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A JAEGER-LE COULTRE ATMOS EMBASSY CLOCK, green marble effect dial and Roman numerals, brushed brass case, c.1972, 21.5cm high, in original travelling case, and various booklets Condition Report – Case condition okay, possibly need a clean. The glass is okay, released pendulum mechanism and it worked straight away, not been run for over an hour though.
A 19TH CENTURY LARGE OVAL BRASS REPEATING CARRIAGE CLOCK the white dial with Roman Numerals and marked for Edward and Sons, Paris, the movement with numbers 1970, with dedication '1874 Royal Northern Yacht Club, Closing Cruise, won by yacht Lena', 13cm high, with travelling case (2) Condition Report: has key, winds and chimes. cracks to the enamel dial. Chip of glass front panel bottom right corner.
Last quarter of 19th century/first quarter of 20th century French brass and glass cased carriage clock with blued steel hands to a white enamelled masked dial with black Roman numerals, having half hour striking and repeating movement, complete with original (distressed) leather covered travelling case and two keys, 11.5cm tall
An early 20th century French 'Pendule d'Officier' travelling clockVincenti and Co. The case of typical form, 2.75 inch silvered Arabic dial with engine turned centre and Breguet style hands, the movement with lever platform escapement mounted vertically on the backplate, rack striking on a coiled steel gong. Running and striking. 17cms (6.75 ins) high. For further information on this lot please visit Bonhams.com
Two early 20th century mantle clocks, an inlaid mahogany mantle clock with open brass columns and ball feet, and an Art Deco marble and chrome clock on black glass plaque feet, a small lot of mixed metalware to include silver plated travelling dressing table pots, Cameo Pewter hand beaten three piece tea set, dressing table mirror/brush set and other itemsLocation: 6:2
A GOLD, ENAMEL AND AGATE MINIATURE CARRIAGE CLOCK BY CARTIER the rectangular engine turned gold case with white enamel decoration to the edges, on an agate base with gold bead work detail, the white enamel dial with Arabic numerals and rose-cut diamond set hands, the bezel applied with white enamel dot decoration, the dial signed Cartier, movement/case number 94968, plaque to underside inscribed 1876 Oct 17th 1926 William and Fanny Pope from their Children. 6.0 x 3.8 x 3.0cm With watch key no 614, and in fitted leather travelling case by Cartier Provenance: Given to the vendor's great grandparents as a 50th wedding anniversary present in 1926, and thence by family descent
Fine French gilded brass Grande Sonnerie calendar carriage clock with alarm, the movement back plate signed E. Thomas, Paris striking the hours and quarters with three hammers on two gongs, the 2.25" principle dial signed E. Thomas, Her de la Marine de l'Etat, 10 rue la Boetie, Paris, with moon phase and seconds hand, over three subsidiary alarm, days of the week and days of the month dials, within a gilt mask, with Sonnerie/silence/Grande Sonnerie and moon phase selection levers to the base, within an ornate stepped case cast with caryatids to each corner, surmounted by an ornate handle cast with dolphins, 8.25" high; also with original Morocco leather travelling case (key) *The maker of this clock was primarily involved in the manufacture of nautical instruments for the French Navy and was the founder of Auricoste who still continue in business today making military watches. More about this Company can be found out by following this link
Fine Drocourt gilded brass porcelain panelled repeater carriage clock with alarm, the movement back plate stamped with the maker's trademark logo, striking the hours and quarters with two hammers on a gong, stamped no. 11357 to the movement back plate and base, the principle dial over a subsidiary seconds dial gilded and painted with a seated piper in a rural landscape, also painted with musicians playing musical instruments in formal gardens to either side, within a foliate engraved gorge style case surmounted by an ornate handle, 6.5" high (key) (request condition report) ** See Derek Roberts - Carriage and other Travelling Clocks, page 127, where this actual clock is illustrated.
Brass and cloisonne clock/barometer desk compendium, the 1.75" twin dials either side of a silver scaled thermometer, the top surmounted by a visible platform escapement and compass dial, within a pillared cloisonne banded case surmounted by a carrying handle, 6.25" high; also with original Morocco travelling case with folding hinged doors
Jaeger LeCoultre Atmos mantel clock circa 1972, the 4.75" chapter ring enclosing a skeletonised centre, the top impressed with no. 357879, within a brass brushed and glazed canted case, 9.25" high; also with original outer white leather travelling case within hinged doors *This clock retains its original guarantee dated 26/12/72, purchase receipt and manual
A FRENCH BRASS CASED CARRIAGE CLOCK LATE 19TH CENTURY the brass eight day movement with a platform lever escapement striking on a gong, the backplate stamped '4743', the circular enamel dial with Arabic numerals and blued steel hands, in a corniche case, with a leather travelling case 11.7cm high Provenance 'A Lifetime of Collecting' - The Property of a Gentleman.
A FRENCH MINIATURE BRASS AND PORCELAIN OVAL CARRIAGE CLOCK LATE 19TH CENTURY the brass movement with a platform lever escapement, the circular dial with Roman numerals and blued steel hands, the engraved gilt brass case with four jewelled porcelain panels painted with scenes of 18th century figures, cottages and woodland, the base numbered '1930', in a leather travelling case 7.5cm high (handle down)
A LARGE SWISS 'BLACK FOREST' CARVED LINDEN WOOD BEAR HALL/UMBRELLA STAND, 19th Century, the standing bear holding a woven basket of conical shape, raised on a naturalistically carved log platform. 130cm high x 63cm wide The Art of the 'Black Forest' was exhibited and celebrated on the greatest world stages of the 19th Century - the Great Exhibition of 1851, Chicago 1893 and the Paris Exposition Universelle of 1900, however, the origin of 'Black Forest' carving was a far cry from the glitz and the glamour of the Crystal Palace. The wood carving industry in Switzerland originated in the scenic town of Brienz at a time when the area was facing much adversity. The early 1800s brought famine and suffering to the local people forcing those that had not fled the area to seek out alternative means of income in order to support their families. With few other options available to them, some turned their hand to wood carving. Despite, the hardship the people of Brienz were faced with, this did not deter wealthy aristocratic British families from travelling to the picturesque town to enjoy the beautiful scenery it had to offer. These carvings produced by the people of Brienz proved extremely popular amongst tourists, and so a thriving wood carving industry began to flourish. Swiss poet Heinrich Federer noted in his memoirs the role of wood carving in the transformation of the area Woodcarving brought riches to the village [of Brienz]. It became all the fashion and no Englishman left the Bernese highlands without having seen the Giessbach [waterfall], having eaten a fat roasted eel and having bought a Brienz woodcarving. Federer's reference to 'Brienz woodcarving' highlights the misattribution of Swiss carving to that of the Bavarian Black Forest, in Germany. Historians have traced this misnomer back to the latter part of the 19th Century when Swiss clock movements were exported to Germany and fitted in Bavarian cuckoo clocks. When Swiss carvers began to produce their own clocks, they were mistaken for those made in Germany as the carving closely resembled the design of the Bavarian examples and so became widely known as 'Black Forest'. The variety of carvings produced by the 'Black Forest' Swiss carvers is vast ranging from small curiosities to life-size bears. Carvers were inspired by outdoor pursuits and wildlife associated with Switzerland. Each hand-carved piece is unique however they are steeped in tradition and carry the styles and techniques developed through generations of families. Adherence to family tradition and methods were not taken lightly as shown by one particular carver, Adolf Mӓder who refused to comply with the brief for a piece commissioned by Eduard Jobin, one of the largest retailers at the time. Jobin had commissioned a true pair of bears, one with its face turned to the right and the other to the left. Mӓder refused, and insisted on carving both bears turned to the left, just has his father had done before him. Although animals of all shapes and sizes were subjects of the carvers work, bears were particularly popular as the bear is the symbol of the city of Berne - represented on the city's Coat of Arms. Alongside this it is likely that carvers thought it prudent to appeal to their best main consumers and to strive to meet their desires. They were designing pieces for wealthy Victorian visitors to decorate their Swiss hunting lodges with and created smaller pieces that were easy to transport so tourists could bring them back home as impressive souvenirs. Carvers strove to produce the most life-like creations, those who achieved this were seen as masters of their craft. Large bears like the example in this sale, were generally made from linden wood. These trees grow to immense sizes, they were plentiful throughout Switzerland and the wood is not too hard making it easy to carve. Life-size carvings of quality bears are rare given the time involved in carving and the cost of large pieces of timber.
A Late 19th Century French Carriage Clock, No. 16948, retailed by Dent, 28 Cockspur Street, London, the 1.875ins diameter white enamel dial with Roman numerals, within plain gilt slip, to the eight day two train movement with alarum striking and repeating on a gong, contained in gilt brass and bevelled glass case, the fluted columns with Corinthian capitals to corners, 5.5ins high, with original brass key and red leather covered travelling case for same Note: With old receipt invoiced at £17.0.0 - Cleaned by Dent, 24th November 1933, £1.12.6
A French brass carriage clock, retailed by J Muller & Sons Ltd, Capetown, 11cm high and travelling case and a pair of brass candlesticks, 22.5cm highProvenance: The estate of Robin and Patricia PickardCondition report: Clock - a key is present but it hasn't been wound. The balance wheel moves freely. One of the glass panels is broken and there are some surface scratches to the brass. The case is distressed. Candlesticks - surface scratches and dents.

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5147 item(s)/page