A George III inlaid oak eight-day longcase clock. Alford, Wells, 18th century. The four pillar rack and bell striking movement with 12 inch square brass dial with subsidiary seconds dial to the foliate scroll engraved matted centre within an applied Roman numeral chapter ring with Arabic five minutes and signed Alford, Wells to lower edge, the angles applied with female mask and scroll pattern spandrels, the case with geometric parquetry fronted stepped caddy and moulded frieze above three-quarter columns to hood, rectangular trunk door centred with an elaborate parquetry star and with triple line border, on plinth base with conforming inlaid decoration and skirt base incorporating bracket feet, 216cm (85ins) high. Two makers with the surname Alford are recorded in Moore, A.J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as working in Somerset; Thomas recorded at Creech 1682/3, and James recorded at Crowcombe in 1747.
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An Edwardian mahogany quarter chiming eight-day longcase clock, Unsigned, early 20th century. The four pillar triple train movement with Harrison`s maintaining power, deadbeat escapement and steel-rod pendulum with large lenticular brass faced bob, chiming a choice of two tunes on four tubular gongs every quarter and striking the hour on an additional gong, the 13.25 inch brass break-arch dial with subsidiary seconds dial to the fine applied gilt foliate scroll pierced and engraved centre within a silvered chapter ring with gilt Arabic cartouche numerals, the spandrels with further scroll-pierced gilt infill beneath arch with subsidiary STRIKE/SILENT and WHITTINGTON/WESTMINSTER within conforming pierced gilt mounts, the swan neck pedimented case with fluted columns to hood above bevel glazed oval panel and canted angles to the full-width rectangular trunk door, on panel fronted plinth base with moulded skirt incorporating bracket feet, 234cm (92ins) high.
An Edwardian carved walnut quarter chiming longcase clock of impressive proportions, Retailed by Kemp Brothers, Bristol, early 20th century. The substantial four pillar triple train movement with deadbeat escapement, Harrison`s maintaining power and chiming a choice of two airs on a graduated set of eight tubular gongs with hour strike on a further gong, the 13 inch brass break-arch dial with subsidiary seconds dial to the foliate scroll cast gilt centre within silvered chapter ring applied with gilt Arabic cartouche numerals and female mask and scroll cast spandrels to angles, the arch with silvered subsidiary CHIME/SILENT, STRIKE/SILENT and WHITTINGTON CHIMES/WESTMINSTER CHIMES selection dials within conforming cast infill with applied trade plaque KEMP BROS., UNION STREET, BRISTOL beneath, the case with elaborate scroll carved crest to the break arch pediment above angled Corinthian half-pilasters flanking dial and scroll pierced side frets to hood, the trunk with bevel-glazed oval panel within foliate scroll carved infill to the rectangular door flanked by conforming pilasters to the canted angles, on plinth base fronted with conforming carved raised panel flanked by canted Ionic strip pilasters above moulded skirt, 264cm (104ins) high.
An inlaid rosewood eight-day longcase clock, Edward Muddle, Chatham, mid 18th century and later. The four pillar rack and bell striking movement with 12 inch brass break-arch dial with star engraved subsidiary seconds dial and calendar aperture to the ho-ho bird and foliate scroll engraved matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with cast bird and urn pattern spandrels beneath arch applied with circular silvered herringbone-bordered boss signed Edward Muddle, CHATHAM flanked by conforming dolphin cast mounts, the case now veneered in rosewood with later triangular pediment, moulded cornice and fan inlaid upper quadrants above door with three quarter columns to hood, break-arch door inlaid with a fan lunette above conforming central oval panel and quarter spandrels to the trunk, on husk swag and urn inlaid plinth base with moulded skirt, 238cm (93.5ins) high.
*A George III green japanned eight-day longcase clock, J. Shippard, Poole, circa 1775. The five pillar rack and bell striking movement with 11.75 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes and signed J. Shippard, Poole to lower edge, the angles with bird and urn cast spandrels beneath recessed arch panel now painted with a coastal view within a dark blue ground border (rocking ship automaton lacking), the case with foliate painted ogee caddy above gilt blind fret upper quadrants and three-quarter columns flanking gilt hatched panel bordered door to hood, break-arch trunk door applied with coloured transfer engravings of a money counter and a merchant within conforming gilt borders and with opposing panels of oriental figures to upper angles, the plinth fronted with a coloured marine view with coastal ruins and men o`war above double skirt base, 240cm (94.5ins) high.
A George III mahogany eight-day longcase clock with moonphase, Thwaites, London, circa 1770. The five pillar rack and bell striking movement with wide convex-topped plates and 12 inch brass break-arch dial with narrow subsidiary seconds ring and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Thwaites, London to lower edge, the angles with cast rococo scroll spandrels beneath rolling moonphase with terrestrial and lunar motif engraved lunettes and calibrated for the lunar month to the edge of the disc beneath foliate scroll engraved border to upper edge of arch, the case with shaped pediment and cavetto break-arch cornice above substantial brass stop-fluted pilasters to hood, caddy moulded break-arch door flanked by stop fluted quarter columns to trunk, on raised shaped-panel fronted plinth base with conforming quarter columns to angles and double skirt, (case with faults), 238cm (93.5ins) high. Ainsworth Thwaites is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1735, gaining his Freedom in 1751 and working from Rosoman Row until 1780. He had two sons, Benjamin (apprenticed 1762, Freed 1770) and John (apprenticed 1772, Freed 1782) who subsequently made the clock for St. Paul`s Chapel, New York. The current may have been made by Ainsworth Thwaites alone, or perhaps in partnership with either of his two sons hence the presence of only the surname as a signature.
A Scottish Regency mahogany eight-day longcase clock, James Whitelaw, Edinburgh, circa 1815. The four pillar rack and bell striking movement with 13 inch circular single sheet silvered brass Roman numeral dial with subsidiary seconds dial and signed James Whitelaw, Edindurgh to centre, with blued steel Breguet type hands, the drum-head case with brass bezel to the circular hood surround above waisted section and raised throat mouldings, the trunk with rectangular caddy moulded door flanked by reeded quarter columns above short recessed panel, the plinth base with conforming recessed panel and bracket feet, 208cm (82ins) high. James Whitelaw is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in Edinburgh 1776 and dying 1846.
*An unusual George III mahogany and burr elm domestic striking regulator of one week duration with centre seconds. Alexander Cumming, Inveraray, late 18th century. The substantial five pillar rack striking movement with deadbeat escapement, bolt-and-shutter maintaining power and six wheel going train, the backplate with aperture cut for the pallets and with wood-rod pendulum with heavy brass faced lenticular bob, the 12 inch square single sheet silvered brass Roman numeral dial with blued steel hands and signed Ale:r Cumming INVERARAY to an arched cartouche to centre within chapter ring with Arabic five minutes to outer track and fine scallop shell inhabited foliate scroll engraved decoration to spandrels, in a case with moulded cornice and turned columns to hood above burr elm veneered panel inset break-arch door to trunk, on plinth base veneered with conforming rectangular panel, on bracket feet, 207cm (81.5ins) high. Alexander Cumming was born circa 1732 and was working with his brother, John, in Inveraray by 1752. He was a founder member of the Scottish Royal Society in Edinburgh and by 1761 he had moved to London. Cumming was subsequently appointed as an `expert` by Act of Parliament to assess Harrison`s marine timekeepers, and in 1763 supplied the first ever recording barometer to George III which is still in the Royal Collection at Buckingham Palace. In 1766 he published The Elements of Clock and Watch Work, he died in 1814. The current lot is an interesting early example of Cumming`s work and is perhaps a little experimental in nature. The six-wheel going train is unusual and was perhaps designed to remove errors in relation to its interaction with the strike train by delivering a high degree of power through the motionwork.
A George III inlaid mahogany eight-day longcase clock with moonphase, Samuel Collings, Thornbury, early 19th century. The four pillar rack and bell striking movement with 12 inch single-sheet brass break-arch Roman numeral dial with subsidiary seconds and calendar dials and signed Samuel Collings, Thornbury to the foliate scroll engraved centre within chapter ring with Arabic five minutes to outer track and foliate spray engraved spandrel decoration beneath arch with rolling moonphase calibrated for the age of the moon and annotated for HIGH WATER AT BRISTOL QUAY the swan neck pedimented case with fluted Corinthian columns to hood above line-bordered rectangular door flanked by canted angles to trunk, on conforming plinth base with later skirt, 225cm (88.5ins) high. Samuel Collings is recorded in Dowler, Graham GLOUCESTERSIRE CLOCK AND WATCHMAKERS as working from Chipping Sodbury and then Thornbury 1816-70. The current lot demonstrates his tendency to supply well engineered movements in nicely detailed understated cases.
*A Queen Anne eight-day longcase clock movement and dial, Thomas Cartwright, London, early 18th century, in a later mahogany case. The five finned pillar inside rack and bell striking movement with 12 inch square brass dial with scroll border calendar aperture, ringed winding holes 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 and signed Tho. Cartwright, Royal Exchange, Londini Fecit to lower edge, the angles with twin cherub and crown cast spandrels and herringbone engraved border, now in a late 18th century mahogany case with cavetto cornice and turned pilasters to hood, break-arch trunk door and on plinth base with bracket feet, 203cm (80ins) high. Thomas Cartwright is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being born circa 1679. He was apprenticed to Christopher Gould in 1693 gaining his Freedom of the Clockmakers` Company in 1700, he reputedly died in 1741. The current lot is noteworthy in that it employs an internal rack for the striking mechanism - a feature normally reserved for use in high quality month duration movements by the better makers. This coupled with the decorative nature of the dial perhaps demonstrates the influence of Cartwright`s Master, Christopher Gould in his work.
A rare ebonised oak and pine `longcase` lantern clock case, Late 17th century. The hood with ogee moulded cornice above moulded rectangular door with external iron strap hinges, brass drop handle and moulded 9 by 7 inch aperture, the sides with simple rectangular doors with conforming hinges and handles, the trunk with ogee throat moulding above slender dual moulded panel inset door with three further external iron strap hinges (one replaced) and another brass drop handle, the structure continuing to from the base with brace applied below the trunk door and on later skirt, 193cm (76ins) high. Original `longcase` cases for lantern clocks are very rare, mainly due to the fact that lantern clocks were predominantly designed to hang from the wall. The construction of the current lot (often termed `pencil case`) with its slender trunk continuing to the floor reflects 17th century practice as early 18th century examples tended to resemble contemporary longcase clock cases more closely by incorporating a more developed hood and a wider section to form a plinth at the base. The mixed use of pine and oak in the current lot confirms that it was designed to take a painted finish (in this case ebonised). The simple hood side doors and external iron strap hinges are again perhaps 17th century features. Two related cases which are dated between 1660 and 1680 are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 370-1.
A fine Charles II walnut and oyster laburnum marquetry longcase clock case, Circa 1680. The formerly rising hood with part-ebonised cornice mouldings and swollen foliate marquetry decorated frieze above spiral twist turned three-quarter columns flanking foliate trail inlaid door with 9.5 inch square glazed aperture, the convex throat further decorated in various timbers and green-stained bone with tulips, the 42 inch rectangular trunk door with central circular and two ovoid marquetry panels, each depicting bird inhabited foliage within an oyster veneered laburnum ground with marquetry spandrels to upper and lower angles and line-edged crossbanded borders, the sides with laburnum oysters within further crossbanded borders, the plinth base with conforming marquetry oval panel and spandrels, on compressed bun feet, 193cm (76ins) high.
A Charles II eight-day longcase clock movement with ten inch dial, Unsigned, circa 1680, in a later oak case. The six finned pillar outside countwheel bell striking movement with anchor escapement and formerly with bolt-and-shutter maintaining power, the 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the matted centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles applied with winged cherub head and foliate scroll cast spandrels, now in an oak case with moulded cornice and foliate pierced fret above spiral twist turned pilasters to hood, shaped-top crossbanded door flanked by fluted quarter columns to trunk, on conforming raised panel fronted plinth base with ogee bracket feet, 208cm (82ins) high. The movement and dial of the current lot is perhaps related to a group of anomynous clocks by an unknown maker described in Robinson, Tom THE LONGCASE CLOCK pages 53-6. The example pictured by Robinson (3/9-12) displays many close similarities to the current lot including the engraving of the chapter and seconds ring, and the use of an hour wheel bridge casting as a backcock. Robinson suggests that such anonymous movements were made by either journeymen or other makers who, as they were not Freemen of the Clockmakers` Company, were not authorised to sign their work. Many such examples have now had signatures of famous makers added hence genuine unsigned examples such as the current lot are rare.
A William III walnut and floral marquetry eight-day longcase clock, Fabian Robin, circa 1695. The five finned pillar inside countwheel bell striking movement with 11 inch rosette-centred square brass dial with subsidiary seconds dial, foliate engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to narrow outer track and signed Fab: Robin, Londini fecit to lower edge, the angles with gilt winged cherub head and foliate scroll cast spandrels, in a case with moulded cornice and fretwork frieze above foliate trail inlaid door applied with spiral twist three-quarter columns to hood, above conforming decoration to the ebonised ground convex throat, the trunk with 42 inch rectangular door centred with an oval lenticle and inlaid with three shaped marquetry panels decorated with bird inhabited foliage on an ebonised ground within a walnut field, on conforming marquetry panel fronted base with bun feet, 201cm (79ins) high. Fabian Robin(s) is recorded in Britten Former clock and watch makers as working in London circa 1695.
A William III walnut and floral marquetry eight-day longcase clock with ten inch dial, Richard Baker, London, circa 1690. The four (formerly five) finned pillar inside countwheel bell striking movement with 10 inch square brass dial with calendar aperture, subsidiary seconds and later foliate scroll engraving to the dial centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles with winged cherub and foliate scroll cast spandrels, the lower edge signed Richard Baker, Londini fecit, in a case with moulded cornice and inlaid frieze above foliate marquetry bordered hood aperture, the trunk with convex throat over 42 inch rectangular door with shaped floral marquetry panel incorporating teardrop motif above two further break-arch outline panels decorated with foliate designs on a walnut ground and incorporating a glazed oval lenticle between, on a plinth base now similarly decorated and with moulded skirt, (with restoration) 204cm (80.5ins) high. Richard Baker is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being apprenticed through the Blacksmiths` Company to John Chatfield before transferring to Richard Browne in 1683. He gained his Freedom of the Clockmakers` Company by redemption by order of the Lord Mayer in 1685. He is described as a `Great Clockmaker` and took on many apprentices including Peter Garon in 1687 for which he was fined by the Clockmakers` Company as Garon (being a Huguenot immigrant) was considered an `alien`. Baker is thought to have died in around 1700 with his widow, Jane continuing his business until around 1718.
A Queen Anne walnut eight-day longcase clock, John Gavelle, near London, early 18th century. The four (formerly five) finned pillar inside countwheel bell striking movement with 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and foliate engraved calendar aperture 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 Jno. Gavelle, near London to lower edge, the angles with twin cherub and crown pattern spandrels, in a case with moulded cornice and scroll pierced fret to frieze above three-quarter columns to hood and rectangular bleached walnut banded trunk door, on line bordered and crossbanded plinth base with double skirt, 221cm (87ins) high. The current lot is possibly the same maker recorded a James Gavel(l)e in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as being admitted as a Free Brother to The Clockmakers` Company in 1682/3 and paid quarterage until 1691. The use of the phrase `near London` alongside the signature suggests that the maker positioned himself just beyond the reach of city boundaries and thus the jurisdiction of the Clockmakers` Company. This may have been to avoid paying `quarterage` or because the maker of the clock (ie. perhaps a relative of James Gavelle) was not a Freeman of the Clockmakers` Company.
A full-size twin cylinder live-steam stationary engine, the two cylinders of 3 inch bore by 4 1/4 inch stroke, with open crank and trunk guides, of twin simple design with reverse action, 63cm high/long. Note: Believed to be unused from new and of marine origin, but suitable for use in a steam car.
A mid Victorian monumental hallmarked silver table candelabra by Stephen Smith and William Nicholson, with twin intertwined tree trunk and cherub decorated column supporting six naturalistically modelled candle branches with removable socles, height approx. 71cm, weight 188oz, London 1851/2 (illustrated)
An early 20th century Ronson table lighter in the form of an elephant with striker to the trunk, raised on a stepped oval base and ebonised plinth, 13cm high, (at fault), together with a novelty cigar cutter in the form of a dog, a Crown & Rose cast pewter pipe rest and a set of four white metal stirrup cups in leather pouch (7)
Two turned wood standard lamps, two cane seated chairs, a travelling trunk, a Chinese carved wood stand and cresting, a wood and cane four tier etagere / cabinet, beech kitchen chair, a glass and cane trolley, glass and cane side table, a circular occasional table with gilt top raised upon a pedestal shaped as a maiden upon circular base, a golf bag containing various golf clubs, a white painted bedroom chest, and a white framed wall mirror
A pair of Sitzendorf porcelain figural four light candelabra, late 19th Century, modelled with a male and female gallant each standing before a floral encrusted tree trunk beneath the floral encrusted scroll arms supporting leaf moulded sconces, underglaze blue mark to bases (some faults), together with a pair of Plaue floral encrusted four light candelabra (one extensively repaired).
MASSEY ECCLESHALL AN EARLY 19TH CENTURY OAK LONGCASE CLOCK having hood with moulded pediment and thumb frieze, circular brass dial with Roman and Arabic chapter, four pillar mechanism with anchor escapement and rack bell strike, trunk with shaped wa" ist door and flank corner pilasters on a panelled box base and later box below, 2.2m high (two weights and pendulum)
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66969 Los(e)/Seite