Ebonized Decorative Objects

Midcentury carved wood and silver Taurus bull sculpture, well carved with expressive face and glass eyes. The body with one inset lapis stone, and numerous...

An elegant 18th century 8 day verge bracket clock in ebonised case by James Evans London. The back plate beautifully engraved. The movement has ...

For your consideration is this super rare Art Deco modernist Bulle clock by P.M.Favre. One of the first battery operated clocks of the 1930s. The frosted g...

This STACKED Vessel is made from a mixture of Walnut, Maple, and Mahogany. This piece, with it's unassuming form, was crafted from a variety of salvaged woods, each with its unique ...

African ebony head 1930 with a height of 20 cm for a width of 10 cm and a depth of 18 cm. Additional information: Material: Exotic wood.

Magnifying glasses are already recorded as far back as the Ancient Greeks. Troughout history they were reserved for scientists, nobility and monks. During the Renaissance and culmina...

Roger Feraud in black and gold finish hat rack, coat stand from France, we have two available. Also used as a Sculpture typically in the Mid-Century Modern Space Age interior. We i...

Five horn sculptures, African Watusi (Bos taurus) horns mounted on turned ebonized stands. Measure: Height range between 20.5 inches to 27 inches and base diameters are 7.5 inches. E...

Large Biedermeier Box or small chest in walnut veneer from Southern Germany around 1820. Original brass handle. Ebonized key escutcheon and edges. Restored and hand-polished with she...

Pair of very large French figurative floor-standing candelabra French, 19th century Measures: Height 260cm, width 90cm, depth 90cm This pair of candelabra are each surmounted by...

For your consideration is this fabulous 1930s Art Deco English Mantle clock with a superb modernist feel. Highly lacquered wood which has been ebo...

A fine pair of ebonized cast iron handled cauldrons with tripod feet, marked on base “40L, AO, Made in Portugal, with a circular foundry or company ma...

Set of 3 large black ebonized French Napoleon III candlesticks. The turned candlesticks have an elegant siluette the slightly higher base of 15cm diameter and 7cm height on 3 small round baroque feet forms the base. The conical, slender central base is inlaid at the bottom with a triple turned baluster stem and at the top with a turned plate as a subdivision and on a small baluster above it the slender and elongated candlestick stem. The set of 3 candlesticks...

Modernist Art Deco candelabra in lacquered ebonised wood and chromed metal. Dating to the 1930s and originating from Belgium. The condition of the chromium is very good but does sho...

A magnificent ebonized wood and gilt bronze mid-19th century clock signed Raingo Freres, France, circa 1850. The origins of the company Raingo Frères lie with Zacharie Joseph Rain...

Wooden ebonized cat with dish sculpture mounted to a mahogany plinth. Dish can accommodate keys or smaller objects. Patina / light wear present (paint loss to the tips of ears / edges of green dish...

A very good quality late 19th Century ebonised Victorian silvered dial mantel clock, with Westminster chime on 8 bells or gong. Having a strike / silent dial, an eight day duration movement, striking on every quarter hour. The ebonised case with gilded ormolu mounts, mouldings and finials and raised on scrolling feet. Maker J.W.Clarke . 55 Long Acre...

A lovely antique painted iron clock dial signed 'EDWIN GAY**, BRENTFORD and RICHMOND' and dating from circa 1890. As reclaimed by our buyer from a derelict building, it bares the sca...

Matched pair of long horn steer horns of good color and form on custom made wood bases.

A very fine French 19th-20th century neoclassical revival style ebonized wood and figural silver plated mounted plateau Surtout de Table centerpiece...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

George II bracket clock by Thomas Wagstaffe, London Ebonised bell top case surmounted by a hinged brass carrying handle standing on a raised plinth...

Antique French Belle Époque Rococo style bracket clock by Henry Dasson French, 1882 Measures: Total height 136cm Clock height 86cm, width 37cm, depth...

A gesture of elegance. A study of the human body. A language of light and shadow. The "Last Frontier" sculpture in smoked walnut and antiqued white gold leaf is without question one ...

A fine and large continental 19th-20th century Renaissance revival carved walnut judica figure of "Moses with the Ten Commandments". The baroque wood carving...

Superb 1930's Art Deco modernist free standing picture frame in chrome and glass. The frame has two pieces of glass which slot into the chrome stand. You can display a picture both t...

Africanist ebonised wooden low relief decorative mural element with animal pattern around a central vase. France, 1960s.

Beautiful restored Historicism Box or small Chest, Floral Ash Veneer from Austria, Vienna Late 19th Century, circa 1880 Flower ash veneered on softwood with rosewood inlays. Ebonized...

A 19th century patinated bronze sculpture of a female scholar, France. The patinated surface with some remnants of gilt highlights with an ebonized wood base. The seated figure with...

This beautiful piece consists of a patinated bronze female figure holding an urn with a glass flame, which serves as a lamp, all standing on a tall and finely decorated wooden plinth...

Dove Cover Sculpture by Chandler McLellan Limited Edition Of 8 Pieces. Dimensions: D 10.2 x W 22.9 x H 38.1 cm. Materials: Hard maple and walnut. Sculptures will be signed and numb...

An attractive Austrian mid-18th century Baroque period quarter-striking bracket clock by the maker Andreas Hohenadl (1714-1793), Vienna. The ebonised fruitwood case with figurative b...

Petite Noire Scuplture by Chandler McLellan Dimensions: D 7,6 x W 10,2 x H 30,5 cm. Materials: Ebonized ash. Please expect minor differences in wood grain and other naturally occur...

Tiny Dancer Sculpture by Chandler McLellan Limited Edition Of 8 Pieces. Dimensions: D 10.2 x W 19.05 x H 40.6 cm. Materials: Hard maple and walnut. Sculptures will be signed and nu...

A pair of French 19th century ebonized oak candlesticks. Skillfully turned in a faux bamboe.

Antique Belgian wooden jewelry box shaped like a bombe chest with three lockable drawers and ornate brass hardware and ornamentation.      

An exceptional, fine and impressive, unusual antique George V English sterling silver Art Deco presentation trophy in the form of dartboard; part of our silverware collection. This exceptional and unusual antique sterling silver trophy has been crafted in the form of a Yorkshire or Kent doubles dartboard*. The face of the dartboard clearly depicts the appropriately numbered segments and the wirework spider. This fine George V trophy is supported by an ebonised wood mount and an Art Deco style angular ebonised wooden base. The base displays six hallmarked vacant presentation plaques; each plaque may be engraved with a personal inscription if so desired. The posterior surface of the wooden mount is plain. * This variation of dart board does not incorporate a triple ring, only the double and bullseye. "By the late 1920s a standardised dartboard was introduced and remains the most popular dartboard today across the world. However, the 'standard' dartboard (also known as the 'London' or 'Clock' board) was not an overnight success in the UK. Initially it had to compete with other different existing target boards played on in some localities. These have come to be known as 'regional dartboards' and were usually named after their region of origin, for example, the Yorkshire Doubles board, Kent Doubles, the London Fives and the Manchester Board" - Patrick Chaplin PhD (Darts Historian) Condition This unusual antique trophy...

A Good Carved and Ebonised Picture-easle, French Circa 1880 Height: 170 cm Width: 72 cm Depth: 75 cm Provenance: Private Australian Collection.

A highly decorative Egyptian Revival jewellery box or trinket box, the hinged & part ebonized lid featuring a finely detailed brass bust of ...

Extremely large music box made in 1854 by Duccommun Girod in Switzerland. Duccommun Girod was around early in the 19th century when music boxes first ...

Highly Decorative Rectangular 19th Century Walnut Trunbridge Parquetry Box with Handle and Bun Feet From England. 9"H ith the Handle Up.

Rectangular box in ebony veneer inlaid with star patterns, all sides and the cover adorned with finely openwork and chiseled hinges in gilded bronze set with hard stone cabochons, si...

Exceptional pair of carvings of putti holding a jardinière above their heads. Great carvings of figures with a bird at the foot of one of the figures and an animal blanket at the foot of the other figure. Great carving without problems. Great for an entry or architectural niche.

Pair of French Empire Bronze Candlesticks. Circa Late 19th Century. French Neoclassical Bronze candlesticks. Finely cast and chased c...

this early music box plays 4 cheerful melodies on a 20.5cm cylinder as provided on the original melody card. Nicole Freres was the leading manufacturer of music boxes in the 19th cen...

Urbmon 102 Wall Hanging Sculpture by Chandler McLellan Dimensions: W 40 x H 119,4 cm. Materials: Ebonized oak. Chandler McLellan I was born in 1993 in Fort Wayne, Indiana. I am a t...

The time-honored decorative techniques of pietre dure and micromosaic are combined in this rare and exceptionally-crafted Grand Tour casket. Serving as a m...

Modernist Art Deco pair of matching candelabra in lacquered ebonized wood and chromed metal. Dating to the 1930s and originating from Belgium. The condition of the chromium is excel...

A large and impressive French Louis Philippe portico clock with complications. The ebonized wood case richly embellished with gilded bronze mounts; the 5? silvered dial with roman nu...

Count Gleichen’s Russian shell paperweight, the tooth shaped fragment of a Russian armament shell set above another of rectangular form both raised on a silver mount on an ebonized rectangular plinth, applied with a plaque reading ‘Two fragments of a Russian shell fired at Mr Fred Burne assist.t paymaster and Mr Henry Crave St John midshipman of H.M.S. Cumberland in Aug.t 1854 from Tsee Fort Bonarsund whilst conveying refreshments to the English camp – for their messmate – H.S.H. Prince Victor of Hohenlohe Midshipman landed with the Naval Brigade in 1854’. With a framed caricature of Count Gleichen inscribed Vanity Fair, London, July 5, 1884. Vice Admiral H.S.H Count Gleichen – the Queen’s Nephew.Russian and English, 1854. The print has the following biography on the reverse and on the mount ‘His Serene Highness Prince Victor …. of Hohenlohe-Langenburg, is better known in England as Count Gleichen and as the Queen’s nephew. Born fifty years ago, he was sent to school at Dresden; but at the age of fourteen he conceived ideas not to be bounded within the confines of the small life of a German principality. So he ran away from school to go to sea, and his aunt the Queen of England, being informed of the fact, proposed to her sister to let her adventurous nephew become naturalised as an Englishman and enter the English Navy. This was accordingly done, and Prince Victor, as he was then called, was appointed to the Powerful on the Mediterranean Station, in 1848. He served in the Crimean War and in the operations in China he proved a popular officer and a good sailor-man, and was three times wounded in battle. In 1861 he married the daughter of Admiral Sir George Seymour, sister of the fifth Marquis of Hertford on which occasion it was that he put down his title of Prince and took up for future use that of Count. He became, in due course a Vice-Admiral, and in the meantime he also became a sculptor. It is in the latter art that he now mainly busies himself, and he has created many pleasing busts of his royal relatives and some works of greater pretensions than family portraits. An Alfred the Great, a Beaconsfield, and a Prince Imperial...

Sterling, Bone, & Semi-Precious Gems Figure of 'St. George & Dragon' Germany, Early 20th Century A meticulously cast and modeled Medieval / Renaissance Figure of St. George Slaying the Dragon, This figure with a moveable helmet visor, revealing his carved bone face...

Ebonized wood hinged snuff box embellished with miniature portrait of young lady hand-painted on porcelain plaque, surrounded by brass border.   

Victorian era inkstand with Boulle marquetry in ebonised wood and brass English, dated 1853 Measures: Height 17cm, width 38.5cm, depth 27.5cm This 19th Century English inkstand ...

A lovely late George III single pad ebonized eight-day, twin fusee table clock with original verge escapement and rack striking by O. Hamley, circa 1800-1815. The moulded single pad ebonized domed top case with original carrying handle is raised on all four of its original ogee bracket feet onto a detailed base moulding. Gilt-brass sound frets adorn the sides and front in a 'fish scale' pattern backed with bright burgundy silk. The enameled white dial displays Roman numerals, minute and quarter-hour markers housed inside a gilt-brass bezel and domed glass, signed Hamley, Warwick Place, London. The clock features a strike/silent switch on the front dial and a repeat to the right-hand-side. The backplate has border engraving and a short pendulum. Date: 1800-1815 O. Hamley is recorded in Loomes (2006) as being active, circa 1811. He also worked at Bedford Row...

The exterior surface decorated with striking geometric panels of contrasting light & dark fruitwood veneers with ebonized mouldings, the slant top opening on later iron hinges to a plain interior housing a small hinged compartment for writing implements...

19th Century Victorian Rosewood Decorative Inlaid Writing Slope With An Engraved Shield. Stationary Compartments and Storage Space. The item has black ebonised decorative accents & is fitted with a tooled black leather interior Supplied with two glass inkwells A new leather writing pad A vintage ink pen...

An interesting gilt metal and ebonised torchère or stand in the manner of Thomas Hope, English c.1910 The torchère of triangular form but with a circular top, mounted throughout wit...

Antique large size sculpture and an impressive, religious work of art. Looking at Christ suffering like this, the crucifix (in our view) is a symbol of what 'telling people the trut...