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Lot 1753
Eight bottles mixed Lot Fine categorised Clarets comprising 2 bottles Chateau Clarke Edmond de Rothschild Listrac-Medoc 2002, 2 bottles Chateau du Glana Cru Bourgeois St Julien 2003, 1 bottle Chateau Lafon Rochet Grand Cru Classe St Estephe 1982, 2 bottles Chateau Fourcas Dumont Listrac-Medoc 2006, 1 bottle La Croix de Beaucaillou (second wine of Ducru Beaucaillou) St Julien 2003
Lot 1371
HAKUTSURU SAKE Japanese Rice Wine. 720ml, 16% -18% volume, with three traditional drinking cups & flask, in presentation box. ROYAL MINT - CHOCOLATE LIQUEUR Liqueur. Front label missing, approx. 50cl, no strength stated on back label. BRENNIVIN Icelandic Schnapps. Approx. half bottle size, no capacity or strength stated, with four glassed, in presentation box. ROZES PORT PRESENTATION PACK ROZES WHITE PORT 37.5cl, 20% volume. ROZES SPECIAL RESERVE PORT 37.5cl, 20% volume. ROZES 1992 L.B.V. PORT 37.5cl, 20% volume. ROZES INFANTA ISABEL 10 YEAR OLD PORT 37.5cl, 20% volume. 7 bottles CONDITION REPORT: Good.
Lot 1395
ASSORTED NEW WORLD WINES (6) DELHEIM MERLOT 2004 W.o.O. Simonsburg-Stellenbosch. 750ml, 14% volume. THE BLACK STUMP DURIF SHIRAZ 2004 Wine of South East Australia by Casella. 75cl, 14% volume. DELHEIM MERLOT 2004 W.o.O. Simonsburg-Stellenbosch. 750ml, 14% volume. THE BLACK STUMP DURIF SHIRAZ 2004 Wine of South East Australia by Casella. 75cl, 14% volume. BLOCK 37 SPECIAL RESERVE MERLOT 2006 Ellington Estate, Clare Valley, South Australia. Imported by Averys. Bin 1109. 750ml, 14.5% volume. ARAUCO WINERY 2006 CARMENERE - CABERNET SAUVIGNON Central Valley, Chile. 750ml, 13.5% volume. 6 bottles CONDITION REPORT: Good.
Lot 156
Wines - Berry Bros and Rudd Quality Sparkling Wine Extra Dry; Chateau Lacombe Noaillac 2009; Prestige de Calvet Merlot Cabernet Sauvignon 2010; Chateau La Courolle Saint Emilion 2003; Louid Bernard Cotes du Rhone-Villages 1999; Domaine Baille Carignan 2000; Anciano Crianza 2005 Tempranillo Valdepenas (7)
Lot 521
A PAIR OF OLD SHEFFIELD PLATE SAUCE BOATS, C1768-70, A WINE FUNNEL AND LINER, ANOTHER, BOTH C1790 AND A FUNNEL STAND, C1775 the stand crested, sauce boats 13cm h Illustrated: Crosskey (G), Old Sheffield Plate, second edition, 2013, fig 218. ++Handle of one sauce boat slightly pushed in and with slight tear in the rim, bowl of larger wine funnel with two shallow dents and tip of spout slightly trimmed. The other wine funnel with slight wear mainly on the fluting of the spout. The early funnel stand also with slight wear
Lot 705
†ARTHUR SPOONER, RBA (1873-1961) THE BREWER'S DRAY signed, oil on canvas, 66 x 90cm Duncan Gilmour & Co Ltd of Sheffield, a dray of which is the subject of the present work, was established as a wine and spirit merchant by its eponymous founder in 1854. Brewing commenced at the Dixon Lane Brewery in 1884. The company eventually owned a large estate of public houses in Yorkshire, Derbyshire and Liverpool, also buying Wm Hickling & Co of Chapel Bar, Nottingham, before being acquired by Joshua Tetley & Son Ltd in 1954. ++In fine original condition, the varnish requiring a light clean. Apparently not hitherto cleaned or restored. Undisturbed in the original early 20th c gilt frame
Lot 248
A set of seven George III silver bottle tickets, by Solomon Hougham, London 1797/1798, each of crescent shape with bright cut engraved borders, inscribed 'Hollands', 'Lisbon', 'Orange', 'Port', 'Sherry', 'Rum' and 'Brandy', 42mm diameter together with a set of four similar unmarked sauce labels of closed crescent form, similarly decorated and inscribed 'Ketchup', 'Lemon', 'Cyan' and 'Soy', 19mm diameter, 1.87oz (11) Labels in fairly good condition but the engraving has 'cut through' in some instances. Five of the wine labels have intact chains two have chains but detached at one end and in one case broken mid chain. One wine label has a broken point to the crescent and has been re-drilled. The sharpness of the crescent points varies from label to label. The sauce labels are all intact and in good condition
Lot 263
A George III silver wine funnel, by George Smith, London 1786, the shallow oval bowl with pierced base and beaded edge, the detachable spout with sterling mark only, 14cm, 3.17oz Solder repairs to the rim on one side and to the collar of the spout, no hook or engraving/inscription, marks to bowl clear
Lot 300
A George IV silver wine funnel and strainer, by Edward Farrell, London 1823, the funnel with moulded edge, the lower body fluted above the spout, the detachable strainer with guilloche border and anthemion decorated hook, 15.5cm, 5.29oz Generally in good condition, small bruise to the rim of the strainer and slight crush damage to the spout, gauze ring present
Lot 332
An Edwardian silver Cellini pattern claret jug or wine ewer, by Ollivant & Botsford, London 1907, richly all over chased and embossed with matted finish below a flaring covered spout with caryatid handle, the silver mounted stopper formed as an orb mounted with doves and vines, 31.5cm high, 43.35oz All in good condition
Lot 7
Lucien Boullemier (1877-1949), an oval portrait plaque of Josiah Wedgwood (1730-95) after George Stubbs (1724-1806), his face turned slightly to the viewer's left, his powdered hair contrasting to the mushroom ground, his cravat white between the lapels of his wine red coat, signed, 23.5 x 18cm (9.25 x 7 in) within black slip and gilt frame The porcelain does not bear a factory mark which suggests that this was painted in the very early 20th century from his own studio The porcelain is in good condition but the frame has a crack at 6 o'clock
Lot 76
A selection of mostly cut glass, various dates 19th and 20th centuries A selection of mostly cut glass, various dates 19th and 20th centuries, comprising; a large pedestal bowl, 28cm high, a wine-glass rinser, 133cm wide, a pair of small decanters and stoppers, 20cm high and a clear press-moulded glass commemorative pedestal bowl for the Silver Wedding of Edward VII and Alexandra, 14.5cm high
Lot 80
A painted papier mache and metal mounted vessel in the form of a wine cooler A painted papier mache and metal mounted vessel in the form of a wine cooler, second quarter 19th century, of oval section and tapered form, the exterior painted with twin bands to simulate metal banding, each end with a metal swing handle, 15cm high, 39cm long
Lot 185
A fine Charles II brass lantern clock John Clarke, Bristol, circa 1681 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear and with alarm mechanism mounted to the lower right hand corner of the backplate within the frame, the dial with central alarm disc within stylised symmetrical foliate engraved infill incorporating a winged female mask at twelve o'clock and with pierced brass hand within applied narrow Roman numeral chapter ring with floating asterisk half hour markers, the angles engraved with signature Iohn, Clarke, in Bris, toll , with indistinct date 16..1, the typical 'Bristol' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and backplate between hanging hoop above spurs to rear, on tall disc-knopped ball feet, 40cm (15.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Sotheby's London, 23rd March 1999 (lot 251). Literature: The dial of the current lot is illustrated on the back cover of THE PROCEEDINGS OF THE ANTIQUARIAN HOROLOGICAL SOCIETY, THE OXFORD 2000 CONVENTION held at Keble College, Oxford, 15th and 16th April 2000 where the clock was also exhibited. John Clarke is recorded in Moore, A.J. CLOCKMAKERS OF BRISTOL 1650-1900 as son of John Clarke, a Hooper of Bristol, who was apprenticed to Solomon Wasson in 1743 becoming a Burgess on 3rd February 1650. Clarke is recorded as residing at 6 Wine Street in 1656 and later (1675) as working at the top of Broad Street (in the Parish of Christchurch). A fine watch by Clarke resides in the British Museum's Collection (Octavius Morgan bequest). In addition to the current lot it seems that there may be only one other lantern clock by John Clarke known to have survived: Clock dated 1679 illustrated in White, George, English Lantern Clocks on page 227 (Figure V/28). Another Clock, dated 1681, is also noted (but not illustrated) by White (on page 225) and again in Loomes, Brian Clockmakers of Britain 1286-1700 (on page 120), it is probable that both these records relate to the current lot as the now indistinct date most likely originally read #22;81'. The current lot utilises frame castings that were favoured by the Bristol and Chew Valley school of clockmakers with the earliest surviving dated example made by Edward Webb of Chew Stoke in 1676 (private collection). Several other clocks by Webb are known with dates ranging from 1678-93, with all of the documented examples sharing the same frame castings. These castings were also used by John London of Bristol, Thomas Veale of Chew Magna (see previous lot) and latterly by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695). Bilbie appears to have persisted with the use of such castings long after Bristol makers had moved onto patterns more closely related to London work of the period, suggesting that such frames were probably cast locally (in the Chew Valley) - perhaps initially by Edward Webb at his foundry in Chew Stoke then by the Bilbie family after Webb's death in 1694. Another noteworthy detail is the distinctive dial engraving which is executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central winged female mask motif at the top. The design of this decoration appears to have its roots in the work of Thomas Brown of Bristol who was most active during the 1650's (see White, George English Lantern Clocks page 232) and can be very closely compared to the 1676 clock by Edward Webb of Chew Stoke - suggesting that both clocks were engraved by the same hand. The placing of the signature within the areas at each corner beyond the chapter ring is also seen in Webb's work (see Loomes, Brian LANTERN CLOCKS & Their Makers page 188). Such strong similarities between the work of Edward Webb and the current lot would suggest that these makers had a close working relationship and further supports the possibility that the frame castings were indeed produced in the Chew Valley (hence were supplied to 'Bristol' makers such as Clarke). The current lot appears to have survived in original unaltered condition with its original escapement. The position of the alarm mechanism is typical for West Country verge and short bob pendulum lantern clocks and the method of fixing the movement bars to the top plate (by pinning against lugs riveted to the underside of the top plate rather than cutting slots into the plate itself) appears also to be a method favoured by West Country makers for their better clocks.
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