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Lot 443
Warwickshire, Birmingham, Token Penny, 1796, by Thomas Wyon, obelisk, rev., bouquet of wheat hops and roses, lettered edge; London, Henry Young [Coin Dealer], Ludgate Street, Penny, 1794, view of St Paul’s, rev., Star and Garter, edge plain (DH 39). First extremely fine, second nearly so. (2)
Lot 69
A pair of cut glass twin light candelabra in the George III style, late 19th century, the crenellated sockets above conforming drip pans hung with faceted glass pendants, on serpentine arms issuing from a central boss, each with obelisk finial and faceted ring finial rising above, on waisted stems and circular petal cut bases, 44cm high
Lot 1183
A Chinese carved jade style plaque, 20th century, decorated with a carved and pierced mythical beast, the head surrounded by swirling body and decorated with scrolls, width 7.5 cm, a Chinese carved green stone tapering square form obelisk, height 4 cm, a Chinese pale stone florally carved cylindrical pendant, heigth 4 cm, a Chinese carved mottled green stone stand, with carved corrugated top, shaped feet and drilled central mounting hole, width 9 cm, a Chinese carved green stone buckle, with two rectangular apertures, width 6 cm, two Chinese carved jade style pale green curved fragments, tallest 8 cm (7) Provenance: Donald Simmonds Estate.
Lot 1190
A quantity of hard stone carved pieces, 19th and 20th century, a green nephrite stye mount carved around with gadrooned pattern, a pair of rose quartz bases with circular resesses, a set of twelve pale green jade style bars, with holes for threading, a dark green jade scroll weight, three obelisk shaped carved hard stone pendant weights, one with squared sides, dark green with carved bands, a second of tapering cylindrical form, white with carved guilloche relief, a third of tapering cylindrical form with fine carved banded and circular patterns, (a lot). Provenance: Donald Simmonds Estate.
Lot 611
George III oval mourning brooch converted from a ring, the oval ivory painted in sepia depicting a gentleman mourning by an obelisk which reads Rest in Peace, beneath a weeping willow, in oval gold mount, the reverse inscribed Jane Boghurs Ob 6 May 1786 AE51, 29mm x 16mm Further images and condition reports are available at www.reemandansie.com
Lot 1229
Jill Lauimore, (contemporary), a pottery Obelisk decorated in relief with a Volcano, exotic birds and palm trees on a square plinth, signed and dated 1979, 56cm high Jill Laurimore was born in New York and moved to England as a child, she is married to actor Jon. She studied ceramics under John Doubleday and worked as a ceramicist for two years. She now writes acclaimed childrens novels
Lot 265
A Rare Model of the Harrogate War Memorial, by Leadbeater Art China, on unglazed obelisk on base with spiral steps, inscribed ïHarrogate War MemorialÍ, (Harrogate), 153mm high, Model of the Great Yarmouth War Memorial, by Willow China, inscribed ï They Gave Their All - These Nobly Played Their Part - They Heard Their CountryÍs Call - For God And King And RightÍ, the base marked ïAllenÍs Bazaar, Gt. YarmouthÍ, 166mm high, Model of the Clacton-On-Sea War Memorial, inscribed ïWar Memorial - Clacton-On-SeaÍ, ï1914-1918 To The Glorious Memory of Those Brave Men of Clacton, Who Sacrificed Their Lives in the Great WarÍ, (Clacton-On-Sea), 125mm high,(3).
Lot 209
A Victorian Derbyshire pietra dura and sample marble inset black marble obelisk, mounted as a table thermometer, circa 1870, the rectangular section plinth with inset floral motifs, on a rectangular base, 33cm high; a Victorian Derbyshire pietra dura inset black marble model of a table, circa 1870, with circular top, spreading stem and square base, 15cm high, 14cm diameter; a pair of gilt metal mounted onyx urns, early 20th century, 19cm high; and a pair of variegated black and grey marble obelisks, 20th century, 20.5cm high
Lot 599
Frank Avray Wilson (1914-2008), Abstract, signed, oil on board, 50.5 x 63cm.; 20 x 25in. * Had a first solo show at Obelisk Gallery in 1954, later ones including Redfern Gallery, 1995 and 2002. Also showed at Leicester Galleries and the Royal Academy. Public collections in Cleveland, Durham, Leeds, Leicester, Swansea and Wakefield hold his work.
Lot 51
A French gilt metal mounted Sevres style porcelain mantel timepiece garniture Le Roy, Paris, late 19th century The eight-day backwound movement with replaced platform lever escapement and circular white enamel Arabic numeral dial decorated with floral festoons and signed LE ROY, A PARIS to centre, the arched case with floral decorated French blue ground urn surmount above shaped panel decorated in the manner of Vautrin with a gallant in 18th century dress presenting a lovebird to his companion beneath dial, the sides with gilt bordered floral panels and dolphin mounts, on conforming festoon decorated plinth base with curved ends and gilt brass feet, 41cm high; with a pair of two branch candelabrum, each with central draped `obelisk` flanked by foliate scroll cast branches with porcelain sconces above shaped panel fronted figural decorated upright flanked by dolphin mounts, on shaped plinth base with turned brass feet, 32cm high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request.
Lot 119
A Regency brass mounted mahogany bracket clock in the manner of Thomas Hope The movement by Joseph Mason for retail by William Alexander, the case attributed to Banting and France, London, circa 1825 The five pillar twin fusee bell striking movement with anchor escapement, trip hour repeat and signed Wll,m. Alexander, London within a foliate oval cartouche to the border-engraved shouldered backplate, the pendulum with calibrated slider for regulation and conforming concentric engraved decoration to the lenticular bob, the 7 inch circular convex white painted Roman numeral dial with repeat signature WILL’M ALEXANDER, LONDON to centre within cast brass bezel milled with continuous scroll design, the case in the Romano-Egyptian taste with brass pineapple finial to the gadroon carved upstand incorporating brass mounted cavetto moulded collar and flanked by honeysuckle carved ‘acroteria’ finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply carved horizontal fluted infill to angles and shaped brass fillet inset fielded panel beneath dial, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets, on panel fluted panel inset skirt base with stylised fan carved feet, 51cm (20ins) high. DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ printed in the sale catalogue or available from the auctioneers on request. Provenance: The property of a private collector. Formerly (in 1926) with George Boniface Souter, the grandson of a major tenant farmer on the Goodwood Estate who died in 1952. Purchased privately from his widow by a collector in 1971, who subsequently sold it, again privately, to the current owner. Behind the dial is the scratched inscription Jos’h Mason, London, Manufacturer who is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working from 2 Walbrook Place London 1832-9. William Alexander is recorded in Baillie, G.H Watchmakers & Clockmakers of the World as working from Newington Causeway, London in 1825 and in Loomes as working 1828-44. The movement and bell bear detailed service inscriptions indicating regular work undertaken by the Hunter family, clockmakers of 136 High Street, Clapham from 1828-74, with two further dates up to 1896 by different makers based in Brixton. The case of the current lot belongs to a group of around a dozen known examples which share the same basic form and dimensions differing only in detail. Perhaps the earliest from the series is an example by Atkins & Son formerly in the possession of Marquesses of Bristol, sold by Christies, King Street ‘Ellerslie House’ 24th May 2001, lot 65. The 1st Marquis of Bristol employed the firm of Banting, France & Co. to supply furniture for Ickworth, Suffolk including the State bed which shares similar details such as the anthemion carved ‘acrotoria’ finials with the Atkins & Son clock and the current lot. This coupled with the presence of the stamped B.F. initials on the case of the current lot suggests that Banting & France were the makers of this particular form of case, probably on a special order basis. The case design with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrates the strong influence of Thomas Hope who, in his 1807 book Household Furniture.., published designs considered to be the height of fashion at the time. When considering his designs for smaller pieces of furniture such as for ‘Recesses in the shape of ancient hypogea’ (see Hope, Thomas Household Furniture pl. XXVII, no. I) the inspiration for the form of the current lot can clearly be seen.
Lot 585
A late Victorian silver presentation group, "To commemorate the erection of the last pillar of the Russian Afghan Frontier Settlement on the Banks of the Oxus" modelled as an obelisk flanked by two soldiers on base engraved with map of the Russian/Afghan frontier, Goldsmiths & Silversmiths Co Ltd, London, 1899, on ebonised plinth base, width 6.75in.
Lot 455
After Max Beerbohm 1872-1956- "Rev P B Clayton", 1931, publ by Vincent Day & Son Ltd; lithograph printed in colours: together with five other colour lithographs after Max Beerbohm to include John Maresfield, Siegfried Sassoon and others: Jan Franz van Bloemen 17662-1749- View of an Obelisk, after Horizonti; etching, 23.5x18cm: Gottlieb Friedrich Riedel, German 1723-1791- Sheep on a hillside, after J Gradmann; etching, 19x23.5cm: I Clark, early 19th century- "View looking over George Town on the Queeda Coast", publ Black, Parry & Co and Nicol`s & Co 1814; hand-coloured aquatint, 20x25cm: Gaetano Zancon 1771-1816- Tribesmen; hand-coloured aquatint, 20.8x26cm: After Albrecht Dürer 1471-1528- "Christ in Limbo", from The Large Passion, 1510; woodcut, laid paper, Helios watermark, 40x29cm: together with a mixed quantity of prints and reproductions by and after different hands, 18th-20th centuries, (a lot) (unframed (box)
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