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Preisdatenbank abonnierenA stock of burr veneers For use in the restoration of late 17th century clock cases and cabinet furniture Comprising of around thirty hand sawn burr pollard-oak panels measuring approximately 17 by 8 inches, eight walnut panels measuring around 15 by 6 inches (perhaps appropriate for a longcase clock trunk door), and a few bundles of other assorted timbers including burr maple, (qty).
A fine French Empire ormolu and breccia marble figural mantel clock ‘Homage to Josephine’ The movement by Marchand, the case possibly by Pierre-Philippe Thomire, Paris, circa 1805 The circular two train bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the 5.25 inch circular white enamel Roman numeral convex dial signed Marchand, Paris to centre with concentric date-of-the-month between the hour numerals and minute ring and with Arabic five minutes to outer track, with scroll pierced and engraved gilt hour and minute hands and steel calendar hand set behind hinged convex glazed cast gilt brass bezel, the case surmounted with a seated Classical female harpist with a flaming gueridon at her feet opposing winged Amour with quiver of arrows slung over his shoulder and gesturing towards a manuscript inscribed Bouton de rose next to an X-frame table with book resting on top, the dial with elaborate draped lambrequin cast with tassels beneath flanked by stepped D-ended plinth, the upper stage panel-cast with stylised Grecian masks flanked by alternating palmette and foliate scroll decoration to ends over breakfronted marble lower stage applied with mounts cast as putto terms holding aloft floral wreaths over gilt fillet moulding, on platform base with cast bun feet, 46.5cm (18.25ins) high. The movement of the current lot is probably by Charles-Frédéric Marchand who is recorded in Tardy DICTIONNAIRES DES HORLOGERS FRANCAIS as becoming a Paris maître in 1777 and working at Rue St. Martin the following year. Pierre-Philippe Thomire (born 1751) was one of the most important bronze casters of 18th century France, and was later granted the title Ciseleur de l’Empereur (chaser to the Emperor) by Napoleon Bonaparte. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770’s began working with Louis Prieur. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres. Thomire retired in 1827 and died in 1843. The design of the current clock was inspired by a poem entitled ‘Bouton de rose’ (rosebud), by Constance-Marie de Théis, Princess de Salm-Dyck (1767-1845). Published in 1785 in the Almanach des Grâces the poem became famous during the latter part of the 18th century, when it was set to music by the composer Louis-Barthélémy Pradher (1782-1843). The popular singer Pierre-Jean Garat (1762-1823) sang it in fashionable Salons, dedicating it to the beauty of Josephine, the wife of the future Emperor Napoleon.
A rare Swiss wooden weight-driven wall clock retaining original polychrome painted decoration Unsigned, probably Toggenburg, mid 18th century The posted wooden movement with solid wheels and lantern pinions, the going train set in front of strike train incorporating verge escapement regulated by short bob pendulum swinging in front of the dial, the strike train of single arbor warnless type with overlift provided by a kidney-shaped cam and with wooden countwheel positioned within an enclosed section behind the frame sounding via a vertically pivoted hammer on a bell mounted above the top panel, the 6 inch wide dial panel with central pin-hole alarm disc and wooden hand within Roman numeral chapter ring with red concentric coach-line border over conforming quarter-hour dial with disc-shaped hand, within an olive green painted field polychrome decorated with floral spray infill beneath leaf painted fleur-de-lys centred scroll-pierced crest, the sides with break-arch pin-hinged doors and the conforming rear panel with iron hanging strap, (lacking alarm crownwheel and weights), 31.5cm (12.5ins) high. The current lot can be compared to an example dated 1757 believed to have been made in Toddenburg, Switzerland illustrated in Tardy LA PENDULE FRANCAISE, 3,me Partie: Provinces et Etranger on page 456 (lower left). Other than the verge escapement regulated by short pendulum the movement of the current lot closely follows those of iron chamber clocks made in both Switzerland and Germany during the second half of the 16th century. In particular the single-arbor warnless striking is typical of such examples and the alarm disc incorporating holes for inserting a pin to release the mechanism along with the subsidiary quarter-hour dial are features also often seen (see Bassermann-Jordan, Hans Von THE BOOK OF OLD CLOCKS AND WATCHES page 106, Fig 80.).
Ï’ A silver cased verge pocket watch The movement signed for Henry Hindley, York, circa 1750 The gilt full plate fusee movement with four square section baluster pillars, scroll-pierced fusee stop-iron block and verge escapement regulated by sprung three-arm steel monometallic balance set beneath fine grotesque mask and foliate scroll engraved and pierced balance cock with faceted diamond endstone and conforming applied infill plate around the silvered regulation disc opposing engraved signature H. Hindley. York 842, with gilt dust cap similarly signed and later circular white enamel Roman numeral dial with gilt spade hands, now in a silver case with suspension post fitted with hinged loop, indistinct marks probably for London 1827, the backplate 3.5cm (1.25ins) dialmeter; the case 4.3cm (1.75ins) diameter, and an Anglo-Indian ivory mounted tortoiseshell display case, Vizagapatam, India, mid to late 19th century, the sandalwood interior with hinged watch-holder faced with fine foliate scroll engraved ivory and with pivoted strut to rear, the exterior modelled as a domed casket applied with figural engraved fretwork oval panel between entwined scroll decorated studded straps within ropetwist border applied with further smaller angle straps to lid, the front sides and rear with further fretwork panels and straps, on small reeded silver coloured metal feet, 11.5cm (4.5ins) long, (2). Henry Hindley was born in Great Harwood, near Blackburn, Lancashire 1699, little is known about his early life, however by the mid 1720s 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 collectors refer to Hindley as the Tompion of the North. The highly decorative and finely executed watch case included in the current lot is a fine example from the Indian Vizagapatam workshops made for the British market during the time of Colonial rule. Stylistically the pierced panels and simulated strap decoration applied to the current lot would date it most likely to the third quarter of the 19th century as earlier pieces tended to be entirely veneered in ivory and often engraved with Neo-Classical motifs. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A second period brass lantern clock with later spring movement The front fret signed for William Selwood, London, circa 1640, the movement late 19th century Now with four pillar single fusee movement with anchor escapement regulated by a short lenticular bob pendulum and passing strike sounding on the original bell above, the dial engraved with central flowerhead enveloped by stylised leafy floral sprays issuing from another flowerhead positioned just above six o'clock and incorporating large blooms to upper and lower margins, with original iron hour hand and later minute hand carefully made to match within applied narrow silvered Roman numeral chapter ring with stylised wheatear hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced shield centred stapwork fret signed William sellwood at y’e Mermayd in Lothbury to lower edge and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, on turned ball feet, 38cm (15ins) high. William Selwood was born in Abingdon in Berkshire in 1607 and is recorded as a Free Brother in the Clockmakers' Company in 1633 until his death in 1653. He trained under Henry Stevens from 1624 to 1632, and worked at the Mermaid in Lothbury till his death in 1653. Selwood was succeeded by his is former pupil, Thomas Loomes, who married Mary, the daughter of Ahasuerus Fromanteel in 1654. A clock by Selwood with related dial engraving to the current lot (albeit around an alarm disc) is illustrated in White, George English Lantern Clocks on page 134 (figure III/14). White also illustrates two further dials by Henry Ireland and Thomas Knifton (both of whom were apprenticed to William Selwood) which also exhibit very similar engraving (figures III/15 and III/14 respectively). The design of fret used on the present clock is of the earlier 'strapwork' type (which was generally phased-out during the 1650's in favour of the later 'foliate' pattern - see White page 144), whilst the frame castings are of typical second period 'Lothbury' pattern which were mainly in use up until around 1660 (see lot 154). These details reflect the fact that by the 1650's Lothbury had become a hub for the horological trade mainly due to the abundant supply of brass and iron from nearby foundries. The efficient supply of raw castings lead to the emergence of a degree of standardisation (assisted by many workshops having shared roots) with regards to frame patterns, dial engraving and fret design. During the latter part of the 19th century the re-purposing of ‘historic’ objects became fashionable in order to create interiors which had an authentic feel of antiquity. Regrettably this fashion meant that many items (particularly furniture) were altered in form and/or had decorative elements added. At this time many original lantern clock survivors were converted from weight-driven to spring movements in order that they can rest on a table or mantelpiece, indeed they became so popular as decorative objects that reproductions began to be made. The current lot was converted at this time however the all of the original frame elements were retained as well as the hour hand hence the original appearance of the clock has been largely preserved and it has good rich patination.
A French Louis XV style ormolu mantel clock Raingo Freres, Paris, circa 1870 The eight-day circular two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the backplate stamped with serial number 2916 over RAINGOFRERES, Paris roundel, the circular engine turned silvered brass Roman numeral dial incorporating curved vacant arched name panel between the winding holes and with blued steel hands within concentric gilt bead cast bezel, the waisted cast rococo case with leafy surmount over scalloped dial surround and blind lattice panel decorated sides over conforming apron panel to front and on generous foliate scroll cast and chased supports, the rear with hinged circular fretwork cover, 51cm (20ins) high.
A Victorian gilt brass mounted ebonised quarter chiming bracket clock in the George III style J. C. Jennens, London, late 19th century The substantial four pillar triple chain fusee movement with anchor escapement regulated by lenticular bob pendulum, chiming the quarters on a graduated nest of eight bells and striking the hour on a further bell, the backplate engraved with a central twin-handled urn within stylised line borders and with pendulum holdfast screw, the 7 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with starburst half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and rococo scroll cast spandrels beneath subsidiary CHIME/SILENT selection dial flanked by conforming mounts to arch, the inverted bell-top case with hinged brass carrying handle and vase finials to superstructure over brass fillet inset glazed dial aperture and conforming fish scale fret upper quadrant panels to front door, flanked by female caryatid mounts to the canted front angles and circular over concave-topped rectangular brass fillet edges fish scale frets to sides, the rear with rectangular glazed door, on moulded skirt base with scroll cast brass bracket feet, 49cm (19.25ins) high excluding handle. John Creed Jennens was born in 1822. He specialised in musical and chiming clocks and first worked in Birmingham (1845-53) before moving to Great Sutton St, Clerkenwell, London where he was based 1863-83.
A French lacquered brass carriage clock with push-button repeat and alarm made for the Middle-Eastern Market Retailed by J. Bauer, Paris, late 19th century The eight-day bell-striking movement with silvered platform lever escapement, alarm sounding on the same bell and stamped with number 205 opposing engraved initials P.R. to the lower margin of the backplate, the rectangular white enamel dial inscribed J. BAUER, PARIS to centre within ‘Turkish’ numeral chapter ring and outer minute track, with blued steel spade hands over conforming subsidiary alarm setting dial to lower margin, the bevel-glazed lacquered brass obis case with hinged carrying handle, 14.5cm (5.75ins) high excluding handle; with original leather covered outer travelling case.
A stock of longcase clock hood columns For use in the restoration of 17th and 18th century longcase clocks Comprising two sets of ebonised Solomonic twist columns measuring 14.125 inches and 12.25 inches high; a set of 13.75 inch walnut twist columns; a pair of 14.25 inch walnut twist three quarter columns; a pair of 14.25 walnut Roman Doric turned columns; two pairs of beech turned twist columns measuring 13 and 14 inches high; a selection of five individual columns of varying heights and a selection of walnut and beech turned column shafts etc., (qty).
A Victorian mahogany weight-driven ‘Norwich’ type drop dial wall clock Howlett, Cheltenham, circa 1860 The four pillar eight-day rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch circular cream painted Roman numeral dial signed Howlett, Cheltenham to centre and with steel spade hands, the case with brass bordered circular glazed hinged bezel within turned surround over scroll carved infill to lower angles of the hood, the trunk with canted throat over crossbanded caddy moulded rectangular door flanked by canted angles and with quarter-round foot to base, 121cm (47.5ins) high. John Howlett is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Cheltenham circa 1830-79.
A scarce brass lantern clock hand Possibly from the workshop of Edward Webb, Somerset or Bristol, late 17th Century Made from cast brass with oval boss and shaft terminating with twin foliate scrolls joined by a heart issuing bead-filed tip, the tail of conforming shorter profile, 5.4cm (2.125ins); 8.4cm (3.25ins) long overall. The current lot is an example of a classic ‘Bristol’ cast brass hand as drawn in George White English Lantern Clocks on page 229 (Fig V/32 C.). This particular casting appears on almost all the surviving clocks by Edward Webb of Chew Stoke (see lot 196) which suggests that this pattern may have originated from Webb’s foundry.
A selection of longcase clock and furniture marquetry elements For use in the restoration 17th and 18th century longcase clocks Including a tripartite group of three contra-marquetry clock case plinth panel veneers finely executed with Barianesque dragon and grotesque inhabited scrolling strapwork, another seaweed panel applied to pine board, a 12 inch hood door decorated with foliate trails, a group of three early pattern longcase clock trunk door parquetry, concave and convex throat mouldings and various smaller sections for hood door surrounds etc. (qty).
A group of fifteen brass-faced longcase clock pendulum bobs Unsigned, early 18th century and later With diameters measuring 6 inches down to 2.75 inches, with three complete brass bob faced seconds pendulums, another lacking suspension spring, a wooden rod pendulum and a selection of pendulum rods, (qty).
A significant quantity of hand-sawn olivewood oyster veneer panels For use in the restoration of late 17th century clock cases and cabinet furniture Comprising approximately one hundred and fifty panels measuring around 4 by 7 inches, with around 70 sawn laburnum() oysters each ovoid in shape and measuring roughly 5.5 by 3.5 inches, (qty).
A fine French Empire ormolu figural mantel clock ‘Hercules’ Gentilhomme, Paris, early 19th century The eight-day circular two train countwheel bell striking movement with anchor escapement regulated by a disc bob pendulum with silk suspension, the circular white enamel Roman numeral dial signed Gentilhomme, Palais Royal a Paris to centre and with steel moon hands within a fine milled gilt bezel, the case cast as the bearded Hercules standing draped in the Nemean lion skin resting his right hand on a substantial wooden club and supporting his left elbow on a tree stump housing the movement and dial whilst holding forward the golden apple of the Hesperides, The plinth base applied with mount cast as a trophy incorporating mask centred lion skin, bow and quiver flanked by canted angles decorated with snake entwined arrows and with laurel wreaths to sides, the lower edge with simple gilt skirt over substantial cast lions paw feet, 48cm (19ins) high. Gentilhomme is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Paris circa 1810/25 whilst Tardy in DICTIONBAIRE DES HORLOGERS FRANCAIS lists them as working from Galerie de Pierre circa 1810-20. An almost identical clock can be seen in Niehuser, Elke French Bronze clocks on page 64 and a similar model in Ottomeyer, Hans and Peter Proschel, Peter Vergoldete Bronzen on page399.
An unusual mahogany bracket clock supplied to H.M. Government Colonial Office Unsigned, mid 19th century , incorporating an earlier movement by Ferdinand Berthoud, Paris The six columnar pillar movement now with single chain fusee for the five wheel going train incorporating Harrison’s maintaining power and anchor escapement for regulation by a half-seconds pendulum, the rack strike train with large going barrel and sounding on a bell mounted above the plates, The backplate signed Ferdinand, Berthoud, A, Paris to lower margin, the purpose-made 7 inch single sheet silvered brass break-arch dial with high position chapter ring unusually annotated with Roman numeral hour and Arabic minute numerals at the quarters and with a subsidiary seconds dial interrupting the hour ring at twelve o’clock, with simple steel hands over lower section with large finely engraved Royal VR monogram over script COLONIAL OFFICE and small pendulum aperture, in a brass mounted figured mahogany bell-top case with hinged brass carrying handle and faceted brass acorn-shaped finials to superstructure over cavetto top mouldings, the front with brass-fillet bordered break-arch glazed front door incorporating brass fish-scale inset quadrant frets to upper angles, the sides with circular over concave-topped rectangular scroll-pierced fretwork panels, the rear with break-arch glazed rectangular door set within the frame of the case, on moulded skirt base with brass ogee bracket feet, the interior with various pasted labels including one inscribed in ink Colonial Office, Church house, 25/0-4627, 1.4.57, R. 232, 2, (lacking pendulum) 47cm (18.5ins) high excluding handle. The current lot is particularly interesting in that it appears to be clock made to meet a specific order from the government possibly at the time of the establishment of the ‘Second Colonial Office’ in 1854. The department was separated from the War and Colonial Office to deal specifically with the affairs in the colonies and was assigned an Under-Secretary of State for the Colonies and continued until 1966. The Colonial Office was based in a building specifically designed by Gilbert Scott however for a period after World War II the department was relocated to Church House, Westminster.The fact that the present clock incorporates an earlier, albeit re-worked, movement by the eminent 18th century French horologist, Ferdinand Berthoud may be due to the Vulliamy workshop not being able to satisfy the order due to the death of Benjamin Lewis Vulliamy in January 1754. Indeed as it is well known that the Vulliamy’s often replaced movements of clocks made by other earlier makers with their own (specifically examples in the Royal Collection) it would be logical to speculate that the movement used in the current lot may well have come from their stock of ‘salvaged’ mechanisms.
A very rare clockmaker’s journeyman regulator or transit instrument movement Edward John Dent, London, mid 19th century The six knopped pillar movement with arched plates measuring 8.625 by 5.25 inches containing a weight-driven three-wheel train incorporating Graham-type deadbeat escapement for regulation by a seconds pendulum and fitted with a pin to one of the crossings for operating the passing minute strike sounding on a bell mounted to the inside top left of the backplate, the frontplate silvered and engraved with integral dial with seconds ring incorporating Arabic five minutes and radial baton markers and with red-painted hand fitted directly onto the escapewheel arbor over signature Edward J. Dent, Strand LONDON across the centre and further minute dial with conforming numerals and batons with blued steel hand fitted directly on the greatwheel arbor. Edward John Dent was a talented horologist who at the age of 17 transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1817 he had become well known as a watch and clockmaker receiving commissions from the Admiralty for a 'Standard Astronomical Clock' and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks. In 1843 the firm expanded taking on a second premises at 33 Cocksur Street, with the Strand premises moving down the road to number 61 by 1851. In 1852 Edward Dent successfully tendered to make the 'great clock' to be housed in Stephen's tower at the New Palace of Westminster. The clock was completed by 1859, apparently at a financial loss to the firm, however it ensured that Dent became a household name synonymous with fine clockmaking.Unfortunately Edward John Dent did not live to see the installation of the 'great clock' as he died in 1853. He was succeeded by his stepson Frederick Rippon Dent, who, in partnership with his brother Richard, continued to expand the business. By 1862 the firm had added 34 Cockspur Street and 34 & 35 Royal Exchange to their list of addresses and, although having seen natural passage of ownership over the intervening years, the business still continues to trade today as Dent & Co. The current lot is made to the design believed to have first been devised by the eminent horologist John Shelton in around 1770. Indeed four such timepieces were supplied to the Royal Observatory in Greenwich during the 1760’s and an example resides in the collection of the Museum of the History of Science, Oxford (Inventory number 46869). A very similar timepiece, this time by Ellicott and housed in a floor-standing case, is illustrated in Roberts, Derek English Precision Pendulum Clocks. Figs. 12-10 A,B and further example by John Holmes was sold at Bonhams, London sale of Fine Clocks 27th June 2017 (lot 72) for £6,875.Traditionally such timepieces were thought to have been used in a workshop to assist in the regulation of watches where the rate can be checked by both reading the dial and listening for the passing strike sounding every minute. However it would appear that their primary purpose was to assist astronomers for timing the transit of celestial bodies. Indeed those supplied to The Royal Observatory were used by Neville Maskelyne for this purpose with one being described by him in a note written on 27th April 1766. The relatively simple construction also made this type of regulator more suited to being transported hence they were often taken on expeditionary trips to be set-up in the field. Bearing these facts in mind it is most probable that the current lot was most likely made to be used for astronomical observations. It is also possible that it may have been taken on an expeditionary trip as Dent was known to supply instruments for this purpose (as noted in the biography passage above).
A French gilt brass carriage clock with push-button repeat and alarm Henri Jacot, Paris, late 19th century The eight-day two train gong striking movement with silvered platform lever escapement and alarm sounding on the same gong, the backplate stamped with H.J. parrot trademark and numbered 15334 to the lower left hand corner, the rectangular white enamel Roman numeral dial with blued steel moon hands over alarm setting dial to lower margin, the frosted gilt bevel-glazed corniche case with hinged carrying handle, 14.5cm (5.75ins) high excluding handle; with a leather covered outer travelling case. Henri Jacot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working from 31 Rue de Montmorency, Paris as well as possibly having a factory in Saint-Nicolas-d’Aliermont. The business was awarded Bronze Medals at the Paris ‘Exposition’ in 1855 and in London 1862; Silver in Paris 1867, 78 and 89 and Gold, again in Paris, 1890. Henri Jacot senior died in 1868 and was succeeded by his nephew of the same name. The business is thought to have continued until around 1920. Please note: As an addendum to the above footnote the information provided by Allix and Bonnert relating to the business being succeeded by Henri’s nephew of the same name is incorrect. Research undertaken by Leigh Extence has revealed that after his death in 1868, Henri's business was continued by his brother Julien who was actually only 'keeping the bench warm' until his son, and Henri's nephew Albert, was able to take over and move the concern forward in 1874.
A fine French champleve enamelled gilt brass ‘bamboo’ carriage clock with push-button repeat and alarm Unsigned, late 19th century The two train eight-day gong striking movement with silvered platform lever escapement and numbered 1860 to the lower left hand corner of the backplate, the rectangular dial plate champlevé enamel decorated with asymmetric trails of blue flowering foliage in the Japonesque style around a gilt Arabic numeral chapter ring with blued steel hands and conforming enamel centre over subsidiary alarm setting dial, the bevel-gazed case with frame modelled to resemble sections of bamboo overlapping at the corners and with each segment champlevé enamelled with further blue floral sprays on a cream ground, with conforming hinged carrying handle to the gilt panel-glazed top and angled bamboo feet 16.5cm (6.5ins) high excluding handle; with a tooled morocco covered travelling case.
A George III mahogany eight-day longcase clock William Creak, London, circa 1760 The eight-day five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced blued steel hands and applied with twin bird and urn cast spandrels to angles, the arch centred with a circular silvered boss signed W’m Creak, London flanked by dolphin cast mounts, in a case with break-arch dentil cavetto cornice over brass stop-fluted columns flanking the glazed hinged dial aperture, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with break-arch flame-figured door flanked by brass stop-fluted rounded angles, on raised shaped panel fronted plinth base with moulded double skirt incorporating shaped apron to lower edge, 222cm (87.5ins) high. William Creak is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a ‘fine maker’ who worked in London from 1754-63. Other sources indicate that he was working from 1740-75 and his workshop was located in the Royal exchange from 1754. Creak supplied musical and automaton clocks for export to the Middle East and China and often incorporated similar complications into examples made for the domestic market.
A French lacquered brass carriage clock with push-button repeat Retailed by Charles Frodsham, London, early 20th century The eight-day two train bell striking movement with silvered platform lever escapement and stamped with serial number 4895 to backplate, the rectangular white enamel Roman numeral dial inscribed CHARLES FRODSHAM, TO THE QUEEN, 84 STRAND, 18898 to lower margin and with steel moon hands, the obis bevel-glazed case with hinged carrying handle, 13.5cm (5.25ins) high excluding handle.
A Scottish Victorian mahogany longcase clock with two-in-one quarter striking Peter Penman, Dunfermline, circa 1840 The eight day two train four pillar movement with anchor escapement regulated by seconds pendulum to the going train and the strike train both ting-tang striking the quarters on a graduated pair of bells and sounding the hour on the larger of the two, the 13 inch white painted Roman numeral dial with subsidiary seconds over calendar dials and signed PETER PENMAN, Dunfermline to centre, with engraved brass hands and spandrels polychrome painted with figural representations of the four members of the United Kingdom beneath scene of a courting couple to arch, the swan neck pediment with free-standing columns flanking hinged glazed dial aperture to hood over ogee throat and swollen frieze above bowed ogee cupola capped trunk door flanked by split pilasters with further swollen apron panel beneath, 2178cm (85.5ins) high. Peter Penman is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Dunfermline circa 1820-40.
Darken, Jeff (editor) HOROLOGICAL MASTERWORKS Catalogue for the exhibition held at The Museum of the History of Science, Oxford, 29th March-22nd June 2003, The Antiquarian Horological Society, Ticehurst 2003, later quarter blue leather bound with marbled boards and gilt title to spine, with a copy of van den Ende, van Kersen-Halbertsma, Taylor, Dr. John C. and Taylor, Neil HUYGENS' LEGACY The Golden Age of the Pendulum Clock catalogue for the exhibition held at Paleis Het Loo, Apeldoorn, 12th September-28th November 2004, Fromanteel Ltd, Castletown, Isle of Man 2004 (soft bound), (2).
A pierced brass table clock winding key Probably 20th century in the late 17th century style The loop pierced and engraved with asymmetric tulip stems; with four cast silver coloured metal winged cherub head spandrels in the late 17th century style for a 9.5 to 10 inch longcase clock dial, and a sculpted steel hour hand in the manner of John Knibb, late 17th century, measuring 3 inches from centre to tip, (6).
A fine gilt brass grande-sonnerie striking gorge cased carriage clock with push-button repeat and alarm Lepine, Paris, circa 1880 The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement and alarm sounding on the smaller gong, the backplate signed Lepine over engraved number 27367 and the inside of the frontplate stamped with numbers 3, 273 and with the letter H, the dial with rectangular rococo scroll and matted diamond lattice engraved frosted gilt mask enclosing recessed circular white enamel disc signed Lepine AParis, Place des Victoires 2 to centre within chapter ring with vertical Arabic numerals and five minute markers to outer track, with fine pierced sculpted gilt hands over subsidiary alarm setting dial to lower margin, the bevel-glazed gilt gorge case with large top glass and G’de Sonnerie/Silence/P’te Sonnerie selection lever to underside, 15cm (6ins) high excluding handle. The eminent Lepine dynasty of Parisian clockmakers was established Jean Antoine Lepine who started horological career in Geneva. In around 1744 he moved to Paris as was apprenticed to the King’s clockmaker André Caron (1697-1775), whose daughter he married in 1756, before becoming a partner in his business. Lepine was received as a maître in 1762 and at the same time he was appointed to the coveted position of Horloger du Roi (Louix XV) et du Garde-Meuble de la Coronne. Until 1772 he operated from premises in the rue Saint-Denis and then transferred his business several times until 1789 when it moved to 12 Place des Victoires. By this time the running of the business was in the hands of his son-in-law, Claude-Pierre Raguet-Lepine (1753-1810), who had joined Lepine in 1783.After his death in 1810, Raguet-Lepine’s only son, Alexandre, sold the business to Jean-Paul Chapuy, who is believed to be responsible for assigning a numbering system (starting at 4000) to Lepine clock movements. Whilst trading under the Lepine name Chapuy supplied clocks to no less than Napoleon I; Jerome, King of Westphalia; Charles IV, King of Spain; and the princes de Talleyrand. The business was subsequently sold to Calvet, who was succeeded in 1840 by Fabre. Boulay purchased the firm in 1853 and resold it to Roux in 1885. It was then passed on to Ferdinand Verger, who resold it in 1914 and it continued trading under the name Lepine until 1919, when it was taken over by L. Leroy.
A rare George III scarlet japanned eight-day longcase clock with alarm Robert Higgs and Diego Evans, London, circa 1775 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and transverse alarm mechanism positioned to the right hand side of the movement with verge hammer sounding in the hour bell, the 12 inch brass break-arch dial with alarm setting disc, recessed subsidiary seconds dial, calendar aperture and shaped silvered signature plate engraved Higgs y, DIEGO EVANS, LONDRES to the finely matted centre within slender silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath TOCAR/SILENCIO subsidiary strike selection ring flanked by conforming mounts to arch, in a scarlet red japanned case with gilt painted shaped upstand over break-arch cavetto cornice and conforming scroll pierced fretwork frieze, the hood door with alternating gilt floral trail and trellis band decoration and applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with grotesque mask centred floral trail painted throat over ‘block-top’ break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with abstract foliate scroll painted upper quadrants and geometric banded borders flanked by reeded quarter columns to the front angles, the sides with large leafy sprays, the plinth base with raised shaped panel decorated with equestrian scene of hunters trapping a tiger, on shallow skirt with block feet, 236cm (93ins) high. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom of the Clockmaker's Company in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770. James Evans is recorded by Baillie as also working from Sweetings Alley from 1773. In 1775 he went into partnership with Robert and Peter Higgs; the firm subsequently moved to Exchange Alley and continued in business until around 1825. The partnership of Higgs and James Evans specialised in producing clocks for the export market - particularly to Spain hence a significant proportion of surviving examples (including the current lot) being annotated and signed in Spanish.
An unusual Austrian small early pendulum spring-driven timepiece Albrecht Erb, Vienna, third quarter of the 17th century The circular single chain fusee movement with three baluster-turned pillars pinned through the backplate and four wheel train incorporating verge escapement with escape wheel set above the plates and regulated by short bob pendulum suspended from combined top potance and pallet arbor pivot arm, the backplate with blued steel mainspring set-up ratchet incorporating sculpted scroll-pierced pawl spring tail and fine flowering poppy trail engraved and pierced gilt brass footed guard, the upper margin boldly signed Albrecht Erb, In Wienn, the 3.5 inch square gilt copper dial now with applied scroll engraved disc to centre within a silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes beyond the arcaded minute track, with pierced steel hands and fine foliate spray engraved infill to the spandrel areas beneath later added strapwork scroll engraved gilt brass arch panel, the movement and dial now mounted on a mahogany ogee moulded plinth with glass dome cover, the timepiece 12cm (4.25ins) high; overall height including base and dome 19.5cm (7.75ins) overall. Provenance: From the beneficiaries of the estate of the eminent Anglo-Austrian economist and philosopher Friedrich August von Hayek. Albrecht Erb is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working as a master clockmaker in Vienna circa 1661. Britten, F.J. in Britten’s Old Clocks and watches and their Makers indicates that Erb was born in 1628 and died 1714. He is believed to have made watches, astronomical timepieces, horizontal table clocks and ‘Telleruhr’ (plate) pendulum timepieces. Examples of his work are in the collection of the Kunsthistoriches Museum Vienna and have been known to turn-up at auction with notable recent examples being a fine silver mounted horizontal table clock with grande-sonnerie striking which was sold at the Christies, New York sale of The Abbott Guggenheim Collection: A New York Kunstkammer 15th January 2015 (lot 96) for a buyer’s premium inclusive $47,500; and an impressive gilt brass Telleruhr offered at Sotheby’s, Paris sale entitled Pierre Berge -from one home to another 30th October 2018 (lot 4) for a premium inclusive 43,750 EUR. The arch to the dial of the current lot appears to be an 18th century addition hence in its original form the dial would have only been 3.375 inches square. This coupled with the overall compact nature of the movement suggests that it could have been made to ‘accessorise’ a table cabinet perhaps forming the centre-piece of an architectural pediment.
Horological reference - approximately thirty titles: Mercer, Vaudrey THE FRODSHAMS, THE STORY OF A FAMILY OF Chronometer Makers The Antiquarian Horological Society, Ramsgate 1981, dj; Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS Paris 1971, softbound; Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks Antique Collectors’ Club, Woodbridge 1982, dj; Barder, Richard C.R. The GEORGIAN BRACKET CLOCK, 1714-1830 Antique Collectors’ Club, Woodbridge 1993, dj; Rose, Ronald E. English DIAL CLOCKS Antique Collectors’ Club, Woodbridge 1978, dj; Roberts, Derek SKELETON CLOCKS, BRITAIN 1800-1914 Antique Collectors’ Club, Woodbridge 1987, dj; Robinson, Tom THE LONGCASE CLOCK Antique Collectors’ Club, Woodbridge 1989, dj; Shenton, Alan and Rita COLLECTABLE CLOCKS, 1840-1940, Reference and Price Guide Antique Collectors’ Club, Woodbridge 1994, dj; Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their History and development Antique Collectors’ Club, Woodbridge 1974, dj; Britten, F.J. The Antique Collectors’ Club edition of Old Clocks and watches & Their Makers Antique Collectors’ Club, Woodbridge 1994, dj; Hana, w.F.J. English Lantern Clocks Blandford Press, Poole 1979, dj; Banfield, Edwin BAROMETERS Aneroid and Barographs Baros Books, Trowbridge 1985, dj; Banfield, Edwin BAROMETERS Stick or Cistern Tube Baros Books, Trowbridge 1985, dj, and a further selection of general standard reference works, (qty).
A fine Louis XVI style Sevres porcelain inset ormolu cartel clock and matching aneroid barometer en suite Bearing signatures for Martinout, Paris and Passemant, au Louvre, circa 1870 The clock with circular eight-day two train bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with S. Marti et Cie, MEDAILLE DE BRONZE roundel over number 7 2, to the lower edge and A.C roundel over further number 2671 to left hand margin, the 6.5 inch convex white enamel Roman numeral dial inscribed Martinout, AParis to centre and with Arabic five minutes to outer track, with scroll pierced and engraved brass hands set behind bayonet fitted convex glazed repeating acanthus cast bezel, the case with finely painted oval porcelain panel of a cherub in flight holding a barometer within decorative gilt and blue ground border, and cast surround modelled as ribbon tied vine stems issuing fruiting sprays draped around the guilloche scroll bordered dial, the base with inverted break-arch panel incorporating curved gadroon cast upper border and inset with a panel with a another cherub with a globe and surveyor’s instruments within conforming blue ground border and fine repeating lappet leaf cast surround terminating with inverted acanthus leaf crest and pineapple pendant finial; the barometer with concealed aneroid mechanism and circular convex white enamel register inscribed PASSEMANT, AU LOUVRE to centre within concentric scale calibrated in barometric inches and with weather observations in French to outer track, with blued steel pointer set behind convex glass fitted with a central brass recording hand, the case matching that of the clock with the upper porcelain panel similarly painted with a cherub in flight holding a telescope and the lower with another observing a globe, each 67.5cm, (26.5ins) high. A cartel clock and matching aneroid barometer of the same pattern as the current lot (but this time with the clock inscribed for Louis Montjoye, Paris) were sold at Christies New York sale of The Alexander Collection:French Furniture, Boxes & Porcelain 30th April 1999 (lot 178) for a premium inclusive $51,750.
A figured mahogany small eight-day longcase clock Geoffrey Bell, Arlesford, dated 1974 The four knopped pillar rack and bell striking movement with anchor escapement regulated by cylindrical bob seconds pendulum, the 9 inch brass break-arch dial with subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the narrow outer track, with pierced steel hands and festoon cast foliate spandrels to angles, beneath arch with silvered Signature boss Geoffrey Bell, Arlesford Fecit, 1974 flanked by conforming mounts, the break-arch case with small concave sided upstand over generous cavetto cornice and hinged caddy-moulded glazed dial aperture flanked by canted angles to hood, the sides with rectangular windows, over concave throat mouldings and slender break-arch line edged caddy-moulded flame figured trunk door on conforming raised panel fronted plinth base with double skirt, 196cm (6ft 5ins) high. Provenance: The family of Alf Godsell, former Managing Director of Geoffrey Bell Ltd. An identical clock to the current lot was sold in these rooms on 17th February 2010 (lot 49) for £1,500 hammer.
A quantity of longcase clock case elements For use in the restoration of late 17th century and later clock cases Including a walnut and floral panel marquetry door with panel measuring 41.5 by 8.25 inches, a conforming marquetry plinth panel, throat moulding, a pine and oak trunk carcass, a hood carcass with fixed 10.5inch dial aperture, a part-restored grotesque figure inhabited floral marquetry veneered trunk door panel measuring 42.5 by 9 inches, a hood carcass with similar marquetry to the 11 inch dial aperture and a selection of hood side and front panels etc., (qty).
Two carved walnut longcase clock pediment crest ornaments For use in the restoration of longcase clock cases dating from 1680 to 1695 The first of winged cherub mask and floral festoon swag centred swan neck design measuring 21 inches across, the second similar but lighter in its feel and centred with a woven basket of flowers, 18.25ins wide; with another carved crest of winged cherub head centred swan neck pattern most likely cut in poplar to take an ebonised finished and measuring 16 inches across, (3).
An impressive George III mahogany eight-day quarter chiming Longcase clock with automata and moonphase Edward Mann, London, circa 1775 The substantial seven pillar triple train rack and bell striking movement with T-shaped plates measuring 9.25 by 11.875 inches, the going train with anchor escapement regulated by seconds pendulum and the quarter train sounding a melodious peel on a graduated nest of eight bells with eight hammers before unlocking the hour strike on a larger separate bell at the hour, the 12 inch silvered brass Roman numeral break-arch dial with subsidiary seconds dial, curved pierced sector aperture for the calendar and signed Edward Mann London to centre, with pierced blued steel hands and spandrels polychrome painted with individual automata scenes of 18th century musicians incorporating actions motioned whilst the quarter chiming train is running, the arch with rolling moonphase incorporating engraved terrestrial globe lunettes to lower margin and age of the moon to the outer track of the disc beneath margin now applied with arched plate engraved with HIGH WATER AT LONDON BRIDGE, in a brass mounted mahogany case with pagoda shaped superstructure fronted by shaped grille fret over cavetto break-arch cornice incorporating foliate scroll pierced frieze fret and glazed arched dial aperture flanked by brass stop-fluted columns, the sides with rectangular grilles and quarter columns applied against bargeboards at the rear, the trunk with concave throat moulding over break-arch door flanked by brass stop-fluted quarter columns to angles, on shaped raised panel fronted plinth base with moulded skirt, the whole now with polychrome painted decoration in the Sheraton taste with musical trophy to trunk door, grisaille oval panel of a Classical female to plinth and floral trail borders throughout, (movement originally with tune selection), 245cm (86.5ins) high excluding top finial. An Edward Mann is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working before 1722. However, as the current lot can be dated to around 1775 on stylistic grounds it must have been made by maker of the same name but of the next generation. The most likely candidate is a maker who Baillie records as working in Coventry circa 1787 who could have previously worked in London.
The remnants of a rare spring verge timepiece movement and a fine pierced and engraved verge backcock apron Both unsigned, probably London, circa 1675-80 and 1690-95 respectively The movement with tall narrow bottle-shaped plates measuring 8.25 by 3.125 inches united by four finned and knopped pillars enclosing narrow fusee and stopwork only; the backcock apron pierced and engraved with symmetrical scrolling foliage, 9cm (3ins) wide, (2). The proportions and original specification of the movement in the current lot can be compared to a timepiece by Edward East illustrated in Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 309 (Plate 441); whilst the bottle-shaped plates are reminiscent of an eight-day longcase clock movement, also by East, illustrated on page 124 (Plate 155). The pierced and engraved backcock apron can be directly compared to an example signed John Clowes, London illustrated in Early English Clocks on page 402 (Plate 571).
A selection of brass longcase clock case mounts, hinges, locks, spandrels, bells and related items For use in the restoration of 17th century and later longcase clocks Including four cast brass Corinthian column capitals and group of other hood column castings, numerous 17th century pattern winged cherub and scroll cast spandrels, trunk door locks, wrought iron and brass trunk door strap door hinges, four cast brass lenticle surrounds nine longcase and other clock bells and other items, (qty).
A Queen Anne eight-day longcase clock movement and dial Brounker Watts, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement for regulation by a seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and twin bird and basket of fruit border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Brounker Watts, London to lower margin, with pierced steel hands and female mask and scroll cast spandrels to angles within a herringbone engraved border (lacking pendulum and weights).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 Clockmaker’s 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 Clockmaker’s 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.
A very rare French Louis XIII small brass lantern or chamber clock G. Estienne, Caen, first half of the 17th century The posted two train bell striking movement with fine Roman Doric turned corner posts and separately wound trains with the going now with verge escapement for regulation by short small bob pendulum, the dial with fine foliate scroll decorated hour disc applied with sculpted steel trefoil hand tip and engraved with Arabic hour numerals for the alarm to outer track, within applied silvered narrow Roman numeral chapter ring with cruciform half hour markers, set onto a dial plate finely engraved with tulip, poppy, narcissi and other floral blooms and trails to the upper and lower margins, beneath conforming engraved shaped front fret centred with a vacant cartouche, small acorn finials and iron-strap bell bearer surmounted with a bulbous brass finial, the base with frame securing nuts and engraved G. Estienne ACaen to underside, (unrestored, formerly verge with balance regulation, lacking countwheel, pendulum rod, alarm and alarm hand; the bell and bearer replaced), 18cm (7ins) high excluding bell and bearer. G. Estienne of Caen does not appear to be recorded in the usual sources. The engraving to the dial plate of the current is very finely executed and composed of scrolling floral trails with different blooms arranged in a symmetrical manner. This engraving can be compared to that on the dial of a chamber clock dated 1588 by Francis Nawe illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 18 (Plate 5), which although incorporates grotesques and a small amount of strapwork is very similar in feel and quality. Francis Nawe was a Huguenot immigrant who is believed to have come to London from Antwerp in around 1575 and died of the plague in 1593. Other timepieces with related engraving are two very similar small table clocks by Bartholomew Newsam illustrated in Early English Clocks on pages 26 (Plate 19) and 29 (Plate 26) and another drum clock by the same maker illustrated on page 28 (Plate 22). George White in English Lantern Clocks also illustrates the side panel of Francis Nawe’s 1588 clock (on page 58, Figures II/23 & 24) and notes that the designs were after Etienne de Laune and Abraham de Bruyn. When the engraving on these late 16th century clocks are compared to those a little later in date it becomes clear that the size of the flowerheads increased and the designs became more abstracted although the symmetrical balance remained. This is well illustrated on the dial of wall alarm timepiece dating to before 1615 by Robert Harvey, London, illustrated in White, George English Lantern Clocks on page 61 (Figure II/30). Interestingly on the same page White also illustrates a possibly English unsigned steel and brass chamber clock with related dial engraving and similar arrangement of hour hand tip applied to revolving disc (this time indicating the lunar calendar) within the chapter ring. One final clock with floral engraved dial worth considering is a silver example by David Bouquet dating to around 1650 illustrated in Early English Clocks on page 61 (Plate 69). The engraved blooms on this example are much larger than the present clock although some semblance of symmetry is retained whilst the quality of execution is good but not as fine as that on the current lot. From the above observations it would seem appropriate to suggest a date of around 1625 for the current lot. The movement was originally made with verge escapement with balance wheel regulation and has separately wound trains which also suggests an early date of manufacture.
A George III brass mounted mahogany table clock Thomas Lozano, London, circa 1780 The five pillar twin fusee movement with verge escapement regulated by short bob pendulum and striking the hour on a bell, with rococo scroll engraved backplate and 7 inch brass break-arch dial plate applied with circular white painted centre signed THO’s LOZANO, EN LONDRES within Roman numeral chapter ring and Arabic five minutes to outer track, with pierced brass hands, and rococo scroll cast spandrels to angles beneath subsidiary calendar dial flanked by conforming mounts to arch, the brass mounted bell top case with hinged brass carrying handle to the brass scroll pierced fretwork border decorated upstand over pinecone finials and cavetto top mouldings, the front door with inset brass fillet moulding to the glazed dial aperture, foliate and scroll cast upper quadrant frets flanked by canted angles adorned with fine female caryatid and pendant floral cast mounts, the sides with circular martial trophy cast brass frets over further concave topped rectangular sunburst cherub mask centred rococo scroll cast frets, the rear with rectangular break-arch glazed door set within the frame of the case, the cavetto moulded shallow skirt base with generous leafy scroll cast feet, 49cm (19.25ins) high excluding handle. Tomas Lozano was Spanish by birth and is known to have worked in both London and Spain. Whilst working in London it seems that he primarily produced timepieces for export to his native Spain; he is also known to have successfully repaired damaged marine chronometers for the Spanish Navy in 1786.
A William III walnut and floral marquetry eight-day longcase clock of one month duration Paul Dupen, London, circa 1700 The six finned pillar rack striking movement with anchor escapement regulated by seconds pendulum, the 10.75 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Paul Dupen, London to lower margin, with scroll pierced blued steel hands and winged cherub head and scroll cast spandrels to angles with foliate scroll engraved decoration between, in a case with raised platform surmounted floral marquetry decorated dome superstructure above crossgrain ogee moulded repeating motif inlaid cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with walnut three-quarter columns with fine cast gilt caps and bases to front angles, the sides with rectangular windows and quarter columns set against bargeboards rising up to the underside of the cornice projection at the rear, the trunk with concave floral marquetry veneered throat moulding over 42 inch rectangular door centred with a circular brass lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays on an ebonised ground within a figured walnut field and Arabesque scroll surround, the sides veneered with twin slender panels within triple-line strung crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel within Arabesque border, 228cm (89.75ins) high to top edge of domed caddy. Provenance : Queens Berry, Anna House, Kintmount, near Dumfries. A Paul Dupin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London and Geneva circa 1710-67. The current lot may be by this maker or by a relation (perhaps father) of the same name who may not be recorded. Indeed many French speaking immigrant makers tended to work directly for the larger Huguenot workshops, such as that of Claude DuChesne, at this time hence often did not gain the freedom of the Clockmaker’s Company.
A substantial quantity of English walnut crossgrain clock case mouldings For use in the restoration of 17th and early 18th century longcase clocks Including around twenty feet of trunk door half-round mouldings, break-arch over door hood mouldings, a length of ogee plinth top moulding, various lengths assorted crisply drawn lintel and cornice mouldings, concave throat moulding and some straight-grain lintel and door mouldings, (qty).
Ï’ A George III tortoiseshell japanned eight-day longcase clock with rocking ship automaton Thomas Hackney, London, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with recessed starburst engraved silvered subsidiary seconds disc, calendar aperture and shaped nameplate engraved Tho:s Hackney., London to matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and rococo cast spandrels to angles beneath arch cut with a shaped aperture revealing polychrome painted representation of a square-rigged warship rocking back and forth with the motion of the pendulum, the scroll engraved surround incorporating a terrestrial sphere to front margin, in a mottled iron red and dark brown/black japanned case with leafy band decorated break-arch cavetto cornice and scroll bordered glazed hood door applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with scallop shell centred acanthus leaf painted throat over break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with gilt trellis painted upper quadrants and scroll banded borders, the sides with large leafy sprays, the plinth base with further naturalistic landscape over moulded skirt, 219cm (86.25ins) high. Provenance: Brocket Hall, Hertfordshire. Thomas Hackney is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1764. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A William and Mary eight-day longcase clock movement with 10 inch dial Edward Stanton, London, circa 1695 The five finned pillar countwheel bell striking movement with anchor escapement for regulation by a seconds pendulum, the 10 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes within the outer minute track and signed Edw’d Stanton, Londini Fecit to lower margin, with fine sculpted steel hands and cast winged cherub head spandrels to angles within a scribed line border (no pendulum or weights). Edward Stanton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in about 1641 and apprenticed to Francis Bowen (a journeyman for William Bowyer) in 1655 before being transferred to Nathaniel Allen by 1662. Stanton gained his freedom of the Clockmakers’ Company in January 1662/63 and is believed to have moved to Fetter Lane in the Parish of St. Dunstan in the West by 1666. He took in many apprentices most notably William Cattell (freed 1672) and Samuel Stevens (freed 1671). Many of Edward Stanton’s (particularly his lantern clocks) are signed with his address at ‘Leaden Hall Street’ probably executed in his own hand as records indicate that he was also an engraved who was accused of engraving Robert Seigniour’s name on a clock made by Henry Jones. In 1688 he witnessed the will of his former apprentice, William Cattell and was overseer to the execution of John Ebsworth’s will in 1699. Edward Stanton served made an Assistant of the Clockmakers’ Company in 1682, served as a Warden from 1693 and became Master of the Company in 1697. He was also one of the original subscribers of the Bank of England when it was founded in 1694 depositing £100, and signed the Clockmakers Company oath of Allegiance whilst serving as Master in 1697. Stanton had an illness in 1701/2 and is believed to have died in 1715.
A stock of hand-sawn English walnut veneers For use in the restoration of late 17th century clock cases and cabinet furniture Comprising around forty lengths each around 4 inches wide and varying between circa 12 and 24 inches in length with small quantity of thinner machine cut sections, a bundle of around twenty-five thicker walnut sections/offcuts varying in width and length, a small group of similar olivewood veneers and offcuts and three rough-sawn walnut tree trunk sections each measuring around 2 inches thick and between 33 and 66 inches in length, (some worm damage), (qty).
A fine engraved gilt brass oval carriage clock with push-button repeat and alarm Retailed by J. Pyke, London, third quarter of the 19th century The two train eight-day bell striking movement with silvered platform lever escapement and alarm sounding on the hour bell, the frontplate with stamped oblong cartouche inscribed E. PRONOST, … PARIS, the dial with fine rococo scroll engraved rectangular mask enclosing a inset white enamel Roman numeral hour disc inscribed J.PYKE, 138 NEW BOND ST., LONDON to centre and with blued steel moon hands over conforming subsidiary alarm setting dial to lower margin, the substantial engraved satin gilt oval case with hinged scroll outline carrying handle over fine rococo scroll border engraved top and repeating leaf decorated top mouldings, the front and sides with thick curved bevel glass panels set into border-engraved frames and the rear with conforming pin-hinged door, on ogee profile skirt base adorned with bands of repeating leaves over linked cartouche panels on a matted ground, 14cm (5,5ins) high excluding handle.
A fine and very rare lantern clock minute hand Possibly from the workshops of Thomas Knifton or Peter Closon, London, mid 17th century Made from forged sculpted steel with circular boss and faceted filed tapered shaft decorated with a banded collar at the, the tail of conforming shorter profile terminating with a spade-shaped finial, from centre to tip 8.9cm (3.5ins), 13.3cm (5.25ins) long overall. Lantern clocks made to read the minutes as well as the hours are very rare with most being larger quarter chiming examples. Of the few makers who made such clocks Peter Closon and Thomas Knifton appear to be the most prolific. An example by each maker are illustrated in White, George English Lantern Clocks on page 136 (Figure III/20) and 136 (Figure III/22).
An early Victorian figured mahogany bracket clock Unsigned, circa 1850 The five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob pendulum with holdfast beneath the bell on the backplate, the 8 inch circular white painted Roman numeral dial with steel moon hands behind hinged glazed cast brass bezel incorporating canted fillet to interior, the case with humped pediment fronted by foliate carved crest terminating with rosette fronted batons to each side, the front with further leafy scroll carved decoration to lower corners, the sides with rectangular brass grille frets over scroll profile bands to lower margins and the rear with rectangular glazed door, on ogee moulded skirt base with block feet, 42.5cm (16.75ins) high.
A rare Charles II longcase clock movement of around eight-week duration Possibly attributable to the Fromanteel workshop, London, 1675-80 The substantial five finned and latched pillar movement with plates measuring 8.125 inches by 5.25 inches enclosing delicate wheelwork, the five wheel going train with large diameter sixteen-groove barrel and anchor escapement for regulation by seconds pendulum, the strike train with high position external countwheel, now with a later 12 inch square brass dial with engraved signature Jam’s Berry, PONTEFRACT to the rococo scroll engraved centre. The current lot exhibits many features which are seen on other examples signed by either Ahasuerus or Johannes Fromanteel. Firstly the barrels are formed from split-castings where each cylinder is cast in two halves along the arbor axis and soldered together. Although barrels that are constructed in this manner were used by almost all workshops at this time it is believed that the castings themselves originated from the Fromanteels. Secondly the countwheel is secured by a brass spring cut with a keyhole to engage with a groove turned into the diameter of the pivot post. It would seem that makers of the Edward East school preferred to retain high-position countwheels with screws (see Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks page 92, Plate 114 and page 111, Plate 139). Thirdly the fly to the strike train utilises a tab spring riveted to the leaf as a friction brake rather than an end leaf-spring preferred by Joseph Knibb (see Early English Clocks pages 136, Plate 175/76 and compare with Darken, Jeff (editor) HOROLOGICAL MASTERWORKS page 149). Finally the shape of the latches being simple fanned curves terminating with a distinctive thumbnail hook differs from those used by Knibb which generally have a down-sweep along the outer edge before the hook (compare Early English Clocks page 78, Plate 94 with page 107 Plate 134). Indeed the latches on the current lot are practically identical to those on a three-in-two quarter striking table clock movement by Johannes Fromanteel (formerly at Cassiobury Park) which was sold at Sotheby’s, London sale of Important Clocks, Wristwatches and Barometers 13th October 1988 (lot 178).In addition to the movement having the combination of the above details the overall feel of the mechanism , in particular the weight and proportions of the pillars and delicate nature of the wheelwork, is wholly commensurate with those made by John Fromanteel. It is also perhaps interesting to note that one of Ahasuerus Fromanteel’s sons, Abraham, worked in Newcastle upon Tyne at various points between 1674 and 1730 when he died there. The fact that a member of the family was based there well into the 18th century could possibly account for why the movement is currently fitted with a re-purposed dial made in Pontefract, Yorkshire.
A rare French gilt brass ‘humpback’ cased petit sonnerie striking carriage clock with push-button repeat and alarm L. Leroy et Cie, Paris, circa 1900 The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour on the larger of the two, with silvered platform lever escapement and alarm set via a small silvered Arabic numeral dial positioned the winding squares and sounding on the smaller gong, the backplate signed L. Leroy & Cie, 7. B’d de la Madeleine, Paris to upper margin and numbered 18080 to centre, the 3.25 inch wide engine-turned silvered brass arched dial with Roman numeral chapter ring and gilt spade hands over repeat signature L. LEROY & CIE, 7. BOUL’D DE LA MADALEINE, PARIS inscribed in three lines onto small chamfered panel reserves, the arched gilt brass case with hinged gilt oval pendant handle over bevel-glazed moulded dial aperture and slender architectural stepped ogee shoulder mouldings to each side, the rear with hinged door and standing on four generous bun feet, the underside with strike selection lever inscribed Silence/Sonnerie, 15cm (6ins) high excluding handle; with original blue velvet black leather covered travelling case stamped gold lettering L. LEROY & CIE to front edge. Provenance: Sold at Christies, South Kensington, London The Dr. Eugene and Rose Antelis Collection of Important French Carriage Clocks 26th November 1998 (lot 76) for a premium inclusive £2,990. The firm of 'L. Leroy & Cie' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century.The arched ‘humpback’ form of the case of current lot was most likely first used by Abraham-Louis Breguet in around 1822 (see Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development page 43). During the latter years of the 19th century this style of case was revived with English makers such as Jump and Nicole Nielsen producing highly complicated carriage clocks in the Breguet tradition. The current lot would almost certainly have been made to follow this fashion with the engine turned dial echoing that of Breguet. The classic simplicity of the ‘humpback’ carriage clock remains popular today as demonstrated by the premium inclusive £5,312 achieved for a closely related (but hour striking only) example, also by Leroy (No. 17894), sold at Bonhams, London Fine Clocks, 19th June 2019 (lot 4).
An interesting gilt brass electromagnetic master clock Unsigned but conforms to Gents’s 1907 patent design, early 20th century The rectangular gilt brass backplate decorated with engraved alternating triangular hatched decoration and concave cut corners except to the bottom left, applied with pivot post for the crutch assembly incorporating release lever and detent for the gravity arm and pivoted armature for the electromagnetic coils positioned to the left of the mechanism, the right hand side with shunt countwheel pivoted between shaped brass plates and locking detent for the gravity arm, the top of the plate with electrical connection posts and the whole assembly hung from a rectangular mahogany board via screws into four posts with the upper two doubling-up as twin supports for the wide jaw pendulum suspension to allow the steel-rod seconds pendulum with cylindrical gilt brass bob to swing behind the backplate, the whole in a mahogany glazed standing case with moulded cornice over glazed front door and conforming twin panels to sides, on plinth base with shallow moulded skirt, the movement backplate 24cm (9.5ins) high; the case 170cm (67ins) high overall. Gents of Leicester were founded by John Thomas Gent in 1872 and specialised in producing electric timepieces principally for semi-public and industrial use alongside fire alarm systems, telephones, transformers and related products. The firm initially operated from Faraday Road, Leicester, later (after WWII) moving to nearby Kibworth. They were bought-out by the multi-national organisation, Chloride, in 1981. In 1907 Gents patented a design of electric pendulum time transmitter or master clock, this design went on to be used in the series of ‘Pulsynetic’ timepieces which were made well into the 20th century.Although unsigned the current lot conforms to Gents’s 1907 patent design as illustrated in Miles, Robert H.A. SYNCHRONOME, Masters of Electrical Timekeeping Fig. 3/16. The overall high level of finish (including fine hatched engraved decoration to all the major components) would suggest that it was made to be an exhibit to demonstrate the operation of Gents’s design. Whether it was executed by Gents as a prototype or perhaps for promotional demonstration is unknown, however, as it is to their patented design, it would appear reasonable to suggest that it may have originated from their workshops.
A fine French Louis XV ormolu mantel clock Louis Jouard, Paris, mid 18th century The five knopped pillar two train bell striking movement now with Brocot deadbeat escapement for regulation by pendulum with Brocot rating adjustment to suspension, the backplate with canted angles, crossed out countwheel annotated for the hours and signed Jouard AParis across the plate beneath, the 6.75 inch circular white enamel Roman numeral dial signed JOUARD, A PARIS to centre within dark cobalt blue numeral hour ring and Arabic five minutes to outer track, with fine scroll pierced and engraved gilt brass hands set behind hinged convex glazed cast gilt bezel, the heavy case cast in the full-blown Louis XV rococo manner with a figural surmount modelled as the juvenile Diana with quiver of arrows perched within a generous asymmetric scroll issuing a floral trail over pair of finely chased eagle wings flanking the dial at the rear, the front with bold sweeping foliate rocaille scroll enveloping the left hand side of the dial and continuing down and across to merge with the substantial right hand front support issuing generous stylised leafy sprays and a floral trail, the left hand side with bold sculpted S-scroll support beneath the dial continuing down to form the foot, the rear with further asymmetric pair of scroll supports and glazed hinged cover for the movement, 60cm (23.5ins) high. Louis Jouard is recorded in Tardy DICTIONNAIRES DES HORLOGERS FRANCAIS as becoming a Paris maître in 1724 and is noted as a ‘Horloger de la ville de Paris’ in 1739. He was appointed Jure in 1741 and Garde 1742-69. His workshop was located at Rue de la Monnaie 1746-49 then Rue St-Germain I’Auxerrois until 1772. He is believed to have trained or worked in the workshop of Jacques Cogniet (1661-1731) and his son Jean-Baptiste Cogniet (d. 1726) who were at rue de la Monnaye (where Jouard was also listed in September 1724). When J-B Cogniet died Jouard married his widow Marie-Ursule Prévost and in so doing took over Cogniet’s business. The current lot is essentially a perfectly formed example of Louis XV ormolu mantel clock. The finely cast, chased and burnished bronze doré case demonstrates a feeling of movement and tautness only achieved by the most confident of modellers through the combination of abstracted foliate scrollwork, floral sprays and in the case of the current lot, eagle wings.
A fine French engraved gilt brass and painted porcelain panel inset carriage clock with push-button repeat Retailed by Payne and Co., London, circa 1860 The eight-day bell striking movement with platform lever escapement and stamped with serial number 6421 next to engraved retailer’s signature PAYNE & Co., 163 NEW BOND STREET, LONDON to the lower margin of the backplate, the rectangular blue ground porcelain dial polychrome painted with a figure in 17th century style dress to centre within Roman numeral chapter ring with gilt inverted trident half hour markers and gilt outer border, with pierced blued steel moon hands and gilt foliate motifs to upper and lower margins, the corniche case with hinged carrying handle and porcelain panel painted with a cherubic artist within blue ground gilt surround to top over repeating geometric engraved bands to frieze, the sides and rear door with panels painted with 17th century figures courting within conforming blue and gilt surrounds, the base mouldings engraved with panels of repeating rosettes, 14.5cm (5.75ins) high. The firm of Payne and Company was founded by William Payne who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1820-40, other sources suggest that he worked from 1811 until 1856 with the firm continuing to trade as Payne and Company until around 1875.
A fine French Empire patinated bronze, ormolu and Siena marble figural mantel clock Louis Mallet, Paris, circa 1820 The two train eight-day bell striking movement with anchor escapement regulated by disc bob pendulum with Brocot type regulation to suspension, the circular white enamel Roman numeral dial signed L’s. Mallet, h’s de S. A. R. M. J’r le duc d’orleans to centre with blued steel moon hands and outer minute track within crisp egg-and-dart cast surround fitted with convex glazed hinged bezel, the case with movement inset into a gilt plinth surmounted by a globe standing on a stack of books and oil lamp over fine cast anthemion inset mounts to quadrant areas around dial flanked by a pair of figures modelled as seated putto conversing, the base hewn from a solid block of Siena marble applied with a central bronze panel relief cast with putti performing academic pursuits flanked by crisply cast trophy mounts emblematic of the Arts and Sciences, on integral skirt base applied with lappet leaf cast ogee moulding to top edge and on block feet, 49cm (19.25ins) high. Louis Mallet is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS was working from 1810-30 in the Rue J.-J. Rousseau and later at the Rue Neuve des Petits-Champs.
ϒ A Victorian small two-day marine chronometer Charles Frodsham, London, circa 1845 The four pillar full-plate single chain fusee movement with Harrison's maintaining power, split bimetallic balance with keystone-shaped compensation weights, helical balance spring and faceted diamond endstone, the spotted backplate signed Charles Frodsham, London and with brass bayonet fitting dust cover, the 3.25 inch circular silvered Roman numeral dial with blued steel fleur-de-lys hands, subsidiary seconds and power reserve dials, and inscribed CHARLES FRODSHAM, 7 Pavement, Finsbury Park, London, No. 2012 to centre, set in a lacquered brass bowl with screw-down bezel mounted within pivoted gimbals with locking screw, the mahogany three-tier case with vacant nameplate to top surface and push button clasp for the top tier above inset ivory panel inscribed ARNOLD, CHARLES FRODSHAM, 84 STRAND, LONDON. to the middle tier, with brass key escutcheon over circular plate engraved with repeat serial number 2012 beneath, the sides with brass carrying handles, the box 15cm (6ins) wide. Charles Frodsham was born in 1810 into a family of clockmakers with his grandfather, William originating from Cheshire before moving to London prior to 1781 where he was admitted to the Clockmaker’s Company. His son, William James, had six sons, four of whom joined the firm of Parkinson and Frodsham in London; whilst Charles, the third born son set-up on his own at Barnes Place, Islington in 1834. He moved to 12 Finsbury Pavement in 1836 then to number 7 in 1838. On the death of the renowned chronometer maker John Roger Arnold in 1843 Charles Frodsham acquired the business and began trading as ‘Arnold, Charles Frodsham’ from 84 Strand, London. Unusually Frodsham was not admitted to the Clockmaker’s Company until 1845 but went on to serve as master twice in 1855 and 1862; he was also a founder member of the British horological Institute in 1858.Charles Frodsham became one of the most eminent chronometer makers of his generation who served as a juror in the 1852 International Exhibition held at South Kensington where he also showed a month duration marine chronometer with experimental ‘Duo-in-uno’ balance springs and three different forms of compound balance. In 1854 he purchased the ‘goodwill’ of the late Benjamin Lewis Vulliamy’s business which led to his appointment as Superintendent and Keeper of Her Majesty’s clocks at Buckingham Palace. Charles Frodsham died of liver disease in January 1871 and was succeeded by his son, Harrison Mill Frodsham. The business became Charles Frodsham and Company and in 1884 and then was incorporated as a limited Company in 1893 before relocating to 115 New Bond Street, London two years later where they remained well into the Twentieth Century. The firm is still trading today (from 32 Bury Street, London) as specialist in chronometer, watch and clock makers. The current lot appears to be one of the first chronometers sold by Frodsham after he acquired the late John Roger Arnold’s business in 1843 as the dial carries his former address (7 Pavement, Finsbury Square) whilst the box has a plaque for ‘Arnold, Charles Frodsham’ at 84 Strand, London. This fact is further supported by the existence (in the collection of the National Maritime Museum -accession number ZAA0058) of a small marine chronometer numbered 2025 and signed by Frodsham at 84 Strand which utilises a pocket chronometer movement made by Arnold in around 1802. From this it is reasonable to surmise that Frodsham initially used-up old stock, both from his Finsbury address and Arnolds former business, when he first started trading from 84 Strand in 1843. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A lantern clock hand Anonymous, probably provincial, late 17th century Made from forged sculpted steel with circular boss and short tapered faceted shaft terminating with twin foliate scrolls joined by a heart issuing pointed tip, the tail formed as a spike filed with ogee decoration to tip, from centre to tip 6cm (2.375ins); 9.6cm (3.75ins) long overall. The current lot is heavy in its construction and well finished with the design being typical of the late 17th century. The form appears influenced by hour hands seen on high-end eight-day longcase clocks of the period, hence it is also possible that the present hand may have fitted to a hooded wall clock or small thirty-hour longcase.
Ï’A fine William III walnut and Arabesque panel marquetry eight-day longcase clock Langley Bradley, London, circa 1700 The five finned pillar outside countwheel bell-striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with ringed winding holes, elaborate scroll-border decorated calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed L. Bradley, London to lower margin, with sculpted steel hands and winged cherub head and scroll cast spandrels to angles, the case with stepped domed caddy fronted with symmetrical Arabesque marquetry over fretwork fronted upstand, moulded cornice and conforming frieze, the foliate strapwork scroll inlaid glazed hinged dial surround applied with turned three-quarter marquetry veneered columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with concave marquetry veneered throat moulding over 41.5 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited strapwork scrolling foliage on a light ground within a walnut field, the surround with ebony and box triple-line border and the sides veneered with twin line-strung crossbanded panels, the base with stepped ogee top moulding and conforming rectangular marquetry panel within further crossbanded surround over moulded double skirt, 239cm (94ins) high. Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers' Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul's Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton.Despite this embarrassment Sir Christopher Wren attempted to influence the Crown's potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as 'a very able artist, very reasonable in his prices' in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain's response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A selection of cast brass table clock case mounts For use in the restoration of late 17th century clock cases Comprising a pair of multi-section brass Corinthian column capitals and bases, a set of four similar capitals, a foliate cast hinged handle, set of four acanthus decorated vase finials, two ‘Knibb’ pattern cherub head and scroll escutcheon plates and a selection of door hinges and locks, (qty).
Ï’A fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A fine French engraved gilt brass and porcelain panel inset carriage clock with Le-Roy and Fils patent keyless winding, push-button repeat and alarm Le Roy and Fils, Paris, circa 1880 The eight-day two train gong striking movement with silvered platform lever escapement and alarm sounding on the same gong, both trains wound via a contrate wheel connected to a large fixed key engraved LE ROY & FILS, PATENT 9501 fitted within the underside of the case configured to wind the going winding in one direction and the strike in the other, the backplate stamped with partially obscured serial number 59.. the dial with rectangular gilt brass mask engraved with leafy scrolling foliage enclosing a circular white enamel Roman numeral hour disc with Arabic five minutes to outer track and blued steel moon hands over conforming alarm setting dial to lower margin, the finely engraved gilt brass cannelee case with hinged carrying handle to the glazed oval panel centred floral spray decorated top over border-engraved top mouldings and inset porcelain side panels each finely painted with a romantic ruinous Classical landscape within an applied ‘split pearl’ and gilt painted cobalt blue ground border, the rear with hinged door engraved with intense floral scrolls on a matted ground, the base decorated with further conforming shaped panel infill, 15cm (6ins) high excluding handle. The firm of 'Le Roy & Fils' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century.The ingenious patent keyless bottom-wind system fitted to the current lot is described in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development pages 219-21.
A William III style part-finished walnut longcase clock case for a movement with eleven inch dial Unsigned, recent Executed with well selected figured veneers and fine cross-grain mouldings, the hood configured to rise with ogee cornice and scroll-pierced frieze fret to entablature over Solomonic twist turned three-quarter columns flanking the fixed dial aperture and the sides incorporating rectangular openings with bargeboards at the rear, the trunk with convex throat mouldings, vacant door aperture measuring 42.25 by 9 inches and triple-line strung book-matched panels within crossbanded borders to sides, on conforming book-matched panel veneered plinth base with crossbanded borders and ogee top moulding, (hood rear quarter columns detached but present), 203cm (80ins) high. Please note: The trunk door made with the case has now turned up and will be available for the buyer to purchase for a fixed (all inclusive) price of £60.
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