ϒ A brass mounted ebony table clock, the movement by Henry Jones, London, circa 1685-90 and later The six latched and finned pillar bell striking movement with verge escapement regulated by short bob pendulum and incomplete pull quarter-repeat mechanism, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Henry Jones, in the Temple to a leafy scroll bordered cartouche to centre, now with a 6.5 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles, now in an ebony veneered case with hinged tied floral bud handle and foliate cast and pierced oval mount to the caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll escutcheons to jambs, the sides with conforming rectangular windows beneath lozenge-shaped sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over squab feet, 30.5cm (12ins) high excluding handle; with a fine 17th century scroll pierced and engraved winding key. Henry Jones is an important maker who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1772. In 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name. The engraving to the backplate of the current lot can be directly compared to a silent-pull quarter repeating timepiece by Henry Jones sold in these rooms on Tuesday 17th March 2015 (lot 88) where it is noted that the design and execution of the engraved decoration could be very closely compared to that of the only known table clock by Peter Knibb which is illustrated in Lee, Ronald A. The Knibb Family, Clockmakers (page 129, plate 139). Lee also illustrates (on the preceding page, plate 138) another closely related backplate for a clock by John Knibb, Oxford and notes that both have internal rack striking, which would suggest that each date from the mid 1680's. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
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A George III mahogany mercury tube stick barometer, Lincoln, London, circa 1800 With open triangular pediment over rectangular glazed silvered brass Vernier scale calibrated in barometric inches and with the usual observations beneath engraved signature Lincoln, London to upper right margin opposing spirit Fahrenheit scale thermometer to left hand side, set behind hinged glazed door with convex lower angles over chevron line edged caddy moulded trunk incorporating visible tube, the rounded base with domed cistern cover, 97cm (38.25ins) high excluding finial. A Charles Lincoln is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from 11 Cornhill, London in 1763 then at 62 Leadenhall Street from 1791 until his death in 1807.
ϒA Fine Viennese inlaid rosewood grande-sonnerie striking regulator wall clock, W. Schonberger, Vienna, mid 19th century The four pillar triple train eight-day movement with deadbeat escapement incorporating tall inverted V-shaped pallets regulated by brass lenticular bob pendulum with ebonised wooden shaft and incorporating fine beat adjustment to crutch, the quarter train sounding on the smaller of the pair of graduated gongs positioned on a decorative brass T-shaped bracket behind the movement followed by the hour train sounding the last hour on the larger gong, the 7.5 inch circular two-piece silvered Roman numeral dial signed W. Schonberger, IN WIEN to the slightly recessed centre within gilt border and chapter ring with outer minute track, with delicately pierced blued steel hands within gilt repeating scroll motif cast bezel, the line-inlaid rosewood case with unusual foliate rococo scroll and shaped swan neck pedimented moulded composition crest stained to resemble rosewood over line-edged canted cornice and slender-framed full-height arch-glazed front door applied with conforming relief foliate-scroll infill to upper quadrants flanked by rounded angles applied with moulded fruiting vine decoration within stylised lozenge borders, the sides with slender short over long glazed panels the base with conforming canted section over inverted ogee caddy applied with further moulded panel decoration incorporating grotesque masks to angles and terminating with a scroll pendant, 149cm (58.75ins) high. Wenzel Schönberger was a citizen and master small clockmaker who worked in Vienna from 1847; he is further mentioned in 1852 and 1862 when he repaired the St. Stephens Cathedral tower clock. He is thought to have ceased working by 1885. He was a fine and relatively prolific maker of clocks primarily wall regulators including at least one year-going example. The current lot appears to be a relatively early example of his work. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A fine Queen Anne walnut eight-day longcase clock, ichard Street, London, circa 1705 The six crisply turned finned pillar inside rack and bell striking movement with bolt-and-shutter maintaining power and anchor escapement regulated by seconds pendulum incorporating long crutch, 12 inch square brass dial with subsidiary seconds dial, shuttered winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed Rich. Street, London to lower edge, with delicate pierced steel hands and unusual lambrequin cherub mask and foliate scroll cast spandrels to angles with foliate engraved infill between incorporating maintaining power lever to right hand margin, the walnut case with brass ball finials to the domed caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 42 inch rectangular door with figured book-matched veneers, the sides with twin line-bordered panels within crossbanded surrounds, the plinth base with ogee top moulding and conforming line-bordered crossbanded veneered panel to front over two-tier moulded skirt, 244cm (96ins) high excluding finials; 257cm (101ins) high overall. Richard Street is an important but relatively enigmatic maker who is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1687, made Assistant in 1713 and appointed Warden 1716. He was a fine maker who had close working connections with Thomas Tompion for whom it is thought he made repeating watch movements (see Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 114). Street is perhaps best known for his commission by Sir Isaac Newton to supply a monumental month duration longcase clock for presentation to Dr. Bentley for the Observatory at Trinity College Cambridge in 1708; he also, alongside William Wright, took over the maintenance of the turret clock at St. Pauls Cathedral from Langley Bradley in 1716. A year going clock in an Arabesque marquetry case by Street also survives in the Collection of the National Trust at Melford Hall, Suffolk. Tompion's influence/connection with Richard Street becomes apparent when the current lot is examined. The six pillar movement is very well made with the use of inside rack for the striking mechanism and the delicate functionality of the wheelwork echoing Tompion's standards. The dial is clean and refined in its design and utilises an unusual pattern of spandrel. The proportions, external detailing and choice of veneers used on the case can be compared to those supplied to Tompion, and again is very well made.
ϒA Queen Anne ebony table clock, George Etherington, London, circa 1710 The six finned pillar twin fusee bell striking movement with pivoted rise/fall rate adjustment beam to the pendulum suspension and backplate engraved with grotesque ‘Green Man’ mask, baskets of fruit and Ho-Ho bird inhabited symmetrical foliate strapwork around a central herringbone and husk swag bordered reserve signed Geo Etherington, LONDON, the 7.75 by 7 inch rectangular gilt brass dial with herringbone-edged shaped false bob and calendar apertures 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, with pierced steel hands and gilt winged cherub mask cast spandrels to lower angles, the upper margin with scroll engraved spandrel infill interrupted by subsidiary vestigial alarm setting and regulation dials, each with complex rosette centres, flanking repeat signature Geo Etherington, LONDON, with S/N strike selection switch to upper margin, the ebony and ebonised case with hinged brass carrying handle and brass ball-and-spire finials to the domed caddy superstructure over front door and the sides with small horizontal rectangular scroll-pierced frets over larger conforming panels, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base fitted with brass domed feet, (movement with losses, case with significant replacements to veneers and mouldings and other faults), 39.5cm (15.5ins) high excluding handle. George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the Oath of Allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
ϒA fine William III brass mounted ebony table clock with pull-quarter repeat, Brounker Watts, London, circa 1690-95 The six finned pillar twin fusee inside rack bell striking movement with verge escapement regulated by short bob pendulum and pull-quarter repeat on a single smaller bell, the backplate engraved with tulips and symmetrical scrolling foliage around a herringbone bordered lozenge-shaped reserve signed Brounker Watts, Londini Fecit, the 6.5 inch square gilt brass dial with high position calendar aperture and ringed winding holes to the finely matted centre within applied silvered Roman numeral chapter ring with trident half hour markers and Arabic five minutes within the narrow outer track, with sculpted blued steel hands and angles applied with gilt winged cherub head spandrels with engraved repeat signature Broun: Watts London to lower margin opposing N/S strike/silent selection lever to upper margin, the ebony veneered case of Knibb ‘phase III’ type with scroll outline foliate-bud tied hinged gilt brass carrying handle to the domed caddy surmount applied with cast foliate scroll pierced mounts to front and sides flanked by later pineapple finials, over ogee moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll cast gilt escutcheon mounts, the sides with lozenge sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case, on ogee moulded shallow skirt base, 32cm (12.5ins) high excluding handle. Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmakers’ Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company’s Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmakers’ Company in 1711 due to being ‘out of town’. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West. When the current lot compared with examples by Joseph Knibb strong similarities become apparent. In particular the layout and detailing within the movement which, other than the use of standard finned pillars secured by pins and the signature, one could be quite forgiven for mistaking it for an example by Knibb himself. The attention to detail within the mechanism, such as decoratively sculpted scroll feet to the hammer springs/stops, shaped stopwork blocks and deeply domed collets, is particularly noteworthy and demonstrates Watts’s desire to maintain the quality of finish demanded by his master. The dial layout reflects Knibb’s work also with high position calendar aperture although the ringing to the winding holes is a departure by Watts away from Knibb’s preference for plain winding holes. The case is essentially a ‘textbook’ example of Knibb phase III design and can be directly compared to that of a timepiece illustrated in Lee Ronald A. The Knibb Family * Clockmakers on page 87 (plate 84). Notwithstanding this there are a couple of very slight differences; the first is the handle whose distinctive scroll design was actually favoured by Daniel Quare, the second are the door escutcheon mounts which at first glance appear to be of Knibb type however they differ in detail by incorporation twin masks (rather than a single) in each as well as feathered wings within the upper and lower extensions (not present in the typical Knibb castings).The current lot generally presents as a fine honest original example which is fresh to the market having been in the same family for as long as anyone can remember. This coupled with strong connections to one of the most important workshops of the ‘Golden Age’ of English clockmaking renders it worthy of inclusion in the finest of collections. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A fine Regency mahogany longcase regulator, Thomas Hodges, Hitchin, circa 1825 The substantial eight-day five double-screwed columnar pillar movement with plates measuring 8.5 by 6.75 inches enclosing wheel train with high pinion count, six spoke wheel crossings and end stops for all pivots terminating at the plates, with Harrison’s maintaining power and deadbeat escapement incorporating jewelled pallets regulated by mercury jar compensated seconds pendulum with fine beat adjustment to crutch, wide jaw suspension and hanging from a massive cast brass A-frame secured to the substantial seatboard behind the movement, the trains enclosed within brass dust shutters attached to the plates via finely engineered thumbscrews, the 12 inch circular silvered brass dial with subsidiary seconds over Roman numeral hour dials and signed THOMAS HODGES, SUN ST. HITCHIN. to centre within outer Arabic minute track, with fine blued steel hands with the minute counterweighted behind the dial plate, the figured mahogany case with gadrooned shallow domed caddy to the stepped upstand over slender cornice and hood door applied with cast brass circular bezel within panel decorated quadrants and flanked by canted angles, the sides with blind panels, the trunk with slender cavetto throat over conforming canted angles flanking rectangular glazed door enclosing veneered interior incorporating silvered brass pendulum beat scale set against the flame-figured backboard, on recessed panel fronted plinth base with double skirt, 197cm (77.5ins) high. Thomas Hodges of Hitchin does not appear to be recorded in the usual directories as a clockmaker; it is therefore most likely that he was a jeweller who also retailed timepieces. If this was the case then the current lot was probably ordered-in from a highly skilled London workshop and signed in Hodges name for use as the ‘shop regulator’ on his premises.
A rare George II ebonised pine cased weight-driven alarm wall timepiece, Joseph Kirk, Nottingham, circa 1730 The four-wheel going train with anchor escapement incorporating offset pallets and regulated by 25 inch pendulum set between rectangular plates united by three steel square section pillars alongside the verge alarm mechanism sounding via a vertically pivoted hammer on a bell mounted above, the 6 inch square brass dial with alarm setting disc and single iron hand within applied Roman numeral chapter ring with minute ring to inner track and diamond lozenge half hour markers, the case with 10.25 inch square caddy moulded ebonised pine dial surround fronting a bracket with top panel between the backboard and the dial surround over removable side panels and curved bracket supports fitted to the backboard beneath incorporating inverted onion-shaped lower margin, the case 35.5cm (14ins) high. Joseph Kirk is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as Quaker born in the parish of Hardstoft, Derbyshire in 1673; by 1708 he was in Skegby, Nottinghamshire where he took in an apprentice, Robert Willis, in 1723. By 1731 Kirk had moved to Nottingham where he took in a further apprentice, Patrick Cock; he was succeeded by his daughter, Anne, who married Samuel Piggott in 1738/9 and lived until 1786. The current lot is similar in feel to the only two known examples by James Woolley of Codnor which are illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 180-81 and 238 respectively.
Two Victorian mahogany cased sets of portable diamond scales, De Grave, Short and Company, mid 19th century Each with sculpted metal pivoted beam incorporating pointer within the suspension armature over hemispherical brass pans contained within a fitted box incorporating lidded compartment enclosing weights calibrated in carats, the lids applied with a paper labels entitled A table by which may be Calculated the Value of any Weight of Diamonds incorporating BY DE GRAVE, SHORT & COMP’Y., (Late M. De Grave & Sons), continuing with 59. ST. MARTIN LE GRAND, LONDON to the larger of the two, the exteriors with brass tweezers contained within a slot to the lower rear right hand corners, the larger with caddy-moulded lid and canted angles flanking brass plate push button clasp to front 17.5cm (6.75ins) wide; the second with cushion rounded lid and base and brass push-button clasp to front, 14.5cm (5ins) wide; with another Victorian cased set of portable diamond scales, De Grave, Short & Fanner, London, mid 19th century, the form the same as the larger of the first two but incorporating BY DE GRAVE, SHORT & FANNER within the paper label applied to the inside of the lid, 12.5cm (5ins approx.) wide, (3). The De Grave family were well known as scientific instrument makers specialising in weights and measures throughout the 19th century. The first member to set up business was Charles De Grave who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working in St. Martin’s le Grand, London from 1780. The business traded as De Grave, Short and Fanner from 59 St. Martin’s Le Grand 1845-71 and was eventually absorbed by W. and T. Avery and Co. Ltd in the early 20th century.
A Regency mahogany tavern timepiece, R. Fletcher, Chester, early 19th century The four pillar single weight driven movement with five-wheel train and anchor escapement regulated by 29 inch pendulum, the 28 inch circular white painted metal Roman numeral dial indistinctly signed R. Fletcher, Chester to centre, with Arabic five minutes to outer track and pierced steel hands set behind concentric ring decorated hinged wooden bezel, the rectangular drop-trunk case with side doors behind the dial and shaped-top caddy moulded flame figured door to trunk over chisel-shaped foot, 110cm (43.5ins) high. Robert Fletcher is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chester 1784-1820.
ϒA rare gilt brass mounted ebony alarm timepiece of month duration with silent-pull quarter-repeat, Thomas Tompion and Edward Banger, London, No. 92 The substantial six finned and latched pillar single fusee movement fully reinstated with large spring barrel and reversed fusee to the five-wheel going train with verge escapement regulated by lenticular bob pendulum with rack-and-pinion pivoted beam regulation to suspension, the quarter repeat mechanism to Tompion’s highly complicated ‘all or nothing’ design sounding on a graduated pair of bells with the larger set between the plates and the smaller above, the alarm mechanism located beneath the larger bell with standing spring barrel and verge hammer assembly, the 8.5 by 7.25 inch backplate with canted upper angles over protruding bell to top left opposing rack box and shaped pivoted arm for the rise/fall pendulum suspension terminating above separate shaped cocks for guiding the suspension spring and for the escapement pallet arbor pivot, the centre with interconnected blue steel repeat levers pivoted via engraved sculpted cocks, the whole engraved by G195 (believed to possibly be Henry Adeane) with fine grotesque mask scrolling foliage within a line-scribed border and centred with an elaborate cartouche signed Tompion & Banger, LONDON over stamped serial number 92 to lower margin, the 8 by 7.25 inch rectangular brass dial with rose engraved silvered alarm setting disc and shaped false bob aperture to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes beyond the minute track, with fine pierced and sculpted blued steel hands and crisp gilt female mask and scroll cast spandrels to lower angles, the upper margin with conforming cast spandrel infill interrupted by subsidiary dummy opposing regulation dials, each with complex rosette centres, flanking repeat signature TOMPION + BANGER, LONDON, with leaf engraved detailing to extreme upper corner, the gilt brass mounted ebony case of ‘phase 2’ type with generous hinged gilt brass tied foliate bud carrying handle to the domed caddy superstructure over bold ogee/ovolo top mouldings and front door incorporating lambrequin mask centred gilt foliate scroll cast lozenge sound fret to the upper rail and scroll-bordered cartouche escutcheon mounts to uprights, the sides with small scroll-pierced lozenge sound frets over rectangular apertures inset with conforming foliate pierced fretwork, the rear with rectangular glazed door set within the frame of the case, on shallow ogee moulded skirt base with squab feet, the sill beneath the front foot stamped 92 towards the left hand side, (movement with reinstated wheel trains and repeat work), 38cm (15ins) high excluding handle; 27.5cm (11.75ins) wide; and 16.5cm (6.5ins) deep. Thomas Tompion has often been referred to as the 'father of English clock and watchmaking'. When considering the legacy of his work and influence on subsequent generations, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and was working in the clock and watchmaking trade. Although there is no record of his apprenticeship or whether he received any formal training prior to moving to London, he quickly became established and obtained his freedom of the Clockmaker's Company in late 1671. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with eminent mathematicians and scientists such as Robert Hooke and Jonas Moore - perhaps the most progressive and inventive minds of the day. Such associations lead to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676 and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his watches and clocks from around 1681/2. This, as well as maintaining a high degree of refinement in both the design and construction of his clocks and watches, ensured the highest level of exclusivity for clients purchasing from him. In around 1701 Thomas Tompion took a former apprentice, Edward Banger, into partnership. Banger was originally apprenticed to Thomas Ashby in 1687 but was transferred over to Tompion and gained his freedom of the Clockmaker's Company in 1695. He was clearly a talented maker (when considering the few examples signed by Banger alone) however a serious problem between him and his former master caused the partnership to come to an abrupt end in 1707-8 for reasons unknown. On Banger's departure Tompion reverted to working alone until he found confidence in George Graham who had been engaged as a journeyman for Tompion since 1696. Graham's character had already been given the seal of approval by Tompion who allowed him to marry his niece, Elizabeth, in 1704; however it still would be a few years before Tompion would take Graham into partnership which he eventually did in 1711.Thomas Tompion died in November 1713 leaving the business to George Graham who maintained the same exacting standards and became famous in his own right with notable achievements including the development of the deadbeat escapement for pendulum clocks and the cylinder escapement for watches. Edward Banger outlived Tompion by six years, his abilities as a highly skilled watchmaker are demonstrated within a fine jewelled movement dating to around 1715 by him illustrated by him in Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 54, Fig. 97. The current lot belongs to a small group of around half a dozen Tompion spring clocks where the movements were held in stock and completed at a later date. Interestingly it would appear that all of these were silent-pull quarter timepieces with serials numbers clustered from 79-117 indicating that they were made 1686-88. The fact that both the dial and movement of the current lot are signed by Tompion and Banger together would suggest a date of finishing shortly after 1701. This date is further supported by the provision of two cocks for the double-engaged repeat levers on the movement backplate, which are believed to have been introduced in around 1698 (see Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS page 165).Silent-pull quarter repeating timepieces were essentially made for use in the bed chamber whilst clocks which incorporated normal striking (as well as a quarter-repeat mechanism) were mainly intended to be brought ‘downstairs’ during the day. Consequently silent-pull timepieces were the preserve of very wealthy clients who could afford separate timepieces for both ‘downstairs’ and ‘upstairs’ use. The current lot also incorporates an alarm mechanism (which appears in only half a dozen quarter-repeating timepieces by Tompion) which, together with a duration of one month, would render it perfect for use in a bedchamber of a palatial property. Incidentally there is only one other silent-pull quarter-repeating alarm table timepiece of one month duration by Tompion known - number 85 which is illustrated in Symonds, R.W. THOMAS TOMPION, His Life and Work on page 145 (Figure 111). Although the current timepiece has undergone highly skilled restoration of the movement (to reinstate it back to its original form) it survives as an extremely interesting example originating from the most important London workshop of the ‘Golden Age’ of English clockmaking. ϒ Indicates that this lot may be subject to CITES regulations when exported.
A rare French gilt brass large four-glass mantel timepiece of one year duration, retailed by Mason & Son, Canterbury, late 19th century The substantial circular four pillar movement fitted with large diameter spring barrel and greatwheel to backplate driving via cocked pinion the four wheel train set between the plates regulated by visible Brocot escapement mounted within the dial and Ellicott type compensated pendulum, the backplate stamped 4165, 16.2, the two-piece white enamel dial with visible escapement and inscribed MASON & SON, CANTERBURY to the recessed centre within Roman numeral chapter ring with regulation square at twelve o'clock, with blued steel moon hands and moulded gilt brass bezel, the substantial frosted gilt brass case with caddy-moulded top and cavetto cornice above heavy bevel glazed panels and caddy moulded uprights to angles, on conforming cavetto moulded skirt base incorporating bracket feet to the curved angles, 35.5cm (14ins) high.
ϒA fine and unusual William IV mahogany wall mounted mercury pillar barometer, Dollond, London, circa 1830 The domed leaf-carved top panel with circular cavetto upstrand incorporating Vernier adjustment screw over three-quarter cylinder glazed canted silvered Vernier scale calibrated from 26.5 to 31 inches and decorated with a fine Fleur-de-lys motif beneath signature DOLLOND, LONDON to upper margin, the right hand side with conforming canted silvered Fahrenheit and Centigrade scale mercury tube thermometer, the cavetto throat carved with repeating lappet leaves over cylindrical upright and larger diameter fluted cistern incorporating ivory float to leaf carved upper moulding, the ogee-shaped base with level adjustment screw, the whole applied to an arched caddy-moulded back panel, 100cm (39.5ins) high. Peter Dollond is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1680-1860 as born 1730 and died 1820. He was the son of John Dollond, a Huguenot silk weaver and started business as an optician in 1750. He was joined by his father in 1752 until his death in 1761, and then by his brother, John, until his death in 1804. The family business was continued by Peter Dollond's nephew, George Huggins, who changed his name to Dollond. George Dollond became instrument maker to William IV and Queen Victoria, exhibited at the Great Exhibition in 1851 and died 1856. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A George II oak eight-day longcase clock case, anomynous, second quarter of the 18th century The hood with ogee caddy over scroll-pierced fretwork frieze to superstructure over ogee moulded cornice and conforming fret to lintel over glazed 12 inch square dial aperture to the hood door flanked by turned columns and sides with rectangular windows, the trunk with concave throat moulding over caddy-moulded break-arch door, on plinth base with moulded double skirt, 240cm (94.5ins) high.
An important George II/III mahogany domestic regulator, Henry Hindley, York, mid 18th century The substantial eight-day movement with plates measuring 8 by 6.75 inches united by four typical Hindley pattern double baluster pillars, the trains with six-spoke wheel crossings and high pinion count throughout, the going train with deadbeat escapement set low between the plates regulated by seconds pendulum with heavy lenticular bob and long crutch, with bolt-and-shutter maintaining power activated by a line connected to a crossed-out pulley segment positioned behind the dial engaging with a system of sprung levers to apply torque to the centre wheel, the gravity-fed rack striking train sounding the hours on a large bell mounted above the plates via hammer cocked on the backplate against large reverse ‘L’ shaped combined spring and stop, with typical Hindley system of trip-hour repeat incorporating substantial sprung steel lever engaging with the strike lifting detent via wheel on the backplate applied with a pair of pins configured to allow lever to operate in either direction, the calendar work advanced via a pump and system of sprung levers connected to a crank on the calendar wheel set behind the dial, the movement fitted with slide-in dust shutters to sides and top dressing up to the rear of the dial plate,the 12 inch brass break-arch dial with subsidiary seconds dial to the finely matted centre within fine narrow silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Hen’y Hindley, York to lower margin, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with calendar dial flanked by conforming mounts, the case with giltwood ball finial to the generous ogee-shaped caddy surmount over box frieze applied with crisply moulded swan neck pediment and architectural break-arch mouldings over the hinged glazed dial aperture flanked by substantial Doric columns, the sides with blind break-arch panel doors and conforming full columns to the rear, the trunk with ogee throat moulding over shaped-top caddy moulded door flanked by fluted quarter columns to front angle, on plinth base with cavetto top moulding and bracket feet, 251cm (95ins) high excluding finial; 251.5cm (99ins) high overall. Henry Hindley was born in Great Harwood, near Blackburn, Lancashire 1699, little is known about his early life, however by the mid 1720’s he was making clocks in Wigan where he repaired the church clock in 1726. Hindley moved with his young family (including his son, Joseph born 1728) to the prosperous city of York where, after making clocks for the Mansion House and Guildhall, he gained his Freedom of the city in 1732. Hindley s talents were such that he equipped his workshop with tools of his own design including an important dividing and wheel cutting engine, a screw cutting lathe and a fusee engine. As well as domestic clocks Hindley received commissions for several turret clocks including York Minster and supplied a range of scientific instruments including two important equatorial telescopes for the Duke of Norfolk and William Constable. By the 1760 s Hindley s health had deteriorated to the extent that an ever increasing proportion of the business was handled by his son Joseph. Henry died in 1771 with his son and successor Joseph unfortunately dying just three years later in 1774, before he had had the opportunity to stamp his own mark on the family firm. Hindley s work demonstrates a highly inventive exacting approach with each clock perhaps varying in some way to its predecessor ensuring constant refinement in design and layout. The quality of the finish of his work is generally exceptional being comparable to the very best London makers of the period which is why many collector’s refer to Hindley as the ‘Tompion of the North’. The movement of the current lot is no exception being a particularly fine example of Hindley’s work exhibiting inventive details such as the cranked pumping mechanism for the calendar dial, gravity fed rack striking, concealed clicks to the barrels and combined hammer spring and stop. The bolt-and-shutter maintaining power is beautifully executed and the movement exhibits the rare feature of having brass dust shutters fitted. The winding key present with the clock is suitably finely made and is most probably original.The case is also of the finest quality and as equally distinctive as the movement with the hood in particular featuring fine crisp mouldings and generous architecturally correct Doric columns. Unusually the hood is fixed integral to the trunk hence the movement and dial have to be inserted into the case via the dial aperture, the doors to the sides then allow the pendulum to be hung and the lines for the trip repeat and maintaining power connected. The reason for this arrangement is not obvious but it seems that Hindley sought to make the movement difficult to access/examine on purpose. From this it is perhaps appropriate to speculate that the current lot could have been supplied for a semi-public environment requiring the design to incorporate ‘anti-tampering’ features which would have served to reduce the chances of others copying some Hindley’s innovative features as well as preventing inexperienced individuals making unwelcome adjustments. Indeed if this is the case then it is possible that Hindley himself was initially contracted to tend to the clock. The inside of the trunk door is applied with a paper label inscribed in ink Sep’r 68 and Nov 30th 87 G.W. these probably note/record subsequent servicing of the clock. Indeed the visible positioning of this information also supports the possibility that the current lot was originally supplied for a semi-public environment where such information would need to be visible to ensure that the clock is correctly maintained.
A large ebonised five-glass bracket clock, unsigned, late 19th century The rectangular French eight-day countwheel gong striking movement with anchor escapement regulated by ‘gridiron’ pendulum and stamped 34 to backplate, the 9 inch circular silvered brass dial with pierced blued steel hands and incorporating integral lugs to sides and apex for securing the movement and dial into the bevel-glazed case, the exterior with caddy-moulded glazed top over slender cavetto cornice and front door with painted gilt detail to glass, the sides with fixed panels, the rear with door glazed with mirror glass, on ogee moulded skirt base with squab feet, 54cm (21.25ins) high; with original wall bracket incorporating ogee moulded table over scroll-shaped foot, 89cm (35ins) high overall.
A LATE 18TH CENTURY CHINESE QIANLONG PERIOD PORCELAIN PART TEA SERVICE, each piece painted with floral sprays, comprising a teapot and cover, a tea caddy, a spoon tray, a plate, a small bowl, four coffee cups, three teabowls, the teapot 9.7in long including handle and spout & 5.25in high overall. (14pieces incl. cover)
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