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A pair of Chinese blue and white crackle glazed temple jars and covers, together with a Chinese red lacquered vase. CONDITION REPORT: One cover with V shaped chip and part glued and flat chip. One vase two chips to neck and glued. Second vase good with light chip to underside of cover.
A late 19th century porcelain bottle vase, decorated in the famille rose palette with gilt highlighted vignettes, together with a KPM cabinet plate, painted with flowers to centre, a Capodimonte hinged trinket box, decorated with putti on gilt ground and a 19th century gilt bordered display cabinet
A Chinese blue and white porcelain trumpet vase, decorated with figures by a river, amongst stylised clouds and scrolling foliage, H. 24cm, together with a turquoise ground baluster shaped twin handled vase, decorated in blue with bats amongst flowers and scrolling foliage, bears four flowers and seal mark to base. H. 23m (2)
A Victorian brass lantern clock Unsigned, mid to late 19th century The five... A Victorian brass lantern clock Unsigned, mid to late 19th century The five pillar twin chain fusee movement with anchor escapement regulated by short lenticular bob pendulum and striking the hour on the bell mounted above the frame, the posted case with dial incorporating foliate scroll engraved centre within silvered Roman numeral chapter ring with fleur-de-lys half hour markers beneath pierced leafy scroll cast frets flanked by vase finials with domed bell bearer above, the sides and rear with brass doors, on ball feet, 42cm (16.5ins) high.
A William III brass lantern clock William Holloway, Stroud A William III brass lantern clock William Holloway, Stroud, circa 1685-90 The posted countwheel bell-striking movement with separately wound trains and verge escapement regulated by short bob pendulum positioned outside the frame at the rear, the dial with a central rose decorated vestigial alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature William Holloway, Stroud to upper margin, with iron hand within applied Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the generous London-style third period frame with one-piece column turned corner posts beneath armorial pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors and the rear with iron hanging hoop over a brass backplate (in unrestored condition, lacking alarm, top finial and with replaced frets ), 35.5cm (14ins approx) high. William Holloway is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as the son of the clockmaker John Holloway born in 1732 at Market Lavington, Wiltshire. In 1658 he moved, along with his father and younger brother Richard, to Stroud in order to take-on the workshop of the recently deceased John Snow. Holloway was married to Hester Hieron in 1664 and continued working until his death in 1694. William Holloway had three sons one of which, John, continued the business in Stroud after his death; the other two, William and Arthur, moved to London to pursue the trade in the capital. William Holloway was a confident, accomplished and relatively prolific maker who used distinctive castings for his frames which appear almost unique to the Holloway family. His early clocks (1661 to circa 1680) used castings loosely based on the London second period style but were one-piece (i.e. finials and feet were cast integral with the posts) with tall slender finials capped by distinctive acorn turnings. Three examples by Holloway with this type of frame are illustrated in White, George English Lantern Clocks on page 246 (Figures V/78-80). The second type of frame used was much more akin to the standard London third period pattern but again employed one-piece castings and appeared to be short-lived as they are only seen on clocks dating to the first five or six years of the 1680's (see White, page 247, Figure V/81). The third pattern was again based on London third period practice but was much more generous with distinctly bulbous swellings to the finials and feet, two clocks with this type of frame are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 207 and 209 Figures 13.8 and 13.13. Other traits of Holloways work include the continued use of separate winding for each train long after most other makers had adopted Huygens' single-weight endless rope system. Clocks with separately wound trains are characterised by having hour bell hammers positioned to the right hand side of the movement. Loomes suggests that Holloway may have continued this practice as it allowed straightforward disablement of the strike train by simply removing or not winding the strike weight. Another unusual feature peculiar to Holloway was that he often used four wheel trains in order to give a longer duration. The current lot is a typical of Holloway's final phase of work with generous bold castings and London-style tulip engraving to the dial centre. Unusually the clock is not dated but on stylistic grounds alone it can be placed within a couple of years of 1690.
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