A George III brass mounted mahogany quarter chiming musical table clock, John Taylor, London, circa 1800. The substantial six pillar triple fusee movement chiming a choice of two phrases for the quarters on eight bells and completing the tune on the hour, the backplate signed John Taylor, London to an engraved oval cartouche, the 8 inch gilt brass break-arch dial plate applied with silvered circular Roman numeral dial with subsidiary calendar dial to centre, within finely chased wreath and foliate trail applied spandrels, the arch with subsidiary Chime/not Chime and Dance/Jig tune selection dials flanking shaped recessed silvered plate with repeat signature, the break-arch case with brass ball finials and foliate pierced frets to the concave sided upstand above conforming crescent-shaped fret to the brass fillet inset front door, flanked by stop-fluted columns to front angles and hinged handles above arched fishscale sound frets to sides, on moulded plinth base with brass bracket feet, (escapement with alteration), 66cm (28ins) high. Several makers with the name John Taylor are recorded working in London during the late 18th and early 19th centuries, however the most likely maker of the current lot is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers` Company in 1796 and may be the same maker who is subsequently listed as working from Clerkenwell 1805-24.
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*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.
An ebonised bracket clock with moonphase, Bearing signature John Hull, Harold, late 18th century. The five pillar twin fusee movement with 6 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers, Arabic five minutes to outer track and bearing signature John Hull, HARROLD to lower edge, the angles with gilt mask and scroll pattern spandrels beneath arch with foliate engraved lunettes and herringbone decorated upper border interrupted by a sector revealing scale for the age of the moon to the rim of the moon disc, in an inverted bell top case with brass carrying handle above circular over concave-topped side windows with raised mouldings, the front door with foliate cast brass frets to upper quadrants and conforming mouldings, on cavetto moulded skirt base with later block feet (lunar disc now disconnected, movement with faults), 46cm (18ins) high excluding handle.
*A George I ebonised table clock with pull quarter repeat and alarm, Andrew Dunlop, London, circa 1725. The five finned pillar twin fusee bell striking movement with verge escapement, pull quarter repeat on six bells and alarm sounding via two small hammers on the hour bell, the backplate engraved with a basket of flowers flanked by ho-ho birds within foliate scrolls and a herringbone decorated border, the 7.5 inch brass break-arch dial with subsidiary calendar and false bob apertures and signed And:r Dunlop, London to a burnished oval cartouche to the matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with applied female mask and scroll pattern spandrels and N/S switch at 9 o`clock beneath arch with rosette-centred silvered Arabic numeral alarm setting dial with blued steel pointer flanked by Indian mask and scroll cast mounts, the inverted bell top case with hinged carrying handle and brass finials above scroll pierced frets to the upper quadrants of the front door and break-arch side windows, the rear door with demi-line scroll-pierced sound fret above rectangular glazed panel, on cavetto moulded base with squab feet, 45cm (17.5ins) high excluding handle. Andrew Dunlop is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1701-32.
A Queen Anne brass mounted ebony table clock with pull quarter repeat, John Bushman, London, early 18th century. The six finned pillar bell striking movement with rise/fall regulation and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a basket of flowers within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, false bob aperture and oval cartouche signed Jn:o Bushman, London to the matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels with foliate scroll engraved infill between to lower and upper margins with the latter incorporating a N/S strike switch, the arch with subsidiary regulation dial flanked by unusual leaf-cast mounts within a foliate scroll engraved field, the inverted bell-top top case with Quare pattern foliate cast carrying handle and later vase finials above brass-edged upper mouldings and gilt scroll cast frets to the upper quadrants of the front door applied with raised mouldings, the sides with lozenge over break-arch glazed apertures and the rear door with break-arch window, on moulded base with brass bracket feet, (movement with alteration to escapement), 44cm (17.25ins) high. John Bushman (Buschmann) is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as a `High German` watchmaker born circa 1661 and made brother of the Clockmakers` Company in September 1692. He married Mary Wyatt in the Parish of St. Margaret, Westminster in December 1690, was made an Assistant of the Clockmakers` Company in 1720 and was believed to be working until 1725. Baillie records that he was born in Hagen, Germany. From this is possible that he was related to the Buschmann dynasty of clockmakers who worked from Augsburg throughout the 16th and 17th centuries. The current lot was made at a time when the introduction the break-arch dial was a relatively recent innovation. The elongation of the square section of the dial to provide an engraved reserve for the strike/silent switch, coupled with the relatively small arch applied with unusual mounts and with further engraved decoration results in an individual and attractive appearance. The case with its resulting slender proportions, tight mouldings and generous `Quare` pattern handle perhaps reflects the influence Huguenot immigrant clockmakers such as Claude DuChesne.
A Queen Anne brass mounted ebonised table clock with pull quarter repeat, Richard Peckover, London, early 18th century. The six finned pillar bell striking movement with verge escapement and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a grotesque mask and a basket of flowers above festoon swag within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, herringbone border engraved shaped false bob aperture and oval cartouche signed Rich. Peckover, London to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels beneath arch with blued steel disc centred subsidiary calendar dial flanked by conforming mounts, in an ebonised cherub and scroll repousse mounted dome top case with foliate cast carrying handle and vase finials above further repousse panel mounted front door, the sides inset with lozenge over rectangular gilt sound frets and the rear with conforming lunette shaped fret within gilts mounts to door surround, on cavetto moulded base with brass disc feet, movement with some restoration, 43cm (17ins) high. Richard Peckover is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World, Volume 2 as working circa 1700-54. In 1735 he was working in Change Alley, later moving to Royal Exchange by 1751. Baillie further notes that Peckover probably acquired the business of Quare and Horseman in 1733.
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 Georgian boxwood strung mahogany cased striking eight day longcase clock by William Scott, the 13ins painted arched dial with moon face to the arch, painted subsidiary seconds dial and date aperture, complete with door key, winder, pendulum and twin weights, height 231cm (7ft 7ins) (illustrated)
An early 19th century Mahogany Dressing Chest having arch top bevel plate mirror in turned supports, elegant fret cut gallery back with shaped shelf, bull nose moulded top, two short over one long mahogany lined drawers, having moulded fronts and original pierced plate handles, on square legs with lower pot board tier 36" wide x 59" high x 18 1/2" deep
An oak longcase clock, the 30-hour movement striking on a bell, with associated brass arch top dial, inscribed Helm Ormskirk, the glazed, arched hood inset verre eglomise panels and with twin Doric pillars flanking the frieze, the crossbanded and part pollarded case with shaped door flanked by quadrant pillars, above a moulded box base with raised shaped front panel, 218cm high
A large Victorian mahogany compactum Wardrobe having break front and top, bolt ends having independent moulded cornices, on stylized acanthus corbel supports, double arch top panel, full length doors and full length hanging space. The centre having carved upstand, double arched panel doors revealing two oak lined press slides. The central base being a chest of two short over three long graduated oak lined drawers with wooden handles on plinth base. 87`` wide x 80`` high x 23`` deep
Sir William Russell Flint, British 1880-1969- Three models; lithograph printed in sepia, signed in pencil, with blindstamp, 45x66cm: French School, mid/late 20th century- Parisian street scene; oil on canvas, signed, 51x41cm: John Rocque`s Map of Surrey (1762); publ in facsimile by the Surrey Archaeological Society Castle Arch, Guildford 1931, 9 maps and preface, folio, (3) (part unframed)
Late eighteenth century eight day longcase clock with 12½ inch white painted circular dial with subsidiary second and calendar dials and brass surround mounted against a painted break arch background depicting a hunter with dogs, in a mahogany veneered case with reeded corners and inlaid stringing, short shaped door with central oval panel, the break arch hood with full sized glass door, shaped turned column, swan neck pediment and central brass finial, 241cm overall height Further images and condition reports are available at www.reemandansie.com
Nineteenth century eight day longcase clock with fourteen inch break arch dial with ornate gilded spandrels. Silvered chapter ring and engraved and silvered centre. The break arch with central silvered disc engraved Tempus Fugit. Mahogany case with short moulded oak door, the plinth with ebony inlaid oak panel on bracket feet, the mahogany hood with glazed door, turned columns and swan neck pediment with brass ball finial, 250cm overall height Further images and condition reports are available at www.reemandansie.com
A mid 18th century burr walnut veneered longcase clock by Conyers Dunlop, London, arched brass dial with matted dial centre, subsidiary seconds and date aperture, strike-silent to the arch, 8-day movement with five pillars and anchor escapement, case with pagoda pediment, cross-banded with herringbone inlay, circa 1760, 8ft. 4in. high - with winding crank, pendulum and weights SEE ILLUSTRATION
A late 20th Century German 8 Day Triple Weight-Driven Wall Clock, the oak case with arched pediment and door to a bracketed wall mounting case, to a 9 ½” arched brass dial with applied silvered chapter ring and matted centre with moon phases to the arch and black patinated hands, to a triple weight-driven movement with anchor escapement and strike on eight rods, height 31”
A mid-19th Century Oak, Mahogany and Rosewood Marquetry Inlaid 8 Day Long Case Clock, unsigned, the hood with swan neck pediment and further equestrian inlaid detail with further floral, foliate and bird inlay over half bobbin turned columns, to a moulded throat and short and shaped trunk door with further replicated inlaid detail, and also flanked by half turned columns on a panelled plinth base with canted corners, to a 14” third period arched and painted dial depicting children gathering water to the arch with cottage and ruined ecclesiastical corners, enclosing a Roman chapter ring with outside minute track with subsidiary seconds and date sector, and fitted with pierced and stamped brass hands, to a movement with plates united by four knopped pillars and with anchor escapement and strike on a bell, height 90”
An early 19th Century Oak Cased 8 Day Long Case Clock, W Bearn – Wellingborough, the arched cased with swan-neck pediment and later applied caryatid mount with further spread eagle and globe finials over freestanding columns, to a moulded throat and shaped long trunk door and reduced plinth and bracket base, to a 12” arched 2nd period painted dial, painted to the arch with a female figure denoting Prosperity, within gilt floral highlights and further painted rose spandrels enclosing a Roman chapter ring with Arabic quarters and star hour markers with minute track enclosing subsidiary seconds and date sector, with pierced and stamped brass hands, to a signed false plate and movement with plates united by four knopped pillars and with anchor escapement, strike on a bell, height 79”
A mid-19th Century Mahogany Crossbanded and Oak 8 Day Long Case Clock, Thos Hall ? of ?, the arched hood with swan neck pediment over fluted freestanding columns, to a moulded throat and shaped trunk door flanked by canted corners to a plinth base on bracket feet, the 13” third period painted dial decorated to the arch with a young woman gathering grain, over gilt highlighted floral spandrels enclosing a Roman chapter ring with outside minute track and with subsidiaries for seconds and date, and with pierced and stamped brass hands, to a signed false plate and movement with plates united by four knopped pillars and with anchor escapement and strike on a bell, height 85”
An early Victorian oak and mahogany eight day longcase clock, the 14 inch painted arched dial signed `J N Freeman`, with centred subsidiary seconds dial and date aperture within a ring of Roman numerals and florally painted corner spandrels, the figural painted arch showing a figure playing the flute next to a running brook, the hood with swan neck pediments over an arched glazed hood door between ring and baluster turned front corner hood pilasters over a short Gothic arch crossbanded trunk door between half split turned front corner trunk pilasters on a box base and ogee moulded short bracket feet (at fault), 227cm high
A Victorian oak crossbanded mahogany eight day longcase clock, the 14 inch arched painted dial indistinctly signed with centred date aperture within a ring of Roman numerals and florally painted spandrels under an arch depicting `Father Time`, the hood with swan neck pediment over an arched glazed hood door and Gothic arched short trunk door with central conche shell inlay on a single panel crossbanded box base between canted front corners, lacking bracket feet (at fault), 227cm high
An oak crossbanded mahogany eight day longcase clock, the 14 inch arched painted dial signed `Goodchild, Bradford`, with centred subsidiary seconds dial and painted scene depicting a hunt in full flow within an inner ring of Roman numerals, an outer ring of Arabic numerals and female figural painted spandrels to depict the seasons under a rolling moon to the arch, the hood with swan neck pediment over an arched hood door between turned front corner hood pilasters over a crossbanded and conche shell inlaid trunk door between front corner quarter fluted pilasters on a single panel box base with central conch shell inlay, raised on short bracket feet (restored movement and face) 232cm high
A mid 19th century oak crossbanded mahogany eight day longcase clock, the 14 inch painted arched dial signed `Roberts, Shrewsbury` with centred subsidiary seconds dial and date dial within a ring of Roman numerals and architectural painted spandrels under a painted arch depicting a female figure carrying bushels of corn, the hood with swan neck pediment over an arched hood door flanked by reeded front corner hood pilasters over a short trunk door flanked by quarter reeded pilasters on a single panel box base and skirting plinth, 213cm high
A mahogany eight day longcase clock, the 14 inch brass arched dial signed `L Hartley, York` with centred subsidiary seconds dial and foliate engraved matted centre within an inner ring of Roman numerals, outer ring of Arabic numerals and pierced corner spandrels under a strike/silent dial to the arch the associated case with arched hood over a short trunk door between spiral turned front corner trunk pilasters on a crossbanded box base, 212cm high
An oak thirty hour longcase clock the 12 inch circular brass dial signed `Tho Ove, Tong` the dial with inner date ring, outer ring of Arabic numerals and centred ring of Roman numerals, (lacking a date hand) the hood with circular glazed door flanked by reeded front corner hood pilasters, over an ogee arch trunk door on a box base and short bracket feet, 203cm high
An eight day longcase clock movement with automata moon sphere, the 14 inch brass arch dial signed `James Bush, London` on a plate to the matted centre with subsidiary seconds dial and calendar and moon phase dial to the arch, the five pillar movement with outside wheel train mechanism operating the sphere the associated case with arched hood and fluted front corner hood pilasters over a rectangular crossbanded long trunk door between quarter fluted trunk pilasters on a single panel box base and shaped bracket feet, 226cm high
An eight day oak longcase clock, the 12 inch arch brass dial signed `Bridge, Wrexham`, with centred date aperture with inner ring of Roman numerals, outer ring of Arabic numerals, pierced corner spandrels under radiating engraved sun to the arch, the hood with arched glazed door between turned front corner hood pilasters over crossbanded ogee arched trunk door on a boxed base with rectangular mouldings and short bracket feet, 231cm high
A mahogany eight day longcase clock, the 12 inch arched brass dial signed `Jam Bullock, London`, with centred subsidiary seconds dial and date aperture within a inner ring of Roman numerals, outer ring of Arabic numerals and scrolling leaf moulded pierced spandrels under a strike / silent dial to the arch, the hood with pagoda pediment over an arched glazed hood door between fluted tapering front corner hood pilasters, above a long flame veneered arched trunk door between quarter fluted front corner trunk pilasters over a single panel box base with later skirting plinth, 245cm high
A small Victorian brass bracket clock having an eight-day duration, double chain-fusee movement striking the hours on a gong, the five-inch brass break-arch dial having a raised silvered chapter ring engraved with black Roman numerals, a matted centre, blued steel spade hands and cast brass floral spandrels to the four corners and arch, the brass break-arch case having canted corners, a pagoda top with a cast-brass centre finial, C-scroll cast-brass side frets and with engraved decoration to the front and sides, standing on bracket feet, height: 35cm.
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42009 item(s)/page