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Click here to subscribeA CROWN DERBY TWO HANDLED CUP, COVER AND STAND painted en camaieu with medallions and swags, the stand with an urn and roses, in moulded and spirally fluted blue and gilt borders, 10cm h, printed mark and date code, painted PET in black, 1884 ++Of fine quality and in good condition except for restuck finial and with slight wear to the gilding on the rims
AN ENGLISH-DECORATED CHINESE PORCELAIN TEAPOT-STAND of hexagonal shape with fluted border, gilt with an urn and swags in dentil rim, 13cm w, c1780, a Chinese blue and white tea bowl and saucer, rim gilded in London, late 18th/early 19th c, a Chinese coffee cup, decorated in England with the Queen Charlotte pattern and four various other Chinese saucers, 18th/19th c (8) ++The lot in generally good condition
A painted and parcel gilt table, in French 19th century style, rectangular marble top with moulded edge, above a carved frieze centred by a ram`s head with pierced laurel swag, apron flanked by stiff-leaf paterae on four fluted legs joined by stretchers centred by an urn, 78cm high, 84cm wide, 50cm deep
A Victorian gilt metal twenty four light chandelier, mid 19th century, in the manner of a colza chandelier, with two tiers of sockets on foliate cast drip pans and scrolling foliate branches, issuing from a dished boss with urn finial on a cylindrical pedestal above, hung on six foliate cast chains from the ceiling fitment, 125cm high, 90cm wide
A VICTORIAN ROYAL WORCESTER PORCELAIN ORNAMENT fashioned with a boy playing pipes to a girl who`s holding an urn, in green and brown colouring with naturalistic base, Date Code, 1886, 17.5cm high, together with an 1850`s KERR & BINS WORCESTER ORNAMEN T of an amorini and urn, with similar colouring, 12.5cm high
Girardot, Nancy. A late 19th/early 20th century ormolu and marble garniture, the drum head clock with eight day bell striking movement faced by floral swag decorated Arabic dial with urn finial on a twin column support and stepped rectangular plinth, together with two rams head urn side ornaments.
A Queen Anne brass lantern clock. James Drury, London, early 18th century, The posted countwheel bell-striking movement with verge escapement, the silvered dial with vestigal alarm disc to the foliate scroll engraved centre within applied Roman numeral chapter ring with cruciform half hour markers and signed Jam. Drury, London to lower edge, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets beneath bell housed within the domed bearer above, with brass side doors, backplate, hanging hoop and spurs, (alarm removed, with restorations and replacements), 38cm (15ins) high. James Drury is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1687, gaining his Freedom in 1694, appointed Master in 1728 and died 1740.
A George III brass lantern clock made for the Middle Eastern market. Robert Ward, London, late 18th century, The posted countwheel bell-striking movement with verge escapement, the 8 inch brass break-arch two-handed dial with matted centre within applied silvered chapter ring with `Turkish` numerals and scroll cast spandrels to angles, the arch with circular silvered boss signed Rob`t Ward, London within herringbone border and flanked by conforming mounts, the frame with ball feet, columnar uprights and urn finials flanking pierced and engraved side frets beneath bell housed within the domed bearer above, with engraved brass side doors, hanging hoop and spurs, (side doors replaced, backplate lacking), 38cm (15ins) high. Robert Ward is recorded in Loomes, Brian Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company 1768, and working from Abchurch Lane 1779-1808. He seemed to specialise in musical clocks and clocks for export to the Middle East.
A brass quarter striking lantern clock. The dial signed William Grimes, London, frame and dial late 17th century the movement later. The four pillar twin chain fusee movement with anchor escapement and two-in-one ting-tang quarter striking on two bells mounted within the domed bell bearer above the frame, the brass dial bearing signature William Grimes, Londini fecit to the foliate scroll engraved centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets, with brass side doors and backplate, 39.5cm (15.5ins) high.
A French brass lantern clock. Unsigned, mid 18th century, The posted rack and bell-striking movement with anchor escapement and passing half-hour strike on the same bell with a second hammer, the dial with alarm setting disc to the plain centre within applied Roman numeral chapter ring with starburst half hour markers beneath crest with sunburst mask within foliate scrolls surmounted with a cockerel, the frame with tall teardrop shaped feet, columnar uprights and urn finials beneath bell with turned finial (pendulum, pallets, and alarm lacking, generally distressed), 39cm (15.5ins) high.
A French Empire ormolu figural mantel clock. Choiselat-Gallien, Paris, early 19th century, The outside countwheel striking movement with silk suspension and circular white enamel Roman numeral dial signed CHOISELAT-GALLIEN, Fab`t de Bronzes du Garde-Meuble, LESIEUR Hs, A PARIS to centre within gilt lotus leaf cast bezel and set into a rectangular plinth with scroll cast decoration above and below and surmounted with an oil lamp and two books applied beside classical male scholar seated on an X-frame stool onto a rectangular base applied with central urn and wreath flanked by flaming torches to front and on engine turned bun feet (lacking pendulum, bell and minute hand), 38cm (15ins) high.
A French patinated bronze mantel clock garniture. Desnoue, Nantes, circa 1870. The eight-day bell striking movement with twelve-piece blue on white enamel Roman numeral dial signed DESNOUE FAB`T, NANTES to an enamel plaque to the upper border of the rosette cast centre, within egg-and-dart cast surround and bevel glazed bezel, the case with urn surmount above festoon husk draped decoration beneath dial issuing from the stylised lion`s mask cast masks with pendant handles to sides, the pedestal base fronted with a foliate scroll inset shaped cartouche flanked by openwork decoration and waisted block feet, 50cm (19.75ins) high; with a pair of conforming six-light candelabra, each with central nozzle above five scroll shaped branches and foliate cast upright applied with lion`s mask handles to the central knop, on conforming base with openwork side scrolls and fronted with a shaped panel flanked by waisted block feet, each 54cm (21.25ins) high (3).
A French Louis XVI style gilt brass mounted white marble small mantel clock. Unsigned, circa 1900. The outside countwheel bell striking movement with floral garland decorated white Arabic numeral enamel dial with cast brass hands within engine turned glazed bezel, the arched case with twin handled urn surmount and ribbon tied cast crest above acanthus side scrolls and tied flaming torch beneath dial, on inverted breakfront base with bowed central section fronted with intertwined laurel cast mount, on engine turned feet, 28cm (11ins) high.
A George III mahogany small bracket clock. Richard Cannon, London, late 18th century. The five pillar twin fusee bell striking movement with verge escapement and engraved backplate decorated with an urn of flowers and foliate scrolls within a circular reserve and fitted with a pendulum holdfast hook, the 5 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes and female mask and scroll cast spandrels, the arch with circular silvered boss signed Rich. Cannon, London the break-arch case with brass carrying handle above brass fishscale inset arched side frets and moulded skirt base with brass bracket feet, 29cm (11.5ins) high excluding handle.
An unusual padouk wood musical alarm table clock. Berguer London, probably early 19th century, The five pillar twin chain fusee movement with verge escapement and alarm playing a choice of two peels or a lively melodic tune on eight bells, the backplate engraved with an urn within a rococo scroll cartouche and decorative border incorporating leafy sprays to angles, the 7 inch brass break-arch dial with alarm disc to the matted centre and blued steel hands within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track and signed Berguer, London to lower edge the angles with female mask and scroll pattern spandrels beneath arch with CHIME/SILENT dial flanked by conforming scroll cast mounts, in a case with brass carrying handle to a moulded panel following the profile of the break-arch top with brass pineapple finials, the front door with ebonised fillet mouldings to the glazed aperture and brass inset angles, the sides with circular foliate scroll engraved brass sound frets above concave-topped windows, on moulded base with brass bracket feet, 39.5cm (15.5ins) high. Four makers with the surname Berguer (probably brothers) are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first quarter of the 19th century; Frederick 1805-24, John 1809-24, Francis (Holborn) 1820 and Joseph 1820. Two generations of makers with the same surname are also recorded working in Chaux-de-Fonds, Switzerland during the 18th century hence it is probable that the London based makers at the start of the 19th century were first generation immigrants. The fact that the maker of the current lot was probably an immigrant may account for the unusual specification of the movement (which plays music as an alarm only) as well as the individual nature of the detail design of the case. These variations perhaps echo those seen on clocks made in London by an earlier generation of Huguenot immigrant makers working during the early years of the 18th century.
A fine George I green japanned eight-day longcase clock with lunar calendar. Edward Cockey, Warminster, circa 1720. The five finned pillar movement rack striking the hours on a bell mounted vertically above the plates, the frontplate with extension to carry the motion work for the lunar calendar, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the basket of flowers and foliate scroll engraved and chased matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed ED. COCKEY, WARMINSTER to lower edge, the angles applied with fine urn-centred scroll cast gilt spandrels beneath arch with a central rotating foliate engraved disc with circular aperture to reveal a lunar disc representation of the age of the moon and blued steel pointer for the fixed silvered outer scale calibrated for the lunar month and flanked by dolphin and foliate cast gilt mounts, the case with wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above three-quarter columns attached to the gilt foliate spray decorated hood door, the trunk with rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape bordered by further gilt foliate scroll borders, the conforming plinth base adorned with Ho-Ho birds and foliage to front and with moulded double skirt, 229cm (90ins) high. Provenance: The property of a private collector. Born in 1669, Edward Cockey senior was the son of Lewis Cockey (a bellfounder and clockmaker working in Warminster) from whom it is believed that he subsequently learned the trade. Edward was clearly a talented and well-connected clockmaker who in 1707 made an extremely complicated astronomical clock for lord Weymouth for the Great Hall at Longleat. Weymouth is thought to have subsequently commissioned Cockey to make another example as a gift to Queen Anne for her drawing room at St. James`s Palace (now in the National Maritime Museum, Greenwich). Edward Cockey junior was born in 1701 and, although initially thought to have followed in his father`s footsteps, apparently chose to become a wine merchant instead. There is a record of the death of an Edward Cockey clockmaker in 1768 (which probably relates to Edward junior). The dial of the current lot, with decorated centre and lunar calendar to arch, coupled with the finely proportioned case (which has survived with the original finish intact) exhibits Edward Cockey`s individual and innovative approach to both function and aesthetic quality.
A black japanned bracket clock. The dial bearing signature Peter Nichols, Newport, late 18th century, The five pillar twin fusee bell striking movement with verge escapement and backplate engraved with two oriental figures within a stylised temple with urn surmount and flanked by Ho-Ho birds perched on foliate scrolls, with a 7 inch single sheet silvered brass break-arch Roman numeral dial with circular calendar aperture and bearing signature PETER NICHOLS, NEWPORT to centre and Arabic five minutes to outer track, the angles engraved with medallion and husk swag decoration incorporating further foliate scrolls and perched Ho-Ho birds flanking STRIKE/SILENT selection dial to arch, in a bell-top case with brass carrying handle and pineapple finials to the upstand above front with raised mouldings around dial aperture, the sides with circular above concave-topped side windows, the whole now decorated with raised stylised floral sprays within gilt line bordered panels, on conforming cavetto moulded short skirt base with brass bracket feet, (decoration probably early 20th century and with possible alteration to dial fixing), 46cm (18ins) high excluding handle.
An early/mid-20th Century petit point and gros point woolwork chair seat cover, centred with a design of summer flowers issuing from an urn and within a rose surround with rococo scrollwork, worked in coloured wools on a canvas ground, together with a large collection of mostly 20th Century woolwork panels.
A late 19th Century Indian embroidered panel with a design of a stylized fern cone issuing from an urn, flanked by standing tigers, within an arched floral niche with column supports, all contained within a border of interspersed lions and leaves, worked in gilt and coloured metal threads in a variety of stitches, on a woven brown wool ground, approx 192cm x 120cm.
John Stinton: a Royal Worcester porcelain twin handled reticulated urn shaped vase, the front panel decorated with a scene of four cattle on a path, signed John Stinton and to reverse a view of fields and woodland, the reticulated side panels with floral decoration (one handle restored), (13 inches).
A SILVER FIVE-PIECE TEA AND COFFEE SET, CHARLES S GREEN & CO LTD, BIRMINGHAM, 1965-1971 comprising: a teapot, a coffee pot, a hot water jug, a milk jug and a sugar basin, each flared circular body with a hammered finish, engraved with floral swags, the hinged cover with scroll decoration and turned-wooden urn-shaped finial, applied with a turned-wooden leaf-capped scroll handle, damage to one finial, 2074g all in, the hot water jug 21cm high 5
A FRENCH BRASS LANTERN CLOCK WITH ALARM, REGNAULT, PARIS, CIRCA 1850 12,5cm foliate engraved dial with Arabic and Roman numerals signed Regnault, Paris, the pierced cresting inset with a regulator dial, the four pillar movement with verge escapement striking the full hour on a bell mounted on top of the case, the frame with urn finials, ring-turned ball feet, brass sides 16,5cm high Sold: Stephan Welz & Company (Pty) Ltd, 22 & 23 March 2005, lot 314 1
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