We found 30568 price guide item(s) matching your search

Late Period, Ca. 664 - 332 BC.A glazed amulet of the goddess Tawaret, depicted standing with arms at her pregnant belly, on a base with a back pillar. It has a suspension hole, suggesting it served as a protective talisman. Tawaret, an ancient Egyptian goddess was associated with fertility and protection. Her unique appearance consisted of blending attributes of a hippopotamus, woman, and crocodile. For similar see: The Metropolitan Museum of Art, Accession Number: 74.51.4486.Size: L:35.3mm / W:11.2mm ; 2.64gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

A REGENCY STYLE MAHOGANY DINING TABLE, 20TH CENTURY on three pillar support, with downswept legs, brass paw feet and castors

A VICTORIAN WHITE PAINTED CAST IRON GARDEN TABLE AND TWO CHAIRS,the chairs with arched pierced backs, centred with female nymphs, over geometric circular seats, the table with pierced scrolling top, on acanthus wrapped centre pillar, on scrollwork base. The table 69cm high 67cm diameter

A 19TH CENTURY MAHOGANY CIRCULAR TABLE,hinged top raised on a centre turned baluster pillar and triform base. 94cm diameter, 74cm high

A GEORGE III OAK WINE TABLE with circular snap-top, on turned centre pillar and triform base. 48.5cm diameter

A Regency mahogany cased regulator, by G J Wagstaff, London, the 11-inch silvered dial with Arabic numerals and a single hand indicating the minute divisions, with a subsidiary seconds dial, quadrant curved dial aperture, and enclosing an eight-day movement, with Harrison’s maintaining power, substantial six-pillar movement, shaped plates and dead-beat escapement, and an ebonised rod pendulum, with silvered regulation screw, the single brass weight on a five-spoke wheel, within a moulded long case with an arched door and circular windows to the sides,46cm wide24cm deep 195.5cm highProvenance: The David Morris collection.Condition ReportGeneral knocks & wera to the case.  Some splits and cosmetic repairs.  The clock appears to tick when wound, however we are unable to guarantee that this represents full and complete working order and would recommend inspection by a professional.

A George II mahogany pillar-and-claw table, c.1725-1740, with a circular top above a birdcage action and turned gun-barrel column, on a shaped tripod base,86cm diameter74cm highProvenance: The Collection of the late Rosemary and Theo Cutting.Illustrated: Adam Bowett, 'Early Georgian Furniture, 1715-1740', pl.5:86, p.247.

A group of cut table glass, early 19th century and later, Anglo-Irish, comprising:a pair of decanters, each with a diamond-cut mushroom stopper and mallet-form body,27cm high, a similar pair of 'Prussian'-type decanters, each with three applied neck rings and a slice-cut body, 25.5cm high, a glass 'piggin'-type sugar bowl, with integral fan-cut handles and an alternate diamond and pillar-cut body, 16.5cm diameter, anda pedestal sugar bowl, with alternate strawberry diamond and pillar-cut bands, raised on a capstan stem and radial star-cut foot, 14cm high (10)Provenance: The Collection of the late Rosemary and Theo Cutting.The items in this lot were on long-term loan to the Fitzwilliam Museum, Cambridge, until 2023.Condition ReportDiamond cut decanters) Chips to the stopper pegs. Nibbles, frits and scratches to throughout - particularly to the cut sections and the widest points.Slice cut decanters) Nibbles, frits and scratches to the edges of the cut sections.Piggin type bowl) Expected small chips, nibbles and first to the cut sections throughout.Pedestal bowl) Small amount of first and nibbles for the type of glass and age. A small cullet spot to one of the clear pillars.

An early 20th c cast iron hand cranked pillar drill, 58cm h

A French ebonised and Boulle square pillar shaped four-door cigar box, late 19th c, 24cm h Lacquer lifting and splitting, brass lifting in places, some minor losses, gilding rubbed on finial, doors do not open fully

A Wedgwood black basalt candlestick, 19th c, in neo classical style and engine turned, 16cm h, impressed WEDGWOOD and a later, larger, Wedgwood black basalt candlestick with reeded pillar (2) Short candlestick - professional restoration to rim of sconce and small flat chip on edge of base. Taller candlestick - undamaged

Victorian Brass Corinthian Pillar Standard Lamp with Shade

Victorian Brass Pillar and Glass Reservoir Oil Lamp with Shade and Funnel

Regency Style Yew Wood Twin Pillar Dining Table with Leaf and 6 Chairs

Brass Pillar Table Lamp with Glass Shade

Mahogany Reeded Pillar Torchere on a Tripod Base

A COLLECTION OF CRESTED CHINA; EDITH CAVELL STATUE battleships, boats char-a-banc, bathing machines, pillar boxes etc, various makes

A marble twin-pillar fire surround with cast-iron insert and a companion stand, 155cm wide x 38cm deep x 118cm high.

A Draper model D13/5A five speed pillar drill.

Karl Weschke, German 1925-2005 - Pillar, 1994 (from the 'Egyptian' series); pencil on paper, signed and dated lower right 'Weschke 94', 34 x 23.5 cm (ARR) Provenance: Frank P Whitford (1941-2014), purchased directly from the artist; Sworders, Stansted, 20th Century Decorative Art and Design, 27th January 2015, lot 320; private collection, purchased from the above Note: Whitford was an art historian and critic. He was a leading expert on 20th century German and Austrian Art and also curated Eduardo Paolozzi's first major retrospective at the Tate Gallery in 1971. The artist met and worked with members of the Borough Group, such as Miles Richmond and in Spain during the early 1950s, and it is clear to see the influence of their teacher, David Bomberg, in this work. The artist would later settle in Cornwall, where he would become associated with the artists of St Ives and in particular, Bryan Wynter. Works by the artist are in the collections of Ferens Art Gallery, Saffron Walden and the Tate. 

A VICTORIAN MAHOGANY SCOTTISH CHEST, fitted with two short over three long drawers, with turned pillar supports and feet, width 120cm x depth 55cm x height 121cm (condition report: splits in two for ease of transport and manoeuvring, historical cracks and repairs, marks, stains, veneer loss, other signs of wear and usage)

A VINTAGE AJAX B-16L PILLAR DRILL ON BESPOKE WOODEN STAND machine height 104cm total height 159cm with chuck guard and machine vice (neither fitted) (PAT fail due to cover missing from power box but WORKING)

38 unboxed Lilliput Lane cottages - The Rising Sun, Treetops, Hen Party, Dovecote, Nutkin Cottage, Hollytree House, Yuletide Visitors, Burns Cottage, Hazelnut Hall, Partridge Cottage, Queen Of Hearts x 2, Arithmetic at the Old School House Walney, Fruits of the Sea, Rockerbye Baby, Tunnel of Love, Afternoon Tea, Sadlers Inn, Cabbage Patch Corner, The Gingerbread Shop, Fisherman's Bothy, Rydal Cottage, Chestnut Cottage, Mince Pie, Holy Christmas, Millbeck Cottage, Golden Days, Pillar Cottage Hawkshead, Finders Keepers, Welcome Gnome, Snowed Dovecote, Pride & Joy, Dream Catchers, The Sandcastle, Gold Top, Little Summerhouse, Ullswater Boat House, Old Tom's Timeless Tavern

Traditional oak coffee table, moulded oval top, four turned pillar supports united by undertierDimensions: Height: 45cm  Length/Width: 152cm  Depth/Diameter: 92cm

Early 20th century oak refectory dining table, rectangular top with rounded corners, twin pillar end supports on sledge platform and block feet, united by pegged stretcher Dimensions: Height: 77cm  Length/Width: 198cm  Depth/Diameter: 106cmCondition Report:Split to the top where the boards join. Various other splits to the top.

A Sealey pillar drill, h.71cm

An SP pillar drill

A Pair of German Silver Pillar Candlesticks and Mixed Continental Silver, the candlesticks stamped M.D. Wetzlar and 835 standard, of octagonal baluster form, with knopped stem and on moulded footrim, 10ins high, a Continental silver circular stand stamped 835 standard, with bead mounts and part reeded body, on ball feet, 6.5ins diameter x 2.75ins high, a Continental silver circular dish of lobed outline, on ball feet, 5ins diameter, one other small oval dish 4.125ins wide, a Danish silver napkin ring surmounted by a crown, combined weight 33ozs, and a pair of Danish plated metal spherical salt and pepper pots

A Late 17th Century Walnut and Marquetry Longcase Clock by Thomas Cruttenden of Yorke, the 10ins square brass dial with engraved centre and silvered chapter ring with Roman and Arabic numerals, subsidiary seconds dial and date aperture and with bold cast winged cherub head pattern spandrels, to the eight day two train five pillar movement striking on a bell contained in walnut and marquetry case, the rising hood with moulded cornice and spiral turned columns, trunk door inlaid with two shaped panels with flowers in a bowl, and with circular lenticel to centre, replaced plinth inlaid with similar floral panel, on bun feet 77ins high Note: Thomas Cruttenden recorded working London and York 1668-1698. He was apprenticed to Robt. Scignier in July 1668 and was then passed over to John Fromanteel until November 1677, free of The Clockmakers Company 1677. In 1680 he moved to York to establish one of the first important clock workshops in the North of England and became free of the City of York. He died in 1698. Provenance: Purchased Hotspur Antiques Ltd, 14 Lowndes Street, London SW1X 9DEExternally the clock presents very well indeed, showing wear commensurate with age and moderate usage.  There is some light shrinkage here and there on the veneer panels which is to be expected on a clock of this vintage. There is some light cracking on the door, and general chips and marks but no real areas of concern.  There is a nice patination. The item has been refurbished at some point but this would be historic. The two lower marquetry panels at the base of the trunk door have been replaced and the plinth base is later - the base has some marks. The marquetry retains good colour. The glasses have some marks but no obvious signs of damage or chips and may be considered original. The doors sits on its original hinges and functions correctly. Likewise the inner cabinet is in good condition. The weights appear original and are strung. The original winding crank is present. To the inside of the door there are various notations and pieces of information as shown in the images, relating to the clock.  The hood is in good condition, fits and locks correctly, the locking bracket appears to be original. No obvious sign of restoration but has had attention over the years on a historic basis. The mechanism and the fit is good and again appears to be contemporary with the case.  Some slight marks and one or two small wormholes, again historic, to the sides and lower hood plinth.  The dial is in very good condition but again at some point would have been re-silvered, but this is historic.  The engraving is complete and intact and the hands appear original.  The mechanism is complete although we cannot warrant the originality of all components. The clock winds, runs and sets but should be regarded as untested. The hammer and bell appear original. Overall a very nice example of this early clock. Please note we are unable to comment as to whether any additional movement would fit into the cabinet. This needs to be the decision of the prospective bidder.  Prospective bidders are strongly advised to view all images closely prior to bidding. 

Victorian silver seven bar toast rack, each bar of trilobed form, with similar loop handle and upon four bun feet, hallmarked John Gilbert, Birmingham 1863, H16.5cmCondition Report: Approx 10.07 ozt (313.4 grams)General wear commensurate with age and use in the form of surface scratches, nicks and small knocks. Central pillar slightly unsteady and leaning, appears to have previously been repaired/reinforced. Hallmarks with some wear, particularly to maker's mark.

Two boxes of china including Royal Doulton Pillar Rose part tea set, Ridgway Pottery Homemaker plates etc

A SCHEPPACH ELECTRIC PILLAR DRILL

A CLARK METALWORKER PILLAR DRILL

A Sealey Premier pillar drill

An Axminster Power Tools Centre Model CH16N pillar drill.

An 18th or 19th century oak chest of two short and three long drawers, with mahogany veneer pillar accents, with brass swing handle and on bracket feet, 90cm high, 94cm wide, 51cm deep

A large wall mirror with wooden frame painted white with faded gold decorations. Floral and pillar carvings throughout. 110cm high, 74cm wide.

White porcelain figure of a nude man standing with one leg bent and up on a square pillar, head on his left knee. Unicorn Studio backstamp. Dimensions: 6"L x 3.5"W x 8"HManufacturer: Unicorn StudioCondition: Age related wear.

White matte porcelain figure of nude man sitting on a square pillar in a pensive pose. Unicorn Studios backstamp. Dimensions: 6"L x 3.75"W x 10.25"HManufacturer: Unicorn StudiosCountry of Origin: United StatesCondition: Age related wear.

Late Period, 664-332 B.C. Carved in the round, depicting a male carrying a rectangular shrine intended to hold a figure of a goddess; arms and upper chest bare, strap to the chest to support an apron, dorsal pillar to the reverse; accompanied by a custom-made stand. 4.6 kg, 19.3 cm (5.18 kg total, 25 cm including stand) (7 5/8 in. (9 7/8 in.)). From the collection of Danish furniture designer Ole Wanscher (1903-1985). Accompanied by an academic report by Egyptologist Paul Whelan. Accompanied by a copy of a photo of Wanscher in his office, circa 1960. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11843-207728.Ole Wanscher was a leading figure of the Scandinavian Design movement. Wanscher was inspired by ancient designs, and one of his most famous creations, the 'Egyptian Stool', was based on folding chairs from Egypt's New Kingdom. This piece is visible in the background of a photo of Wanscher in his office, circa 1960. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]

26th Dynasty, 664-525 B.C. Pale blue composition with moulded detail to the wig, beard, tools and seed bag; nine horizontal bands of hieroglyphic text to the lower half of the body; dorsal pillar. Cf. Schlögl, H., and Brodbeck, A., Ägyptische Totenfiguren aus öffentlichen und privaten sammlungen der Schweiz, Göttingen, 1990, p. 259, no. 182, for the type. 230 grams, 18.2 cm (7 1/8 in.). Acquired on the German art market, 1989-1995. with The Museum Gallery, 19 Bury Place, London, WC1, UK, 1998-2003. Property of a London based academic, 2003-present.

Late Period, 664-332 B.C. Comprising: one upper body with crisply formed facial details, dorsal pillar, agricultural tools and seed bag to the reverse; one knee-length with a hieroglyphic inscription to the lower body; each mounted on a custom-made display stand. 135 grams total, 10.2-11.3 cm including stand (4 - 4 3/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [2, No Reserve]

Late Period, 664-332 B.C. With dorsal pillar, pierced for suspension. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, pl.100(a). 1.76 grams, 25 mm (1 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.The tyet amulet was associated with the goddess Isis and was often referred to as the knot or girdle of Isis. It was commonly placed within the mummy wrappings on the upper torso of the deceased, with the belief that it would invoke Isis' protection and safeguard the body, thus ensuring their rebirth in the afterlife. [No Reserve]

Late Period, 664-332 B.C. Each a square-section column with flared base, transverse ribs, pierced at the top. Cf. Tinius, I., Altägypten in Braunschweig. Die Sammlungen des Herzog Anton Ulrich-Museums und des Städtischen Museums, Wiesbaden, 2011, p.166, no. 322, for similar. 1.29 grams total, 23 mm each (1 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.The djed pillar signifies the concepts of 'enduring' and 'stability' and was a common funerary amulet from the Old Kingdom onwards. It was first associated with the gods Ptah and Sokar but later became a symbol of Osiris, representing the god's backbone. In this context, the djed pillar appears in Chapter 155 of the Book of the Dead, concerned with the deceased's resurrection. [2, No Reserve]

Late Period, 664-332 B.C. Of long, slender mummiform shape, wearing a tripartite wig and holding a pick and hoe, with a dorsal pillar bearing a hieroglyphic dedication to 'the Osiris, Horemakhbit'; repaired. Cf. Janes, G., The Shabti Collections 6: A Selection from the World Museum, Liverpool, Lymm, 2016, 475-476, no. 248, for examples of similar style and text arrangement. 102 grams, 15.7 cm (6 1/4 in.). Ex M.S. Ciappara collection, Norfolk, UK, 1939-1950.Shabti figures were created to carry out heavy manual tasks on behalf of a person in the afterlife. The body of a shabti was usually in the form of a mummy and often depicted with tools in their hands, such as baskets, picks, and hoes. During the Late Period, it was customary to be buried with hundreds of shabtis. [No Reserve]

Late Period, 664-332 B.C. With arms crossed at the chest holding pick, hoe and cord for seed bag, dorsal pillar, horizontal and vertical panels to the lower body with hieroglyphic text. Cf. von Droste zu Hülsdorf, V. and Schlick-Nolte, B., Ägyptische Bildwerke II: Statuetten, Gefässe und Geräte, Melsungen, 1990, pp.161-162, no. 78, for the shabti type. 73 grams, 12.5 cm (4 7/8 in.). Acquired from Hotel des Ventes, Drouot, in the early 1980s. Ex collection of a private collector. Property of a French collector. [No Reserve]

27th-30th Dynasty 525-343 B.C. Olive-green with dorsal pillar, false beard and agricultural tools; vertical band of hieroglyphic text to the lower body and another to the dorsal pillar. 48 grams total, 11.4 cm including stand (4 1/2 in.). Acquired in Egypt by Lieutenant James Alexander Goodman in the 1920s. Thence by descent to his grandson.Lieutenant Goodman served in the 4th Battalion Welsh Regiment during World War I and saw action in Palestine during the capture of Bethlehem, (for which he won an MC). After the war, he setup a business selling Fordson trucks and tractors in Alexandria, Egypt. A keen antiquarian, he collected ancient objects during his time in Alexandria and when he visited the pyramids at Giza. After his first marriage failed, he returned to the UK in the early 1930s. On his death in 1959 he passed his small collection of Egyptian objects on to his second wife, Ruby Goodman. On Ruby’s death in 1994, they were left to their second daughter, Rosemary Johnson, (née Goodman), and are currently in the possession of her son.

Late Period, 664-332 B.C. Faience shabti with detailed face, beard and wig, holding a pick and hoe, dorsal pillar and seed bag to left shoulder; some loss to surface; repaired. Cf. Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020, p. 183, for examples of shabtis with a similar glassy blue glaze. 162 grams, 16.5 cm (6 1/2 in.). Ex Gilles Grimm collection, Paris, France. Acquired by the current owner from Aguttes, 19 December 2018, no.451. Property of a French collector. [No Reserve]

Late Period, 664-332 B.C. With dorsal pillar, hands folded across the chest holding a pick and hoe, with a front panel of faintly impressed hieroglyphic text. Cf. von Droste zu Hülsdorf, V. and Schlick-Nolte, B., Ägyptische Bildwerke II: Statuetten, Gefässe und Geräte, Melsungen, 1990, pp.167-169, no. 81, for the type. 72 grams, 10.7 cm (4 1/4 in.). Ex M.S. Ciappara collection, Norfolk, UK, 1939-1950.Shabti figures were created to carry out heavy manual tasks on behalf of a person in the afterlife. They were often depicted with tools in their hands, such as baskets, mattocks, and hoes. Over time, the number of shabtis in a standard elite burial increased, from one in the Eighteenth Dynasty to several in the Nineteenth Dynasty, to one for every day of the year by the Third Intermediate Period. The number of shabtis remained in the hundreds during the Late Period. [No Reserve]

A WILLIAM III/QUEEN-ANNE WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK JOSEPH WINDMILLS LONDON, CIRCA 1700-05 The six finned and latched inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square gilt brass dial with subsidiary seconds, ringed winding holes and conforming calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword-hilt half hour markers and signed J. Windmills, London to lower margin, the angles applied with twin cherub and crown spandrels with foliate scroll engraved infill to the plate between, the case decorated with floral and foliate marquetry and with caddy top over glazed hood door with turned columns flanking the aperture, with concave throat moulding and trunk door centred with a lenticle and decorated with three-shaped panels incorporating central bird amid flowers, on conforming plinth base with decorated shallow skirt. 232cm high excluding later finials, 49cm wide, 26.5cm deep Provenance: Acquired August 1919, 'A fine Wm & Mary long case clock with bird & flower marquetry panels'The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at 'Swan Court, Mark Lane End, next Tower Street' by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; shortly after 1700 the firm became a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. Condition Report: The movement is in working condition however is due for a gentle clean/service as lubrication is somewhat dry/gummy and the plates are a little tarnished with some oil staining. The escape wheel and arbor are 19th century 'service' replacements otherwise movement appears essentially all original with no visible evidence of alteration or noticeable replacements. The centre movement pillar is not fitted with a latch all other latches are present. The dial plate retains old yellow lacquer surface which has mellowed/discoloured; it is a little dirty with a few spots of oxidation, the silvering is fairly heavily oxidised; the calendar ring is operational. The hands are replacements of incorrect design and size (with respect to the hour hand). The spandrels appear original and retain good strong gilding.The movement and dial retain the original seatboard which rests at the correct level within the case with no evidence of alteration confirming that the movement and dial are original to the case. The movement backplate has spare holes from a previous securing bracket which is no longer present - there are corresponding holes to the case backboard. The case has generally survived in original 'untouched' condition, The top board to the caddy superstructure, finials and blocks are 19th century replacements; and the 'box' beneath the caddy would have been faced with scroll-pierced fretwork which has bee substituted for a piece of dark veneer. The cornice frieze would have originally also been faced with fretwork - this has been replaced by a section of marquetry veneer which appears Dutch and most likely 'salvaged' from a piece of furniture. The hood door is in good condition; the hinges are unusual being externally mounted (to the right-hand side) however they appear original. The wooden column caps and bases conform with other known examples by Windmills; the lower right front is loose and also appears to be a later turning that the others. The crossgrain chin moulding to the left-hand side is missing a section around 6 ins in length. The rear of the caddy is open and was most likely originally closed with thick paper pasted over the aperture. The throat moulding has a small veneer chip to the rear left-hand edge and a small loss to the leading upper edge of the marquetry at the front otherwise are in good condition. The trunk door is straight with some slight springing to the edge moulding to top left-hand corner and some small localised losses to the marquetry (corresponding to slight movement in the carcass board clamp) towards the lower edge. The lock and hinges appear original and undisturbed. The sides of the trunk are in good condition - the left-hand side has a small veneer chip to the rear edge and evidence of some light historic worm infestation (long gone!). The right-hand side has some 'rubbing through' of the crossbanded veneer towards the front leading edge at the level of the lower door hinge. The plinth base is original and undisturbed retaining marquetry veneers in good original condition having only slight losses to the upper left-hand edge and towards the centre. The side veneers have horizontal shrinkage cracking (but are stable) and some historic worm damage. Unusually the clock retains its original skirting faced in marquetry. The design of the marquetry suggests that the skirt may have originally been taller, there are also veneer losses to the sides and some historic worm damage. Faults to the case are otherwise limited to minor bumps, scuffs, bruises and wear commensurate with age and use. The surface/colour is particularly good and untouched with the marquetry having raised 'glue' texture around the various elements indicating that the finish is old. The backboard retains all of its origiginal height continuing all the way to the lower edge of the base.Clock is complete with pendulum, original brass-cased weights, door key and a winder. Condition Report Disclaimer

A GEORGE II/III GREEN JAPANNED EIGHT-DAY LONGCASE CLOCK THE MOVEMENT AND DIAL BY JOHN BURGES, GOSPORT, CIRCA 1730, THE CASE CIRCA 1760 WITH LATER DECORATION The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds and calendar aperture to the matted centre within silvered Roman numeral chapter ring and female mask and scroll cast spandrels to angles, the arch with recessed shaped silvered plate signed John Burges, GOSPORT within foliate scroll engraved infill, now in a pagoda-top case later decorated in polychrome and gilt with chinoiserie designs onto a mid-green ground 230cm high, 52cm wide, 25.5cm deep Provenance: Barbara Gibbs and thence by descent John Burges is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Gosport circa 1726 SALEROOM NOTICE: Please note the correct measurements have been updated Condition Report: Movement is in clean working condition and survives in its original form; the strike train hammer pin wheel and the escapewheel have however been re-pinioned (service repairs no doubt to address past wear). The dial has some patchy discolouration/oxidation to the silvering otherwise is in good clean condition although the hour hand is a replacement of incorrect length. Movement retains original seatboard which now rests on packing applied to the cheek uprights of the case confirming that the movement and dial are not original to the case. The case has been entirely re-painted but is structurally sound with the carcass being essentially original with some repair/rebuilding to the lower edge of the base only. The decoration is generally in very god condition although there is some retouching to the lower part of the trunk door which also exhibits a very slight warp.Clock is complete with two weights, pendulum, case key and a winder. Condition Report Disclaimer

A REGENCY BRASS AND EBONY-MOUNTED MAHOGANY BRACKET CLOCK THE DIAL SIGNED FOR JAMES WILSHIRE, LONDON, EARLY 19TH CENTURY The eight-day five pillar twin fusee bell striking movement with anchor escapement regulated by heavy disc-bob half-seconds pendulum, the backplate engraved with oval floral reserve within conforming borders, the 7 inch circular cream painted Roman numeral dial inscribed JA'S WILSHIRE, LONDON to centre and with strike/silent selection lever set behind a convex-glazed cast brass bezel, the break-arch case with carrying handle and single brass-edged pad to top and recessed brass-bordered panel beneath the dial, the sides with brass grille sound frets, on brass ball feet 41cm high with handle down, 25cm wide, 16.5cm deep Condition Report: Movement appears to be fundamentally original with no visible evidence of alteration or notable replacements (although the mechanism has not been removed from the case for detailed inspection). It will run and strike however the strike is slow/lazy indication that a gentle clean/service is required. The dial has overall flaking/losses to the finish as well as evidence of historic retouching/overpainting. The case is generally in very good original condition with faults limited to a small veneer repair (section of original veneer re-stuck) to the arch of the left hand side fret surround otherwise there are only a few minor bumps, scuffs and some light shrinkage cracking.Clock is complete with pendulum, case key and a winder. Condition Report Disclaimer

A pillar drill and lathe with various attachments and motor

Tri-ang - Hachette - Hornby - Others - A mixed group of loose and packaged model railway layout accessories, parts, and kits in a variety of scales. Lot includes Hachette Farmhouse; Hornby R507 platform steps; Scale Structures #1006 Tool House & Pillar Crane Kit; Built-Rite Models #103 The Texas Barn Kit and similar. Boxed / packaged items appear Very Good - Mint, presented in Fair - Good packaging - some appear sealed. Loose items all show age and play wear generally appearing Fair - Fair Plus. All items are unchecked for completeness. (This does not constitute a guarantee) (K)

A NU TOOL CH10 PILLAR DRILL total height 58cm, an Efbe-Schott steam cleaners (both PAT pass and working) and an AVO universal meter (3)

AN ONYX PILLAR, with a square top and base, raised on a cylindrical support, height 90cm (condition report: top loose)

A WEATHERED COMPOSITE GARDEN URN, depicting masks and flowers with swag, on an odd Reeded cylindrical pillar and an octagonal pillar (condition report: slight crack from top rim to the bottom, crack visible from both sides, each part a marriage)

A reconstituted stone bird bath on baluster pillar, diameter 46cm, height 89cm

A Meddings industrial pillar drill

A carpet / prayer rug with three pillar design, in ochre, navy, yellow and cream, with hanging lap and floral borders, 126 by 200cm.