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177687 Los(e)/Seite
Los 143
A 19th century mahogany and brass inlaid cased bracket clock, brass pineapple finial, cream dial with Roman numerals, fluted detail to borders, pierced fish scale grill, brass sides, ball feet, handle side rings with cornucopia of flowers and fruit, twin barrel movement, backplate unmarked, pendulum engraved with starburst petal ring, key, movement striking on bell, 28 by 17 by 50cm.
Los 419
A late 18th Century mahogany Chest, the angular fluted canted corners flanking brushing slide and four full width graduated drawers with ovolo lip molding's, raised on ogee bracket feet (now into halves), 96cm wide x 51cm deep x 89cm high (restorations, veneers away, water marks and general condition commensurate with age)
Los 465
An early 18th century George I Oak Chest of Drawers of small proportions with good colour and patination. The cleated rectangular top above paneled sides flanking two half width and three full width graduated side hung drawers with Oak drawer linings, all with brass swan neck handles and brass escutcheon's. The chest with moulded rails and supported on shaped bracket feet, Height 94.5 cms, Width 76.5 cms, Depth 51 cms. (A/F splits to sides)
Los 65
AN EDWARD VII MAHOGANY LONGCASE CLOCK,the eight day three train movement striking on nine chime bars, with a brass arch top dial, Roman numerals, secondary seconds, strike/silent and chime selector dials, the hood flanked by fluted pilasters with fret pierced sound holes to the sides, below a break arch pediment, the astragal glazed trunk door flanked by fluted canted corners, panelled base on ogee bracket feet, 227 cm high. See illustration
Los 75
AN EARLY 20TH CENTURY GERMAN MAHOGANY CASED MANTEL CLOCK, with an eight day chiming and striking movement, marked Junghans B32, the arched silvered dial with Arabic chapter ring, chime/silent and fast/slow subsidiary dials, the case with gadrooned pediment, fluted corners, on bracket feet, 40cm high
Los 124
A PAIR OF PLAVE PORCELAIN CANDELABRA, each modelled with a female figural stem, supporting a cornucopia and with a cherub at her feet, painted predominantly in pastel shades and gilt and further embellished with encrusted flowers, supporting a detachable four-branch candle bracket with bud nozzles and foliate drip trays, painted blue underglaze mark to undersides, 48cm high overall
Los 173
A JAPANESE DARK RED LACQUERED TABLE CABINET, MEIJI PERIOD, rectangular, having a hinged cover printed with a silver dragon, the interior having a lift out tray fitted with open and covered compartments, above two short and one long drawer, on a stand with shaped apron and bracket feet, engraved metal swing handles, 39cm wide x 28.5cm deep x 27cm high
Los 407
A FRENCH CARVED GILTWOOD AND GESSO PIER GLASS, of waisted rectangular form, the chamfered frame surmounted by a foliate scrolling pediment and fitted centrally to each side with a single bracket and shelf, the base with integral serpentine fronted jardiniere, galvanised liner, short cabriole supports, circa 1930, 240cm high x 122cm wide x 39cm deep. See illustration
Los 408
A FRENCH CARVED GILTWOOD AND GESSO PIER GLASS, of waisted rectangular form, the chamfered frame surmounted by a foliate scrolling pediment and fitted centrally to each side with a single bracket and shelf, the base with integral serpentine fronted jardiniere, galvanised liner, short cabriole supports, circa 1930, 289cm high x 106cm wide x 39cm deep. See illustration
Los 439
A MID 18TH CENTURY OAK MULE CHEST, having a planked top, above a quadruple ogee arch field-panelled front above two drawers with later brass escutcheons and swing handles, fluted and canted corners, field panelled sides, the interior fitted with candle box; on shaped bracket feet, 145cm wide x 56cm deep x 86cm high. See illustration
Los 196
A Regency period mahogany cased eight day Bracket Clock, the architectural style pediment above a 19.5cm wide silvered dial with Roman numerals and signed Barber, Cheapside, London, the dial also with strike silent lever, the pierced gilded metal sound hole sides in imitation of fish scales and the gilded movement striking on a bell, the case 46cm high x 30cm wide (widest point)
Los 197
A very fine 19th Century dome topped flame mahogany, chequer and boxwood strung and gilt metal mounted eight day Bracket Clock of large proportions, the square silvered 22cm dial with Roman numerals and stylised foliate style engraving flanked by stop fluted classical style columns having gilt metal capitals and above a central diamond shaped satinwood panel bordered with alternate stringing, the sides with ornately pierced scrolling fretwork and the superb gilded musical movement striking on five gongs, the whole raised on four gilded ogee bracket feet, the case 57cm high x 39cm wide (widest point)
Los 18
A gilt brass `Atmos` timepiece Jaeger-LeCoultre, mid to late 20th century The single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended at the base of the movement signed JAEGER-LECOULTRE to centre and numbered 248072 to suspension platform, the square gilt on cream baton numeral chapter ring with Arabic quarters, the rectangular glazed case with canted angles, on plinth base with adjustable feet, 23.5cm (9.25 ins) high; with original blue fabric lined simulated cream leather presentation box and gilt wall bracket (disassembled), 38.5cm (15.25ins) high overall.Please note: The dial is circular - not rectangular as indicated in the catalogue description
Los 32
A mahogany barograph Hague and Son, Bath, circa 1900 The mechanism with eight segment aneroid chamber within patinated brass armature operating via a system of pivoted levers an inked pointer for recording the change in barometric pressure on the clockwork-driven paper-scale lined rotating drum, the baseplate with ivorine plaque signed HAGUE & SON, BATH, the bevel-glazed case with five glass cover above ogee moulded skirt base incorporating chart drawer to apron, on compressed bracket feet; 36cm (14.25ins) wide; the drawer containing a supply of additional charts and instruction booklets.
Los 46
A rare Swiss carved wood quarter-striking cuckoo bracket clock Unsigned, mid 19th century The eight-day four pillar triple train movement with anchor escapement, skeletonised plates and external countwheels for both the hours and quarters announced by two separate cuckoo automaton figures appearing from behind doors above the dial with single note for the quarters and double note for each hour repeated on a gong, the case finely carved as a Swiss mountain log-built chalet with cockerel surmount flanked by conifer foliage to gable above front with pair of small doors for the cuckoo automata and rosette-carved circular dial applied with cream Roman numerals, the base with relief carved figure of a resting goat with kid flanked by standing ram and billy within a naturalistic log and rock-carved setting, (slight damage), 78cm (30.5ins) high; with carved wood wall bracket with shaped platform above finely worked cow`s head support applied to tied-branch bordered shield-shaped back panel, 53cm (21ins) high; the clock and wall bracket 131cm (51.5ins) high overall.
Los 80
A French enamel decorated lacquered brass carriage clock with push button repeat Unsigned, circa 1900 The eight-day gong striking movement with platform lever escapement and rectangular cream enamel floral garland painted Arabic numeral dial with blued steel hands, the bevel glazed lacquered brass case with hinged carrying handle decorated with delicate polychrome enamel infilled foliate trails above cavetto cornice, reeded frieze and square section corner uprights decorated with conforming enamel floral trails to fascia, on ogee moulded skirt base with integral squat bracket supports, 13.5 (5.25ins) high excluding handle.
Los 99
A Regency carved rosewood bracket clock James Tupman, London, circa 1830 The five pillar twin fusee bell striking movement with rise/fall regulation, anchor escapement and foliate trail border engraved shouldered backplate with pendulum holdfast for the large lenticular bob pendulum, the 5.5 inch single sheet silvered brass Roman numeral arched dial signed Ja`s Tupman, Gr. Rufsell Street, BLOOMSBURY to centre and with fine blued steel heart pierced hands beneath subsidiary STRIKE/SILENT and regulation dials to arch, the case with ball finials to the hipped gadroon carved pediment above foliate panel decorated cavetto cornice and silvered brass fillet inset glazed door with applied relief fan motifs forming upper quadrant infill, the sides with conforming carved cornice above arched brass fishscale pierced side frets, on ogee moulded skirt base decorated with relief overlapping laurel band to front and with scroll feet, 36cm (14ins) high. James Tupman is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1828-39.
Los 100
A William IV brass inlaid carved mahogany bracket clock Murray, London, circa 1830 The five pillar twin fusee bell striking movement with anchor escapement and pendulum holdfast applied to the shouldered backplate, the 8 inch circular cream painted convex Roman numeral dial signed MURRAY, LONDON to centre and with pierced brass spade hands within hinged convex glazed cast brass bezel, the arched case with symmetrical leaf-carved crest above slender rosette-centred brass line decorated short pilasters flanking dial with brass fillet inset shaped scroll line inlaid panel flanked by further lozenge inlaid uprights to apron beneath, the sides with gilt brass ring handles over Gothic arch pierced brass rectangular sound frets, on shallow brass line decorated skirt base with ball feet, 40.5cm (16ins) high. James Murray was born in 1780, he gained his freedom of the Clockmakers` Company in 1815, was elevated to the Livery in 1817 and is thought to have worked until his death in 1847. He is perhaps best known as a maker of marine chronometers and other precision timekeepers; James Weddell took three chronometers supplied by Murray on his Antarctic expedition 1822-4.
Los 101
An early Victorian mahogany library timepiece with passing strike John Carter, London, mid 19th century The four pillar single fusee movement with anchor escapement, Vulliamy style wide jaw pendulum suspension and passing strike on a bell mounted to the rear, the backplate with pendulum holdfast bracket and signed John Carter, 61 Cornhill, LONDON, the 5 inch circular silvered Roman numeral dial with repeat signature to centre and blued steel moon hands within cast brass bevel-glazed bezel, the rectangular plinth form case with tablet upstand and ogee moulded cornice above flame figured front and sides, on tall moulded skirt base with squab feet, 30cm (12ins) high. John Carter is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1817 and gaining his freedom of the Clockmakers` Company in 1829. He was an accomplished chronometer maker who won numerous awards at the 1838 chronometer trials; by 1840 he had set up business at 61 Cornhill. In 1855 Carter held the position of Jurer at the Imperial Exhibition, Paris and was appointed Master of Worshipful Company of Clockmakers three times (in 1856, 59 and 64). As well as being a highly skilled horologist John Carter was also notable as a civic activist - perhaps due to his experience as a child as he was orphaned at an early age. His charitable nature lead him to be elected Lord Mayor in 1859, he died in 1878.
Los 115
A French gilt brass mounted Boulle `religeuse` style quarter chiming bracket clock Unsigned, late 19th century The eight-day triple train movement with deadbeat escapement, striking the hours on a gong and chiming the quarters on a graduated nest of eight bells mounted beneath the movement, the backplate stamped three times with oval winged hourglass trademark, the 8 inch arched single sheet silvered brass dial with blued steel spade hands and small square for adjusting the Brocot type regulation, the lower and upper margins with fine foliate scroll engraved infill incorporating CHIMING/SILENT selection dial to arch, the case with four gilt brass flambeau urn finials above foliate brown stained shell and cut brass contra parti marquetry decorated caddy and second tier with conforming urn finials and cast baluster gallery frieze to superstructure, over moulded cornice and foliate cast gilt metal bordered arched dial aperture with conforming marquetry surround flanked by cast Corinthian pilaster uprights with panel fronted plinths, the sides with arch glazed apertures with conforming brass surrounds and marquetry infill, on inverted breakfronted shallow moulded base with foliate cast gilt bun feet, 68cm (26.75ins) high.
Los 117
A rare Louis XV quarter striking Boulle bracket clock Gaudron, Paris, circa 1740 The eight-day triple train six tapered baluster-turned pillar movement striking the hours and quarters on two graduated bells mounted within the superstructure of the case via countwheels mounted on the backplate (hour countwheel numbered) with engraved signature Gaudron A Paris to lower margin, the 12 inch circular twenty-four piece enamel cartouche numeral dial with foliate panel cast centre within blue on white Roman hour numerals and scallop shell and rococo scroll cast gilt borders incorporating Arabic five minute cartouche numerals to outer track, the waisted cut brass and brown-stained shell marquetry veneered case with winged cherub surmount and leafy corner mounts to the foliate marquetry decorated ogee shaped superstructure above elaborate rococo cast crest and shaped glazed foliate-border cast door applied with apron mount modelled as a putto greeting a hound whilst holding a key, within leafy trail decorated surround applied with further foliate mounts to angles and with tall arched windows set within borders contra-partie panel decorated with cut brass on a rosewood ground to sides, on four generous rococo scroll cast feet with shaped apron between, 86cm (34ins) high. Pierre Gaudron is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS as Maitre working in St. Germain, Paris 1695. Other sources list him as born circa 1677, working from circa 1690 and dying 1745. He was the last of a dynasty of fine early French clockmakers and was appointed watchmaker to the Duke of Orleans (amongst others); aspects of his work were featured in Thiout`s Traite de l`horlogerie mechanique et practique published in Paris, 1741.
Los 119
An impressive French Charles X ormolu mounted amboyna and burr oak portico table clock Unsigned, circa 1830 The countwheel bell striking movement with large brass and steel `gridiron` pendulum with disc shaped bob and numbered 40 to backplate, the 6.5 inch circular engine-turned gilt Roman numeral dial with sweep calendar to inner track and Breguet style steel moon hands within repeating leaf cast and chased bezel, the case with anthemion decorated gilt scroll applied swan neck crest above architectural pediment with foliate cast ogee cornice and individual gilt scroll dentils above further gilt mouldings and dial set between pairs of tapered amboyna veneered columns with finely cast and chased stylised acanthus and anthemion cast caps and bases, on stepped burr oak plinth base with conforming cast ogee moulding to skirt and scroll decorated bracket feet, 74cm (29ins) high.
Los 125
An Edwardian carved walnut quarter chiming bracket clock W. Chandler, dated 1907 The substantial six pillar triple chain fusee movement with anchor escapement and chiming a choice of two melodies on a nest of eight graduated bells or four gongs every quarter and striking the hour on a further larger gong, the backplate with pendulum holdfast and engraved W. CHANDLER, 1907, the 10.5 x 8 inch single sheet silvered brass Roman numeral shallow-arch dial with blued steel fleur-de-lys hands and foliate scroll engraved infill to spandrels and around the subsidiary CHIME/SILENT, FAST/SLOW and WHITTINGTON/WESTMINSTER selection dials to arch, the case with shallow arch pediment with fine scroll carved infill to tympanum above glazed front door inset with angled silvered brass fillet and with leafy spray carved infill to upper spandrels, flanked by fluted Corinthian columns to angles with acanthus carved baluster bases, the sides with shallow arch geometric lattice pierced sound frets, the double skirt base divided by ogee waist moulding and with symmetrical scrolling foliage to fascia of each tier and on squab feet, 58cm (23ins) high. W. Chandler was a telephone engineer who is thought to have made the current lot as a demonstration of his skill. The movement is noteworthy for being of particularly strong construction with six pillars uniting the plates rather than the usual four.
Los 135
A Regency brass inlaid mahogany bracket clock Barwise, London, early 19th century The five pillar twin fusee bell striking movement with anchor escapement trip-hour repeat and shouldered plates, the 8 inch circular cream painted Roman numeral convex dial inscribed BARWISE, LONDON within cast brass convex glazed bezel, the arched case with decorative brass lozenge panel beneath dial within brass line borders interrupted by dots at the angles, the sides with brass foliate ring handles above arched fishscale sound frets, on line decorated shallow skirt base with brass bracket feet, 42cm (16.5ins) high. John Barwise is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London from circa 1790 until his death in 1842.
Los 137
A George III mahogany eight-day longcase clock Timothy Richardson, Darlington, late 18th century The four pillar rack and bell striking movement with 12 inch brass break-arch dial with subsidiary seconds dial to the fine symmetrical foliate scroll engraved centre within applied Roman numeral chapter ring with sweep calendar to inner track and Arabic five minutes to outer track, with pierced steel hands and unusual rococo scroll cast spandrels to angles beneath arch with circular boss signed Tim`y Richardson, DARLINGTON within bead cast bezel and flanked by conforming mounts, in a case with dentil cornice to the open break-arch pediment above wavy-edge outline glazed dial aperture flanked by slender fluted columns to hood, the trunk with blind fret arcaded infill above break-arch flame figured door flanked by conforming fluted quarter columns with turned caps and bases, on crossbanded plinth base with squat ogee bracket feet, 229cm (90ins) high. A T. Richardson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Darlington circa 1783.
Los 148
A rare ebonised bracket clock with moonphase Signed for John Wilmer, London, mid to late 18th century The five pillar twin fusee bell striking movement with verge escapement and 7 inch gilt brass break-arch dial with calendar aperture and arched silvered plaque engraved Wilmer, LONDON to the highly unusual geometric hatched and ring-turned gilt centre within applied silvered Roman numeral chapter with Arabic five minutes to outer track, the angles with foliate scroll cast and pierced spandrels beneath arch with rolling moonphase calibrated for age of the moon to the outer edge of the disc and with conforming geometric hatched decoration to lunettes, the bell top case with hinged brass carrying handle and gilt flambeau vase finials above glazed dial aperture and scroll chased brass frets to the upper quadrants of the front door with caddy moulded angles, the sides with circular over concave topped rectangular glazed side windows, the rear with conforming door within the frame of the case, on shallow skirt base with moulded brass squab feet, 47cm (18.5ins) high excluding handle.
Los 154
A fine engraved and patinated brass tripod table clock of month duration with aneroid barometer and mercury thermometer Thomas Cole, London, pre-numbered, circa 1845 The tapered two-tier movement with six-wheel train with five-spoke crossings between spotted plates, the upper section with four pillars retained by blued steel screws to backplate enclosing Vulliamy type deadbeat escapement and train as far as the centre wheel, the conforming deeper lower section containing spring barrel and 2nd wheel and with knurled hand setting screw to backplate, the 5.75 inch circular silvered Roman numeral dial with subsidiary seconds dial and small oval reserve signed THO`s COLE, LONDON to the lower margin of the fine engraved centre decorated with intense scrolling foliage on a hatched ground, with blued steel spade hands within slender moulded glazed bezel applied with foliate engraved shaped pendant cartouche incorporating winding square beneath, the dial and movement assembly resting on two turned supports fitted to the front two uprights of the tripod easel support and secured with knurled fixing screws to rear at top, the frame terminating with a disc applied with surmount cast as a curved bracket for hanging a small plumbline bob at apex and fitted with wide jaw for suspending the steel-alloy bob pendulum with fine screw adjustment to the spherical silvered brass bob beneath, the whole mounted on circular frosted gilt base with glazed demi-lune silvered barometer sector calibrated for barometric inches, with the usual observations and with gilt setting pointer set before an angled mercury Fahrenheit scale thermometer and pendulum beat scale rising to double-up as a pendulum holdfast within recessed field finely engraved with foliate scrollwork, the outer collar with conforming engraved panel infill between the supports incorporating oval repeat signature THO`s COLE, London to leading edge, on patinated brass cavetto moulded skirt base with ledge to take the original glass dome cover and with three screw-adjustable compressed bun feet, the clock 50cm (19.5ins) high; 53.5cm (21ins) high including dome, complete with original engraved gilt brass winding key. The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING. Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas. Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver `humpback` carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). The brothers then went their separate ways with James Ferguson going on to explore his technical abilities later developing a series of escapement designs including a `resilient` lever escapement (1830), a `double rotary` escapement (1840), a detached escapement calliper (1849) and an escapement with negative diameter (1859). Thomas Cole sought to specialise in small decorative timepieces of the highest quality. By 1845 he was advertising himself as a `designer and maker of ornamental clocks` and in 1851 submitted examples for display at the Great Exhibition, both under his name, and on the stands of other leading retailers such as Hunt & Roskel and Hancocks. He then went on to exhibit at the Paris Exhibition of 1855 where his entry warranted an `Honourable Mention`, and again at the British International Exhibition in 1862 where he was awarded a medal for `Excellence of taste and design`. Thomas Cole was elected to the Royal Society of Arts in June 1861; he died three years later of typhoid fever, at his home at 1 Westbourne Park Road, Paddington, leaving his second wife Charlotte and their three children (two boys and one girl). The originality and inventiveness of design coupled with the exceptional quality of finish ensured an enduring popularity for Thomas Cole`s work, mainly from the rising Nouveau Riche class of Victorians made wealthy from the Industrial Revolution. The current lot belongs to one of four designs of tripod clock produced by Cole from around 1840 to circa 1865. The engraving to the centre of the dial, with its horizontal line hatching, indicates that this timepiece belongs to his earlier phase of production (see Hawkins, THOMAS COLE.. pages 40-1), this coupled with the lack of serial number (numbering commenced circa 1846/7) would suggest a production date of around 1845.
Los 157
A George I ebony table clock with `silent` pull quarter repeat on two bells Francis Gregg, London, circa 1725 The five finned pillar single chain fusee movement with verge escapement, rise/fall regulation via a snail shaped cam mounted to the rear of the dial and silent pull quarter repeat on two bells, the symmetrical foliate scroll and strapwork engraved backplate with central eagle motif above oval reserve signed FRA: GREGG, AT ST. JAMES`S the 5.75 inch brass break-arch dial with calendar aperture beneath XII over false bob aperture and shaped plate with repeat signature to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and drapery lambrequin cast foliate spandrels beneath arch centred with silvered regulation ring flanked by conforming spandrels, the case with generous hinged brass handle to the inverted bell top above front door with raised mouldings to the glazed dial aperture and upper quadrant frets, the sides with conforming break-arch windows, the rear with door matching the front set within the frame of the case, on cavetto moulded shallow skirt base with squab feet, 39.5cm (15.5ins) high excluding handle; with a later ebonised wall bracket with ogee mounded waist above cavetto moulded section terminating in an inverted ogee caddy, 18cm (7ins) high; the clock and wall bracket 47.5cm (22.5ins) high overall excluding handle. Francis Gregg is recorded in Loomes, Brian The Early Clockmakers of Great Britain as born circa 1677 and apprenticed to John Clowes in 1691 through to 1698, he is recorded working in Russell Street in 1711 and then in St. James`s 1714-29 when he was declared bankrupt. His work tends to be of high quality and distinctive with at least one longcase clock of month duration with annular calendar and equation of time of the type normally signed by John Topping known (illustrated in Robinson, Tom THE LONGCASE CLOCK page 232). The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bed chamber; whilst striking clocks with quarter repeat facility were generally intended to be used downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers and can be directly compared with another example by Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON`S CHOICE pages 78-9. The case is also of fine quality with generous handle, bold mouldings, break-arch side apertures and squab feet being reminiscent of those housing movements and dials by highly esteemed makers such as George Graham and Delander. An almost identical clock can be seen in the collection of the National Trust at Mompesson House, Salisbury.
Los 159
A George III brass mounted fruitwood table clock with pull-quarter repeat Thomas Smith, London, circa 1770 The six pillar twin fusee bell striking movement with pull-quarter repeat on a nest of six graduated bells, the backplate engraved with asymmetric rococo foliate scrolls, the 7 inch brass break-arch dial with calendar and false bob apertures and arched silvered signature plate Thomas Smith, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with scroll cast spandrels beneath subsidiary silvered STRIKE/SILENT selection dial flanked by conforming mounts to arch, the inverted bell-top case with hinged brass carrying handle and subsidiary mouldings to the superstructure above front door with brass fillet inset glazed dial aperture and engraved brass upper quadrant frets, the sides with conforming fillet-inset circular over concave-topped rectangular fishscale sound frets, the rear with door matching the front set within the frame of the case, on cavetto moulded brass-bound shallow skirt base with cast ogee bracket feet, 49.5cm (19.5ins) high excluding handle. Several makers with the name Thomas Smith are recorded working in London during the third quarter of the 18th century, the current lot was probably made by the maker of the this name recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1763, gaining his Freedom of the Clockmakers` Company in 1770 and worked in Princes Street, Aldgate.
Los 161
A George III brass mounted ebonised small table clock case Unsigned, late 18th century, the movement and dial later The current French eight-day bell striking movement with Brocot type pendulum suspension and stamped 968 to backplate, the 4 inch circular convex white enamel Roman numeral dial with blued steel hands and red Arabic numeral quarter hours within outer minute track, now fitted to the earlier brass mounted ebonised bell-top case with pineapple finial above radial gadroon cast cornice moulding and front door with convex bevel glazed brass bezel over shaped cast bead bordered panel to apron flanked by inset mouldings to angles, the sides with brass fillet bordered arched glazed apertures, on skirt base with foliate trail cast moulding and leaf decorated bracket feet, 27cm (10.5ins) high excluding finial, 32cm (12.5ins) high overall.
Los 167
A William III brass lantern clock James Gray, Shaston (Shaftesbury), circa 1695 The posted bell striking movement with verge escapement and pendulum swinging outside the frame to the rear, the dial signed James Gray Shaston above unusual engraved decoration with large tulip buds issuing from a twin scroll handled planter, with pierced brass hand within applied Roman numeral chapter ring with stylised trident half hour markers and with leafy infill to angles, the frame with one-piece column turned corner posts beneath dolphin engraved and pierced frets, integral vase turned finials and domed bell bearer, with hanging hoop to rear and on ball feet, (lacking side doors and backplate), 38cm (15ins) high; with an oak and brass wall bracket with female mask and scroll cast supports. James Gray of Shaftesbury in Dorset is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as working around the turn of the 18th century. Loomes illustrates a similar example to the current lot (page 203 fig. 12.25) and notes that the integral pillar castings, brass hand and primitive but bold `flowers in a vase` engraved decoration to dial centre indicate a Bristol influence, with the engraving perhaps being a naive interpretation of decoration seen on examples by John London. The example illustrated by Loomes differs from the current lot in that it has an anchor escapement, sword-hilt half hour markers to the chapter ring and lion and unicorn pattern fets. These differences suggest that the current lot is a little earlier than the one illustrated in Loomes, indeed the trident half hour markers in particular are much more akin to 17th century practice, hence it is probably safe to suggest that the current lot predates 1700. A third example, which is almost identical to the current lot, is illustrated in Hana, W.F.J. English Lantern Clocks page 88 (plate 42) where it is wrongly identified as a `lantern clock made in Scotland`.
Los 171
A Fine Charles II brass lantern clock Thomas Wheeler, London, circa 1685 The posted countwheel bell-striking movement now converted to anchor escapement with long pendulum, the dial engraved with continuous band of scrolling flowering tulip foliage around vacant centre formerly fitted with an alarm disc, with original iron hand and applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and leafy infill to angles, the standard London third period `Lothbury` frame with column turned corner posts beneath engraved and pierced dolphin pattern frets signed Tho: Wheeler neare ye french Church to lower front margin between vase turned finials and with domed bell bearer above, the sides with original plain brass side doors, on turned ball feet, (alarm removed), 40cm (15.75ins) high; with a later oak wall bracket. Provenance: Purchased by the vendor from Philips Fine Art Auctioneers in 1978 having belonged to the former owner for around 40 years. Illustrated in Cescinky, Herbert & Webster, Malcolm R. English Domestic clocks page 61 (fig. 36) where it is described as being in the possession of Percival Griffiths Esq. Thomas Wheeler is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as apprenticed in 1648 to Nicholas Coxeter and gaining his freedom of the Clockmakers` Company in 1656. He became Assistant from 1674, Warden from 1680 and was appointed Master in 1684. His last record of attendance was in 1694 and is thought to have died between 1695 and 1701, when his widow received charity from the Company. The introduction of the verge escapement with short bob pendulum to lantern clocks presented difficulties to makers with regards to the positioning of the alarm mechanism. Traditionally, on balance wheel clocks, the alarm was placed to the rear on the outside of the backplate. However on a pendulum clock this position is likely to conflict with the preferred position of the pendulum. One solution to the problem was to relocate the pendulum within the frame, either at the rear or between the trains in the centre of the movement; with latter being the option preferred by many London makers during the 1680`s including John Ebsworth, Richard Ames as well as Thomas Wheeler. Another option was to relocate the alarm within the frame to the rear, this solution was preferred by West Country makers such as Edward Webb of Chew Stoke. The current lot, however, takes a novel approach with alarm being originally mounted halfway through the backplate, with the pulley positioned within the frame (holes for the lines to exit are still visible in the bottom plate) and the crownwheel and hammer assembly positioned outside. The alarm would have been fitted on a pivot post fitted to a curved iron bridge which would have been riveted to the backplate. The current lot has a relatively early and neat conversion to anchor escapement but with an unusually large escape wheel of 52 teeth, pallets spanning 12 teeth, and pendulum with effective length of 46.5 inches. This layout results in a pendulum beating slower than a standard seconds period pendulum and with very small amplitude. The most logical reason for this unusual arrangement is that the clock was to be housed in a tall narrow `longcase` at the time of conversion, this would also probably account for the hanging hoop and spurs being removed at that time.
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A fine George III brass mounted mahogany quarter-chiming table clock with enamel dials Herman Diedrich Sporing, London circa 1765 The seven pillar triple fusee movement with rise/fall regulation to the verge escapement, chiming the quarters on a nest of six graduated bells and striking the hour on a further larger bell, the backplate engraved with delicate asymmetric foliate scrolls with pendulum holdfast hook to lower left hand corner, the 7 inch brass break-arch dial plate with applied circular convex white enamel dial signed HERMAN DIEDRICH SPORING, LONDON to centre and with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with two conforming subsidiary enamel dials for Strike/Silent selection and regulation within delicate foliate scroll engraved field, the bell top case with pedestal surmount capped with a pineapple finial above brass collar and four further finials to superstructure, over front with scroll cast upper quadrant frets and fillet inset glazed dial aperture to door flanked by cast female caryatid applied canted angles, the sides with generous hinged carrying handles above conforming concave topped rectangular side windows, on moulded shallow skirt base with foliate scroll cast bracket feet, 46cm (18ins) high excluding top finial and pedestal, 56cm (22ins) high overall. Herman Diedrich Sporing was Finnish by birth and was one of the `four gentlemen of the faculty` employed by Joseph Banks to accompany Captain James Cook (then Lieutenant) on his first voyage on H.M.S. Endeavour 1768-71. Born in Turko, Finland, 1733 Herman Diedrich Sporing was initially destined to follow his father (of the same name) by studying to become a physician at Turku University (where his father was Professor), before going onto Stockholm to continue his training. Whilst in Stockholm Sporing decided to go to sea (1755) which lead him to settle in London where he trained as a watch and instrument maker (although it appears that he never gained his freedom of the Clockmakers` Company). It was at this time that he befriended Dr. Daniel Solander, a Swede of the same age who also had medical training, who in turn introduced Sporing to Joseph Banks. It was through Banks that both Solander and Sporing were enlisted on H.M.S. Endeavour, with Sporing taking the position of Assistant Naturalist to Banks. The primary official purpose of Cook`s voyage was to ensure that the astronomer, Charles Green, was able to undertake observations of the transit of Venus from Tahiti which was due to take place on 3rd June 1769. The Endeavour landed at Tahiti in plenty of time allowing Lieutenant Cook to construct `Fort Venus`, an elaborate fortified structure from which the observations can be made. Unfortunately, shortly before the event was due to take place, the astronomical quadrant (supplied by Bird) was stolen by local islanders and disassembled. Fortunately all of the parts were recovered by the party of men sent out charged with the task and Sporing (as a trained watch and instrument maker) reassembled the instrument. On the day of the transit Sporing was detailed along with Dr. Jonathan Monkhouse to accompany Lieutenant Gore and Banks to proceed to nearby York Island (Moorea) where Sporing and Monkhouse were to undertake secondary observations. Lieutenant James Cook, a trained astronomer in his own right, clearly found Sporing to be useful at this time; no doubt his abilities as a watch and instrument maker were also crucial to his purpose, as the inventory of instruments was extensive and included a portable longcase regulator by John Shelton. The observation data gathered was eventually transferred to the Admiralty for dispatch to the Astronomer Royal Neville Maskelyne (during the ill-fated stop-off at Batavia on the return leg of the voyage). This data, along with other observations of the same event taken around the globe, were used by Thomas Hornsby to calculate a fairly accurate approximation of the distance of the Earth from the Sun. After the observations had taken place Lieutenant Cook opened sealed orders from the Admiralty which instructed him to seek the position of the great Southern Continent. Charged with these instructions H.M.S. Endeavour proceeded to eventually find New Zealand. During the seven month circumnavigation of the islands Sporing`s primary role was to produce drawn records of fauna and flora (most of the surviving drawings are now held in the British Museum). On the 2nd November 1769 the Endeavour was assaulted by Maori war canoes whilst off Motuhora Island (Whale Island). During this attack Sporing drew details of the canoes and the Maori`s themselves, these drawings along with those of the previous month depicting the arched rock at Tolaga Bay are the earliest images of Maori culture recorded by a Westerner. In recognition of Sporing`s efforts Lieutenant Cook named a small island after him (in Tolaga bay near present day Gisborne) which has now quite rightly reverted back to its Maori name `Pourewa`. Leaving New Zealand H.M.S Endeavour proceeded onto Australia with the `first landing` at Botany Bay taking place on 29th April 1770. During the eight-days spent at Botany Bay Sporing was extremely busy recording the overwhelming quantity of new fauna and flora. Perhaps the best known of Sporing`s drawings from Botany Bay are those of a stingray and banjo shark which were observed from fresh specimens. From Botany Bay Cook headed northwards, up the Eastern Coast of Australia, until H.M.S. Endeavour was seriously holed on the Great Barrier Reef. The vessel was skilfully beached by Cook for repairs near a small river outlet, now called The Endeavour River, near modern day Cooktown in Queensland. It was during these two months of being laid-up that the first kangaroos were seen; on the 14th July one was shot by Lieutenant Gore and examined by Sporing and his fellow Naturalists. Once the vessel had been successfully refloated Cook proceeded (beyond the Great Barrier Reef) northwards until he eventually landed at Batavia on 10th October 1770. By this time H.M.S Endeavour was somewhat worse for wear so was docked for repairs. By 7th December she was ready to depart for the home leg of the voyage and left on Christmas Day 1770 bound for the Cape of Good Hope. Unfortunately whilst at Batavia the crew had been exposed to disease, such as malaria and dysentery, which resulted in disastrous outbreaks. No less than 26 members of the crew succumbed, with Banks, Solander, Green and Sporing also falling ill. Herman Diedrich Sporing died at sea on 24th January 1771 with the astronomer Charles Green dying five days later. When H.M.S. Endeavour finally landed off Deal on 12th July 1771 she had been absent for three years and had lost 38 eight from her compliment of 100 men. The current lot can be fairly accurately dated between circa 1760 and 1768 as it would have been made during Sporing`s time in London after he had undergone training as a Watch and Instrument maker. The dial, with its applied enamel centre beneath twin subsidiaries, echoes the work of Justin Vulliamy and can be closely compared to an example by him illustrated in Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 on page 138 (colour plate 18). As the current lot is believed to have (up until recently) spent all its life in Sweden, it is probable that Herman Diedrich Sporing supplied it direct to a client in his home country of Finland - possibly his own family. This historically interesting and apparently unique clock has survived in fine unrestored condition and requires only gentle conservation to bring it back to full original working condition.
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A fine George III mahogany quarter-chiming eight-day longcase clock Thomas Gardner, London, circa 1760 The six pillar movement with anchor escapement, chiming the quarters on a nest of eight-graduated bells and striking the hour on a further larger bell, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and arched nameplate engraved Thomas Gardner, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes, with pierced blued steel hands and figural cast spandrels emblematic of the four seasons to angles beneath arch with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a pagoda pedimented case with Gothic arch pierced fret to superstructure, break-arch cavetto cornice and foliate scroll blind fret frieze above generous brass stop-fluted columns flanking dial and break-arch side windows to hood, the trunk with cavetto throat above geometric `block top` figured trunk door flanked by conforming brass inset quarter columns, on raised shaped panel fronted plinth base with double skirt incorporating bracket feet with shaped apron between, 250cm (98.5ins) high. Thomas Gardner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working at the Minories, London, from circa 1740 until his death in 1770.
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An impressive George III green chinoiserie japanned quarter-chiming table clock Thomas Eastland, London, mid 18th century The substantial six pillar triple fusee movement with verge escapement, chiming the quarters on a graduated nest of eight-bells and striking the hour on a further larger bell, the symmetrical foliate scroll and strapwork engraved backplate signed Tho:s Eastland, London to centre, the 7.5 inch brass break-arch dial with calendar and false-bob aperture signed Tho Eastland London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes and unusual fine foliate cast and pierced gilt spandrels to angles beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the elaborate case with gilt pineapple finial to the bell-top upstand decorated in raised polychrome and gilt with oriental figures conversing above gilt blind fret infill and four further finials to the break-arch cornice, the front with figural panels within trellis borders to door surround flanked by finely cast and chased bare-breasted female terms with fabric drapery and scroll terminals issuing inverted floral sprays to the canted angles, the sides with brass handles over concave-topped rectangular windows, the rear matching the front, on floral panel centred gilt trellis decorated concave moulded skirt base incorporating shaped apron and bracket feet, 58.5cm (23ins) high excluding top finial; 63.5cm (25ins) high overall. Thomas Eastland is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1744-51.
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A George III ebonised musical quarter-chiming table clock Thomas Green, Bristol Hotwell, dated 1789 The six pillar triple fusee movement with original anchor escapement, chiming phrases for the quarters on a graduated nest of eight-bells and completing `Queens` melody on the hour before striking hour on a larger bell, the delicate open foliate-scroll engraved backplate signed Thomas Green, Hotwell, BRISTOL, 1789 to centre and with holdfast for the original lenticular bob pendulum, the 8 inch convex white painted Roman numeral dial with repeat signature Tho. Green, BRISTOL HOTWELL to centre, with Arabic five minutes to outer track and fine pierced and engraved gilt brass hands, the inverted bell-top case with hinged brass handle and neoclassical urn finials above rectangular front door applied with cast brass convex-glazed bezel flanked by canted angles and enclosing STRIKE/SILENT switch above dial, the sides with break-arch brass fishscale sound frets, the rear with rectangular glazed door, on moulded shallow skirt base with cast brass bracket feet, 51cm (20ins) high excluding handle; with a contemporary ogee-outline front sliding wall bracket with applied brass detail to the complex table edge, waist and base mouldings, 18cm (11ins) high; the clock and wall bracket 69cm (31ins) high overall excluding handle. Thomas Green is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. The current lot is illustrated by Moore on page195.
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SILVER CIRCULAR CARD TRAY, A SILVER COMPORT AND A SILVER STAND the card tray with raised scalloped border and four feet, maker R&W Sorley, London 1933, 20cm diameter; the rectangular comport with raised sides, maker R&W Sorley, London 1923, 20cm wide; the oval stand with raised border decorated with ribbon swags, and on four bracket feet, maker CF, Sheffield 1896, 16cm wide, approximately 835g in total (3) The salver has an engraved crest to the centre, clear marks, no damage; the comport maker`s mark is rubbed, otherwise fine; the oval stand is undamaged, the maker`s mark only is rubbed but legible
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