There are 68875 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeTHREE DUTCH CARVED TREEN GINGERBREAD MOULDS, 19th century, of rectangular form, the largest, double-sided with nine motifs including a boat, a tree in an urn, a mummy and a heart, 49.5cm long, 7.5cm wide; the second with a seated cat, a pocket pistol and scissors, 43.5cm long, 9cm wide; the third with four further motifs, 39cm long, 8cm wide
CONTINENTAL PATINATED BRONZE GROUP OF THE THREE GRACES, last quarter 19th century, portrayed as standing, adorsed and loosely draped overall; supporting an urn above their heads, with foliate cast and waisted finial, with three aegicrania supporting festoons and above dolphon feet; all atop a triform socle, 53cm high
GILT BRONZE SIX LIGHT CHANDELIER IN REGENCE STYLE, early 20th century, the electrical fitments in urn sockets on broad drip pans, on rectangular section scrolling foliate cast arms issuing horizontally from the knopped, waisted and foliate cast shaft, with hanging ring finial, 58cm high, 86cm wide
GEORGE III WROUGHT IRON AND BRASS MOUNTED FIREGRATE, late 18th century and later, the three rail bowfronted basket with twin urn finials, the serpentine brass apron supported at each side on uprights with urn finials, paterae relief cast blocks, fluted shafts and guilloche cast toupie feet; the later replaced rectangular backplate with further later iron backplate insert, 76cm high, 84cm wide, 38cm protuberance
FRENCH BRONZE AND MARBLE MOUNTED STRIKING MANTEL CLOCK, circa 1880, with twin handled urn finial above the arched case, flanked by acanthus cast volutes, the bowfront base on four toupie feet and a foliate cast central foot; with enamel Arabic dial, the twin train movement with countwheel strike on bell, 27cm high, 18cm wide
PORTUGUESE GONCALO ALVEZ VARGUENO ON STAND in 17th century style, the top with moulded front and side edges above an arrangement of five drawers, appearing as a symmetrical register of nine, all with recessed foliate-cut brass keyhole surrounds within ripple moulded outer edges, the sides with conforming ripple-moulded panels and brass swing handles, the stand with twist-carved borders to a wave-moulded frieze at front and sides, above openwork profusely carved scrolling foliage rising from an urn at the front and with smaller conforming panels at the sides, on four solomonic legs with twist-carved peripheral stretchers to blocks, on turned feet, 123cm high overall x 76cm wide x 40cm deep
VICTORIAN MAHOGANY AND MARQUETRY ETAGERE IN SHERATON TASTE, late 19th century, by James Shoolbred & Co., the twin oval shelves both decorated with central starburst within scrolling acanthus and anthemia, with wavy edging; on four supports descending from urn finials to splayed legs; the enamelled maker's plaque inscribed 'JAMES SHOOLBRED & CO, TOTTENHAM HOUSE, TOTTENHAM COURT ROAD, LONDON', 73cm high, 69cm long, 50cm wide
probably late 18th century, the hen's egg sized box with hinged cover decorated in the Neo Classical style with four urns within oval star bordered cartouches, spaced with scroll and foliate decoration, Greek Key borders to the rims, the base decorated with an urn, the cover with a two handled lidded vessel, presented with a simple rose coloured metal spoon
by Robert Hennell I and David Hennell II, London 1796, of decagonal form, with an engraved band of bright cut oak leaf decoration above two filled wreath cartouches, the part marked slightly domed and hinged cover, decorated with symmetrical bright cut decoration and topped with an urn shaped finial, ebonised handle and raised on a bright cut decorated pedestal foot, 25oztCondition report: Generally in good condition. A very small crease to the shoulder. Hallmarks crisp and easily readable, as are the crest and monogram decoration. Minor scratching dents and dings to the body as to be expected. A minor chip to the handle together with evidence of a repair to the handle in a different area. Stands firm on a flat surface with no wobble. A very slight lean in the direction of the spout. A little bit of play to the cover hinge, but the cover sits well.
the caster by Charles Fox II, London 1824, of urn shape with reeded top, the fully marked friction fitting cover pierced and domed with bun finial, raised on a simple pedestal foot, 3.1ozt; the caddy, by Mappin & Webb London 1904, of casket shaped form, with rope edges and two applied hinged double scroll handles, the part marked hinged and somewhat domed cover with pineapple finial, raised on 4 bun feet, signed to the base, 7.4ozt (2)
by S.W. Smith & Co, Birmingham 1928, the jug of cylindrical form with half gadrooned body, the part marked hinged cover with gadrooned rosette under a black urn shaped finial, black handle and pedestal foot, the fully marked simple three legged frame with circular top retaining band, the three stretchers supporting a smaller circular band on which rests the unmarked burner with detachable wick section, 29ozt gross ex the burner section (2)Condition report: Pot - In generally good condition with no obvious signs of damage or repair. Some slight movement in the hinge but the cover sits well. Finial loose as the threading in the retaining nut has worn away and the nut would benefit from being replaced. Handle is firm in the socket. Underside blackened due to the burner but undamaged. Hallmark crisp and easily readable. Stand - In good condition with no obvious sign of damage or repair. Hallmark a little worn but easily readable. Sits well on a flat surface with no wobble. Burner - In good condition and working order though the reservoir has not been tested for leakage. Wick cranks up and down as it should.
A French gilt brass and porcelain mantel clock garniture with unusual glass bead highlighted decoration Achille Brocot, Paris, circa 1895 The circular two train eight-day gong striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with oval star-centred trademark AB over serial number 2425 15.5, the circular cream ground porcelain dial decorated with butterfly inhabited silver and gilt floral spray incorporating blue glass bead applied infill to the wings of the insect within Roman numeral cartouche chapter ring, with blued steel hands within canted brass bezel, the break-arch case with surmount cast as a twin handled urn resting on scrolls and with four foliate bud finials to angles over moulded cornice and front inset with a concave-topped porcelain panel beneath the dial decorated with two butterflies incorporating toned glass bead applied infill to the wings set within gilt and silvered flowering foliage, on skirt base with generous acanthus cast top moulding and presentation inscribed To MR. AND MRS A. Mc AUGHEY, On the occasion of their marriage, BY THE, Franklin ST Collar Co'y LTD and their Employees, NOV'R 1ST 1897, 33cm (13ins) high; the garniture side pieces each formed as a twin handled urn with pineapple finial over conforming bead decorated butterfly inhabited flowering foliage to the shouldered ovoid porcelain body and leaf cast foot, 26.5cm (16.5ins) high. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Achille Brocot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1817 and died in 1878. The Museums Victoria (Australia) website notes that Achille patented several improvements in clock mechanism escapements, and invented the 'Brocot Suspension', an adjustable pendulum spring which enabled time keeping to be regulated by altering the length of the pendulum suspension spring by a key turned in the dial. He also introduced a jewelled deadbeat escapement, sometimes called a visible escapement as it was often mounted in the middle of the dial. Achille was awarded a first class medal at the Paris Exhibition in 1855, and in 1856 was appointed Treasurer to La Société des Horlogers in Paris. He published a "Calculation of the Wheels by Approximation" in 1862. His sons Achille and Paul continued the business following Achille senior's death 1878. The firm was taken over by rival clock maker Gustave Gibaudet in 1889. The porcelain sections of the current lot are unusual in that they incorporate applied clustered coloured glass bead infill to the wings of the butterflies which catches and reflects light in such a way as to bring the insects to life. This is due to the intensity of the reflected light changing as the angle from which they are viewed varies, and is particularly effective when lit straight-on by a single source. This scarce form of decoration is normally only seen on a select few carriage clock cases with an example incorporating comparable decoration to all parts of the case also included in the present sale (lot 116). Another two carriage clocks also with similarly decorated panels are illustrated in Roberts, Derek CARRIAGE and other Travelling CLOCKS pages 158-59 (Figs 9.55 and 9.56). Condition Report: Movement is in working condition with no visible evidence of alteration or significant replacements with the exception of the hammer for the gong; although the mechanism appears relatively clean a service is advised. The chapter ring of the dial has very light rubbing. The case is generally in good original unrestored condition with only very light wear/discolouration to the original finishes to the metal work. The porcelain appears free from visible damage with the only apparent fault being some noticeable rubbing to the silver detailing to the panel beneath the dial. The urn side pieces are in sound original condition commensurate with the case. Clock has a pendulum but no winding key. Condition Report Disclaimer
A George III mahogany eight-day longcase clock with moonphase Thomas Willshire, Bristol, circa 1780The four pillar rack striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with recessed subsidiary seconds dial and calendar aperture to the matted centre decorated with bright-cut insects and floral motifs within applied Roman numeral chapter ring with Arabic five minutes to outer track and signed Tho's Willshire, Bris=tol to lower margin, with scroll pierced steel hands and gilt twin bird and urn cast spandrels to angles beneath arch with rolling moonphase incorporating arched silvered scale for the lunar month and HIGH WATER AT BRISTOL KEY to the upper margin over landscape engraved lunettes beneath, the case with moulded dentil break-arch cornice and conforming veneered frieze over wavy-edged hinged glazed dial aperture flanked by free-standing spiral twist turned Corinthian hood columns with gilt caps and bases, the sides with shaped side windows and scroll-outline bargeboards at the rear, the trunk with elaborately shaped flame figured caddy moulded door flanked by Corinthian quarter columns with gilt caps and bases, on conforming raised panel fronted plinth base with ogee bracket feet, 225cm (88.5ins) high. Thomas Willshire is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as being in business with Henry Link until 1777 when the partnership was dissolved and took apprentice, William Alexander, in 1785.The current lot is an archetypical example of the fully developed Bristol style of longcase clock made during the last quarter of the 18th century. Such clocks were made with wealthy Bristol merchants in mind with the moonphase being annotated with high-water times in order to assist ship-owners with the scheduling of arrivals and departures through the Bristol Channel which is essentially unpassable during low tide. Condition Report: Movement is very dirty/neglected hence will require a full overhaul before putting to use. The strike train has been converted to sound on a gong mounted on the case backboard (would have originally sounded on a bell) reconversion back to bell strike would not prove problematic to a skilled clock restorer. The escapewheel and pallets are service replacements and there is some variance in the collet shapes to the strike train suggesting that some re-pinioning may have taken place at some point otherwise movement appears fundamentally original and is in sound condition. The dial is complete and fundamentally original with the probable exception of the hands but is in very dirty/neglected condition. The movement rests on an old seatboard onto uprights of the case which show evidence of adjustment to their levels. The right hand side has a packing piece approx. 8mm thick whilst the right hand side is cut at the correct level. Due to the clock having evidence of adjustment to the levels of the 'cheeks' we cannot provide any assurance that the movement and dial are original to the case however the case is a 'textbook' example for this type of movement.The case would have originally had a swan neck pediment and box superstructure above the current break-arch top which have been removed. The frieze would have also had fretwork which also appears to have been replaced by plain veneer. Case otherwise is in sound unrestored condition with faults limited to some shrinkage, bumps, scuffs and other faults commensurate with age.Clock has pendulum, weights, winder but no case key. Condition Report Disclaimer
Y A rare North Italian padouk wood 'night and day' table timepiece with silent-pull quarter-repeatUnsigned, mid 18th centuryThe rectangular back-wound movement with four baluster turned pillars pinned through the backplate, with spring barrel and verge escapement regulated by short pendulum cranked to clear the winding square to the four-wheel going train and the silent-pull quarter-repeating train of early Knibb type sounding the hours and quarters on demand only via twin hammers, the frontplate with motionwork behind iron falseplate fitted with three radial arms for mounting the dial around the separate disc centre now fixed and pierced with an fleur-de-lys shaped pointer within pierced Roman numeral chapters to the 8.75 inch square dial plate, the front with matted centre within applied silvered Roman numeral chapter ring with stylised sword-hilt half hour markers and five minutes to outer track, with pierced steel hands and fine foliate scroll cast gilt brass spandrels to angles, the gilt brass mounted padouk case with hinged carrying handle to the domed caddy flanked by pedestals surmounted with urn finials to the front over crisp cornice mouldings and foliate scroll cast and pierced mount to frieze, the square hinged glazed dial aperture applied with urn-cast mounts to upper rail, the sides with conforming frieze mounts over blind panels, the rear finished flush with simple door cut with a circular aperture now blanked-off with fabric covered panel, on cavetto moulded skirt base dressed with rosewood to lower edge, 52cm (20.5ins) high excluding handle. Although unsigned the present clock, in particular the case, can be compared to a hour-striking clock with alarm in a 'mulberry' (lampblack stained burr field maple) veneered case by Antonia Fenici of Modena illustrated in Brusa, Giuseppe La misura del tempo, L'antico splendore dell'orlogora italiana dal XV al XVIII secolo on page 546. The Fenici clock shares strong similarities with the case of the current lot in particular both have the same handle casting and double-skirt arrangement at the base. Another related clock, this time a silent-pull quarter repeating timepiece with alarm, was offered at Hampel Auctions, Munich in their auction of CLOCKS AND WATCHES held on Wednesday 7th December 2016 (lot 975). This second comparable is notable in having strong detail similarities in the movement including the back cock casting and pillars as well as the same pattern of spandrel ornaments to the dial. The design of 'silent-pull' repeat mechanism used in the current lot is of the earliest type which is believed to have been invented in around 1676 by Edward Barlow and/or Daniel Quare which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 343-4). This mechanism will sound the last hour and quarter on two bells on demand only and is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. The invention of pull-quarter repeat mechanisms rendered nigh clocks obsolete hence few were made in England after the mid 1670's however in Italy it seems that they persisted for longer. In addition to having a silent-pull quarter repeat mechanism the present timepiece was originally constructed with a dial which enabled time to be read both during the day and at night. This took the form of a rotating hour disc pierced with an arrow to serve as the hour hand reading against a fixed chapter Roman numerals pierced in the dial plate. It is possible that the current minute hand is original hence would allow the time to be read in tandem with the hour pointer during the day and by the hour pointer against the pierced chapter ring at night facilitated by lighting the clock from the rear by placing a light source beyond the circular aperture to the back door.What is particularly unusual with the current timepiece is that it is also provided with a silent-pull quarter-repeat mechanism which essentially acts as an alternative to a 'night dial' hence would seem to render the provision of latter redundant. The only logical reason why both systems for the telling of time at night were provided was to enable the clock to be used either within easy access or out of reach of an individual sleeping in a larger bed chamber of an Italian Palazzo. Although the dial has been modified with the provision of a silvered chapter ring and fixing the central disc to allow the hour to be indicated via the traditional arrangement of an hour hand, all of the original elements appear to survive hence it would seem that the clock could be restored back to its original configuration without having to resort to conjectural reconstruction.
Y A French Louis XIV ormolu mounted tortoiseshell bracket clock Antoine Gaudron, Paris, circa 1700 The six back-pinned baluster pillar movement of two week duration with large spring barrels, verge escapement with silk suspension and cycloidal cheeks, and high position numbered countwheel to the upper right hand corner of the backplate for striking the hours and once at the half hour with a vertically pivoted hammer on a bell mounted within the top of the case, the backplate signed Gaudron A Paris to lower edge, the unusual shaped iron dial plate faced with pewter polished and lacquered to simulate mother-of-pearl and applied with twelve-piece white enamel Roman numeral cartouche chapter ring with fine pierced and engraved foliate pendant to every numeral, Arabic minutes to outer track and original steel hands above shaped pendulum aperture bordered with foliate cast mounts, the break-arch case with gilt urn finials to the acanthus corner-mounted ogee shaped upstand and foliate cast frieze emerging from the sides of the gilt cavetto moulded cornice, the canted front angles applied with fine scroll-cast female terms above acanthus open scrolls, the sides with brass-edged rectangular side windows and conforming terms to rear edges over swollen lower sections, the base edged with a gilt band interrupted by a pendant arch inset with foliate cast mount to apron, on acanthus cast feet, 53cm (21ins) high. Antoine Gaudron is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from around 1675. In 1689 he was established at Place Dauphine at `La Perle` and then at `La Renommee` in 1709. He died a wealthy man in 1714. Two fine `Religieuse` spring clocks by him (including one with unique astronomical calendar) are illustrated in Plomp, Reinier Early French Pendulum Clocks 1658-1700 pages 80-3, the movement of the current lot, although slightly later, is remarkably similar to those pictured in figs 146 and 149. The manner in which the dial of the current lot is finished is particularly noteworthy. A pewter veneer is applied over the iron dial plate which is polished and finished in such a way as to simulate mother-of-pearl, forming the background onto which a finely engraved and pierced chapter ring is applied. Condition Report: Movement is in fine original condition with no visible evidence of alteration or significant replacements, the only notable fault is the fact that the hammer is missing (hammer arbor is present) and the bell has been repaired. Although the mechanism is in working order a clean/service is advised. The I and V cartouche numerals of the dial have noticeable cracking, the VIII has a repaired edge chip and II has a very light hairline. The decorative steel plate has overall degradation/patchy discolouration otherwise dial is in good original albeit dirty condition. The superstructure of the case is in good original condition with visible faults limited to a filled patch repair to rear lower left (obscured by finial). The front of the case has some shrinkage cracking otherwise is in sound condition. The right hand side has a full-height strip of brass inlay missing as well as losses to ebony stringing bordering the stripe both to the front and rear margins coupled with general lifting/movement to the brass inlays. The left hand side has similar losses to the ebony stringing and overall lifting to the brass elements. The lower rear right hand finial has been repaired otherwise all mounts appear in good original condition retaining their original gilding albeit very dirty and with some wear. Faults to the case otherwise limited to bumps, scuffs, shrinkage and wear commensurate with age and use. Clock has pendulum but no winder Condition Report Disclaimer
A William III walnut and floral marquetry eight-day longcase clockJohn Clowes, London, circa 1700The five finned pillar outside countwheel bell striking movement with tall plates measuring 7.5 inches high and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers with Arabic five minutes to outer track and signed John Clowes, London to lower margin, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles, in a case with crossgrain ogee moulded cornice and scroll-pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with ebonised three-quarter columns to front angles and the sides with rectangular windows, the trunk with concave foliate marquetry veneered throat moulding over 42 inch rectangular door centred with a circular lenticle and decorated with bird inhabited floral sprays and scrolling foliage around an urn into an ebonised ground within repeating foliate motif border, the sides veneered with triple slender panels within strung and crossbanded borders, the base with crossgrain ogee top moulding and conforming rectangular marquetry panel with foliate border over bun feet, 196cm (77ins) high. John Clowes is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1651 in Odd Rode, Cheshire and was admitted as a Free Brother to the Clockmaker's Company in 1672/3. Clowes was described as a 'Great Clockmaker' (ie. maker of turret clocks) and initially worked from the parish of St. Giles in the Fields and then St. Clement Daines, Middlesex from 1680. In 1688 he married for the second time (after the death of his first wife, Ann Nettles who he married in 1681) to Tabitha Taylor, Daughter of clockmaker Thomas Taylor of Holborn. John Clowes took on many apprentices including Frances Gregg in 1691 and his son, also named John, in 1709. In 1697 he signed the Clockmaker's oath of allegiance and in 1703 he was described as being in Covent Garden. In 1705 John Clowes married his third wife, Eleanor Caris at St. Martin in the Fields. He became an Assistant of the Clockmaker's Company in 1708 and was due to serve as Warden in 1713 but was unable to do so due to ill health, he died in 1717. John Clowes work often displays flourished of individuality such as continued use of outside countwheel and tall plates long after most makers were employing internal countwheels. The sculpted brass block at the base of the hammer spring is another detail sometimes seen on movements by Clowes demonstrating his often quirky attention to detail.Condition Report: Movement is in clean working condition and appears to have been recently overhauled with some re-bushing etc. The mechanism appears all original with no visible evidence of alteration or significant replacements. The dial has some overall discolouration to the brass plate and the seconds hand is missing. The hands may be replacements otherwise is in good original condition. The movement has an old oak seatboard which rests directly onto the uprights (cheek) of the case save a small piece of packing to the front right hand edge. The seatboard however may not be original hence we cannot offer any categorical assurances that the movement and dial are original to the case however it is our view that they probably are.The case is in good original condition. The hood top board, frieze fret and columns are probably replacements and it is lacking quarter columns and bargeboards to the rear of the hood. The trunk and plinth are in fine condition with the latter apparently retaining original structure and veneers although the underside of the base now has a board applied to close it off. The backboard also appears to retain all of its original length continuing down to the base of the plinth. The bun feet are later restorations. Other aults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and other very minor age related blemishes. The colour is generally very good.Clock is basically in 'take-home' condition and has pendulum, weights, two case keys and a winder. Condition Report Disclaimer
Y A George I brass mounted ebony table clock with pull-quarter repeat on six bells Robert Markham, London, circa 1720 The five finned pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull-quarter repeat on a nest of six graduated bells, the backplate engraved with symmetrical foliate scrolls incorporating narcissus blooms around an unusual central figure depicting a Classical warrior waving a union flag pennant over cartouche reserve signed Robert Markham, LONDON, the 8 inch brass break-arch dial with false bob and calendar apertures to the matted centre within applied Roman numeral chapter ring with diamond lozenge half hour markers and Arabic five minutes to outer track, with pierced steel hands and angles applied with female bust and scroll cast spandrels beneath arch centred with herringbone-bordered silvered boss signed Robert Markham, LONDON over switch labelled Silent/Strike and flanked by foliate strapwork cast mounts, the brass mounted ebony veneered inverted bell-top case with hinged carrying handle to the superstructure, brass urn finials and cavetto top mouldings over brass fillet inset glazed dial aperture and conforming foliate scroll upper quadrant frets to front door, the sides with D-ended lozenge over brass fillet-bordered break-arch scroll-pierced sound frets the rear with square brass fillet bordered window beneath arched fret and upper quadrants to a rectangular door set within the frame of the case, on cavetto moulded skirt base, 50cm (19.75ins) high excluding handle. The maker of the current lot was the son of a clockmaker also named Robert Markham. Brian Loomes records (on his website) that Robert Markham senior was born in Buckinghamshire the son of Richard Markham and was a member of the Curriers' Company in London from 1666 and died in 1715 leaving everything to his wife and only son, Robert junior. His bequests included plate and jewels but also any moneys owing from the government or any 'body politick', which implies he had trade with government departments. Robert junior was probably born about 1680 and was made free of the Curriers in 1700 after having served an apprenticeship. He married Catherine Markwick, the daughter of the clockmaker James Markwick senior, before entering into partnership with his brother-in-law also called James. On the death Robert in 1741 bequests were made to his wife, his only son, James, and two unmarried daughters Elizabeth and Anne. These included household goods, 'plate and jewells', but also considerable stocks in Old South Sea Annuities and Million Bank stock. The business appears to have continued under the name 'Markwick Markham' entering into subsequent often short-lived partnerships with makers such as Francis Perigal and Henry Borrell producing timepieces mainly for Export. The current clock is unusual in that it is signed for Markham alone rather than in partnership with Markwick. Details such as the strike/silent switch above the XII numeral, sophisticated engraving to the backplate and design of the case mirrors those seen on contemporary clocks signed by Markwick alone (including a green japanned example in the Victoria and Albert Museum) which confirms that they originate from the same workshop. Condition Report: Movement appears to be in fine original condition with the only noticeable replacement being the backcock which has been replaced to facilitate silk suspension for the pendulum (rather than the pendulum being directly fixed to the pallet arbor). There is no evidence to suggest that the movement was ever converted to anchor escapement -this is further supported by the positioning of one of the movement pillars which would not allow room for an anchor escapement. The movement is running and striking however is a little dirty/neglected hence a clean and overhaul is advised. UPDATE -11/06/2020 -the hour bell is a replacement; the larger two of the quarter bells have been repaired but sound good, all quarter bells appear original. The dial has some tarnishing/discolouration to the finishes and is a little dirty otherwise is in fine original condition. The movement retains its original seatboard which has holes for bolts to secure the mechanism to case via treaded holes in the lower two movement pillars, the bolts are no longer present but all holes line-up properly. The base also has a hole for an alternative route for the repeat line and two others (at the rear left and front corner) -the purpose of these last two is not obvious but the most likely explanation is that were used to locate the clock on a wall bracket at some point (they are definitely not indicative of another movement and dial being fitted to the case at some point). From this evidence we are very confident that the movement and dial are original to the case. The case is generally in fine original condition with noticeable faults limited to some chipping to the veneer overlap of the dial mask (not visible when front door is closed) and a small veneer chip to the front door veneers at the left hand shoulder of the arch. The finials are 20th century replacements and the frets are probably restorations. The veneers have a few historic patch repairs and exhibit light shrinkage and wear in places; the finish would benefit from a polish to 'revive' the surface. Clock has winder but no case key. Condition Report Disclaimer
A fine French engraved pierced fretwork panel inset gilt brass anglaise riche cased petit-sonnerie striking carriage clock with push-button repeat and alarmLe Roy and Fils, Paris, circa 1900The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement, alarm sounding on the smaller gong the backplate with enamel Arabic numeral alarm setting dial to centre and stamped with serial number 7072 to the lower left hand corner of the backplate, the dial with gilt brass foliate scroll pierced centre within cream enamel Roman numeral chapter ring inscribed LE ROY & FIS, 52 NEW BOND STREET, MADE IN FRANCE, PALAIS ROYAL, PARIS and with blued steel hands within fine bright-cut engraved and pierced bird inhabited foliate strapwork rectangular mask with angled fillet outer border, the frosted gilt brass bevel-glazed anglaise riche case with spiral reeded baton to the hinged carrying handle over thick top glass, complex moulded cornice and fluted frieze, the angles with fluted three-quarter columns incorporating copper finished Corinthian capitals and the sides with fine bird inhabited foliate pierved and engraved blind frets set behind bevelled glasses, the rear with further conforming infill centred with a Classical urn to the back door, on generous cavetto moulded skirt base incorporating shallow block feet, the underside with Silence/Sonnerie selection switch, 18cm (7ins) high excluding handle. Provenance: The beneficiary of the Estate of a private collector, East Midlands. The firm of 'Le Roy and Fils' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century. The fine quality pierced and engraved gilt brass panels of the current lot coupled with the robust anglaise riche design result in clock very much geared to the English taste with its overall feel and quality reminiscent of examples originating from the Leading London workshops.Condition Report: The movement appears complete and all original with no visible evidence of alteration or significant replacements. The going train is currently not running however the mainspring appears sound and the escapement undamaged hence probably just requires a service (oil has probably dried/out and become a little sticky). The strike train is operating as it should including the repeat button and silence lever to underside. The alarm is currently not tripping but the barrel will wind; the setting dial to the backplate also has some very light hairline cracks to the enamel.The dial is in fine condition with no visible damage or restoration. The case is also in fine condition with no apparent wear to the gilding no visible chips to the glass, blemishes are very much limited to a few tiny light surface bruises.Clock has a winding key. Condition Report Disclaimer
A JAPANESE MEIJI PERIOD CARVED IVORY & SHIBAYAMA DAMASCENE GARNITURE SET, consisting of two miniature vases and an urn, the vessels with a carved an ivory mid section inlaid with semi precious stones to depict scenes of birds amongst trees and native flora, with damascene decorated gilt mounts forming the handles and body of the vases, 13.5cm high & 10cm.
A SET OF SIX GEORGE II MAHOGANY SHIELD BACK DINING CHAIRS, C1800, WITH CARVED OVAL URN MEDALLION SPLAT BENEATH WHEAT EARS, THE SERPENTINE SEAT RAIL FLUTED ON THREE SIDES, SEAT 43CM HProvenance: George S Bolam, Moreton in Marsh, from whom bought by the present vendor in December 1978 One chair with crack in 'camel' back, several with old replaced blocks, one with minor let-in repair; repolished, no shake and structurally sound, seat fabric somewhat stained and faded, frayed on two
A companion pair of George III style marble top console tables, the rectangular top with green marbled scagliola decoration, the frieze similarly inlaid, one table in greek key, the other with fluted design, centred by a marble tablet with urn design, raised on square legs to spade feet, one with hand-written script to the underside 'Pollock, Sussex' 107 cm x 48 cm x 86.5 cm h (2)the marble tops showing numerous chips to edges, one corner chipped away, one tablet chipped away to one lower corner, areas of loss to faux green marble inlay areas, surface s all showing distresses of age and use, dirty, our opinion is these table are of late 19th century origin
A late 18th century giltwood and gesso wall mirror, having a central urn and entwined foliate cresting above a rectangular mirror plate, within two half-fluted columns above a foliate frieze, circa 1780, max dimensions 118 x 50cm. Provenance: Originally from the collection of Lady Wareing, Heath Lodge, Ullenhall, Warwickshire.Condition report: Frame has been re-gilded.Mirror plate good.One break to floral surmount (immediately to right of urn) – we have the piece.Areas of ‘matted’ effect to gilding, mostly to floral surround.
Loading...
