A LATE 17TH CENTURY BURR WALNUT VENEERED LONGCASE CLOCK WITH TEN-INCH DIAL AND BOLT-AND-SHUTTER MAINTAINING POWERJOHN EBSWORTH, LONDONThe rising hood with overhanging cornice and blind cut frieze supported on twisted columns, with long side glazed panels over a convex throat moulding and long door with oval lenticle framed by quarter-veneered panels of lively figuring within a D-moulded edge, on a crossbanded base and squat bun feet. The ten-inch square brass dial with single line border framing the winged cherubs' head spandrels and silvered chapter ring, the Arabic five-minute markers set within the minute ring and enclosing the Roman hours, fleur de lys half-hour markers and inner quarter hour track, the finely matted centre with slender subsidiary seconds dial and chamfered date aperture with boldly engraved date numerals, signed along the lower edge in copperplate script John Ebsworth, Londini Fecit. The weight driven eight-day movement with six latched knopped pillars and bolt-and-shutter maintaining power to the going train with anchor escapement, the strike train regulated via an outside countwheel acting on the bell. Ticking and striking, with case key, crank winding key, pendulum and a pair of brass-clad weights. 1.93m (6ft 4ins) high.Footnotes:Provenance:P.A. Oxley, 4 April 1997.John Ebsworth was apprenticed to Richard Aymes (also spelt Ames) in 1657, meaning he was likely born around 1643. Richard Aymes is known to have worked in Holborn, near St. Andrews Church, so it seems likely that this is where Ebsworth served his apprenticeship. A Christopher Ebsworth is also noted as being apprenticed to Aymes in 1662, and he was described as a clockmaker after his apprenticeship. It remains unknown what his relationship to John was, though he has long been assumed to be the younger brother, given his later date of apprenticeship. He was not listed in John's will, but he may simply have died before John. John gained his freedom of the Clockmakers Company in 1665, before moving into a shop 'at the Cross[ed] Keys in Lothbury'. This may have been on the same site as Knifton's former premises which were destroyed in the Great Fire, to the far south-west of Lothbury. When Lothbury was rebuilt, Ebsworth may have chosen to occupy a site well-known for clocks from Knifton's occupancy since 1646. Lothbury was a popular centre for clock workshops from the 1630s onwards; the area had long been associated with metal workers and founders. This association goes back, certainly as far as 1508, with some suggestion of going as far back as 1365, and the establishment of the Founder's Company. Given the easy access to all the raw materials, it is natural that the early clockmakers would be found here too. Interestingly, Richard Aymes was apprenticed to Peter Closon, a famed early lantern clock maker, and when Knifton died in early 1667, Aymes was one of the appraisers of his estate. Closon, Knifton, and Ebsworth all have clocks which used the 'matchstick man' casting mark. This mark has been associated primarily with Lothbury clockmakers, between the 1630's until about 1685. The mark has been variously ascribed as being the mark of the founder, the casting firm, or another specific individual. John Ebsworth is also recorded as working at 'New Cheap Side, however, the uniformity of his style makes it difficult to tell where he worked first, but any work signed from the Cross[ed] Keys is likely to date from the rebuilding of Lothbury by the early 1670s; Ebsworth had an extensive output of products which included lantern, bracket and longcase clocks, pocket watches, and even sundials.He continued to climb the ranks of the Clockmakers Company throughout his career, becoming a warden by 1695; in October of that year, he and another warden, Edward Stanton, were present when the apprentice George Graham gained his freedom of the Company. Two years later, Ebsworth was the Master of the Company. That he was financially secure at this point is seen by his investment in 1694 of £1,000 in the burgeoning Bank of England. This is the largest amount invested by any recorded clockmaker, with the exception of Thomas Tompion, who also invested £1,000. Ebsworth died in 1699, appointing his wife Susanna the sole executor of his will and Edward Stanton as the overseer, as well as instructing Stanton to provide business advice to Susanna. In total, he willed £570 to his three cousins and their children, with the promise of giving them more, should Susanna remarry within two years of his death. He was buried in St.Margaret's, Lothbury, a short walk from his home and workshop, and his memorial may still be seen there.His timepieces remain highly prized; a longcase by Ebsworth is on display at the Victoria and Albert Museum, and one of his table clocks was presented to the Duke of York in 1923 to celebrate his marriage and is still kept running at Clarence House.Nye, J. and Doherty, C. (2020) 'Thomas Knifton, beginnings, middle, ends', Antiquarian Horology, Vol. 41 (1), pgs.76-82.Lloyd, H. A. (1951) 'George Graham Horologist and Astronomer', Horological Journal, Vol 93 (11) pg. 710.Will of John Ebsworth (1699). The National Archives: Public Record Office. Catalogue reference: PROB 11/452/249.The Worshipful Company of Founders (2022) History. Available at: https://www.foundersco.org.uk/historyRoyal Collection Trust (2022) Table clock. Available at: https://www.rct.uk/collection/3000/table-clock Victoria and Albert Museum (2008) Longcase clock. Available at: https://collections.vam.ac.uk/item/O53199/longcase-clock-john-ebsworth/ Loomes, B. (2013) Lantern Clocks of the mid-seventeenth century - an examination of some with 'matchstick man' castings and 'matchstick' flower engraving. Available at: https://www.brianloomes.com/collecting/matchstick/index.html Loomes, B. (2006) 'A Lantern Clock Showing 'Thirds'', Horological Journal, Vol. 148 (3), pg. 107-108. Robey, J. (2012) 'Moorfields And Clock-Brass Founders Part 2: The Mayor Family And Other Founders', Antiquarian Horology, Vol. 148 (3), pg. 622-623.Buick, T. (2020) Orreries, Clocks, and London Society Cham: Springer.Gloag, J. (1976) A Short Dictionary Of Furniture London: Allen & Unwin.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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A FINE LATE 17TH CENTURY EBONY VENEERED QUARTER-REPEATING TABLE TIMEPIECELangley Bradley, LondonThe caddy top with tied bud handle and four ball finials over a well-moulded cornice and base on button feet. The 6.75-inch dial framed by well-cast winged cherubs' head spandrels framing the silvered chapter ring, the periphery of which has Arabic five-minute numerals interrupted by half-quarter marks, around a minute band and Roman hour ring with fancy half-hour markers, the finely matted centre with chamfered mock pendulum aperture and signature between V and VII. The single gut fusee movement with knife-edge verge escapement repeating the hours and quarters on three bells and hammers via the repeat cord to the side, the backplate framed by a stylised wheatear border with shaded corners enclosing a series of symmetrical anemones within foliate scrolls, signed in an open reserve in copperplate script Langley Bradley, London. Ticking and repeating. 38cms (14.5ins) high.Footnotes:Sir Christopher Wren was a key supporter of Bradley's and may have influenced the decision to award him the contract for the new clocks at St Pauls Cathedral, Hampton Court and another in the Admiralty Building. King William III presented a Bradley watch to Wren on completion of St Pauls.Langley Bradley was born in Stepney in 1671, the second of five children born to Martha Curtus and Thomas Bradley, a gardener. In 1688, Langley was apprenticed to Joseph Wise, a member of a well-known horological family. His brother, Thomas Wise, seems to have known Joseph Windmills in some capacity, the latter of whom served as surveyor for Thomas' will. Three months after Thomas' death in 1696, his widow Ann, married Langley Bradley, who had gained his freedom a year earlier. This meant that Bradley was able to buy out Thomas' son's entitlement to his father's tools and materials; the inventory included a number of clock and watch movements, cases and a large clock which hung above the shop in the street. This clock gave Wise's house and shop its name, the Minute Dyall, in Fenchurch Street: Bradley is recorded as working here after his marriage, having previously worked in Whitechapel. The same year, 1696, Bradley assisted William Derham in his writing of the landmark book The Artificial Clockmaker. In 1706, Benjamin Bradley was born; Benjamin was apprenticed to his father in 1721, eventually being made partner in 1728. In 1726, Bradley became a Master of the Clockmakers Company, a position he would hold until 1748. Interestingly, Aynsworth Thwaites, who would go on to establish the Thwaites clock company, was apprenticed to Benjamin Bradley in 1735. The output of the Minute Dyall under the Bradleys was quite diverse, including longcase clocks, lantern clocks, bracket clocks, and watches. The firm also supplied a large number of turret clocks, using techniques Bradley possibly learned as an apprentice from his master's father, a noted turret clock maker. Seventeen turret clocks are known to have been made by Bradley, including one at Blenheim Palace, installed in 1710, whose escapement was later modified by Vulliamy, and one at St. Magnus the Martyr church by London Bridge, installed in 1709. Both these clocks are still working, though the clock for St. Magnus the Martyr has had the striking train disabled. He also maintained several turret clocks he didn't supply, including one supplied by Edward Stanton to the Royal Exchange. His turret clock work was not confined to London, ranging as far afield as Cambridge and Oxford; he is also known to have manufactured his own specialty tools to help him with his turret clock manufacture. Perhaps his most famous project, however, was supplying the original turret clock to St. Paul's cathedral in 1707. It was a massive undertaking, especially as it was desired that the clock should strike and run for eight days on a single wind. Unfortunately, the clock was plagued with time keeping problems; Bradley himself blamed the public, who were allowed to view the clock movement and apparently couldn't resist trying to ring the bell. A contemporary account, however, suggests that the movement itself was not robust enough to deliver the necessary power to drive the very large hands. Consequently, the clock was removed in 1717, and replaced with a thirty-hour clock by Wright and Street. Despite this, Bradley was still appointed Keeper of the Clock for St. Pauls in 1738, a position he held until his death.Benjamin worked at the Minute Dyall until his untimely death in 1744. A year later, the 74-year-old Langley Bradley moved back to Stepney; he continued to maintain a variety of turret clocks, though he no longer worked from a shop. He died in 1753, and the entirety of his estate was passed to his sole living child, Margaret Renard (née Bradley). She would also receive the final payment from St. Dunstan's Church, for Langley Bradley's work on maintaining their turret clock.Hodgson, B. (2002) 'Langley Bradley-'A Judicious Workman' Part I: Historical Details & Domestic Output', Antiquarian Horology, Vol. 26 (5), pgs. 477-499.Hodgson, B. (2002) 'Langley Bradley-'A Judicious Workman' Part II: Turrett Clocks', Antiquarian Horology, Vol. 26 (6), pgs. 611-625.Hodgson, B. (2002) 'Langley Bradley-'A Judicious Workman' Part III: St. Paul's Cathedral', Antiquarian Horology, Vol. 27 (1), pgs. 35-51.For further information on this lot please visit Bonhams.com
A FINE AND RARE LATE 17TH CENTURY 'PHASE TWO' EBONY CASED QUARTER REPEATING STRIKING TABLE CLOCKTHOMAS TOMPION, LONDON NO. 198, CIRCA 1692The 'Phase Two' style case surmounted by a bold gilt brass handle centred with a cast foliate bud on internal pommels with flowerhead bases set on a low caddy over elaborate cornice mouldings, the sides with silk-backed sound frets and long glazed apertures to a moulded base on block feet, the rear door with central glazed panel, the front with gilt brass escutcheons. The 6 and 7/8ths inch rectangular dial with twin subsidiaries in the upper corners – the left for rise-and-fall regulation, the right for strike/not strike, flanking the signature Thomas Tompion, LONDINI, fecit within an oval wheat-ear border with further engraved scrollwork and twin rose heads in the subsidiaries, the silvered Roman and Arabic chapter ring with sword-hilt half-quarter marks, minute band, meeting-arrow-head half-hour marks and quarter-hour track enclosing the finely matted centre with chamfered mock pendulum aperture and blued steel hands, all framed by cherubs head spandrels to the lower corners with quadrant spandrels above. The substantial eight-day movement united by seven knopped and finned pillars latched to the frontplate which is cut to accommodate Tompion's unique quarter repeating system. The going train with gut fusee to a pivoted verge escapement with long steel crutch to the pendulum with lenticular brass-bob, suspended on a spring and pinned to the massive rise-and-fall lever spanning the top of the backplate, with pendulum holdfast to the left of centre. The strike train with gut fusee and rack striking the hours via a facetted steel hammer on a large bell. The repeat train sounding the time to the nearest fifteen minutes by pulling a cord from either side of the case to engage a pair of pivoted repeat levers cocked on the left-hand side of the backplate. The elaborate backplate signed in a shaped wheatear cartouche Thomas Tompion, LONDINI, Fecit and punch-numbered 198 to the centre of the rear edge. The fully engraved foliate scroll backplate attributable to Engraver 155 (possibly Bartholemew le Maire, Engraver of His Majesty's Arms-in-Ordinary, working in Charing Cross between 1684-1698) and featuring his interlaced foliate scrolls with bold shading and crisp details in flowing patterns, with secret porpoise head in profile.Footnotes:Provenance:Sotheby's 13.12.1963, lot 87. Property of J.F.R. Peel, hammer price £3,000, together with the 'original' wall bracket. Christies 5.7.1989 lot 32. Anonymous sale, hammer price £90,000. By this time, opinion was that the wall bracket was later.Literature:Evans, J., Carter, J., Wright, B. (2013) Thomas Tompion 300 Years. Kent: White Horse Press, page 338.For further information on this lot please visit Bonhams.com
A rare second half of the 19th century automata novelty mystery 'Magician' mantel clockThe clock movement by Japy Freres, numbered 839.Surmounted by the standing brass automata figure of an exotic magician with head-dress, impressive moustache, necklaces, tied robe and mules, he is able to raise his arms and is articulated at the base of his neck in order to bow in acknowledgement of his performances. Before him stands a table on turned legs set on the main clock body in gilt and lacquered brass with applied scroll mounts to the front corners over a fancy base. The 3.5-inch white enamel Roman dial with minute track and fancy trefoil hands. The spring driven movement with outside countwheel strike on a bell, the backplate stamped Japy Freres 839 and further signed in gothic script h.A.(sic). Pendulum lacking, ideal for restoration. 40cms (15.75ins) high.Footnotes:This ingenious clock shows the magician apparently making different objects appear and disappear. The interchanging props are a white dice, a red apple and a yellow bun. There is also a blank option in which the object is shown to 'disappear' all together.For further information on this lot please visit Bonhams.com
An early 18th century ebonised quarter repeating basket top table timepieceCharles Gretton, LondonSurmounted by an elaborate cast fish-and-fowl handle on a repousse basket top with four brass foliate urn finials over an elaborately moulded cornice, the glazed sides with repousse masks, the moulded base now with later plinth. The 6.5 inch square brass dial framed by winged cherub head spandrels, silvered capter ring with Arabic five-minutes and arrow-head half-quarter marks encloising a minute band, Roman numerals with half hour markers signed between V and VII Char Gretton, London and inner quarter hour track, the finely matted centre with chamfered date aperture, turned decoration and ringed winding square, with well sculpted pierced blued steel hands. The single gut fusee movement with five knopped, ringed and latched pillars, later converted to anchor escapement, the back plate richly engraved with iris, anemones, narcissi and tulips in symmetrical foliate scrolls, repeating the quarters and hour on three bells. Ticking, repeating, together with the pendulum and loose front door mounts. 40cms (15.5 ins) highFor further information on this lot please visit Bonhams.com
A mid-18th century ebonised table clock with quarter chime on ten bells and hammersBenjamin Shuckforth, DissThe inverted bell top surmounted by a shaped brass handle above four brass pineapple finials on a moulded cornice, the sides, front and back door glazed panels all set in quarter-round lacquered brass frames, with upper quarter frets to the front and back doors, on a moulded base and brass ogee feet. The eight inch arched brass dial surmounted by the engraved motto Sic Transit Gloria Mundi (Thus the Glory of the World Passes) over a strike/silent subsidiary dial framed by scroll and floral spandrels, the Roman and Arabic chapter ring enclosing the finely matted centre with chamfered recessed plaque signed Benj Shuckforth Diss, over a chamfered date aperture. The triple gut (two now wire) movement with six knopped pillars and verge escapement, sounding the quarters of the hour on ten bells and hammers, the back plate engraved with acanthus vines, flower buds and a floral basket. Ticking with a case key. 58 cms (22.5 ins) highFootnotes:Comparative Literature: Dzik, S. (2019) Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800, Wild Boar Publications, pg. 343 (S15-1).Benjamin Shuckforth, also Shuckford, was born around 1688. It is unknown who he served his apprenticeship to, however, it has been noted that his clocks are characteristic of London manufacture. There is a possibility then, that either Shuckford or his master learnt clockmaking in London. Assuming he followed the standard apprenticeship path, he would have been able to open his own shop by about 1709, though the first formal record of him is in 1730, when he took John Frost, of Bury St. Edmunds, as an apprentice, charging Frost £21. Two years later, Shuckford had married Dulcibella Dalton, who was part of the landed gentry of Bury St. Edmunds, going back to the early 17th century. Their first child, Benjamin, died shortly after birth, but their second child, also Dulcibella, born in 1734, would survive both her parents.Dulcibella (Snr.) died in 1741 and it appears that Benjamin never remarried. He took another apprentice in 1753, Thomas Jolly. It should be noted that there was a John Shuckford working in Diss as a clockmaker around this time as well. He seems to have been born around 1684, and it is reasonable to assume that he was a relation of Benjamin's, possibly his older brother. One longcase clock is known by him, and the supposition is that he worked with Benjamin for the majority of his career. Shuckford's output seems to have been mainly lantern clocks and longcase clocks, though a wall clock, and a pair case watch are also known by him.John Shuckford died in 1759, and Benjamin followed less than a year later in 1760. The younger Shuckford, described in his will as a watchmaker and cider merchant, left all his wealth to his only surviving child, Dulcibella, who was to be assisted by his good friend William Woolley, a beer brewer from Ipswich. Shuckford's shop was continued by a clock and watch maker named William Shaw, who continued the shop under his own name. It seems likely that Shaw bought the shop outright, as there is no mention of him in Shuckford's will. Shaw had another shop in Botesdale; he would apparently split his time between the two shops. There is no record of him after about 1790, but it remains unknown what happened to him or Shuckford's old shop.Cloutman, E. and Millar, L. (2002) 'A Thirty Hour Clock by Benjamin Shuckforth of Diss, Parts 1 and 2', Horological Journal, Vol. 144 (6), p. 204.Loomes, B. (2013) Collecting Antique Clocks: Benjamin Shuckforth of Diss in Norfolk. Available at: https://www.brianloomes.com/collecting/shuckforth/index.html.For further information on this lot please visit Bonhams.com
An early 19th century brass-bound single pad top table clock of small sizeDebois & Wheeler, LondonThe cast brass leaf handle on a brass-bound pad over a moulded cornice and brass uprights to the front corners, on a brass-bound base and tall bracket feet. The 3.75-inch white enamel Roman dial with matching pierced brass hands framed by a minute ring. The movement with gut fusee to the going train terminating in an anchor escapement, now with later continental strike train with vertical hammer added to the side of the movement, the winding square hidden by the front door. The backplate signed Debois & Wheeler London. Ticking. 28cms (11ins) highFor further information on this lot please visit Bonhams.com
A late 18th century ebonised table clock of small sizeRobert Ward, LondonThe bell top surmounted by a handle and well moulded cornice over circular and shaped glass side panels, brass quarter frets on the front door and a moulded base with ogee brass feet. The 6-inch arched brass dial with strike/silent above the Roman and Arabic chapter ring, the matted centre with recessed signature plaque Robt Ward London and chamfered date aperture, all framed by foliate C-scroll spandrels.The twin gut fusee movement now converted to anchor escapement, with five knopped pillars, the back plate elaborately engraved with vines, a fruit basket and a phoenix with wings outstretched. Ticking and striking the hour with pendulum and case key. 45cms (17.5ins) highFor further information on this lot please visit Bonhams.com
A late 17th century quarter repeating table timepiece movement and dial, together with a repousse brass basket top with handleHenry Jones, LondonThe 6.5 inch square brass dial with single line border, and winged cherubs head spandrels surrounding the Roman and Arabic chapter ring with meeting-arrowhead half-hour markers and half-quarter marks, signed between V and VII Henry Jones London, finely matted centre with chamfered and engraved date aperture and ringed winding square, pierced steel hands. The single gut fusee movement with five knopped and ringed pillars, pivoted verge escapement (an old replacement), the floral engraved backplate with a scroll cartouche engraved Henry Jones in ye Temple. A note on condition: the movement is in need of full restoration - the pendulum is lacking, all steelwork is rusty, the quarter repeat is inoperable.Together with the pierced repousse basket top, decorated with swags and cherubs, complete with handle, and remains of one side of the case, unveneered. 26cms (10ins) highFootnotes:Another clock by Henry Jones with a similar backplate is featured in the supplement to Dzik, S. (2019) Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800, Wild Boar Publications, (J1-32).For further information on this lot please visit Bonhams.com
A good early 18th century Ebonised quarter repeating table clock by a Knibb apprenticeGeorge Wentworth, OxfordThe inverted bell topped case surmounted by a knopped brass handle above cast brass cone finials with (later) pierced brass quatrefoil side sound frets backed in red silk, the front door with brass quadrants to the upper corners, all on a moulded base with block feet. The seven-inch arched brass dial with an early style engraved wheatear border wherein the decoration runs horizontally across the top of the chapter ring as well as in an arc around the arch. The strike/silent subsidiary with floral centre over the silvered Roman and Arabic chapter ring with floating lozenge half-hour markers, minute band and inner quarter hour track, the centre finely matted and signed in the mock pendulum aperture George Wentworth and on an applied silvered plaque Oxon with blued steel hands and decorated date aperture. The twin gut (now wire) fusee movement with six elegantly finned and knopped pillars, pivoted verge escapement and rack strike on the bell. Repeating the quarters on demand via a pull cord to the side of the case on six bells and hammers. The backplate signed Geo Wentworth OXON in an oval wheatear cartouche over twin eagles' heads and a symmetrical pattern of foliate scrollwork flanking a basket of fruit below the (replaced) backcock. Ticking, striking and repeating. Together with two case keys and a winding key. 51cms (20 ins) highFootnotes:This clock is featured in Dzik, S. (2019) Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800, Wild Boar Publications, pg. 301 (W19-1).For further information on this lot please visit Bonhams.com
A rare late 17th Century ebony table clock by a Knibb apprenticeJohn Drew, LondonThe case with elaborate foliate handle set within floral pommels on petal bases, the domed caddy set with four pierced foliate mounts and framed by berry-and-leaf finials to a moulded cornice over silk-backed cast brass sound frets to the front and sides, on a moulded base and squat bun feet, the front door with brass escutcheons. The 6inch square brass dial enclosed by winged cherubs head spandrels between foliate engraving, the silvered Arabic and Roman chapter ring with five-minute numerals outside the minute band and set with half-quarter marks, the Roman hours interrupted by elaborate half-hour markers, signed at the base Jno. Drew London, the deep blued steel hands reading against the finely matted centre. The twin gut fusee movement united by five knopped and finned pillars, knife-edge verge escapement and solid numbered outside countwheel strike on the bell, the backplate with single line border and symmetrical pattern of richly engraved floral scrolls framing the oval signature cartouche with male mask above the name John Drew Londini Fecit. Secured in the case via a pair of turnbuckles mounted to the rear of the dial. Ticking and striking with two case keys. 37cms (14.5ins) highFootnotes:John Drew was apprenticed to Joseph Knibb for eight years between September 1676 and September 1684, meaning Drew was likely born around 1662. Over the course of his career, he would train eight apprentices, though none appear to have gained their freedom. At some point in his career, likely early on, he was working out of a shop in Johnson Court, on Fleet Street. Lantern clocks and longcase clocks are known by him, including a couple of miniature lantern clocks, one with ting-tang striking. He displayed the same delicate minimalism in his work as was seen by Knibb, and it is easy to see the influence of his master in his work. In 1712 Drew was appointed Beadle of the Company, taking over from the deceased Richard George, an engraver who had held the position for over a decade. The official description of a Livery Beadle's duties was to attend every official Livery function, maintain the peace during meetings, look after robes, etc. Unofficially, at this time, the role was usually given as a source of income to members who had fallen on hard times. Many horologists and allied trades people would see their income disappear if they were to fall ill, their poverty continuing for the duration of their illness. Some trades had a higher-than-average tendency for this, for example, many engravers were known to have short careers due to sight loss; several years of very close, detailed work in pre-electric light conditions would cause them to become partially sighted. This may explain Richard George's long tenure as the Company Beadle.It is unknown why Drew became impoverished; in 1713 he began to receive charity payments from the Company in addition to his role as Beadle. He died around August of that year, though the Company would continue to support his now widow, until her death two years later. Interestingly, Christopher Gould succeeded Drew as the Company Beadle, though again, it is unknown if this was due to ill health on Gould's part. Atkins, C. E. (1931) The Company of Clockmakers: Register of Apprentices 1631-1931, London: The Clockmakers Company.Loomes, B. (2013) Collecting Antique Clocks John Drew - a really small miniature lantern clock. Available at: https://www.brianloomes.com/collecting/drew/index.html#fullThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
EDGAR PLANS (Madrid, 1977)."Art wall", 2008.Oil, pastel and pencil on canvas.Signed and dated in the lower left corner.Purchased at the Nomada Gallery in Gijón.Size: 120 x 120 cm.Edgar Plans' painting is defined by its almost childlike freshness, and in fact it is children, together with stuffed or cartoon animals, who populate his scenes. In them, fantasy coexists with everyday reality. In the present canvas, we see a girl drawing a figure with chalk on a huge wall that serves as a blackboard, full of graffiti supposedly accumulated over time. What this scene suggests to us is the conversion of the wall into a window thanks to the fertile imagination of childhood. This is a painter who enjoys great acclaim at international events and in the art market, being one of the most sought-after young artists. According to the artist's own words: "Even as a very young child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Centre of Contemporary Art, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Government of the Principality of Asturias, among many others.
To be sold without reserve A Collection of Twenty-three Books: Oliver Goldsmith, The Vicar of Wakefield, 1894 Thomas Chalmers, A Series of Discourses on Christian Revelation, 1818 James Gregory Mumford, A Doctors Table Talk, 1912 M. de Buffon, Histoire Naturelle, 1769 W. Watson, A Textbook of Physics, 1904 Sir Oliver Lodge, Pioneers of Science, 1905 Robert B. Leighou, Chemistry of Materials, 1917 Louis Figuier, L' Année Scientifique et Industrielle, 1863 The Ontario Law Reports, 1904 Otto Hoppe, Tysk-Svensk Ordbok Skolupplaga, 1908 Businesspaper Publishing Practice, 1952 The Ontario Law Reports, 1923 Archeologia Cambrensis, 1853 The Cornhill Magazine, 1866 Walter Pater, Imaginary Portraits, 1907 Nulle Finsen, Fra Bjørnsons Hjem, 1917 F. L. Liebenberg, Breve fra og til C. Winther, 1880 Cassell's Magazine, 1887 Wilhelm Meister, Apprenticeship and Travels, 1890 Archibald Williams, The Wonders of Modern Engineering, 1919 Rev. J.J Blunt, B.D, Blunt's Essays, 1860 Rev. Charles Boutell, The Monumental Brasses of England The Ontario Weekly Reporter, 1912
Ernesto Shikhani (Mozambique, 1934-2010)The Last Supper1977 signé et daté 'Shikhani, 1977' en bas à droitehuile sur toilesigned and dated 'Shikhani, 1977' lower rightoil on canvas100 x 200 cm.39 3/8 x 78 3/4 in.Footnotes:ProvenanceHotel Pinhal Ofir - Esposende, Portugal (don de l'artiste)Collection privée, PortugalPuis par descendance au propriétaire actuelErnesto Shikhani est né en 1934 dans la région de Muvesha au Mozambique. Dès le début de son apprentissage artistique il se consacre à la sculpture, guidé par le maître portugais Lobo Fernandes alors enseignant au Núcleo de Arte, à Maputo. Son travail est empreint d'un mélange audacieux, à mi-chemin entre les pratiques artistiques traditionnelles mozambicaines et les propositions plastiques contemporaines de l'époque. Cette toile est réalisée en 1977, trois ans après la signature du traité d'indépendance du Mozambique. Accord précédé d'une lutte pour la liberté qui entraina dix années de guerre civile avec le Portugal, laissant derrière elle un pays profondément marqué par la violence. Ernesto Shikhani, comme d'autres artistes mozambicains témoins de l'injustice sociale des anciennes colonies portugaises, met son art au service d'un nationalisme mozambicain naissant et assumé. Beaucoup d'entre eux seront cependant censurés par la Police de renseignement portugaise (PIDE) sous l'égide d'un gouvernement encore en proie aux maximes religieuses et racistes de l'époque. Cette œuvre représente une des plus célèbres scènes bibliques, la Cène, illustrant Jésus entouré de ses apôtres. À la seule différence que les personnages sont ici de couleur noire, une attaque évidente à la mentalité suprémaciste blanche qui imprégnait alors les mœurs coloniales portugaises au Mozambique.Lors d'un séjour au Portugal à l'été 1977, il fait cadeau de cette toile à l'hôtel de Pinhal Ofir – Esposende, où il réside. L'Hôtel confie alors la toile à une société d'encadrement, appartenant à la famille de l'actuel propriétaire. Dans le contrat, chose assez classique à l'époque, est mentionné que si l'œuvre n'est pas récupérée au bout d'un an elle deviendrait la propriété de l'encadreur.L'Hôtel Pinhal Ofir n'alla jamais chercher l'œuvre, jugée trop polémique par le gouvernement portugais.When commencing his artistic training in Mozambique, Ernesto Shikhani first dedicated himself to sculpture, guided by the Portuguese master Lobo Fernandes who was then a teacher at the Núcleo de Arte school of Maputo. From 1970, he expanded his practice to also focus on painting. Shikhani's work is marked by a bold hybridity – he fuses traditional Mozambican artistic practices with contemporary approaches to artmaking. The present work was created in 1977, three years after Mozambique secured independence from Portuguese colonial rule. This liberation was preceded by a struggle for freedom that had resulted in a decade-long civil war, leaving behind a country deeply marked by violence.Ernesto Shikhani, like other Mozambican artists who witnessed the social injustices of the former Portuguese colonial rule, put his art to the service of a nascent nationalism. Many of his works were censored by the Portuguese Intelligence Police (PIDE) who worked under the aegis of a government still caught in the grip of the religious and racist maxims prevalent in this period. The work represents one of the best-known biblical scenes, The Last Supper, and portrays Jesus and his apostles gathered around a table. The only difference in Shikhani's work is that the characters are portrayed as black, a provocation to the white supremacist mentality that impregnated the lingering colonial ideologies prevalent in Mozambique at the time. During his visit to Portugal in the summer of 1977, Shikhani donated the present work to the Hotel de Pinhal Ofir-Esposende, where he stayed. The hotel entrusted the painting to a framing company belonging to the family of the current owner. In the framing contract it was written that if the work was not recovered within a year, it would become the property of the framer – a stipulation common at the time. The Hotel Pinhal Ofir-Esposende never sent for the work, which was considered too controversial by the Portuguese government who had threatened to close the establishment if they decided to exhibit the painting.For further information on this lot please visit Bonhams.com
A Famille Rose 'Wu Shuang Pu' teapot with insertQing Dynasty, 19th centuryPainted with famous historical figures from the 'Table of Peerless Heroes' and inscribed with their names and poems commemorating themInsert with moulded lion heads and coverTeapot and insert with metal handlesHight: 15 cm
A Famille rose 'Wu Shuang Pu' cup and coverTongzhi four-character iron-red seal-marks and of the period (1862-1874)Painted with famous historical figures from the 'Table of Peerless Heroes' and inscribed with their names and poems commemorating themHight: 8 cm (cup)Diam.: 10 cm (cup)
Roger Bliss (20th Century) British, A Continental landscape with a town in the distance, oil on board, with Roger Bliss studio collection stamp, 14.75" x 18", Still life with a bowl of flowers on a table, oil on board, with Roger Bliss studio collection stamp, 16" x 20", A seated man wearing a hat, oil on board, with Roger Bliss studio collection stamp, 24" x 18", A still life of a try with objects and fruit on a table covered with a cloth, oil on board, with Roger Bliss studio collection stamp, 24" x 20", (all unframed) (4).
A CARVED PINE EAGLE CONSOLE TABLE18TH CENTURYMounted with a variegated fior di pesco marble top92cm high, 105cm wide, 46cm deepThe use of an eagle as a support for a table was popularised in England by William Kent (1685/6 - 1748), the remarkable designer of furniture, objects and architecture. Kent's designs drew on his decade in Italy from 1709-1719, spent often in the studio of painter Giuseppe Bartolomeo Chiari. Kent's design for an eagle table support is likely to be derived from designs by Giovanni Giardini, published by Disegni Diversi (1714), this includes in particular an elaborate table which featured an eagle with spread wings in the centre. The earliest recorded tables of this type were made for the Duke of Beaufort, between 1728 and 1733 by the carver John Phillips who was paid £444 9s 6d for work at Badminton House, Gloucestershire. Condition Report: There are marks, scratches, knocks, chips and abrasions consistent with age and use.The marble top has a semi-matt appearance with some surface scratches and chips including to the lower edge. It is probably a later replacement. The marble is 2.5cm thick.The table base is of sectional construction and some of the joints are visible; there are repairs to the wings along the grain of the timber.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A CHARLES II WALNUT SIDE TABLECIRCA 166074cm high, 89cm wide, 52cm deepProvenance: Private Collection, LondonAcquired from Sothebys, Important English Furniture, June 13th 2001, Lot 88 (£9,600)This table is a rare and sophisticated survival being constructed entirely from 'walnut tree' rather than the more commonly found oak examples.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various old chips, splits and losses. Evidence of old worm to areas throughout resulting in some fragmentary losses. Some dark wax/filler used to disguise this in places. Several securing pegs visible to the top. Handles and escutcheon are replacements but suit the piece well. Lock is possibly original. No key is present but lock is open.Strip of later tape applied to underside of drawer. A small section of moulding has also been applied to underside of drawer as a handle. Drawer runners to the interior of the carcass have age but are replacements. There is also a baton of later timber inset into one side of the drawer. Various old repairs to legs and stretchers. One rear leg has a section of replacement turned timber inset - see images.Please refer to additional images for visual reference to condition.Condition Report Disclaimer
A GEORGE III MAHOGANY AND INLAID PEMBROKE TABLECIRCA 179074cm high, 106cm wide, 85cm deepProvenance: Private Collection, Grade II listed Manor, WirralCondition Report: There are scratches, knocks, cracks and abrasions.There are losses, restorations and observations including:The central section of the top is slightly sun faded in comparison with the drop leaves; with a crack to the central section and the hinge area of one leaf, scratches and hints of joins to the sectionally constructed leaves.The depth of the table is approximately 73cm high, (not 74cm), 105cm wide; 84cm deep, (not 85cm as in the description); the width of the table with the leaves down, including the ruled joints is 50.5cm.The oak lined drawer has splits. The handles are later, there is no lock.The casters are a little loose and fit well with the square tapering legs, though they might be later.Some re-fixing of the top and base with some vacant holes and some later timber to the interior of the side frieze.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A MAHOGANY THREE PILLAR EXTENDING DINING TABLECIRCA 1800 AND LATERWith four additional leaf insertions71cm high, 208cm long minimum, 439cm long fully extended, 133cm wideProvenance:Purchased from Mallett, London, 29th November 1988 (Sold for £75,000).A photocopy of the original receipt is available with this lot.Please note, the cataloguing for this lot has been updated. This dining table comprises three pillars (3) and not four, as stated in the catalogue. Please see our website to view updated images for this lot.Condition Report: Total length when fully extended: 439cmLength with only three pillars included: 208cmFour additional leaves, each 58cm in lengthThere are scratches, knocks, cracks and scuffs consistent with age and use.There are losses, restorations and observations including:Some colour variation to the leaves and pedestal sections; (apologies for the glare of the lights on the additional photograph of the table top); some repairs and knocks including to the corners; some patching to the underside suggesting patching over previous hinges from a drop leaf table; some pin marks to the underside edge of some leaves; one leaf with water marks; one end tilt top pedestal section with a sectional joint not apparent to the other end pedestal section.Overall cleaned probably some decades ago.There are later groove sections to the underside of the table to hold pull out supports for the two leaves and other larger sections to hold four long later bearers to allow all the leaves.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
AN ITALIAN CARVED GILTWOOD CONSOLE TABLE POSSIBLY PIEDMONT, MID 18TH CENTURY With Portasanta marble top 79cm high, 99cm wide, 57cm deep Condition Report: There are scuffs, scratches, cracks and knocks consistent with age and use.There are losses, restorations and observations including:Later blocks to the underside, the back rail possibly later.Cracks to the frieze, joint areas and elsewhere, chips including to the terminals of leaf scrolls; there is some evidence of worm; some repairs.The marble top with some chips including to the edges and some corners; some scratching; some use of filler.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
AN ANGLO-INDIAN EXOTIC HARDWOOD SERVING TABLE CIRCA 1830103cm high, 181cm wide, 66cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and use,Old chips and cracks, splits and chips, some chips, losses, and replacements to veneers, The top with numerous old indentations and scratches, also some marks and old water staining, there is also colour variation, it is lighter to one front corner and darker toward the back overallOne rear leg with timber missing to the bottom, approx. 12cm high Condition Report Disclaimer
A GEORGE III MAHOGANY BOWFRONT SERVING TABLECIRCA 178086.5cm high, 237cm wide, 80cm deepCondition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Some additional dark marks to top. One side of table with a higher concentrations of dark abrasions/knocks. No key present, all locks are open. Later baize lining applied to interiors of drawers. Later drawer runners and supporting blocks to interior of carcass. Please refer to additional images for visual reference to condition.Condition Report Disclaimer
Y A GEORGE III ROSEWOOD AND LINE INLAID SOFA TABLEATTRIBUTED TO GILLOWS, CIRCA 1800The top banded in casuarina oak (partridge wood)73cm high, 155cm wide, 83cm deepSold Christies, London, 7th June 2007, lot 163 (£11,400) having been previously acquired from Moss Harris & Sons in 1967. The elegant high arched braces beneath the top of the current sofa table are characteristic of Gillows designs and make a more elegant alternative to the more common cross stretchers. For an almost identical sofa table, see Christie's, London, Important English Furniture, 12th November 1998, Lot 68 (£9,200). Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, restorations and observations including:The table is clean, with slightly gloss finish.The drawer linings are oak with later handles, patched to the interior where the handles fit. The table has two frieze drawers to each side.Few signs of worm.Some staining to the brass cappings and casters.Later reinforcing above the arched stretcher in the form of an iron fillet, the end sections of wood onto which it fixes probably later.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A MAHOGANY METAMORPHIC LIBRARY TABLE AND STEPS19TH CENTURYas a table 83cm high, 85cm wide, 56.5cm deep overall, as steps 213cm high, 142cm long, 56.5cm deep overallThe firm Gillows are know to have provided metamorphic library furniture for many commissions. In 1800, Richard and Robert Gillow's correspondence to a client mentions a 'library ladder (which is not seen when shut up)'. For illustration of a metamorphic library step ladder by Gillows, see Susan E. Stuart, Gillows of Lancaster and London 1730-1840, Antique Collector's Club, 2008, Volume II, page 108, plate 655. Condition Report: There are scratches, knocks, cracks and chips consistent with age and use.There are losses, restorations and observations including:Wear to the gilt tooled leather treads, though they remain intact; a crack along the grain of the timber of one tread.The rectangular veneered top section with cracks and some knocks to the edges and corners. A vacant recessed circular void to the underside of one corner of the 'top' frieze.The turned hand rest screws in with brass fittings, the lower brass section slightly loose and the hand rail therefore has some movement and doesn't quite sit or turn flush.There are some later replacement sections of double mouldings to the sides of the steps.The turned feet slightly dry and less polished with some cracks, scuffs and knocks; the casters are probably horn or wood; increased wear to one of the lower stretchers in particular.Aged rust to the steel hinged bearers.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A GEORGE III MAHOGANY 'DRUM' LIBRARY TABLELATE 18TH CENTURY78cm high, the top 90cm diameterCondition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits. Baize inset top is a later replacement. It has wear and marks - see images. Handles are replacements but suit the piece wellA key is present but only operated locks to two of the drawers. the other two locks are open. Some old veneer repairs - see images. Some of the screws securing the block at the top of the stem have moved positions and some later screws have also been used to help secure. Old repaired splits where two of the legs meet the stem. Both legs also have well disguised screw or dowel repairs to help secure - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE III MAHOGANY SERVING TABLEIN THE MANNER OF GEORGE SMITH, CIRCA 1805-181095cm high, 198cm wide, 75.5cm deepProvenance: Private Collection, Guernsey, Channel Islands.This sideboard-table, with its bacchic lion tablets above tapering and reed-enriched legs that terminate in lion paws, relates closely to an 1804 design published in George Smith's, Collection of Designs for Household Furniture and Interior Decoration, 1808, pl. 92.A near identical table possibly from the same workshop, sold Christies, Important English Furniture, London, lot 125, 5th April 2001 (£41,125.) Another related table sold Christie's, London, lot 75, 1999, (£41,100).
AN OAK DRAW LEAF DINING OR CENTRE TABLE17TH CENTURY AND LATER77cm high, 153cm long, 283cm fully extended, 79cm wideProvenance: Private CollectionCondition Report: Marks, scratches and abrasions comensurate with age and useold chips and splits comensurate with age and use. some losses. some old repairs. Some dark staining in areas. Some dark ring marks to the top (see images) Some old use of filler to small gaps between elements of construction. In many areas this has largely been lost due to minor natural movement/ shrinkage to the top. The structure of the table is solid and stands firmly. Some of the older elements bear old worm damage (see images) One foot has a modern block beneath it in order to enable the table to stand more straight. As catalogued, this table incorporates some 17th century timber elements however the table overall as it stands now was likely constructed int he late 19th or early 20th century. The legs look most likely to be basically 17th century in date but bear later applied terminals, and atleast some of the carving to them is of a later date. Some other elements such as the lower stretchers are likely 17th or 18th century in date. The remainder of the table appears to be traditionally constructed using or re-using later timbers. There are some later blocks of timber to the underside of the top to secure elements. Old worm damage to the older elements of the table (see images) . One leg has historically been affected by worm and has a number of fragmentary losses as a result. This is mainly visible fromt he underneath and interior side of the leg. (see images) The leg is of solid structure though overall. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer
Y A REGENCY BURR YEW AND ROSEWOOD BANDED GAMES TABLEATTRIBUTED TO GILLOWS, CIRCA 1815The top with a central sliding section with a marquetry chequer board to the reverse, enclosing a marquetry backgammon board to the recess, flanked by a short cedar lined frieze drawer to each sideapproximately 73cm high, 91cm wide, 51cm deepTwo closely related tables, both attributed to Gillows, were sold at Christies, London, 19th April 2001, Lot 137 (£23,500), the other 18th October 2001 Lot 308 (£19,975). Condition Report: There are scratches, knocks, cracks and abrasions consistent with age and use.There are losses, restorations and observations including:The table is in cleaned condition with thin patina; some veneers repaired, patched, replaced, missing, some with filler.The drawers are cedar lined, with some cracks.Some restoration to the tops of the lyre shaped supports.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A REGENCY MAHOGANY LIBRARY TABLE CIRCA 1815The leather inset top with ratchet adjustable central sectionapproximately 75cm high, 135cm wide, 73cm deep Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Old chips and splits. Various losses to veneers and mouldings. The leather with significant wear, scuffs, ring marks and some losses - see images. No key present but all locks are open. Handles are old replacements. there are small filled holes visible to drawer fronts from previous fixtures. Two handles with moulded tips lacking. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE IV OAK HALL SEATIN THE MANNER OF CHARLES HEATHCOTE TATHAM, CIRCA 182549.5cm high, 137cm long, 43cm wide A similar drawing by Tatham for a seat or table end is in the collection of the Victoria and Albert Museum, London. (Accession number D.1479:10-1898).Condition Report: Marks, scratches and abrasions comensurate with age and use Old chips and splits comensurate with age and useSome fading overall. Various old ring marks to the seat (see images) and areas of fading.There are stamped numbers to the underside of the seat rail '7459' (see images) The seat may possibly be of later date than originally catalogued and may date to as late as 1880The screws visible to the underside of the seat, going through fixtures with apertures, are of later date. Of solid useable structure. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Y A RARE JAMAICAN SPECIMEN WOOD BOX BY JAMES PITKIN EARLY 19TH CENTURY The Specimen parquetry top above interior with single tray and loose paper reference index variously inscribed in ink for "wild tamarind", "Mahoe", Cashew" etc, and inscribed "James Pitkin Kingston Jamaica" and the reverse inscribed "30 different specimens of Jamaican wood" 33.5cm wide, 13cm high, 26.5cm deep A Regency specimen wood games table by the same maker with paper label inscribed "J. & W. PITKIN, Manufacturers Of Cabinet & Upholstery Furniture Of Every Description., / Of The Best Materials And Workmanship, No. 15, North West Corner Of Church Street, And Water-Lane, Kingston, Jamaica" was sold at Christie's Fine English Furniture auction, 19th September 2002, lot 44 £5,378.Literature: John Cross, 'Ralph, Cuthbert and Thomas Turnbull: A Nineteenth-Century Jamaican Cabinet-Making Family,' Furniture History, XXXIX (2003), pp. 109-120.Condition Report: Very mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. Movement around hinges and some scratches around lock and to sides of lift out. Small losses to edges of paper. Ink stains to base of interior. The whole clean- perhaps cleaned within last 30-50 years Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Y A SET OF SPECIMEN WOOD QUARTETTO TABLESATTRIBUTED TO GILLOWS, 19TH CENTURYThe specimen woods including walnut, tulipwood, satinwood, birch and amboyna, the smallest table with a chequerboard top74cm high, 58.5cm wide, 40cm deep, the smallest 69cm high, 39cm wide, 37cm deepCondition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: cracks to the top veneers with some fillets and restoration; some undersides of table tops with later inserted butterfly sections to reduce the movement of the tops; the smallest table has a concealed frieze drawer; some undulation reflecting the movement to some of the table tops; some possible later turned spindles; chips to some veneers; some movement to some legs due to loose joints and the nature of the fine turnings. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A GEORGE IV MAHOGANY DRESSING TABLEIN THE MANNER OF GILLOWS, CIRCA 183081cm high, 122cm wide, 60cm deepGillows supplied related dressing tables to William Powlett, 2nd Baron Bolton (d.1850) for Hackwood Park, Hampshire in 1813. They were sold by the Estate of the late 2nd Viscount Camrose, Hackwood Park, Christie's house sale, 20-22 April 1998, lots 359 & 360. (£11,500 and £19,550 respectively inc. premium). Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Some old minor chips and splits. Some chips of loss and old repairs to turned handles. One drawer is seized shut. Old repair/sections of replacement to one side of the gallery. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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