Novo-Hispanic school. Mexico. Late 17th century. Nicolás De Correa (1660-1720)‘Adoration of the Ecce Homo, Man of Sorrows, Lord of the Green Reed, Holy Christ of Humility and Patience, or Most Holy Christ of the Cold Stone’. Oil on canvas.118 x 188 cm. A perfect scene enclosed in a painting of large dimensions, which looks like the passage of a suffering and serene Christ in Easter week in any corner of Spanish geography. The large scene, framed in period gilded cane, is completely filled by the central, mystical figure. Seated and serene, resigned and with all the acceptance of the divine will on his face, bearing our sins, he is silent and mute in the face of the executioners who mock, spit on him and insult him, as the Gospels narrate. Seated on a pilaster, or ‘cold stone’, as the text of John 3. 16 reads on its front:‘In hoc apparuit charitas Dei in nobis, qvoniam filivm svvm vnigenitvm misit Devs in mvndvm. Vt vivamvs per tvm.’(For this is why the Love of God appeared in us, because God sent His only begotten Son into the world, so that we might live through Him.)Above Christ, two angels, flying and weeping, carry a wide, almost mournful phylactery, like a banner, with some verses from the Song of Songs 3, 11: ‘EGREDIMINI ET VIDETE FILIAE SION REGEN SALOMONEM/ IN DUADEMATE...., [QUI CORONAVIT ILLUM MATER SUA].... (Go forth, ye daughters of Zion, and behold King Solomon with the crown [with which his mother].... and so ends the verse, though he is not.... [his mother] crowned him on his wedding day, on the day of his heart's joy).The procession is opened by two angels, standing like ceremonial candle holders to the right and left of the central cross, which is Christ himself. One carries the cross which he will be nailed to and die on; the other, the pillar of his scourging and sufferings, with the cock that crowed at Peter's betrayal.On the right and left, all around the crowd that fills the back, are the angels of the Passion, sacredly carrying symbols and instruments of the Lord's Passion, ‘a great cloud of spectators surrounds us’ (Heb 12:1-4; Ps 21; Mk 14). In the box, on the left, are Mary Magdalene, Mary his mother, and his mother's sister, Mary of Clopas, the mother of James and Joseph; all with the beloved disciple John. On the right is Mark the Evangelist with the lion, whose gospel described this scene so heartbreakingly, amidst an audience of praying and worshipping saints. A picture for meditation and contemplation, ‘eyes fixed on Him who endured pain and the cross, who tasted death on behalf of all, tested by what He suffered, and who, suffering, learned obedience’. All perfectly described by the evangelist present in the picture.For all of us who approach this scene, it is a great spectacle in which we take part ‘as if we were present’. As the psalm says, ‘all who seek you, O Lord, and behold you, all who behold you, who behold in us also that wondrous spectacle of your own salvation’.Sadly, on the back of the canvas there is an illegible text, due to the use of bad ink, or the use of very watery watercolours, which the humidity and the passage of time have gradually erased.
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A part George IV three-pillar extending "D-end" dining table, each snap top section supported by inverted sabre quadrupedal bases terminating in brass box-toe castors. accompanied by a further two leaf inserts and corresponding bearers, 276 cm long x 134 cm wide x 75 cm overall height.The middle section is a later reproduction but not new.The tops have been repolished and match each other but are repolished but does have some scratches.
A mahogany fusee wall clock late 19th century, the circular 12inch dial with Roman numerals, minute track and metal handles, the brass four pillar movement with anchor escapement, 41cm diameterProvenance: The property of the late Baron John Mauger Langin Condition ReportMissing key, otherwise appeaes to be complete. Could benefit from light cosmetic attention. Appears the case may have been rebuilt/altered, see photos, would benefit from light cleaning and attention, no guarantee to time keeping, pegs and pendulum present
![Hedley Fitton [1859-1929]Etching titled ''The Apprentice Pillar. Roslyn Chapel'', signed.[65x50cm]](https://cdn.globalauctionplatform.com/633605e1-dd5a-4364-8985-b20c00d6d27b/2dbe6b10-b569-4845-8522-b20e014c45f4/468x382.jpg)
A REGENCY MAHOGANY PILLAR TABLE in the manner of Gillows of Lancaster, the rectangular top crossbanded in kingwood with a reeded edge and rounded corners, on a slightly flared reeded column and three conforming downswept sabre legs with gilt metal ball feet, 73cm high x 41.5cm wide x 32cm deepProvenance: The Grey-Egerton Family, formerly of Oulton Hall.
Victorian mahogany hall stand, central rectangular pillar supporting four projecting branches with turned hat and coat hooks, lower stick and umbrella stand on turned supports with metal drip tray, skirted base on compressed bun feet Dimensions: Height: 193cm Length/Width: 72cm Depth/Diameter: 24cm
Pair of Victorian figured walnut tea tables, moulded serpentine fold-over top with quarter-matched veneers, on four shaped and moulded pillar supports with central finial terminating to out splayed supports, cartouche carved knees and scroll carved terminals, carved with curled foliate decoration, on brass and ceramic castorsDimensions: Height: 71cm Length/Width: 94cm Depth/Diameter: 46cm
Y A COLLECTION OF FOUR LATE 18TH/EARLY 19TH CENTURY SENTIMENTAL ITEMS The first with an oval ivory panel decorated en grisaille with a pair of doves upon a pillar, with L'Amour above, within a gold setting with red and white enamelled decoration, later suspensory loop; together with a marquise shaped brooch pendant, the ivory panel painted in sepia with a lady beside a birdcage with a dove in flight, with lamb detail, with a blue and opalescent enamel border and half pearl surround, brooch fitting verso; a white paste, mother-of-pearl and seed pearl brooch/pendant, the blue ground with a mother of pearl pillar inscribed L'Amitie, below a seed pearl swag, with a white paste set border; and a pendant with ivory panel painted in sepia with a lady holding a plaque stating Souvenir, and hairwork panel verso Size/dimensions: first 2.2cm long; second 3.9cm long Gross weight: 25 gramsPlease note: Dreweatts have applied for a de minimis exemption for this lot. Ref: 2TUE3Z8L, ETBH7RZY and M8NGX7L2 Condition Report: All items as found, varying losses and wear and damageCondition Report Disclaimer
A Victorian rosewood library table, the rounded rectangular top with insert faux leather writing surface over a frieze drawer and dummy drawer, opposite another frieze drawer and dummy drawer, on turned and acanthus carved end pillar supports to splayed reeded square tapered legs to brass caps and castors, 107 cm wide x 59.5 cm deep x 73.5 cm high
A Victorian rosewood library table, the rectangular top with insert writing surface on rectangular end pillar supports, united by a turned stretcher, bearing brass plaque to base "39", on plinth supports to turned feet, 91.5 cm wide x 61 cm deep x 72.5 cm high, together with another similar mahogany library table, bearing brass plaque "33", 117 cm wide x 68.5 cm deep x 73 cm high
Pair of French Louis XVI pillar dressers, each on four curved legs with outsawed ornaments on the lower border, 5 drawers with canted top and sides , veneered with plum and rosewood in geometric fields on oakwood,bronze mounts and some woodwork partly later replaced, Paris second half 18. century , a pair, 90x35x21cm
A Regency inlaid mahogany bracket clock having an eight-day duration double-fusee, five-pillar movement striking the hours and half-hours on a bell, with wheat-ear border engraving, the eight-inch round painted convex dial having black Roman numerals and decorative blued-steel hands, the arch-topped mahogany case inlaid with boxwood stringing, with ebonised mouldings, cast-brass handles, brass steeple fretwork to the sides and standing on brass ball feet, height 47.5cm
Payne & Co. London a walnut bracket clock the eight-day duration, double-fusee, five-pillar movement striking the hours on a bell and numbered 5013, the eight-inch round painted dial having black Roman numerals, blued steel spade hands and signed Payne, 165 New Bond Street, London, the figured walnut case with pediment top, canted corners and inset panels, height 45cm.
Third Intermediate Period, Ca. 1069 - 664 BC.An Egyptian amulet depicting the god Sekhmet standing on a rectangular base. It has a dorsal pillar on the back and it is pierced for suspension. Sekhmet is the god of war, healing and plague.Size: 26mm x 9mm; Weight: 1gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Late Period, Ca. 664 - 30 BC.An Egyptian amulet depicting the jackal-headed god Anubis, standing on a rectangular base. It has a dorsal pillar at the back and is pierced for suspension.Size: 35mm x 15mm; Weight: 3gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
GEORGE IV ROSEWOOD CARD TABLE, rectangular foldover swivel top, green baize inset, reel moulding to frieze, turned and carved pillar on concave platform, gadrooned feet part-concealing brass castors, 74 (h) x 92 (w) x 46cms (d)Provenance: private collection CardiffComments: minor scratches and indents, immaculate baize
Silver candlestick, >800/000, on square base with a round pillar, ending with line decoration. The light of the candlestick is decorated with garlands with fruit. On the base is an engraving and a monogram. 10.5x10.5x22.5cm. approx. 300 grams. The candlestick is somewhat crooked, otherwise in good condition.
Early 19th century Biedermeier satinwood and mahogany banded work table, rectangular form with extended curved ends, the hinged lid enclosing divisions over single frieze drawer, fitted with two small drawers to each side, on four clustered square tapering pillar supports, concaved triangular platform on turned and reed carved feet with castors Dimensions: Height: 74cm Length/Width: 76cm Depth/Diameter: 41cm
Victorian pollard oak and walnut sewing or work box, moulded rectangular hinged top with wide walnut band inlaid with satinwood panels with extending scrolled decoration, rosewood interior fitted with lidded compartments, sunken storage well and pin cushions, fretwork lids with bone handles, quadruple spiral turned pillar supports on raised rectangular platforms, united by flat fretwork stretcher, on scroll carved feet with castorsDimensions: Height: 71cm Length/Width: 61cm Depth/Diameter: 45cm
Registration No: BV07 FNY Chassis No: WDD2163762A004223 MOT: May 2025Just 59,000 miles from newRare and desirable 5.5-litre V12 Bi-Turbo engine variantEntered from a small private collection of modern classic Mercedes-Benz carsOffered with a history file including the original book pack with stamped service bookThe CL Class is the Coupé derivative of the S Class full size luxury saloon, upon which it shares the same platform, it was formerly known as the SEC (Sonderklasse Einspritzmotor Coupé) and latterly the S Coupé. After six years of development, the third generation was officially unveiled at the end of June 2006 and was presented at the 2006 Paris Salon. Like its predecessors, the C216 has no B pillar interrupting the sleek curve of the side windows. C216 is offered in four models, each with its own engine and transmission, the 5.5L V8-powered CL 500; the high-performance 6.2L V8-powered CL 63 AMG; the ultra-luxury twin-turbo 5.5L V12-powered CL 600; and lastly the CL 65 AMG with a twin-turbo 6.0L V12 engine. The C216 makes use of the Distronic Plus cruise control, which debuted on the 2007 S-Class. This system is able to bring the car to a complete stop, and accelerate again to the pre-set speed, to keep a pre-set distance away from the car ahead of it. This Mercedes-Benz CL has also debuted with the new Active NightVision program that enables drivers to view the conditions in front of the car despite the dark surroundings.Manufactured in 2007, the CL600 offered was registered new on the 1st March that year. Finished in Iridium Silver with complementary Black Exclusive leather interior upholstery and Ash Black wood interior trim, the CL was well-specified from the factory with options including AMG 20-inch wheels, parking guidance, Dynamic front seats, Distronic Plus cruise control, upgraded theft protection, automatic climate control, DVD changer, rear headrests, heated screen wash system, and remote boot locking amongst many others. Offered having covered just 59,000 miles from new, the CL600 has had four former keepers and is being entered from a small private collection of modern classic Mercedes-Benz.Benefitting from significant improvement in 2020, a new coil pack was fitted and the gearbox was supplied with a full overhaul by a transmission specialist. Offered with a history file that comprises the original book pack including owner’s handbook and stamped service book, invoices documenting maintenance, improvement, and servicing, previous MOT certificates, a no advisory MOT certificate until May 2025, and a current V5C. Evidenced across the service book and invoices, the CL600 has received eight services with the majority of those completed by main dealers, with the last being completed at 58,400 miles. These Coupés are renowned for their opulence, and this example with modest mileage is certainly one to consider! PLEASE NOTE: The registration number shown in the images is not included in the sale.PLEASE NOTE: The registration number shown in the images is not included in the sale. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: GF 5087Chassis No: 46163MOT: ExemptSupplied new by Col. Sorrel to 'Montmorensie' and subsequently the property of J.M. Carrick, J. Montgomerie, A.R. Gooda, R.J. Rickards, D.E. Crowther and the vendorOriginal chassis, engine and transaxle. Front axle understood to be of Molsheim manufacture but no number discernedDecidedly elegant Weymann coachworkThere is no doubt ‘La Petite Royale’ succeeded where ‘(La Grande) Royale’ failed in terms of cementing Bugatti’s status as a luxury motorcar manufacturer; little wonder then that the model was reputedly among Ettore’s favourites. Le Patron would surely have approved of this particular example – chassis 46163 – too on the basis that it sports a scaled-down version of the magnificent semi-panelled Weymann Coach body which adorned his personal Type 41 ‘Royale’ when it won the 1929 Grand Prix d'Honneur Concours d'Elegance complete with ‘letterbox’ windscreen, kick-forward A-pillar, D-back and asymmetric rear windows. Invoiced to UK concessionaire Colonel Sorrel on 7th January 1930 for the princely sum of FF63,000 (including FF2,570 of extra fittings), the two-door Fixed Head was delivered a month later. Issued with the London number plate ‘GF 5087’ on April 2nd 1930, the Type 46’s first owner is simply recorded as ‘Montmorensie’ who we presume to have been the artist Sir Miles Fletcher de Montmorency, 17th Baronet Morres of Knockagh. Deriving an income from his Irish estates but residing in the English Capital, de Montmorency seemingly kept the four-seater until 1939/1940 when it was bought by Rodney Clarke Esq. for a mere £30! The co-founder of renowned Bugatti and Maserati specialists Continental Cars (and later Connaught), Clarke believed chassis 46163 to have been the Type 46 that he loaned to Cecil Clutton and Laurence Pomeroy for a test drive which was subsequently written-up in the April 1942 issue of Motor Sport magazine. Hand- and typewritten correspondence on file also reveals that ‘GF 5087’ was the car in which Pamela Clarke ‘missed being born by five minutes’ during 1943.Migrating to Scotland thereafter, the close-coupled four-seater belonged to J.M. Carrick Esq. of Coldstream, Berwick and then John Montgomerie Esq of Castle Douglas. The latter acquired it in 1954 and as the proprietor of James Gordon (Engineers) Ltd set about a ‘chassis up, body off’ restoration. Amazingly, much of the work is chronicled via a series of accompanying black and white photographs. Done on a piecemeal basis, the project had yet to be completed when Robert Prosser (acting on behalf of Robert Gooda Esq.) tracked the Bugatti to Castle Douglas during 1973. In two minds about selling, Montgomerie asked what he felt was an overly ambitious £4,000 for chassis 46163 and was somewhat taken aback to be pretty much handed a deposit there and then. Custodian for less than a year, Mr Gooda had the Type 46 re-registered as ‘GF 5087’ but apparently did little else prior to his premature demise. Advertised for £6,500 in the Thursday February 21st 1974 issue of Exchange & Mart, the Bugatti had in fact changed hands earlier that month being bought by R.J. Rickards Esq. Entering into correspondence with Mr Montgomerie, Mr Rickards received a wealth of information about the mechanical overhaul and was even sent the water pump. The engine is the original factory-fitted unit and is clearly stamped with the numbers ‘79’ and ‘195’. The former is the actual engine number, while the latter is the assembly number (and not that of a correct-type replacement, as had been previously posited). Mr Rickards would own the Bugatti for no less than thirty years during which time he repaired the ash frame, had the fabric panelling renewed in Blue by coachbuilder I. Wilkinson & Son of Derby and retrimmed the interior etc but, like his predecessors, did not finish it. Sold to its previous keeper Douglas Crowther Esq via the agency of Gavin McGuire Fine Automobiles in 2004, the Type 46 was further improved with all six of its alloy wheels being expensively refurbished before entering the current ownership a decade later.An automotive engineer by profession whose career took him all over the globe on various troubleshooting and project management missions, the vendor has had a lifelong passion for motorcars. Inspired by a petrolhead stepfather and racing driver mother, he has undertaken numerous restorations over the years and still has a 1932 Alvis which has been in his family since new. As well as completely rewiring the Weymann Coach including rejuvenating the ignition system (no mean feat given the lack of available information on the twin-plug set-up), he has had the instruments restored and the interior trim completed. Thought to have begun life with Marchal lighting, ‘GF 5087’ switched over to Scintilla components early in its life (the fuse box and horn are marked Scintilla too). More original than many surviving Bugattis, chassis 46163 has recently been inspected by the marque historian and Honorary Registrar of the Bugatti Owners’ Club, Mark Morris. Keen to be as authentic as possible in his endeavours, the seller has persisted with the Smith-Bariquand carburettor and reinstated the full-length running boards (a task made easier by the presence of the factory mounting holes). The ‘Metro Fully Flush Sliding Roof’ remains in situ and operational. Although a going concern, ‘GF 5087’ has yet to be run-in and / or de-bugged since the completion of its protracted, seven-decade, refurbishment. Housed within an engine-turned aluminium panel, the Jaegar instruments encompass a 150kmh speedometer and zeroed odometer.Aesthetics are subjective but we consider chassis 46163 to be among the most attractive Type 46s to have survived. Our sentiments being presaged by Cecil Clutton in Motor Sport eighty-two years ago: ‘This particular car is undoubtedly one of the most handsome ever, as is universally agreed by all beholders . . . The body is a two-door, four-light Weymann, with a large travelling trunk behind. The wheels are of the aluminium type. Some 5-litres are rather “lumps” in appearance, but this one is essentially “sleek.” An overall height of only 5’ 3”, as against a wheelbase of no less than 11’ 6”, largely contributes to the exceptionally fine appearance’. The potential jewel in many a collection and a fabulous opportunity for Bugattistes everywhere, this glorious ‘Petite Royale’ is offered for sale with V5C Registration Document, history file, Mark Morris report and spare block (which was purchased from marque specialist ‘Ivan Dutton’ on a ‘just in case / you never know’ basis).For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737
Registration No: BAS 324 Chassis No: 824.041.1328 MOT: August 2025One of only 847 Flaminia GT Convertibles builtSubject to a full restoration during the 1990s with a high standard of maintenance work continuing through to todayRegarded as the best handling GT car of its timeOffered with a comprehensive history file dating back to the late 1980s, which includes images of restoration worksIntroduced at the Turin Auto Show in 1957, Lancia’s Flaminia line was the successor to the ground-breaking Aurelia. The Flaminia inherited the Aurelia’s revolutionary DeVirgilio-designed V6 and rear-mounted transaxle, but the earlier model’s sliding pillar front suspension was replaced by a more modern unequal-length double-wishbone front suspension and the V6's stroke was decreased while the bore sizes increased for higher revving. The Flaminia platform was so excellent that it was subject to a number of coachbuilt designs to complement the factory Pinin Farina offering from the likes of Zagato for the 'Sport', Pinin Farina themselves for the 'Coupé' and 'Speciale' and of course Carozzeria Touring for the 'GT' and 'GTL' models.The very rakishly designed Carrozzeria Touring 'GT' first appeared in 1959 and was constructed with an attractive Aluminium 'Superleggera' body. Available in both Coupé and Convertible forms, the GT featured ultra modern twin headlights, finned rear wings and a shortened wheelbase to be proportionally more satisfying as a two seater. The early cars were powered by the 2458cc version of the V6 engine fed by a Solex Carburettor, which was considerably 'hotted up' for the GT and produced 117hp - an increase of 16hp over the more pedestrian Berlina.As expensive as its rival Aston Martin DB4 when launched, the Flaminia GT was out of the league of the 'many' and its stunning looks appealed to major continental stars such as Marcello Mastroianni and Jean-Paul Belmondo. The Flaminia's other party trick, its handling characteristics, appealed to the likes of Juan-Manuel Fangio and Peter Collins, with Enzo Ferrari committing to print that the GT was 'the best handling car available'. Now a hugely under-appreciated Italian thoroughbred that is both incredibly usable and astonishingly pretty, these rare Lancias represent fantastic value for money against their contemporary peers.According to an email from Massimo Castagnola of the Fiat Group, referencing original Lancia factory records that are on file, chassis 824.041.1328 was manufactured on the 17th April 1961 with its body painted in the attractive colour scheme of 'Grey Newmarket' with the interior in 'Red Sky'. Purported to have been in the custodianship of its first owner in Salinas, USA from 1961 to 1989, the first officially documented part of the car's history was from its purchase by a Mr R D Pardilla of San Diego in 1989, by which time it was clothed in a Light Metallic Blue. Mr Padilla would keep the Lancia for 9 years, and having found the Light Metallic Blue rather distasteful opted to have it re-painted Red prior to its sale to a Mr Burbani. Mr Burbani immediately exported the Flaminia from the USA to his son, a resident in Ravenna, Italy, where it was immediately stripped down to begin a comprehensive restoration for which there are many photographs on file. It is understood that Mr Burbani only got to the stage of having the colour painted and assembled as a rolling shell with a re-trimmed interior and new Black mohair hood before its sale in 2001 to the previous long-term keeper, Mr I G Harmond - who was a British resident, who continued with the completion of the restoration. It is noted in the history file that the engine was changed around this period to a unit from a Lancia Flaminia Berlina, due to a fault with the original engine, which is understood to be missing. Mr Harmond then imported the Flaminia into the UK where it was registered as 'BAS 324' before it was purchased by the current keeper through esteemed restorer and sales outfit, Thornley Kelham.In the vendor's ownership and since restoration, 'BAS 324' has been subject to a comprehensive maintenance schedule - with an extensive file of receipts from specialists such as Tanc Barratt, Thornley Kelham and Omicron on file. The most recent of these invoices was from Tanc Barratt for dynamic balancing of the flywheel, replacement of the prop shaft coupling and refitting of the clutch (which had been recently replaced in a previous invoice), due to a small vibration that the vendor had picked up on. The vendor drives his car collection regularly and expects nothing less than mechanical excellence, so when a small fluid leak from the transaxle was picked up during our inspection, he immediately booked the car in for inspection and rectification in this area. As a result, the vendor describes the mechanical condition of the Lancia to be 'very good' to 'excellent' making this a fine driver's car. Cosmetically, the restoration (now the best part of 25 years old) has stood up well to the test of time, however, interested parties should note that some paint rectification will be needed to make the Flaminia a Concours D'Elegance winner. The vendor describes the cosmetic condition as 'good' as a result, but advises it will still makes a gorgeous show car for the time being.Having decided that he is simply not using the Lancia due to the ownership of a collection of modern classic Aston Martins, and an impending house move, the vendor has decided that it is now time to find a new custodian for his prized Italian soft-top. It is offered with a V5C Registration Document. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
An Irish Spectroscope, Yeates Dublin, Irish, c.1880, engraved along on of the arms 'YEATES & SON DUBLIN', standing on a cast iron base with brass pillar support, prism housing in the center under a cover, with fixed collimator telescope, viewing telescope on a micrometer scale for angular adjustment, 27cm tall. Yeates & Son, Dublin - Stephen Mitchell Yeates, born in 1832, was the son of George Mitchell Yeates, an instrument maker in Dublin. Upon his father’s death in 1865, Stephen took over the family business, which had been established as "Instrument Makers and Opticians" in 1790. The shop, originally located at another site, was moved to 2 Grafton Street in 1827, strategically positioned across from Trinity College. This location proved to be advantageous, as the close proximity to the university facilitated a steady stream of business, particularly in the sale and manufacture of scientific instruments used in academia. In 1865, the business was officially renamed Yeates & Son. The company advertised itself as "Instrument Makers to the University," underscoring its relationship with Trinity College. This connection was pivotal, as many of the instruments built by Yeates & Son were utilized by the college for various scientific purposes. Stephen Mitchell Yeates managed the business until his death in 1901. The firm remained a prominent supplier of scientific instruments in Dublin throughout the 19th century. Many of the instruments by Yeates & Son are still housed at Trinity College,
A late 17th century oak brass dial longcase clock The dial signed John Andrews, Londini fecit The case possibly associated and with later carving, the hood with scroll pediment above freestanding fluted columns, the trunk with moulded panel door, the base box with conforming moulded panel, raised on a shaped plinth, the 11.35 inch brass dial with silvered Roman and Arabic chapter, subsidiary seconds dial below XII and separate calendar indicator, the centre matted and engraved with floret boss and scrollwork, the four-pillar weight-driven movement striking on a bell, with two weights, pendulum, winder and case key. 47cm wide x 24cm deep x 207cm high Footnote:John Andrews was apprenticed to Nathaniel Pyne from 1680 then later transferred to Samuel Stanton. He was freed in 1688 and worked in Leadenhall Street. A bracket clock by the maker can be found in the collection of the Metropolitan Museum, New York, accession Number: 64.101.861. Condition:Hood: Generally good. Cracks to glass in both top corners.Case: Generally good with minor/expected signs of age.Dial: Good. Chapter ring silvering is slightly tarnished.Movement: Winds, sets, runs and strikes. Strike hammer not hitting the bell.Ancillaries: Good/serviceable condition.Unless otherwise stated, all clocks are likely to have been serviced and/or repaired in their lifetime and may have had parts replaced. While a clock may be described as 'working' at the time of the report, they are not guaranteed for timekeeping or durability - it is advised that all clocks are inspected and serviced by a qualified horologist before full use.
A Victorian demi-lune amboyna veneered étagère, c.1860, the four amboyna semi-circular shelves with gilded brass 'pea' bead decoration to the edge, each with three turned and fluted ebonised pillar supports, the top shelf pillars have finial decorations, (could also have mirror plates fitted and hung on a wall as shelves) 43 x 21.5 x 92.5cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
A set of tall Victorian mahogany wall hanging shelves, c.1860, the six rectangular shelves have semi-circular moulded edges and turned and fluted pillar supports, the top and bottom shelves have decorative turned finials, and a pair of steel slats to the back give extra support to each shelf, with holes at the top for fixing to the wall, 54.5 x 16 x 146cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
A very unusual Victorian mahogany gallery-backed narrow chest of drawers, c.1860, the four graduated pine lined drawers with knob handles and original blue sugar paper in the drawer bottoms, the raised gallery back with a shelf and two turned pillar supports, 95 x 38.5 x 137cms high. PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
A George III mahogany 'D' end twin pillar dining table, the tilt action ends with three reeded downswept legs with brass caps and casters, with a central leaf held in place with brass clips and mahogany flaps, 225(open) x 127 x 70.5cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
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29421 item(s)/page