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A Versace Treasury Crystal Mantel Clock of architectural form, 12cm high.

Circle Of: Francesco Cozza, Italian (1605-1682) Oil on Canvas "Architectural Landscape With The Holy Family". Unsigned. Measures 28-1/4" x 31-1/2", frame measures 35-3/4" x 39-1/8". Condition: Good conserved condition. Estimate: $1500.00 - $3500.00 Domestic Shipping: Third party

CHINESE QING DYNASTY VASE, painted with panels of figures, birds and architectural landscape scenery, six character mark to base, 34cm high

20TH CENTURY CHINESE BLUE AND WHITE CERAMIC CENSER, painted with architectural landscape scenes, mark to base, 14cm high, along with a 20th century Chinese tea bowl and lid, 9cm diameter (2)

Ernst Wahliss (Austrian 1837-1900), an Art Nouveau pottery figure of a pretty young woman, modelled holding a male bust sculpture in her left hand, standing by a satyr pedestal, in typical drab colours enriched in gilt, raised on architectural base, printed mark and impressed no. 4507 34 52cm (20in)

19th Century brass-framed skeleton timepiece, with 13.5cm white-enamelled Roman chapter ring, anchor escapement, architectural scroll frame with wheels of six crossings, single chain fusee movement, 33cm high, on wooden base

Late Victorian Aesthetic period carved oak aneroid barometer in architectural surround, 57cm high

Modern American cherry-cased mantel clock, Model 1260, Ansonia Clock Company Inc., USA, with Arabic cellular chapter ring, in architectural case with bevelled glazing, 41cm high excluding handle

Quantity of framed and glazed furnishing prints, including architectural studies, old master sketches, ornithology etc

LIBRARY OF INTERESTING ANTIQUARIAN BOOKS FROM THE ARCHIVE OF W.CLARK STONEMASONS OF CARDIFF including architectural, art, ecclesiastical (combined from unsold lots on 20th September, please see catalogue) ETC

GUIL WILLIAMS six loose uncoloured engravings - architectural including 'Collegium Aedis Christi' including site plan

LIBRARY OF INTERESTING ANTIQUARIAN BOOKS FROM THE ARCHIVE OF W.CLARK STONEMASONS OF CARDIFF including architectural, art, ecclesiastical (combined from unsold lots on 20th September, please see catalogue) ETC

LIBRARY OF INTERESTING ANTIQUARIAN BOOKS FROM THE ARCHIVE OF W.CLARK STONEMASONS OF CARDIFF including architectural, art, ecclesiastical (combined from unsold lots on 20th September, please see catalogue) ETC

TWO MODERN FRAMED ARCHITECTURAL PRINTS FOR THE EIFFEL TOWER entitled 'Exposition universelle, Paris 1889' , and 'Le Theatre De L'Opera Paris' limited edition (112/150), signed by the artist

PLAYERS, large, complete (2), Golf, Architectural Beauties, G to EX, 50

An album of original ink sketches made during the Second Italian War of Independence in 1859, including depictions of fighting, wounded soldiers, piles of bodies, civilians and children playing, figures running through streets waving flags; the pictures annotated/titled in French. Mostly ink & pencil drawings, a few with watercolour, one sketch of figures addressing crowd from a window is inscribed 'Garibaldi a l'Hotel de la Velle Milan'. Watercolour title page depicting soldiers with crossed flags, 'L'Italia Juin 1859', the flags bearing the name 'Albert Wenger', with indistinct inscription and 'Giulay' beneath. 143 pages of pictures and/or inscriptions (including smaller loosely inserted drawings). Contents generally sound with a few marks in places, boards detached with contents loose; upper board bearing red pictorial bookplate for Albert Francis Wenger, with Latin motto, 'Fortes Fortuna Juvat' [Fortune Favours the Brave]. Together with two larger sketchbooks containing pencil drawings of topographical and architectural views, each sketchbook bound in quarter-cloth with paper-covered boards (the boards inscribed in blue crayon, '1864' and '1866'), one with title page in pencil, 'Depart de Milan 17 Nov 1866, Ancona, Bari, Naples, Rome' (3)

A pair of late 19th Century Gibbs & Canning of Tamworth terracotta garden urns, circular basins with egg and dart borders, on fluted supports on an octagonal plinths, stamped marks, height 72cm, diameter of openings 37cm (2)Note: Gibbs & Canning were established in Tamworth, Staffordshire in 1847 and specialised in terracotta statues and architectural ornamentation and garden wares.  The most notable commission in 1881 was for the ornamentation adorning The Natural History Museum, London.  The factory closed in the 1950's.

A SMALL REFECTORY TABLE of 17th century design with a well-figured and worn walnut top over a carved frieze incorporating an escutcheon, on turned legs joined by flattened stretchers, together with three carved architectural elements, 56" x 23"(4)

A REGENCY PIER MIRROR of architectural form, the pediment with a blue and gilt verre eglomise panel decorated with a fruiting vine, over a rectangular plate flanked by cluster columns with curling acanthus leaf capitals, 40" high x 24.5" wide

[Pevsner Architectural Guides] Herefordshire, Worcestershire, Shropshire, Northamptonshire, North-East Norfolk & Norwich, Yorkshire North Riding and East Riding, published Penguin Books, all hardback in dust-wrappers (7)

Two albums of Edwardian postcards, mostly architectural including Paris, Malmaison, Fontainbleau, Notre Dame, further French chateaux etc 

Large architectural sign 'Institute of Tropical Medicine & Pathology' comprising bronze or similar letters screwed to aluminium bars, height of letters approximately 20.5cm, overall length approximately 740cm  

[Pevsner Architectural Guides] Gloucestershire & The Cotswolds, Gloucestershire The Vale & The Forest of Dean, Wiltshire, South & West Somerset, North Somerset, Dorset with another Gloucestershire & Cotwolds, published Penguin Books, all hardback in dust-wrappers (7)

[Pevsner Architectural Guides/Wales] Glamorgan by John Newman, Clwyd Denbighshire & Flintshire by Edward Hubbard, Gwent/Monouthshire, Pembrokeshire, Powys by Haslam, all handback in dust-wrappers (5)

[Pevsner Architectural Guides] Berkshire, Sussex, Essex, West Kent and The Weald, North East and East Kent, Hampshire, Oxfordshire, published Penguin Books, all hardback in dust-wrappers (7)  

A Victorian slate mantel clock of architectural form, circular silvered dial bearing Arabic numerals, eight day movement, with coil strike, the case of Greek temple form, with gilt highlighting, no key, 43cm H, 43cm W, 13cm D.

A pair of architectural prints, circa 1921

Large early 20th Century oak architectural bracket clock with brass face and silvered Roman chapter ring, two train movement. 44cm high approx.(B.P. 24% incl. VAT)

A set of four gilt brass wall lights in early 18th century style, modern, each with scrolled arm and architectural form backplate, 32cm high including electrical fitments, 14cm wide, 34cm protuberance Provenance: Christie's, London, 16 May 1996, lot 291 (£2,300 including premium)

A pair of turned and painted wood architectural table lamps in Neoclassical taste, modern, each modelled as a rotunda, 51cm high overall including raised electrical fitments, 37cm diameter

AN EARLY 19TH CENTURY AUSTRO-HUNGARIAN CRUCIFIX with the engraved initials "INRI" at the top, maker's mark "AR!" (monogram) in a trefoil, probably Gratz, 1815 and an Italian devotional plaque,.. architectural in form with embossed figures, town mark only, struck twice, possibly Venice late 18th / early 19th century; the crucifix 7.1" (18 cms) long; 3.9 oz (2)

A PAIR OF WHITE PAINTED COMPOSITE ARCHITECTURAL COLUMNS 27.5cm wide x 206cm high (2)

A PAIR OF GILT ZINC ARCHITECTURAL LION MASKS of large size, 40cm wide x approximately 50cm high (2)

A late 19th century French clock, having a white Roman dial, the inlaid architectural ebonised case with barley twist columns, raised on pedestal base, H.50cm

A large collection of Architectural digest magazines from the 70's, 80's, and 90's

A set of six silver teaspoons of architectural form, Sheffield 1933, C W Fletcher & Son Ltd

A Georgian silver miniature tankard having reeded decoration to body, monogram to front and architectural handle, London 1819, John & Henry Lias

A quantity of dolls house equipment, late 20th century, including furniture, light fittings, architectural items and other furnishings and wallpaper (Est. plus 21% premium inc. VAT)

A quantity of doll's house furnishings, late 20th century, comprising furniture, equipment and architectural fittings, in wood, ceramic and composition (Est. plus 21% premium inc. VAT)

A quantity of miniature architectural items and Christmas items, most in original packing and unused (Est. plus 21% premium inc. VAT)

A pair of architectural coloured prints, framed and glazed, 19 x 11.5 cm

A 19th century pine animal hutchOf architectural form, with hinged lid and twin pierced and glazed doors. 86.5 cm wide; 77 cm high.

Myott Son & Co. - A 1930s Art Deco sectional vase of architectural form raised to a stepped base, hand painted in orange, brown, yellow and cream, printed mark to base, height 21cm, together with a jug of similar design. (2)

Valerie Thornton (1931-1991) - 'The Wall', lithograph, signed in pencil and numbered 52/240, bears Goldmark Gallery, Rutland label verso, framed, 40cm x 64cm, also an architectural artist's proof etching by the same hand. (2)

Barbara Watkins - A later 20th Century Brutalist abstract architectural sculpture, in buff and partly picked out in an orange glaze, height 40cm, together with a similar smaller example. (2)

A 19th century walnut architectural style mantel clock with striking movement and compensated pendulum

Indian Art.- Kramrisch (Stella) The Hindu Temple, 2 vol., first edition, signed presentation copy from the author inscribed on title of vol.1, Calcutta, 1946 § Zimmer (Heinrich) The Art of Indian Asia: Its Mythology and Transformations, 2 vol., Bollingen Series XXXIX, New York, 1955 § Brown (Percy) Indian Architecture, 2 vol., third, revised, edition, 1956 § Zannas (Eliky) Khajuraho, The Hague, 1960 § Begley (W.E.) & Z.A.Desai. Taj Mahal: The Illumined Tomb, Cambridge, Mass., 1989 § Cousens (Henry) The Architectural Antiquities of Western India, Ananda Cooomaraswamy's copy with his bookplate by Eric Gill, pencil annotation to p.44, 1926, plates and illustrations, original cloth or cloth-backed boards with dust-jackets, most rubbed, some a little frayed or chipped at edges, the second also with slip-case; and 10 others on Indian architecture, 4to & 8vo (19)

Indian Art.- Fergusson (James) and James Burgess. The Cave Temples of India, first edition, wood-engraved frontispiece and illustrations, folding map, 99 plates including one mounted albumen print, a few tinted, 2 folding, with a duplicate of plate XVIII, very occasional spotting, map creased, Breezewood book-label, contemporary half morocco, t.e.g., spine gilt, rubbed, 1880; History of Indian and Eastern Architecture, first edition, wood-engraved frontispiece and illustrations, light foxing at beginning and end, modern half morocco, t.e.g., 1876, 4to & 8vo (2)⁂ James Fergusson (1808-86), originally an indigo planter in India later became an architectural historian and respected authority on Indian architecture and its cave temples in particular. The first work was co-produced with the archaeologist James Burgess who from 1886-89 was Director General of the Archaeological Survey of India.

* China. Henderson (William, 1903-1993). A group of nine artistic photographs of Peking subjects, 1928-30, vintage gelatin silver prints (from Henderson's estate), showing temples, views, architectural details, etc., 37.5 x 23.5 cm (Qty: 9)

Architecture. Lemere (Bedford, 1839-1911). An album of 96 corner mounted photographs of British and European ecclesiastical architecture details, c. 1870s, albumen prints, including details of the Royal Architectural Museum, Westminster, Chartres, Amiens, Llandaff Cathedral, Salisbury Cathedral, Lincoln Cathedral, etc., pencil captions to mounts, many with photographer details in the negative, 60 photographs 26.5 x 21 cm and 36 photographs 20 x 16 cm, paper mounts torn and frayed at lower margins, contemporary cloth with gilt title caption to upper cover, covers detached and spine deficient, 4to (42 x 34 cm) (Qty: 1)

 A late 19th / early 20th Century walnut cased brass faced eight day mantel clock, the case of architectural form, brass face with Arabic chapter ring set with a Phillip Haas & Sohne brass movement.

A Black Forest cuckoo clock, surmounted by a fox above carved leaf design above the architectural carved chalet case, Roman numeral chapter ring, pendulum and weights. Measures 53 cm high x 33 cm wide.

A collection of three clocks to include a late 19th Century Victorian Hamburg and America eight day mantel clock of architectural form, a carriage clock and alarm clock. 

A collection of 19th Century pictures to include a pencil drawing of a couple in a garden with a church behind (dated 1836), an architectural drawing of the nave of a church (dated 1842), a watercolor painting depicting a landscape scene with a temple on a waterfront, and a monochrome watercolour painting of a fortified castle within a country landscape (unsigned). 

A fine George IV brass mounted carriage clock with pull-trip repeat James McCabe, London, circa 1830 The five pillar twin chain fusee movement with lever escapement set along with all wheel-work above the centre wheel within a separate four pillar subframe vertically mounted on the backplate with regulation by sprung gold three-arm balance with cabochon endstone, over vertical hour bell to centre and engraved signature Ja’s McCabe, Royal Exchange, London to lower edge, the 3,25 inch circular gilt Roman numeral dial with ‘watered silk’ engine turned centre and inscribed JA’S McCABE ROYAL EXCHANGE, LONDON, 1646 to the inside edge of the chapter ring, with blued steel moon hands set behind crisply moulded fixed convex glazed cast bezel within surround modelled as a snake consuming its own tail, the architectural pedimented case with block upstand incorporating brass inset plate fitted with concealed hinged carrying handle and engraved JAMES CUDDY ESQ’R and acroteria finials over triangular tympanum and simple brass cornice moulding, the full-height front door with concave-topped brass line strung panel beneath dial aperture flanked by brass edged angles, the sides and rear door with brass fillet inset arched windows, on shallow skirt base with brass top moulding and bun feet, the seatboard and rear lower rail of the case each stamped with serial number 1646, 24cm (9.5ins) high with handle down. Provenance: From the name engraved to the brass plate (incorporating concealed hinged carrying handle) the current lot was most likely originally supplied to a gentleman with the name James Cuddy, who was probably of Irish origin. Indeed a surgeon of this name, who originated from Norther Ireland, served at the Madras Establishment (from 1805) eventually rising to the rank of Superintendent Surgeon in 1828. Cuddy returned to Europe in 1832 before going back to Madras in 1834 where he was appointed onto the medical board in 1838; regrettably Cuddy died in 1841 just as he was looking to retire to homeland and was buried in India. Although there is no record to indicate that the current lot was supplied to this gentleman his status and lifestyle certainly fits hence it would be tantalising to speculate that he acquired it during his return to Europe in 1832-34. Literature: The current lot is illustrated and described in Roberts, Derek CARRIAGE and Other Travelling CLOCKS on page 289 (Figs. 20-21) where it is described as being veneered in partridge wood and having the lowest serial number for a carriage clock by McCabe seen by the author. James McCabe senior was born in Belfast but moved to London in the 1770’s first working at 11 Bells Buildings, Fleet Street before moving to 34 King Street, Cheapside in 1783. After a short spell there he relocated to number 8 in 1788 where he remained until finally settling at 97 Cornhill in 1804. James McCabe gained his freedom of the Clockmaker’s Company in 1786 and was appointed Warden in 1811, the year of his death. McCabe was succeeded by his son of the same name who was to become one of the most successful English clock and watchmakers of the 19th century.James McCabe junior was apprenticed to Reid and Auld of Edinburgh and was admitted to the clockmakers company as a Free Brother in 1822. Around this time McCabe entered into short lived partnership with Strahan (probably Charles who gained his freedom of the Clockmaker’s Company in 1815). From 1826 McCabe managed the business alone from 97 Cornhill until 1838 when he was forced to relocate to 32 Cornhill due to a major fire at the Royal Exchange. It was at this time (1825-43) that Thomas Cole worked for McCabe before setting up his own to produce distinctive and highly decorative timepieces in his own unmistakable style. The business was subsequently continued by Robert Jeremy until his retirement in 1883. The current lot is unusual in that it has a case made from timber (albeit with extensive brass fittings) rather than entirely of brass. However the use of wood and brass very much lends itself to the architectural nature of the design. The combination of raised block/tablet upstand and acroteria finials to the pediment combined with the simplified mouldings and full-arch side and rear apertures is reminiscent of the ‘stripped-back’ Classicism pioneered by the Architect Sir John Soane in the early 19th century. Indeed when considering these details, and the overall sophisticated aesthetic quality of the current lot, it would have been the height of fashion when it was made.

A Victorian mahogany bracket timepiece Barraud and Lund, London, circa 1860 The five pillar single chain fusee movement finished to a high standard with anchor escapement regulated by half-seconds pendulum suspended from pivoted transverse regulation beam, the backplate signed Barraud & Lund, Cornhill, London and numbered 1796 over pendulum holdfast bracket, the 8 inch shallow arch single sheet silvered brass Roman numeral dial engraved BARRAUD & LUND, CORNHILL, LONDON, 1796 to centre, with blued steel spade hands and foliate scroll engraved infill to lower spandrel areas and the arch centred with SLOW/FAST pendulum regulation dial, the architectural pedimented case with recessed panel fronted tympanum above stepped ogee cornice and silvered brass canted fillet inset glazed dial aperture to the front door flanked by canted angles, the sides plain and the rear with rectangular glazed door, on stepped base with recessed front apron panel over moulded skirt with squab feet, 51cm (20ins) high. Paul Phillip Barraud (born 1752) worked with his father at first until his death in 1795 after which Barraud turned his attention more towards chronometers. Using the valuable experience gained whilst working on Mudge's timekeepers with W. Howells and G. Jamieson to good effect, he became very successful. After his death in 1820 the business was continued by his sons taking John Richard Lund, a former apprentice of John Pennington (who developed the auxiliary compensation balance weight to correct for middle temperature changes), into partnership in 1838.

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.

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).

ϒA 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. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

An oak blanket chest, Gothic style architectural front panel; a similar wall hanging corner cupboard and log box; another blanket chest (4)