We found 68875 price guide item(s) matching your search

A small cast iron urn

TWO BOXES OF ASSORTED SUNDRIES, to include a ceramic based table lamp, height 43cm to top of brass fitting, a brass Aladdin oil lamp (missing shade), a large copper coffee pot (stamped on base Birmingham 1931), a pair of blue ground cloisonné vases, height 18cm, a boxed Japanese table runner, a blue floral tapestry wall hanging, an Eluxa bracket clock with key and pendulum, with a brass face and hand painted floral design to case with a matching shelf, a pair of hand carved hardwood tribal art bookends, a relief decorated lidded urn, a boxed collector's plate to commemorate 150th anniversary of Burton Rail, an Asian brass bell, brass jug, brass candle stick, a brass dinner gong, vintage table linen, an SB wall barometer, a Ronson onyx table lighter, a Seiko carriage clock, a NZ Paua shell dish, etc (s.d) (2 boxes + loose)

A 19th century white marble campana shaped garden urn, diameter 59cm, height 44cm

A pair of circular reconstituted stone campana garden urns on square plinths, one urn a.f., diameter 45cm, height 80cm

A bronzed cast iron urn, 22cm

A 19th century silver plated tea urn, Egyptianesque handles, 43cm

A reconstituted stone circular campana garden urn, on a square plinth, diameter 58cm, height 125cm

Plated wares to include a spoonwarmer and tea urn flatware etc.

Georgian copper & brass twin handled hot water urn (samovar)- Height 41cm x Width 32cm

Antique Royal Vienna mantel piece urn with lid. Highly decorated with raised relief flowers, Lid has a seated figure to the top. [25cm high]

An Edwardian Satinwood Display Cabinet of Georgian Design, inlaid with stringings and cross-bandings, with square and moulded edge to top, fitted one frieze drawer inlaid with urn and leaf scroll ornament, two plate glass shelves to cloth-lined interior, enclosed by single shaped and bevelled glazed door, the lower panel inlaid with urn and swags, on square splayed legs, 28ins wide x 14ins deep x 56.5ins high

An Edward VII Silver Four-Piece Condiment Set and a George V Silver Sugar Caster, the condiment set by J.T. Birmingham 1904, of oval form, embossed with scroll ornament, comprising - pepper pot 3.75ins high, pair of salts and mustard pot and spoons for same, weight 5.8ozs, in fitted box, the sugar caster by Mappin & Webb, Birmingham 1933, of octagonal form with urn pattern finial, 8.75ins high, weight 7ozs

A Pair of Italian Creamware Pottery Urn-Shaped Vases and Covers, Late 18th Century, enamelled in colours with acanthus, 10.5ins high

A Mahogany Rectangular Three-Division Tea Caddy, 19th Century, with pagoda top on bracket feet, 10ins x 6ins x 7ins high, a George III mahogany three-division tea caddy with pagoda top, on bracket feet, 10ins x 5.5ins x 6ins high, and one small oval tin two-division caddy decorated with urn and swags to front, 5.5ins x 3.5ins x 4ins high

A Late 19th Century French Gilt Metal and Porcelain Mounted Three-Piece Clock Garniture, the clock, No.1588, with 3ins diameter porcelain dial with Roman numerals to the eight day two train movement striking on a bell, contained in case surmounted by two-handled urn inset with porcelain panel painted with a couple in a landscape, flanked by putti and on paw pattern feet, 15ins high, and a pair of similar two-handled urns, 13.5ins high

A pair of reconstituted stone pedestal garden urn planters, together with a further twin handled pedestal garden urn planter in the classical taste (3)

A Royal Worcester urn, decorated with a heron, h.19cm (a/f)

A pair of chimney pots, 34cm high, together with a weathered terracotta urn (3)

A garden urn.

A late 19th century Chinese marble inset urn stand. 48 cm high.

An opaline glass urn shaped box. 17 cm high.

Water feature urn measures approx 23 inches high

A Collection of Assorted Silver and Silver Plate, the silver including a Victorian coffee-pot, by Walter & John Barnard, London, 1886; A George III silver cream-jug, later decorated; another cream-jug; four various napkin-rings; a cigarette-case and a five-piece condiment-set, total gross weight of silver 32oz 7dwt, 1,007gr; the silver plate comprising a cream-jug a suar bowl and a cigarette-urn (qty)

A Pair of Modern Toleware Twin-Handled Urn Form Table Lamps, and A Further Pair of Modern Table Lamps, painted yellow and of similar shape (4)

A Gilt Framed Mirror in the Adams Taste, with urn and swag surmount, 61cm by 117cm

A pair of brass urn shaped Table Lamps.

A quantity of china to include; a green Sylvac jardiniere, Dartmouth urn, Spode lidded pot, framed Royal Crown Derby plaque, etc.

An earlier 20th c. Mahogany Bureau of small dimensions having light and darkwood beading, the slope with an inlaid depiction of an urn, opening to reveal an interior with two drawers and seven pigeon holes, the base unit with three long drawers, with brass swan-neck drop handles, 29 1/4'' wide x 16'' deep x 35 3/8'' high.

LARGE PAIR OF CARL THIEME (POTSCHAPPEL) PORCELAIN POT POURRI VASES, COVERS & STANDS, of urn form with twin handles, painted with classical subjects to the front, encrusted with flowers and swags, plinth bases, 52 h x 23cms w (2)Provenance: contents of Machen House, Lower Machen in the County Borough of Caerphilly

MIXED GROUP OF CONTINENTAL CERAMICS, to include pair of Dreseden style gilt and floral decorated urns with mask handles, 12cms tall, a lidded urn on plinth decorated with gilt decoration and ruby ground, a sevres style sauce boat, Italian maiolica wall pocket in the form of a tied handkerchief, cabinet plate ETC., together with a small Sitzendorf flower decorated easel bakck mirror 36 x 44cms (10)Comments: some nibbles to corners of mirror

IMPRESSIVE PAIR OF ELECTROPLATED WINE COOLERS, of classical urn form with twin handles and decorated with vine leaves and grapes, 30cms high x 25cms wideProvenance: contents of Machen House, Lower Machen in the County Borough of Caerphilly.Comments: excellent condition

A weathered reconstituted stone garden urn.

C20th toleware neo-classical design table lamp, with urn shaped body, swan neck and acanthus leaf handles on square stepped base terminating in ball feet, H61cm, C20th gilt neo-classical design table lamp with urn shaped body, scroll acanthus leaf handles terminating in cherub faces, circular moulded white marble base, H66cm including shade (2)

Hallmarked Sterling silver urn shaped caster on stepped circular base, by Collingwood & Sons Ltd, Birmingham, 1927, H15cm, 2.84ozt

A terracotta twin handled urn - of tapered form, height 53cm.

A late Victorian silver plated samovar - of fluted urn form engraves with foliate panels and with lion mask handles, together with three further plates samovars and kettles (4)

JAPANESE CARVED AND PAINTED FIGURE OF A GEISHA,37cm high, along with an Imari vase, a Japanese Imari urn, an egg shell tea pot and circular dish (5)

An Urn-Lake 4 tonne Tower jack.

A PAIR OF GILT AND PAINTED SIMULATED LAPIS WOOD LAMP BASES 20TH CENTURY Of twin handled swag decorated form each 28.5cm high (including fitment)Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: These are single sided- designed to be placed on a shelf or mantelpiece not viewed in the round, both with drill holes to bases and remnants of light fitting which will need renewing for useBoth with wear from use- one shrinkage crack to plinth and urn lifting from base- the other old damage and loss to stemCondition Report Disclaimer

A GEORGE III MAHOGANY URN STANDCIRCA 1765The fretwork gallery top with gadrooned edge57cm high, the top 21 x 21cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseFor an urn stand with a near identical square top see Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture, The Norman Adams Collection, p292, pl 26a, 'the top with bands of beading, fluting and gadrooning beneath a pierced Gothic fret gallery.'There is a similar fret pattern on the square top of a kettle stand at the Victoria and Albert Museum, illustrated in Edwards, vol III, p156, fig 3.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Some residual areas of an old dark shellac surface. Where this is worn or rubbed away, it reveals a good colour and patina. Screws to underside of top are possibly old replacements. The handle to the slide is possibly replaced, but it is in period taste and suits the piece well. Some movement to joins between legs and stem. The undersides of the legs have old holes where it appears later nails have been used to help secure these joins. The metal brace to the underside of the stem appears original. It has moved position slightly and been re-secured. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A BRONZE AND BRASS LAMP BASECIRCA 1830 AND LATER In the form of a Roman twin handled urn, later electrical fitment44.5cm high (including fitment), the base 9.5cm square Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: gilding and patina heavily rubbed from handling and cleaning, surface with accretion of dirtWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use.Condition Report Disclaimer

AN ITALIAN MARBLE URN OR WINE COOLER 18TH/19TH CENTURY The deep mixed yellow marble with all over 'veining' of gadrooned pedestal form in the manner of an Antique labrum 30cm high, the top 47cm diameter Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report:   Condition Report Disclaimer

A GEORGE III MAHOGANY CUTLERY PEDESTAL URN CIRCA 1810 With original fitted matrix interior below pull-up lid, barber pole stringing 62cm high, the base 19cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: restored to finial and stem- some minor banding repairs- edge nibbles along mid-section and wear to feet- sprung catches to central pole do work- but will require a little remedial work to ensure continuous easy useWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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

A POLISHED STEEL AND IRON FIRE GRATE ATTRIBUTED TO THE CARRON FOUNDRY LATE 19TH CENTURY IN THE GEORGE III STYLE The fireback with lunette fan top, front fluted legs surmounted by oval rosettes and topped with large urn finials, the front with fluted fan and dentil design, bowed bar burning area with conforming urns 81cm wide, 78cm high, 31cm deep

A Vienna burr walnut wall timepiece, with enamelled roman dial, the case with urn-shaped finials above an arched cornice, shaped inswept apron, with pendulum and weight, 109cms high.From the Leslie Southall Collection.

T. Gaskell, Knutsford: an ornate mahogany and satinwood banded longcase clock, the painted roman dial with foliate spandrels, moon phase to the arch, subsidiary seconds and date dials, the two train movement with anchor escapement and bell, the case with pierced and carved detail to the pediment, painted urn and scroll frieze above arched glazed door flanked by cluster columns, the centre section with triple arched waist door flanked by cluster columns, on chamfered and canted panel base and ogee bracket feet, with weights and pendulum, 246cms high.From the Leslie Southall Collection.

A Louis XV style boulle and gilt bronze mantel clock, with enamelled roman dial, indistinct retailer's mark to centre, French drum movement striking on a gong, and numbered 31242/32, the ornate case with urn pattern finial and rococo-style ornamentation, with sunburst pendulum and winding key, 42cms high.

Maple & Co, Paris: a late 19th/early 20th Century French tortoiseshell and gilt brass mounted mantel clock. in the Louis XIV taste, the cast brass dial set with white and blue enamel roman cartouche of shaped outline, the dialled centre with winged sphynx, with two train movement striking on a gong, the backplate stamped 'Maple & Co.' and numbered 1157 and 8⋅1, within a shaped tortoiseshell case, with swept caddy-style hood with four flame finials and leaf mounts, arched glazed door flanked by cast male caryatids, scroll leaf decoration to base, glazed sides, on urn pattern feet, with pendulum, 58cms high.

A Georgian style Sherry wine label with urn motif, 2" wide, London 1969

A 19th century crossbanded mahogany and satinwood-strung 2-section bureau bookcase, the fall-front revealing fitted interior with 4 long drawers below, on bracket feet, with inlaid swag and urn decoration, 97 x 230 x 56cm (with key)

A Very Fine And Rare Quarter Chiming And Repeating Padouk Table Clock Of Small SizeGodfrey Poy, London. The case almost certainly by John Holl, casemaker. The inverted bell top with brass mouldings and five ball and spire finials over side handles and arched sound apertures protected by the original pierced and engraved sound frets depicting a floral urn amid scrolls and a wheatear border, the base further set with a wide brass band to ogee bracket feet, the 5inch arched brass dial signed in a silvered boss over the silvered Roman and Arabic chapter ring with lozenge half-quarter marks, the finely matted centre with chamfered date and mock pendulum apertures, the triple gut fusee movement with rectangular plates united by knopped and ringed pillars, with verge escapement on a knife edge, the brass rod terminating in an engraved octagonal rating nut numbered 1-8, rack striking the hour on a single bell and the quarters on a run of six bells and hammers, the backplate centred by an engraved basket of fruit framed by symmetrical foliate scrolls and a single line border, the side brackets and cock also engraved, with cord to the side to repeat the hours and quarters at will. 41cms (16ins) highFootnotes:Provenance:Sotheby's 8 November 1968.R.A. Lee, 12 July 1971.Bonhams 16 December 2015, lot 89. Part of the Estate of Peter Van Cortland Moore, M.D.Godfrie Poy worked in at least three addresses in the centre of fashionable London from 1718 to 1753 which included Pall Mall 1742-47 and Haymarket in 1753. His work was often exceptional - as in the current lot. 'A very fine musical clock with an ebonised case, brass mounts and engraved brass sound frets. Circa 1740.' is illustrated in Barder: The Georgian Bracket Clock ACC 1993, plate II/34. Another table clock by Poy, in an ebony case signed on the pierced fret 'John Holl, Casemaker' was sold in these rooms on 13th December 2017, lot 103. Comparing the ebony clock with the current lot, it is not unreasonable to suggest that both emanated from Holl's workshop.Roger Smith writes: John Holl was an immigrant cabinet- and clock-case maker who lived in the same parish of St Anne Soho as Godfrie Poy. His full name was Johan Diederick von Holle, and he appears to have been part of a wider circle of immigrant craftsmen from North Germany and southern Scandinavia associated with Poy. Although Holl's Will, proved in 1757, names various close relatives, it does not give their location, apart from an unmarried sister living with him in Soho. [1] However, one of his executors was the well-known chaser, engraver and metal worker Diederick Nicolaus Anderson (d. 1769), who was probably from Flensburg in Schleswig, which was then part of Denmark but is now in Germany. [2]. Holl's other executor was a 'Gunner Mathison' - perhaps for Gunnar Mathieson in Danish. Interestingly, Godfrie Poy's daughter married another immigrant German cabinet and clock case maker, Valentine Anscheutz. [3] This might suggest that Poy had a preference for the work of casemakers from this region. [4]Notes.1. The National Archives: PCC Wills, Prob 11/827. Will of Johan Holl, otherwise Johan Diederick Von Holle, proved London 3 January 1757.2. For Anderson's work, see Nicholas Goodison, Matthew Boulton: Ormolu (2nd ed. 2002), p. 38 and the references given there.3. Anscheutz, who was an Elder of the German Lutheran church in the Savoy, married Mary Ann Poy 20 May 1754, at St Martin's in the Fields, Westminster. He is known to have done work for Gray and Vulliamy in the early 1760s, and for James Cox of Shoe Lane in the 1770s. When he died in 1796, one of his executors was the immigrant Swedish silversmith Andrew Fogelberg.4. There is an interesting discussion of German cabinet makers working in 18C London in Christopher Gilbert and Tessa Murdoch (eds), John Channon and brass-inlaid furniture 1730-1760 (Yale 1993), chapter 4 - 'The Continental context: Germany' by Helena Hayward and Sarah Medlam, pp. 24-36.For further information on this lot please visit Bonhams.com

A fine late 18th century mahogany 'flat to the wall' bow fronted stick barometerHolmes, LondonThe broken swan neck pediment centred by an ivory ball finial over a long flame-veneered trunk with detachable recording knob, bordered by ebony line inlay, terminating in a canted base with applied urn cistern cover, the signed silvered dial with seven weather predictions and scale from 27 to 31 inches, with rack-and-pinion vernier 99cms (3ft 3ins) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

An 18th century mahogany bracket clock with pull repeat and calendar functionCrane, BromsgroveThe case surmounted by a cast brass handle atop the severely concave bell top with four small pineapple finials above the glazed sides, front and back doors, with upper quarter frets to the front door, supported by a moulded base, on moulded block feet.The fully silvered arched Roman and Arabic dial with engraved floral spandrels and a subsidiary calendar ring above VI and raised oval cartouche under XII, engraved Crane above an elaborately engraved Bromsgrove, all under skeletonised blued steel hands with a large strike silent dial in the arch and a blued steel pointer.The twin gut fusee movement with five knopped pillars and knife-edge verge escapement, the backplate with floral and urn engraving. Ticking with two case keys and a pierced bracket. 79cms (31ins) high with bracket, 53cms (20.5ins) withoutFor further information on this lot please visit Bonhams.com

A fine and rare late 19th Century French brass grande-sonnerie striking carriage clock set with exceptional pierced brass side panelsLe Roy et fils, Paris, number 10316The foliate cast handle raised on bamboo-style uprights over a cast cornice set on elaborate Corinthian style columns to a concave-moulded base and block feet; the left-hand side panel depicting a seated pipe player within an Art Nouveau style frame enriched by climbing flowers and leaves, all off-set by a rich blue enamel ground, the left-hand side panel showing a seated woman in early 19th century dress next to an urn, again within the framework of climbing inter-twined foliage and flowers, with a bevelled glass rear door. The recessed silvered Arabic dial with blued steel hands over an alarm-setting subsidiary, both framed within an equally fine mask of entwined flowers and leaves. The triple spring barrel movement with silvered lever platform escapement striking the hours, quarters and half-hours on a pair of blued steel coiled gongs, with three-position selection lever to the underside offering a choice of strike options or silence. Signed in engraved copperplate script at the base Le Roy et fils 20cms (8ins) high. This 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

A fine and very rare late 18th century French gilt brass Capucine-type travelling clock with original padded felt-lined leather travelling caseVegeaa, RouenThe rectangular case surmounted by a shaped handle above the bell and hammer, framed by turned urn finials on an engraved latticework and flowerhead ground, a shallow arched sunburst-cresting to the front concealing the bell from view over a long latticework dial plate, the cast bezel with hinged lock over a shaped glazed aperture to reveal the pendulum bob, the sides and rear door all glazed, mounted on turned button feet. The 4 inch white enamel dial with Arabic five minutes surrounding the minute track, Roman hours and concentric date dials, signed in the centre Vegeaa A ROUEN, with fine pierced and engraved gilt hands, blued steel date hand and off-set winding squares. The twin spring barrel movement with four plain turned pillars, anchor escapement and silk suspended pendulum, the count wheel set on the back plate and with star-shaped crossings. Contained within the original padded felt-lined travelling case, with top handle and large side turnbuckle catches over a moulded front to accommodate and protect the dial. The clock ticking and striking, 24.5cms (9.5ins) highThis 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

A good early 19th century ormolu-mounted marble and slate mantel timepiece with Royal provenance. First sold to the Duke of Clarence, later King William IV, on 19th January 1808.Vulliamy, London, Number 405The case surmounted by a gilt urn on a plinth over the reeded drum, set on a pair of carved scrolls set on a double stepped slate plinth with ormolu beaded border and recessed panels to the front and sides, the whole raised on turned toupie feet. The drum flanked by a pair of recumbent lions, each facing outward and holding a gilt ball. The 3.5 inch restored white enamel Roman dial with pierced and engraved gilt fancy hands, each numeral picked out in gold and with a dotted gilt minute border framing the whole. Set within a beaded concave bezel. The single wire fusee movement with four slender tapered pillars, suspension spring regulation and half deadbeat escapement, the back plate engraved Vulliamy London No 405. Protected by a turned brass push-on cover. Ticking with a winding key and matching numbered pendulum. With sincere thanks to Roger Smith for his help in researching the early history of this clock. 29 cms (11 ins) highFootnotes:Provenance:From the late Sir Ernest and Lady Caroline Oppenheimer Collection and hence by descent.The firm of Vulliamy & Son were the most fashionable clockmakers in late Georgian London. Their shop at 74 (later 68) Pall Mall was situated close to St James's Palace, and although Benjamin Vulliamy (1747-1811) did not become head of the firm until 1797, he had been Clockmaker to King George III since 1772. His grandfather Benjamin Gray had been Watchmaker to George II, while his father, the Swiss immigrant Justin Vulliamy, was clockmaker to Queen Charlotte until his death in 1797 (for an example of his work, see lot 110 in this sale). The official warrant as Royal Clockmaker later passed to Benjamin's son, Benjamin Lewis Vulliamy (1780-1854). [1] In the 1780s, Benjamin Vulliamy decided to challenge the dominance of imported Parisian clocks in the homes of wealthy Britons by making clocks that were not only of the highest quality but also in the latest taste. His first range of ornamental clocks appealed to the fashion for neo-classicism, with white marble cases, sometimes in the form of a broken column, flanked by Classical Greek figures made of Derby biscuit porcelain. [2] However, by the late 1790s Vulliamy's customers were tiring of the restrained elegance of these sculptural clocks and demanding the richer 'Empire' style that was becoming fashionable in France. This encouraged Vulliamy to produce a new range of clocks in a variety of coloured marble cases ornamented with pairs of 'Roman' lions (or sometimes sphinxes), and vase or eagle surmounts, cast in ormolu or bronze. Although inspired by French originals, the overall design of these clocks was created by Vulliamy himself, who then organised their production through a network of independent suppliers and outworkers based mainly in London. However, he also maintained some contact with Continental Europe in spite of the long years of war which followed the French Revolution and the rise of Napoleon Bonaparte. Among his foreign contacts was the leading French bronzier Jean-Baptiste-Maximilien Delafontaine (1750-1820), former syndic of the Corporation des Fondeurs-Doreurs-Graveurs in Paris, who stayed with the Vulliamy family in London during the Revolutionary summer of 1789. He subsequently returned to Paris, where he lived in the faubourg St Honoré. Delafontaine kept in touch with Vulliamy, and a few years later sent him two pairs of lions which were subsequently used as patterns for Vulliamy's first lion clocks. These lions, which were in (approximate) mirror-pairs, were described by Vulliamy as 'after the antique', and may have been inspired by the famous Medici lions in Florence, though the lions on the clocks are lying down rather than standing. While the two pairs supplied by Delafontaine were of related design, they were in two sizes, the smaller being available by 1798 while the larger model first appeared in 1801. It is the larger model that features on clock No. 405 in the current sale. [3]Thanks to the survival of the relevant Clock Book in the collection of the British Horological Institute, there is detailed information on the craftsmen and suppliers employed by Vulliamy to make this clock and what they were paid. [4] The largest individual payment was £6-18s to Mr Day for the marble case, while Jackson received £5-10s for the timepiece movement with Vulliamy's characteristic half-deadbeat escapement. Basic casts of the two lions (from Delafontaine's models) were supplied by the brassfounder Barnett for a modest £1-2s-6d, but Houle charged £5 for chasing them. Seagrave was paid a total of £3 for gilding various elements, while several other craftsmen received smaller sums. [5] The clock was finished by 19 January 1808 when it was sold to the Duke of Clarence, younger son of George III and later King William IV, for 42 guineas (£44-2s), including a stand and glass shade. However, it was soon returned by the duke and sold again (at the same price) to R. Pole Carew Esq. on 30 March 1809. [6] The buyer was presumably Reginald Pole Carew (1753-1835), then Member of Parliament for Fowey in Cornwall, who had inherited an estate at Antony in Cornwall, near Plymouth. Following the death of his first wife, he had married again in May 1808, to Caroline, daughter of Lord Lyttelton, and it is possible that the purchase of the clock was part of a refurbishment of his large country house at Antony. [7]It should be noted that the records of sale for this clock in both 1808 and 1809 describe it as having a black marble case with gilt ornaments but bronze lions, rather than black and white marble and gilt lions as now seen. That might suggest later alterations, but an earlier clock of this pattern, No. 389, is also described as having a black case, although it is black and white like No. 405. On the other hand, its lions are bronzed in conformity with the description, and there is consequently no reference to gilding in its Clock Book entry. The fact that the corresponding entry for No. 405 shows a significant payment for gilding to Seagrave confirms that any changes from the original specification for No. 405 were carried out during manufacture and not subsequently. [8] Notes1. For a brief history of the Vulliamy watch and clock makers, see entry in The Oxford Dictionary of National Biography (2004).2. A full account of the production of these sculptural clocks is A. P. Ledger and Roger Smith, Benjamin Vulliamy and the Derby Porcelain Manufactory, 1784–1795(Derby: Museums and Art Gallery, 2007).3. For a detailed account of the design and production of Vulliamy's lion clocks, see Roger Smith, 'Vulliamy Lions: their designers and modellers', Furniture History, vol. LVI (2020), pp. 69-82.4. British Horological Institute, Vulliamy Records, Clock Book vol. 1 (1797-1809).5. Day, Jackson and Houle are listed in the Vulliamy Watch Day Books as Mr Day, statuary etc, Brewers Row, Westminster; Mr Jackson, clock maker, 11 Chapel Row, Spa Fields; Arthur Hoole (sic), 1 Middle New Street, Fetter Lane. (The National Archives, C104/58/2, extracts published in Francis Wadsworth, 'Some early 19th Century Workmen', Antiquarian Horology, Summer 1991, pp. 401-12.) 6. The National Archives, C104/58/2, Day Book 32, 19 January 1808; Day Book 33, 30 March 1809.7. Antony house is now in the care of the National Trust. For brief biographical details of Reginald Pole Carew MP, see his Member Biography in The History of Parliament (online).8. No. 389 was sold by Bonhams 11 J... This 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

A late 17th century walnut inlaid longcase clock of one month durationJohn Cotsworth, Londonthe hood with stepped and domed ebonised caddy over an inlaid frieze supported on spirally twisted columns to the front over a decorated throat moulding and long door fully inlaid with a lavish design of flowers and foliage issuing from a classical urn, on a matching base. The 11-inch square brass dial with wide winged cherubs head spandrels between engraved foliage framing the Roman and Arabic chapter ring, the matted centre with central rose engraving, ringed winding squares and decorated date aperture. The movement of one month duration with six substantial knopped and finned pillars, the small outside countwheel mounted on the top right-hand side of the backplate, now striking on a long, coiled gong mounted on the backboard. Together with a pendulum and pair of brass clad weights. The case of the same period, but probably associated. 2.26m (7ft 5ins) highFootnotes:John Cotsworth was born in 1637. He was initially apprenticed to Nicholas Coxeter, before being turned over to Jeremy Gregory. He gained his freedom of the Clockmakers on 5 July 1669. In 1698, he took out a 13-year lease on a shop in St. Dunstan's-in-the-West. The shop was described as being at the south-west end of St. Dunstan's church, next to Cliffords Inn Lane. Cotsworth and the shop clerk, John Grant, were listed as the sole occupiers of the shop. As Grant is described as being from St. Dunstan's-in-the-West, it is possible that he remained on in the shop irrespective of the owner, rather than having a specific relation with Cotsworth. Cotsworth is mentioned as having also been an engraver; as his second master, Jeremy Gregory, is believed to have gained his freedom from the Goldsmith's Company, it is possible that Cotsworth learnt engraving from him. It has been suggested that Cotsworth was a non-conformist, but this has not been proved. Throughout his career, Cotsworth would take five apprentices, three of whom were freed, perhaps the most famous being Edward Crouch. Crouch became Cotswoth's apprentice in 1682, gaining his freedom in 1691. By 1719, Crouch had become the Master of the Company, unfortunately dying four years later. Interestingly, Crouch's shop throughout his career is listed as being in St. Dunstan's-in-the-West. What relationship he maintained with Cotsworth after his apprenticeship remains unknown.John Cotsworth died in 1732; he was 95 years old, and was described as a watchmaker and the oldest living resident of St. Dunstan's-in-the-West. In his will, he left instructions that his Grandsons/Godsons, Cotworth and Robert, the sons of seemingly his only living child, Elizabeth, were each to receive £50. A Month going longcase from 1730 is also known from him, and a similar month going longcase by Crouch was sold by Bonhams in 2006.Boney, G. (1992) 'Harry Callowe: A Sequel' Antiquarian Horology Vol. 20 (2) p. 157British Horological Institute (1974) 'Clocks recently sold', Horological Journal Vol.116 (11) p. 26.Atkins, C. (1931) The Company of Clockmakers: Register of Apprentices. London: Butler & Tanner Ltd.Atkins, C. E. (1931) Register Of Apprentices Of The Worshipful Company Of Clockmakers Of The City Of London From Its Incorporation in 1631 To Its Tercentenary In1931 Compiled From The Records Of The Company By Charles Edward Atkins, Master In 1897, 1909 And 1928. Compiled by Jeremy Lancelotte Evans. London: The Company of Clockmakers.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

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

HAROLD CLAYTON (BRITISH 1896-1979) STILL LIFE OF FLOWERS IN AN URN ON A LEDGE ‡ SignedOil on canvas44.5cm x 50cm

To be sold without reserve Property of Sir Christopher Ondaatje 19th Century A Neoclassical bronze urn fashioned into a lamp With renaissance style handles Dimensions: 16 in. (H) x 8.5 in. (diameter)