hilderson and the example by Samuel Haley) illustrated by Newton on pages 177-78 (figures 2 and 4). The principal differences between this group and the present lot are the design of pillars used in the movement, and the positioning of the countwheel on the end of the strike fusee arbor (rather than towards the top right-hand corner of the backplate). Richard Newton surmises (for reasons outlined on page 179) that movements of this type are most likely to have been made in the Hilderson workshop, with some supplied to Edward East and other makers for finishing and retail. John Hilderson died of the plague in 1665, hence it is thought that some of his unfinished movements may have formed the basis of a few 'hybrid' clocks completed by East shortly thereafter (see Newton page 181 and Figure 7). The presence of a centrewheel (rather than remote 'floating' motionwork for the hands) would suggest that the present lot is more akin to this category of 'hybrid' clock, but completed by William Crayle rather than Edward East.The unusual design of the movement pillars of the present movement, coupled with the method of fixing via pins at the front and large steel screws at the rear, is unusual but not unique. Indeed a table clock engraved with signatures for Edward East (in a later case) incorporating square-section double-baluster pillars affixed in this manner, was sold at Hutchinson Scott The New Year Fine Interiors Auction 24th January 2025 (lot 1119). From this it may be appropriate to suggest that for some ex-Hilderson workshop clocks, the movement pillars were substituted prior to completion, perhaps in order for the maker to add some of their own individuality to the movement.The case of the present clock is interesting in that it has a flush back and has no veneers applied. The flush rear is a feature seen on the earliest architectural table clocks by Edward East and others (see Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 154, Plate 201; 158 Plate, Plate 206, and 160 Plates 207 and 209). Continue reading ...
A RED CHINOISERIE JAPANNED TABLE/BRACKET CLOCKBEARING A SIGNATURE FOR JOHN GRAHAM, LONDON, PROBABLY AUSTRO-HUNGARIAN, LATE 18th CENTURYThe four columnar pillar twin fusee bell striking movement with four-wheel trains and anchor escapement regulated b disc bob pendulum, the backplate engraved with large symmetrical foliate scrolls around an engraved inscription John Graham, Londini Fecit within a herringbone outer border, the 7.5 inch brass break-arch dial with false bob aperture to the foliate scroll engraved centre within applied silvered Roman numeral chapter ring, with scroll pierced blued steel hands and winged cherub mask spandrels to angles beneath arch now centred with a silvered boss engraved Graham, London flanked by scroll cast mounts, the red chinoiserie japanned case with 'Quare pattern' hinged brass double scroll carrying handle over concave upstand decorated in raised polychrome and gilt with a pavilion to front, applied to the convex superstructure continuing down to envelope the cavetto break-arch cornice applied with brass flambeau urn figures adjacent oriental figural decoration to the angles, the front with hinged glazed break-arch door decorated with floral motifs within gilt lattice infill and with gilt baton moulded angles, the floral spray painted break-arch side panels with unusual quatrefoil glazed panels over shaped-outline rectangular windows, the rear matching the front except for the painted detail, on repeating gilt lappet painted cavetto moulded skirt base with brass ball feet, (movement and dial with alteration, case probably later decorated).43cm (17ins) high with handle down, 29cm (11.5ins) wide, 16cm (16.25ins) deep. Condition Report: Movement is in clean working condition however, as catalogued, has had alteration undertaken including conversion of escapement to anchor (from verge), removal of rise/fall regulation and strike/silent selection. In addition to these alterations the movement has also been largely re-trained with most of the wheelwork above the fusees now being replacements. The movement has four wheel trains hence probably runs for around a week. Evidence to the rear of the dial (filled and vacant holes) suggests that the dial originally had subsidiary dials for strike/silent and regulation to the arch. These are no longer present and have been replaced by the current silvered boss and mounts; the spandrels are also replacements. Dial otherwise presents as being in good clean condition. The case was most likely originally ebonised with the present japanned decoration probably dating from the early 20th century. Other than some slight wear and minor localised flaking to the decoration in places the case is in very good presentable condition.Clock has a winding key. Condition Report Disclaimer
AN EIGHT-DAY QUARTER-CHIMING LONGCASE CLOCKTHE MOVEMENT AND DIAL BY WILLIAM BARROW, LONDON, CIRCA 1720, THE CASE LATERThe substantial six finned pillar inside countwheel bell striking movement with plates measuring 7.75 inches by 6.5 inches and anchor escapement regulated by seconds pendulum, the quarter train with external countwheel and sounding on a graduated nest of six bells, the 12 inch brass break-arch dial with star decorated subsidiary seconds dial and calendar aperture to the Ho-Ho bird decorated matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the outer minute track, with scroll pierced steel hands and mask and scroll cast spandrels to angles within a herringbone engraved outer border, the arch with silvered boss signed William Barrow, LONDON within conforming herringbone-banded border flanked by dolphin cast mounts, now in a brass mounted mahogany case with shaped scroll-pierced brass fret fronted removable concave-sided 'pagoda' pediment, over break-arch cavetto cornice, conforming arched brass fretwork frieze and hinged glazed dial aperture flanked by free-standing stop-fluted Corinthian columns with brass caps and bases, the sides with rectangular brass sound frets and quarter columns set against bargeboards at the rear, the trunk with concave throat moulding over break-arch flame-figured door applied with complex edge mouldings and flanked by Corinthian quarter columns also with bras caps and bases, on plinth base with conforming concave top moulding over shaped panel outlined front and moulded skirt.237cm (93.25ins) high including removable pediment, 215cm (86ins) high with pediment removed; 52cm (20.5ins) wide, 25.5cm (10ins) deep. William Barrow is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1700 and gaining his freedom of the Clockmakers' Company in 1710. It would appear that he supplied clocks for the Swedish market with a lacquer longcase residing in the Nordiske Museum, Stockholm and three more longcase clocks in the National Museum, also in Stockholm. Condition Report: Movement is in fine clean working condition with no visible evidence of alteration or noticeable replacements although it is likely that a movement of this age will have has some minor service replacements. There is some evidence of historic rebushing and light peening of the backplate corresponding to some of the movement pillars are attached. The dial is in fine clean condition with the only noticeable faults being a small loss to the upper right-hand corner of the plate and a small casting fault (hole) behind the lower right-hand spandrel. The minute hand is probably a replacement. The movement retains what appears to be its original seatboard. The case is not original to the movement and is of later date (mid to late 18th century). The concave-sided pediment is removable and has saw marks along the lower edge together with two small veneer chips. The arch of the hood is now fitted with a curved top board onto which the pediment rests (if desired) - due to the thickness of this top board the pediment does not rest snugly. Case otherwise is in good original condition with faults limited to minor shrinkage cracking, other movement, minor bumps and scuffs, other slight age-related blemishes including a small loss to the base skirt moulding to the right-hand side.Clock has pendulum (probably non-original), two brass cased weights, a third lead weight, winder and a case key. Condition Report Disclaimer
Three yellow metal gem set dress rings, including a 9ct gold coral and pearl double row ring, ring size N, gross weight approximately 2.3g; a 9ct gold and garnet single stone ring, size R, gross weight approximately 2.8g; and a yellow metal and sapphire double row ring, size Q, gross weight approximately 3.9g, assessed as approximately 9ct (3)Coral ring has chip to one of the corals, otherwise ok. Garnet ring in good condition. Sapphire ring has been resized and lost hallmarks, stones intact, wear and tear commensurate with age
The Archive of Lady Mary Pamela Madeline Sibell Strickland / Lyon (1895-1991), née CharterisTo include nine various leatherbound diaries in manuscript spanning 1916-1927; including some typewritten transcripts thereof (Volumes 1-4)Two ring binder files containing letters of response to the wedding of Ariel Susan Clare (adopted daughter of Mary Lyon) to Christopher Elliott in 1964, predominantly from the gentry of Gloucestershire and including from the author Michael Innes and Anne Fleming (wife of Ian Fleming)Two prisoner of war diaries by Lieutenant Algernon (Tom) Walter Strickland of the Royal Gloucestershire Hussars Yeomanry, dating from 1916-18, written while he was held prisoner in Turkey, measuring 13cm x 8.5cm each with cloth boards, with an accompanying manuscript book by his wife, Mary Strickland, summarising letters received from her husband while imprisoned, with a folded map of Gallipoli, alongside two files of manuscript letters from Algernon (known in the family as Tom or Tommy) to Mary spanning 1917-1938 including those from camps in Egypt, Switzerland and Gallipoli (Turkey).A folder of various letters to Mary Pamela Lyon, some dealing with the publication of Cynthia Asquith's diaries (Mary's sister), including from Sir Rupert Hart-Davis (1907-1999) and an envelope of press cuttings and reviews of Elizabeth Longford’s biography of Wilfred Scawen Blunt, letters from Elizabeth Longford and Roger FulfordTwo small notebooks with manuscript entries in pencil, one entitled 'Bird Notes' (spanning 1955-1965) and Birds seen in South Africa Orange Free State Dec 1937- March 1938A folder of Letters entitled 'Letters from Sara from 1929 up to 1950' (daughter of Mary Lyon) including juvenile correspondenceA folder of documents relating to World War I & II with related memorabilia including a typed manuscript ‘Torpedoed’ by Martin Charteris (1913-1999), a favourite courtier of Queen Elizabeth II and her longest serving Private Secretary, several ephemera publications by the British Legion, 1950-54, an auction catalogue Bruton, Knowles & Co. ‘The Gloucestershire Treasure Sale’ 1944 for the Red Cross, including a pencil drawing ‘Paternity’ by H.G. Wells, Mary Strickland and Mrs Belloc Lowndes, drawn at Stanway as part of a parlour game. Several WWII armbands for the British Red Cross, WVS Rest Centre and WLA (Women’s Land Army), several badges including a Royal British Legion Poppy brooch, ARP Women’s Voluntary Services, Women’s Land Army and Civil Defence CorpsA folder entitled ‘Soldier’s Letters 1917-1918’, mostly addressed ‘Dear Nurse’ to Mary StricklandA folder of newspaper cuttings Jan 1977 to ..., a further folder of press cuttings of reviews of Cynthia Asquith’s diaries, 1968 and other booksA marbled paper notebook entitled ‘Last Will and Testament of Mary Constance Wemyss’ dated March 9th 1929A manuscript poem by Herbert Asquith ‘Youth in the Skies’ with his accopmpanying letter, dated 1940An envelope of letters and ephemera relating to J. M. Barrie including two copies each of Stanway Mysteries programmes for ‘The Wheel’ and ‘Where was Simon’ by Barrie, nine signed manuscripts letters by J. M. Barrie, all to ‘Lady Mary Strickland’ at various addresses, 1923-1936Folders of LettersFolder entitled ‘Cynthia Asquith to her sister Mary’ but containing various letters including one manuscript letter from Augustus John, September 19, 1936 to Lady Mary regarding his works in Chelsea portraits and advance for his portrait of Mary and another letter from Augustus John regarding the same; a typewritten autograph letter to Lady Mary from Anthony Powell, 1977Folder of Letters to Mary Lyon on occasion of Cynthia Asquith’s death, amongst others by Osbert Sitwell, ‘Bibs’ Plymouth, Denis Mackail, Lord Tavistock, etc.Five folders of letters from Mary Strickland/Charteris to her mother (1899-1937)A folder of letters entitled ‘Bibs’ Plymouth (1910s-1920s)A folder of letters from Denis Mackail 1920s-1960sFive letters from Wilfred Scawen Blunt to Mary Constance Wyndham Countess Wemyss (1862-1937) [with whom she allegedly had an affair] including one poem dedicated to herAn extensive collection of letters dating circa 1899-1978 to Mary Strickland from various correspondents including from Wilfrid Scawen Blunt, Sir Walter Raleigh, George Vernon, Cynthia Asquith, various members of the Asquith, Wemyss and Charteris family, Denis Mackail, Augustus John, H. G. Wells, Violet Bonham Carter, Henry Yorke, Hugo Charteris, Osbert Sitwell, L. P. Jacks, Joan Webster-Young, Sybell Fulford , Roger Fulford, Anne Fleming and others Lady Mary was the adopted daughter of Percy Scawen Wyndham. Her mother was Mary Constance Charteris Wyndham and her biological father Wilfrid Scawen Blunt. Wyndham and her siblings and their spouses were members of The Souls, an elite English social group. She and her two sisters were the subjects of John Singer Sargent's 1899 painting The Wyndham Sisters.Mary was first married to Algernon (Tom) Strickland, who died in 1938, her second husband was Major John (Jack) Lyon, whom she married in 1943. Her older sister was the author and society hostess Lady Cynthia Asquith, married to Herbert Asquith, younger son of the Liberal Prime Minister Herbert Henry Asquith, who was Prime Minister at the outbreak of the First World War. Mary lost both her brothers during the war in quick succession, Yvo Alan Charteris in October 1915 and Hugo Francis Charteris (Lord Elcho) in April 1916. She resided both at Stanway House (her family home) and Apperley Court (family home of the Strickland's).Her fascinating diaries span the early years of a young Mary Strickland, documenting the outbreak of the First World War and its aftermath, nursing duties, attending seances with her mother, escapades to London and household and society gossip. Through her sister Lady Cynthia Asquith, the English writer and socialite, she was well connected with the literary elite and through her brother-in-law's family, she gained intriguing insights into the political machinations at the time. The diaries intersperse major international events with the comparative monotony of daily life in a country house and seemingly endless letter writing. An avid correspondent, the diary also documents, alongside original letters, the death in service of her brother Yvo in Gallipoli. The diaries describe varied events, from an altercation with her maid at Harrods, lunch at 10 Downing Street, bombs dropped in London, dinner with H.G. Wells, descriptions of her nursing duties during WWI at Winchcombe Hospital, her husband's imprisonment in Turkey and country house visits interspersed by reports and commentary on the events and battles of the First World War.Alongside the diaries, the archive includes extensive correspondence and documents spanning most of the 20th century with letters from literary figures such as H.G. Wells, J. M. Barrie, Denis Mackail and Osbert Sitwell alongside the family correspondence.Lady Mary Charteris pictured in the Tatler at the time of her engagement to Lieutenant Algernon W. Strickland of the Royal Gloucestershire Hussars.
A Victorian yellow gold and diamond cluster ring, set with seven mixed old-cut diamonds, ring size J½, scroll work split shoulders, stamped '15ct', total gross weight approximately 4.2 gramsSome thinning to shank and slightly mishapen, claws would benefit from retipping, wear commensurate with age
An early 20th Century diamond five stone ring, stamped '18ct' and 'plat', ring size M, gross weight approximately 2.4g, a 9ct yellow gold and colourless stone ring, size N, gross weight approximately 2.2g and a yellow metal eternity ring, set with colourless stones, size N, gross weight approximately 3.6g (3)Stones intact, wear and tear commensurate with age
An Edwardian fine fancy link chain, stamped '15', gross weight approximately 1.9g, a 9ct yellow gold chain, approximately 35.5cm long, together with a group of 9ct yellow gold including earrings and broken chains, total gross weight of 9ct approximately 14.5g and unmarked yellow metal, together with a 9ct yellow gold cameo ring, size Q, and a similar brooch/pendant, total gross weight approximately 9.9g
A yellow gold and diamond solitaire ring, the old cut diamond approximately 7mm x 6.9mm x 4.36mm, estimated diamond weight approximately 1.2cts, claw settings, size M½, stamped 18ct, total gross weight approximately 3.2gGood condition, wear commensurate with ageColour assessed as approximatley G-H, clarity approximately VS2 - these are meant as a guide and have not been assessed in a lab
An Art Nouveau 15ct yellow gold and opal brooch, of oval openwork design, approximately 3cm long, maker's mark 'WHH', gross weight including steel pin approximately 3g, together with a yellow metal and opal ring, size M, unmarked, gross weight approximately 3.1gBrooch generally good condition, wear commensurate with age. Ring has losses to wirework detail border, and wear to opal
An early 19th Century yellow metal and foil backed paste ring, size L½, total gross weight approximately 1.4g, together with a yellow metal ring cast with leaves and berries, indistinctly marked, ring size P½, gross weight approximately 4.7gGeorgian ring with chips and losses to stones, gold ring generally good, wear and tear commensurate with age
A pair of Regency mahogany corner chairs, early 19th century, each with a single sloping arm and ring-turned supports terminating in brass caps and castors, upholstered in pale linen fabric, one with hooks and one with loops beneath to allow them to be joined together,90cm wide66cm deep87cm high (2)Provenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportLight wear marks to the upholstery with sun damage and fading to the back. General knocks, old losses, and wear to the supports. Tarnish and discolouration to brass. Evidence of historic woodworm damage beneath which does not appear active. Lacking strengthening rails but joints are sound and solid in general. Overall, they appear in reasonably good structural and cosmetic condition.
A fruitwood and elm Windsor single chair, early 19th century, Thames Valley, with a pierced urn-shaped splat above a dished seat, raised on single ring-turned supports united by a stretcher, 48cm wide46cm deep86cm highProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportGeneral knocks, splits, wear and repairs throughout commensurate with age and use. Some strengthening and small structural repairs as expected, including one leg being a little loose and having been strengthened with strings. Some dirt and discolouration. Overall appears structurally stable and weight bearing.
A nest of four burr oak and ebonised tables, of recent manufacture, each rectangular top raised on ring-turned supports and outsplayed feet, largest 59cm wide39cm deep59cm high (4)Condition ReportOverall presents in good structural and cosmetic condition with minor wear and little to no use. Minor wear and rubbing to supports and feet. Joints are sound and solid, ready to use.
A Louis Philippe marble and ormolu-mounted mantel clock, c.1840, French, the 3½-inch white enamelled dial with Roman chapter ring, signed 'Raingo Frères, Paris', within a white marble case surmounted by a gilt bacchanalian putto with a goat, the movement stamped '2866', striking on a bell,27cm wide15cm deep38cm highCondition ReportWith pendulum, which is a little bent in places. Re-gilded. Repair to front left base. Dial with hairline crack. Otherwise, the dial and case are in good cosmetic condition overall. Movement not tested.
Two Victorian stools, c.1890, each with a needlework seat, raised on ring-turned supports, larger 32cm wide 32cm deep 54cm high (2)Provenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportGeneral knocks and wear. One seat is sunken, some wobble in joints but generally okay. Overall appear in fair order but may benefit from some cosmetic refreshment.
A pair of painted oak table lamps, 20th century, each with a turned wooden column on a square stepped base, 41cm diameter67cm high including shades (2)Provenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportOne example missing a metal ring to secure shade. Small knocks present associated with age and use. Small areas of paint chipped.Passed PAT test.
A cut-glass decanter, late 18th century, of slender mallet shape, engraved 'Sheriff of London 1793' with initials within foliate swags, below a ring-turned neck and bullseye stopper,10cm diameter 30cm highProvenance: From the Collection of Nigell and Heather D’Oyly.Condition ReportThe stopper appears original. Wear to the underside. The stopper with some hairline cracks. Some very slight cracking to the decanter's neck. Surface scratches and general wear, otherwise good.
A Regency mahogany sofa table, c.1810, the rectangular top with drop ends and with inset leather surfaces, above two drawers and ring-turned supports united by a stretcher, terminating in outsplayed feet with brass caps and castors, 162cm wide 63cm deep 71cm highCondition ReportNO KEYS PRESENT, general knocks, surface scratches, small splits, chips, and losses to veneer throughout consistent with age and use, evidence of minor repair and cosmetic restoration with a few small areas of repaired and replaced veneers, handles later, general wear to drawer linings, general knocks and wear to support, joints are sound and solid, and overall the piece appears in fairly good structural and cosmetic condition and is ready for use
A George III mahogany longcase clock by Benjamin Grey of London (1676-1764), mid-18th century, the arched brass dial with a rocking figure of Old Father Time within applied dolphin spandrels, over a silvered chapter ring, the matted centre with a seconds dial and name plaque, the five-pillar movement striking on a bell, the arched hood with brass finials and stop-fluted columns over a curl mahogany trunk,dial 29cm diametercase 47cm wide22cm deep216cm highProvenance: From the Collection of Nigell and Heather D’Oyly.Condition Report2 WEIGHTS, PENDULUM AND KEY. KEY TO DOOR AND TRUNK AND WINDING KEY..Movement not tested.Some wear to automation movement.Overall appears good.
A late Victorian painted wooden metamorphic snooker and dining table, c.1900, with scumbled decoration and a panelled rounded rectangular top concealing a baize-lined snooker table, raised on ring-turned supports,240cm long137cm wide77cm high closedProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportPainted decoration probably later. General knocks, surface wear, scratches, and marks to top. General knocks and wear to supports. Joints sound and solid. Baize appears in fairly good order and free from tears, with some knocks, dents, and small repairs commensurate with age and use. Some pockets a little stiff with tarnish and discolouration to brass wear. Overall, appears in reasonably good order and is usable.
A gilt-brass, champlevé enamel and porcelain-mounted mantel clock, late 19th/early 20th century, French, the porcelain dial with Roman chapter ring and a cherub to the centre, within a case with four glass and two porcelain panels painted with figures, and raised on toupie feet, with mercury compensated pendulum, engraved to the inside of the base with an inscription dated 'March 27th 1902',23cm wide15cm deep38.5cm highCondition ReportOne porcelain panel repaired. The finial a little loose. Overall good condition. Movement not tested.
A Regency mahogany bergère library armchair, c.1810, with a reeded frame and ring-turned supports, terminating in brass caps and castors, with a caned back, sides and seat with loose buttoned-leather cushions, stamped 'HI' beneath the frame,58cm wide68cm deep86cm highCondition ReportThe seat re-caned and all cane is generally sound with some wear. Cracks and rubbing to leather. General knocks and wear to supports. Some old breaks and repairs to frame. Joints are generally sound and solid. Tarnishing and discolouration to brass casters which wheel relatively freely. Overall, the chair appears in fair structural and cosmetic condition and is perfectly usable.
A Regency mahogany cheval mirror, c.1820, with an adjustable mercury glass plate set between a pair of foliate-carved ring-turned uprights, united by a base stretcher and terminating in outswept supports with paw feet and brass caps and castors, the metalware stamped 'Cope & Austin patent', 87cm wide 64cm deep 160cm highCondition ReportLight mottling and degradation to mercury glass plate. General surface wear and knocks to the frame throughout commensurate with age and use. Supports and base appear refinished. Some small splits to timbers. Joints are sound and solid. Overall, presents in reasonably good structural and cosmetic condition and is ready for use.
A Regency mahogany occasional table in the manner of Gillows, c.1810, with a rounded rectangular top above a shallow and deep drawer, the top fitted with small compartments with dummy drawers to the other side, raised on ring-turned supports terminating in brass caps and castors, 51cm wide 40cm deep 77cm highCondition ReportSome surface wear, scratches, knocks, splits, and marks commensurate with age and use. Some fading and discolouration. Small knocks and repairs to veneers and moulding in places, but not extensive. Drawer liners split with general wear. Drawers run smoothly. General knocks to supports. Joints sound and wheels freely.
A Regency-style simulated rosewood chaise longue, late 19th century, with a high back and arm, raised on tapering ring-turned supports, terminating in brass caps and castors, 155cm wide 66cm deep 90cm highCondition ReportRequires reupholstery. Knocks, chips, losses, and wear to painted decoration, which is particularly evident to one leg. Joints are sound and solid. Casters appear later.
A late Victorian tub chair in the manner of Howard and Sons, c.1890, upholstered in foliate fabric and raised on ring-turned walnut front supports, terminating in brass caps and castors, stamped '8368' to the back leg, 71cm wide 77cm deep 77cm highCondition ReportUpholstery appears in reasonably good order with a small area of separation and looseness behind the rail which would benefit from repair. General light knocks and wear to supports. Tarnish and discolouration to caps and casters. Overall appears in good structural and cosmetic condition and is ready for use.
A Victorian oak hall bench, c.1880, with a slatted back and seat raised on ring-turned supports,108cm wide 52cm deep 91cm highProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportGeneral knocks, scratches, splits, and wear. Some small losses and looseness in joints, but all appears generally sound, solid, and in fair order.
A Victorian rosewood stool, c.1840, with a button-upholstered seat with studded detail, and a foliate-carved 'X' structure united by ring-turned supports, 122cm wide 44cm deep 38cm highCondition ReportOne piece of the carved support is present, one side of the support is separated and needs re-glueing, further losses to decoration, knocks, wear, scratches, and chips to supports, joints are a little wobbly and would benefit from some structural and cosmetic attention
A pair of Regency-style ebonised and coromandel side tables, of recent manufacture, each with two shelves, between ring-turned and square supports with 'X' frame detail, terminating in brass caps and castors, 46cm wide30cm deep80cm high (2)Condition ReportOverall, both appear in good structural and cosmetic condition with very minor wear as a result of little to no use. Casters wheel freely. Joints are sound and solid, ready for use.
A large Victorian mahogany luggage rack, c.1890, with a high back and moulded rectangular top with chamfered slats, raised on ring-turned tapering front supports, terminating in peg feet,72cm wide61cm deep78cm highProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.
A late Victorian ebonised wooden chaise longue, c.1890, with buttoned upholstery and ring-turned supports, terminating in ceramic castors, 195cm long 68cm wide 78cm highProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportUpholstery appears in good order with minor wear and fading. Springs are sound. Joints are solid. Casters wheel freely. One tassel lacking. Overall appears in fairly good structural and cosmetic condition.
English Arts and Crafts oak sideboard, the upper section with glazed cupboards above a mirror-back, the bowfront base fitted with two drawers and pair of cupboards, carved panels throughout, width 153cm, depth 62cm, height 182cm. Condition report:Cornice has a small chip to the front edge and split to the left edge, doors to the upper section are good and the glass is in good condition, a few small water marks and ring marks to the top, mirror glass is in good condition, some small indentations to the top consistent sith age and use, left side has a small split at the top, right side is good, drawers are both good and run well, cupboard doors are good.Additional images have been uploaded to the lot page on our website for you to view.
Danish Mid-Century teak three-piece matched bedroom suite, comprising tallboy chest of drawers fitted with six drawers, and another chest of drawers with three long drawers, both designed by Poul Volther for Munch Slagelse Mobler, Denmark; and a floating dressing table and mirror, unidentified stamp to verso, width 68cm depth 41cm height 56cm; tallboy width 79cm depth 42cm height 117cm, chest of drawers width 79cm depth 44cm height 73cm.Qty: 3Condition report:Tall chest; top has ring mark to front right corner, a couple of other minor marks, a couple of minor scratches to 3rd and 4th drawer fronts, drawers all run well, handles are good, left side has small mark, legs are sound.Small chest; some ring marks and scratches to the top, sides are good, drawers all run well, handles are good, legs are sound.Mirror; glass is good, some ring marks/stains to the top.
Large hybrid hard paste porcelain comport, navette shape, probably Coalport, together with a small covered tureen on stand, two square-form dishes, two scallop-form dishes, two lozenge-form dishes, and a collection of twenty plates all approximate 8.5" diameter.Condition report:Circa 1810. Provenance: the family of Sir Francis Grant (1803-78).All pieces have a varying degree of wear and rubbing to the gilding. All twenty plates are the same pattern as the other items in the service; six of them have hairlines or chips, but the others are generally free of any hairlines or damages other than surface wear and scratching.One of the square form dishes is cracked and reglued in multiple pieces, the other is generally ok.One scallop-shaped dish is cracked and staple repaired, the other is generally ok.both lozenge-form dishes are ok, as is the navette-shaped bowl which retains something of a ring.Tureen, cover and stand are also ok, some firing lines in the body but they are not affecting the pattern.
Robert 'Mouseman' Thompson of Kilburn, a nest of three Arts & Crafts oak coffee tables, carved signature mice, width 60cm, depth 37cm, height 47cm. Condition report:Largest table; top a little worn and slightly darker than the other two, joints are good, only very slight movement, some minor water marks to legs and railsMiddle table; top has some ring marks and wear, slightly lighter than the other two, joints are good, some water marks to the legs and rails Small table; the top is slightly worn, joints are good, minor water marks to the legs and railsAdditional images have been uploaded to the lot page on our website for you to view.
Louis Majorelle (French, 1859-1926), a French Art Nouveau marquetry inlaid oak 'Chicoree' pattern vitrine, with floral carved crest and single glazed door over a recess drawer and panelled door inlaid with thistles, 100cm wide, 43cm deep, 224cm high Honest condition, of an even golden to treacle brown tone, upper door has original lock but apparently no key and encloses two adjustable glass shelves, understage has extensive wear and ring marks etc., drawer has lost moulding from each end, base cupboard with some splash marks, plinth a little more rubbed and worn from use.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Regency brass strung mahogany card table with D shaped folding top and ormolu oak leaf and bead mounts, on ring turned stem with downswept legs, fitted brass caps and castors,92cm wide, 46cm deep, 76cm high Good restored condition, an even mid brown tone slightly lighter to the top, minor signs of old wear throughout.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Regency rosewood banded and painted satinwood card table with folding D shaped top, the frieze and legs decorated with stylised foliate motifs, on ebony ring turned tapered legs, 92cm wide, 45cm deep, 74cm high Very good clean condition, one or two old scattered dirt marks, but essentially good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A collection of Ancient Egyptian turquoise glazed faience amulets, 22nd dynasty, (c.900 BC), and 18th dynasty (1700-1900 BC), eight amulets from a small necklace in the form of a fly, Taurt, Bes, fish, scarab and a metal seal ring, mounted on a block, the label inscribed ‘from small necklace Abydos XVIII Dynasty BC 1700-1900’, Ten amulets in the form of lions couchant, papyrus sceptres, an ankh, Bes, and Shu, mounted on three blocks, the labels inscribed ‘found tombs at Gurab by Flinders Petrie XXII dynasty, BC 900’ Generally reasonable condition some grubbiness to the wood blocks and labels and some of the amulets, the papyrus sceptre large amulet has some chip losses around the top but the majority of the amulets are generally in good condition with only occasional tiny losses. The seal ring is heavily corroded and split.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Luke Wise, a George II walnut cased eight day longcase clock, the 30.5cm arched brass dial with Old Father Time over Roman chapter ring, subsidiary seconds and date aperture, five pillar movement with anchor escapement, 50cm wide, 25cm deep, 240cm high Overall looks to be in good restored condition, probably done some years ago, case of a good mid brown tone, with some old splits and separations to the top of the hood around the various mouldings and more notably some splits running through the box base which looks like it may well have been later veneered and with later feet, dial and movement look to be in honest untouched condition but not tested for timekeeping, comes with trunk key, brass bob pendulum and two lead weights.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A collection of Ancient Egyptian turquoise glazed faience amulets, 22nd dynasty (c.900 BC) and 18th dynasty (1700-1500 BC), comprising a display block of twenty three turquoise glazed faience amulets, and a copper ring, with label inscribed ‘from necklace….excavated tomb at Kurna Abydos 1908’, wooden block 31cm long and a display block of 10 amulets of the Utchat, inscribed to labels ‘typifying the strength and power of the eye of Horus or Ra, the Sun God from tombs at Europe excavations of Flinders Petrie XXII dynasty, 900 BC, no. 10 has reverse of God Bess, purchased through Egyptology department Liverpool University’ The display stands, labels and amulets are a little grubby but generally speaking they look to be in reasonable condition with only occasional tiny losses to some of the faience examples,PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Victorian mahogany club reading chair, upholstered in original brick red leather, on ring turned legs, fitted brass castors, 79cm wide, 110cm long, 95cm high Fair condition but for a number of flaws to the leather which is uneven in tone and has various scattered old damages, rubbing and cracking, most notably to the seat which is starting to split through to the underlayer in several places, arms have brass recesses that once would have held a book stand etc., castors in good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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