Nazi Germany D.L.V. 1st pattern dagger and scabbard by Gebr Heller Marienthal. Features nickel urn shaped pommel & winged guard numbered 542 with rotating swastika panels, with dark blue brown leather grip. Excellent condition 17.5 cm long maker marked and numbered ‘164’ blade, retaining leather washer. Blade fits well into the nickel and Moroccan leather scabbard, showing light wear overall, retaining suspension ring & hanger, with slightly dented ball end. Good unit stamps to throat, including swastika eagle propeller. Scarce 1st type dagger. Scarce.
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1796 pattern British Army light infantry officer’s sword and scabbard named to C.C. BAKKER. Wire strung grip solid with worn gilt wash hilt fittings, urn shaped pommel and D’ shaped hilt guard, partially folding half circle langet, folding lock not locking, guard with floral designs to underside and to end of quillon includes officer’s name etched to bottom. Single edged blade, etching visible but worn, blade straight, no visible makers marks. Leather scabbard with worn brass and gilded fittings, scabbard bottom metal mount taped on, with damage to upper leather mount. Overall measures 97cm.
A pair of Edwardian Coalport miniature vases, of baluster form with twin foliate clasped handles, decorated with a circular reserve of flowers against a cobalt blue ground, gilt highlights, pattern V7586/285, each 7.5 by 11cm, together with another pair of Coalport vases, of tapering urn form, decorated with an overlaid gilt frieze of birds against a blue pattern below, check borders and gilt rims, pointed leaf feet, pattern V6662/223, each 6 by 7.5cm. (4)Provenance: Private Deceased Estate
Thomas Shepherd, London 1786, a George III silver mustard pot, reticulated cylindrical form, bright cut and banded with Vitruvian scrolls and floral motifs, the tapered domed lid with urn finial and pierced lyre thumb piece, 10cm high, 3.00ozt Provenance: Woolley and Wallis 28th October 2008, lot 447; Petzall Collection See the Colman Collection number 19 for a similar example of this date
Alexander Field, London 1794, a George III silver oval straight sided mustard pot with reeded borders, the domed hinged lid with urn shape finial, scroll reeded handle, shaped openwork thumb piece, glass liner 8.3cm high, 3.29ozt Notes: single initial to one side, wild boar motif for Campbell or Sanders to the second side
Solomon Hougham, London 1792, a George III silver mustard pot, square section octagonal ovoid form, bright cut decorated with floral festoons and leaves and central coat of arms, the reeded scroll handle to the centre of one side, the hinged lid with urn shape finial and spoon aperture, blue glass liner, 8.5cm high, 9.46ozt
A Royal China Works, Worcester blush ivory ground with green highlights, twin handled urn and cover of baluster form, decorated with pastoral scene overlaid with stylised tree branches highlighted in gilt, and raised on circular pedestal mounted on square plinth base, the domed cover with green and gilt edged finial, brown printed mark to base, 33.5cm high
William Plummer, London 1780, a George III silver mustard pot, cylindrical form, bright cut and reticulated with a central band of entwined flowers between galleried borders, punctuated by urn and rosette roundels, ogee domed lid with cast beaded shell thumb piece, glass liner, 8.5cm high, 2.95ozt
Robert Hennell, London 1784, a George III silver mustard pot, pedestal urn form, bright cut and reticulated in the Neoclassical style, rosettes and grilles between Vitruvian scroll bands, beaded to the foot and rim, the lid of waisted and ogee domed form, ear handle, glass liner, 13.5cm high, 4.17ozt Provenance: Mary Cooke
A Pair of Royal Worcester blush ivory urn vases and covers, the body florally decorated in coloured enamels between gilt and shaped borders and raised on pedestal circular steeped bases, gilt lion mask scroll shoulder decoration, the domed covers with gilt finials, date code for 1909, puce printed marks, 41.5cm high (2)
Eliza Godfrey, London 1762, a George III silver mustard pot of cylindrical form, heavily decorated with scroll and leaf decoration and with urn style motifs between alternating head busts, foliate scrolled foot and decorative borders, the hinged cover with leaf and floral scroll motifs and with central lion head mask in oval raised border, scroll handle and shell back thumb piece, glass liner 8 cm high, 7.94ozt
A late 19th Century Chinese lidded urn vase of large tapering form being hand painted and enamelled with central panels, one side depicting a prancing pony amongst purple plum trees and the other decorated with a crane in the water amongst leaves. The borders having geometric pattern red ground with Greek key and floral accents throughout. Character marks to base. (A/F) Measures 45 cm tall.
A Victorian gilt brass mounted ebonised quarter chiming bracket clock in the George III style J. C. Jennens, London, late 19th century The substantial four pillar triple chain fusee movement with anchor escapement regulated by lenticular bob pendulum, chiming the quarters on a graduated nest of eight bells and striking the hour on a further bell, the backplate engraved with a central twin-handled urn within stylised line borders and with pendulum holdfast screw, the 7 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with starburst half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and rococo scroll cast spandrels beneath subsidiary CHIME/SILENT selection dial flanked by conforming mounts to arch, the inverted bell-top case with hinged brass carrying handle and vase finials to superstructure over brass fillet inset glazed dial aperture and conforming fish scale fret upper quadrant panels to front door, flanked by female caryatid mounts to the canted front angles and circular over concave-topped rectangular brass fillet edges fish scale frets to sides, the rear with rectangular glazed door, on moulded skirt base with scroll cast brass bracket feet, 49cm (19.25ins) high excluding handle. John Creed Jennens was born in 1822. He specialised in musical and chiming clocks and first worked in Birmingham (1845-53) before moving to Great Sutton St, Clerkenwell, London where he was based 1863-83.
A George III mahogany eight-day longcase clock William Creak, London, circa 1760 The eight-day five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced blued steel hands and applied with twin bird and urn cast spandrels to angles, the arch centred with a circular silvered boss signed W’m Creak, London flanked by dolphin cast mounts, in a case with break-arch dentil cavetto cornice over brass stop-fluted columns flanking the glazed hinged dial aperture, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with break-arch flame-figured door flanked by brass stop-fluted rounded angles, on raised shaped panel fronted plinth base with moulded double skirt incorporating shaped apron to lower edge, 222cm (87.5ins) high. William Creak is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a ‘fine maker’ who worked in London from 1754-63. Other sources indicate that he was working from 1740-75 and his workshop was located in the Royal exchange from 1754. Creak supplied musical and automaton clocks for export to the Middle East and China and often incorporated similar complications into examples made for the domestic market.
Ï’A fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A George III mahogany table clock Bearing a signature for Benj, Gray, London, late 18th century The five pillar twin fusee bell striking movement with verge escapement and trip repeat, the backplate engraved with a Neo-Classical urn centred cartouche within delicate rococo scroll infill, the 6 inch cream painted Roman numeral break-arch dial with calendar aperture and bearing inscription Benj. Gray, LONDON to centre, with Arabic five minutes to outer track and pierced brass hands beneath STRIKE/SILENT selection dial to arch above, the bell-top case with hinged brass carrying handle and vase finials over complex top mouldings, the front door with brass fillet bordered glazed dial aperture and scroll-pierced upper quadrant frets, the sides with break-arch windows and the rear with break-arch glazed door, on cavetto moulded skirt base with brass ogee bracket feet, (pallets and pendulum assembly lacking), 43cm (17ins) high excluding handle. Provenance: Brocket Hall, Hertfordshire.
A selection of wooden longcase clock case fittings For use in the restoration of 17th century and later longcase clocks Including six giltwood ball and spire finials, a set of three flambeau urn finials, a group of hood column caps and bases, two walnut and one ebonised trunk door lenticle surrounds, and a quantity of assorted bun feet, (qty).
A 19thC oak and mahogany longcase clock, the swan neck pedimented hood surmounted by an urn and eagle finial, flanked by two further urn finials, above half carved columns and a shaped long trunk door, with crossbanding and shell patera, above an oval panel, on compressed bracket feet, the painted 34cm W arch dial signed Geo Williams Montgomery, with Roman numeric dial, subsidiary second hand and date aperture, 8-day movement, 234cm H.
A marble, brass and gilt metal clock garniture, comprising clock, with bird and garland finial, raised above a 9cm Dia. face with enamel Arabic dial, on cylindrical pillars terminating in a shaped base on squat feet, and two urn garniture, in neo-classical style, the 8-day movement striking on a bell the hour and half hours, with pendulum and key, 44cm H.
A late 19thC Gustav Becker walnut cased Vienna wall clock, of rectangular form, with urn and sun patera finial, quarter columns and gadrooned under section, with a three part glazed case housing a 19cm Dia. Roman numeric dial marked GB, with subsidiary Arabic second hand, 8-day movement with twin weights, 112cm H.
A brass lantern clock, the eight day brass twin fusee movement with an anchor escapement and striking on a bell, with a circular dial with Roman numerals and an engraved centre, signed 'Smorthwaite Colchester', the case with urn finials and pierced fret panels, the front engraved with dolphins, on ball feet, early 18th century and later, 37.2cm high.
A pair of Arts and Crafts style brass and steel andirons, each with a pierced rondel decorated with an urn of flowers, on scroll supports, one stamped '48', late 19th / early 20th century, 42.3cm high, 25.5cm wide, 25cm deep. (2) Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.
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68875 item(s)/page