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Lot 107
A late 18th century Worcester porcelain parrot pecking fruit pattern bell shaped tankard, small chip to rim, 15.5 cm high See illustration Condition report Report by NGSmall chip to exterior of rim just above handle. Some pitting and pock marks in body. Slight roughness and unevenness to foot-ring. Slight discolouration to patch in interior.
Lot 89
An Allergen Test Set, including medicine bottles in calf skin case, Haemocytometer, Anaemia colour wheel, Allergen test kit by Duncan Flockhart & Company, 14 bottles in mahogany case with lancet, calf case by John Bell & Co. containing a number of medicines (opiates removed), and other items (6)
Lot 64
Sicily, Syracuse AR Tetradrachm. Time of Agathokles, circa 310-306/5 BC. Head of Kore right, wearing earring, necklace and wreath of grain ears; KOPAΣ to left / Nike standing right, wearing drapery that falls to waist, erecting trophy to right; AI monogram to lower left, triskeles to right, AΓAΘOKΛEOΣ in exergue. Ierardi 95 (O19/R61); Gulbenkian 336 (same dies); SNG ANS 664; SNG Lloyd 1488. 17.24g, 26mm, 11h. Extremely Fine. Attractive old cabinet tone. With the usurpation of Agathokles in 317 BC, Syracuse once more monopolised the right of coinage for the whole of Sicily, even more distinctly than in the time of Dionysios. Yet the reign of Agathokles, as noted by Malcolm Bell (Morgantine Studies I, 1981) “was a watershed for the arts in Sicily, just as it was for politics. The change from a conservative late-classical style to the new modes of the early-Hellenistic period came very quickly, within the space of a decade, and it coincided with the replacement of democratic government by the new monarchy. It is clearly perceptible in the coins that... document the full acceptance of early-Hellenistic style.” Depicted often as a cruel and unscrupulous adventurer and tyrant, Agathokles achieved little of lasting historical importance; indeed after his death anarchy erupted both in Syracuse, where a damnatio memoriae was decreed, and in other places that had been under his rule (Diod. Sic. 21. 18). Nonetheless, his patronage of the arts left a legacy of beauty as embodied by a small number of surviving works of art from his reign, and smaller but no less wonderful objects such as this stunning coin.
Lot 6083
A child's Mourning suit 3 pieces fully tailored with waistcoat and striped trousers and jacket. A 1930s dark brown, with gold trim, bell boy suit (trousers and jacket) with 12 buttons down the front, from Jersey, a royal blue sailors jacket and waistcoat with brass buttons from Jersey (3, 7 individual items)
Lot 1747
A good George III mahogany and brass detailed repeating bracket clock, the swing loop handle above domed canopy and brass finials with arched brass dial set with detailed spandrels and chapter ring set with Arabic and Roman numerals, date aperture, strike/silent dial and with twin fusee movement striking on a bell, the central plate engraved 'George Prior, London', with detailed foliate scroll engraving to the back plate, glazed sides, and brass ogee bracket feet, height 49cm. CONDITION REPORT: The clock is basically in original condition, the brass has tarnished, the woodwork is dusty and would benefit from a polish, a small crack to the veneer of the arch door. In the past it appears that somebody has tried to clean the central plate above the dial, the glass is cracked to one side and there is a thin crack to the veneers on this side, overall in good original untouched condition. Sold with associated winding key, key to back door of case and bob pendulum.
Lot 1075
Four Lladro figures comprising lady with parasol, working man in coat (af) and two girls with flower baskets, also three Christmas bells for 1991, 1992 and 1995 (7). CONDITION REPORT: Working man - head has been off and plank-type item he is holding has been broken at both ends, crude repairs with traces of glue remain; some tips of flowers in baskets have been broken off; one bell missing ringer.
Lot 865
LALIQUE; an 'Eucalyptus' pattern opalescent glass bell shaped vase, mould R. Lalique signature to base, height 16.5cm. CONDITION REPORT: Surface wear such as scratches particularly visible in area of rim, numerous but very tiny nibbles along some edges of raised parts of mould leaf decoration, a few bigger examples the largest 0.7cm.
Lot 1100
Five contemporary and well detailed Milanese goblets including a gold flecked opaque tinted example with turquoise scrolling stem, height 24cm, two similar goblets with bell shaped bowls and applied blue vertical bands, height 18cm and 17cm, a blue glass example with gilt heightened scrolling floral support, height 23.5cm and an etched example applied with three ruby tinted flowers on wrythen twisted stem and spreading circular foot, height 26.75 (5).
Lot 823
ATTRIBUTED TO MATTHEW BRADY (1822-1896); oil on canvas, portrait study of a gentleman, believed to be John Bell of Rushpool Hall, bears signature and inscribed verso 'Ex Libris HR 1975', 76 x 63cm, framed.Matthew Brady was a pioneer in early photography in America, having his own studio in New York and was famous for producing early daguerreotypes and ambrotypes depicting famous people of the day in portrait as well as views of the American Civil War. It is not known that he turned his hand to painting and it is possible that this and the previous lot are contemporary copies produced from his photographs.
Lot 2834
An important gilt bronze hall lantern tentatively attributed to a design by Anthony Salvin and thought to have been supplied by George Morant, New Bond Street to Robert William Newman for his newly built mansion Mamhead. The hexagonal lantern of ovoid shape with hanging bell flowers, scrolling accanthus, "c" scrolls and rocaille work now has three of the original six glass panels and one of these is hinged at the top. Height 102cms. Provenance with the Rowe familly of Trewarthenick, Probus. Many of the furnishings for this mansion were acquired from the dispersal auction of the contents of Mamhead. In these rooms we sold an extensive George Morant labeled carved gilt suite from Mamhead via Trewarthenick. (See illustration)
Lot 2920
A Dutch burr walnut longcase clock, 18th century, of one month duration, William Gib, Rotterdam, the stepped caddy top over three-quarter columns, the long door with lenticle on a plain base, the 12 inch arched brass dial with signature plaque over a Roman and Arabic chapter ring, the matted centre with subsidiary seconds and decorated date aperture, the movement with five knopped pillars, anchor escapement and rack strike on a bell, height 244cm. Condition report: The case has been restored perhaps 30-40 years ago.
Lot 568
A Chinese finely worked silver epergne formed by a central trumpet shaped holder emerging from a circular bowl and supported upon a bell shaped foot, the overall decoration is of dragons, clouds and flame motifs in repousse, adjourn and chased workmanships. The base with a silver maker's mark, Chui chi + CS, together with the original carved wood ebonised stand, total height 44cm. Condition report: Some very small dents and knocks, generally in good condition. Weight of silver is 994 grams.
Lot 170
20th Century English Brass Fire Engine Bell with Iron Mounting Bracket. Marked with Impressed Crown and ER (Queen Elizabeth), date mark 6/53 when she was crown and SCC. The Crown ER Mark indicates service in some branch of government. Good Condition. Bell Measures 8-3/4 Inches Tall and 9-1/2 Inches Wide. Shipping $145.00 (estimate $350-$550)
Lot 240
A George III thirty-hour hooded wall timepiece movement and dial with alarm Henry Ward, Blandford, late 18th century The four pillar movement with anchor escapement for regulation by long pendulum and separate alarm train set between the plates sounding on a bell mounted above, the 6 inch break-arch single sheet silvered brass Roman numeral dial with alarm disc and pierced steel hand to centre within chapter ring with squat cruciform half hour markers beneath arch signed WARD, BLANDFORD, (lacking pendulum and weights), 21cm (8.25ins) high; with an oak wall clock hood, anonymous, late 18th century, with break-arch cavetto cornice over front door with 5.5 inch wide glazed fillet-bordered dial aperture enclosing conforming dial mask with aperture measuring 5.875 by 8.125 inches, the sides with break-arch windows over quarter-round moulded base, 28cm (11ins) high, (2). Henry Ward is recorded in Tribe, T. and Whatmoor, P. Dorset Clocks and Clockmakers as born in Blandford in 1776. He was a mechanically gifted maker who was granted Society of Arts Awards three times for papers submitted on a new design of striking clock (1805), a compensated pendulum (1807) and Equation Work for a clock (1814). He died in 1815. Ward s highly skilled and inventive approach is abundantly evident in a longcase regulator by him featuring elaborate pierced plates, unusual pinwheel escapement with pallets incorporated into the compensated pendulum rod and equation work which is extensively illustrated and described in Darken, Jeff (Editor) TIME & PLACE, English County Clocks 1600-1800 on pages 206-11. The oak wall clock hood included with the movement may well provide the basis from which to build an appropriate case for the current lot.
Lot 321
Ω A rare French brass inlaid rosewood carriage clock with two-plane 'chaffcutter' escapement Paul Garnier, Paris, circa 1835 The circular eight-day two train movement with two-plane 'chaffcutter' escapement regulated by sprung three-arm monometallic balance set between the plates, the backplate with bell, visible winding clicks and signed PAUL GARNIER, H'LR DU ROI PARIS towards upper left hand margin over number 2207 to centre, the rectangular white enamel dial with blued steel trefoil hands, the rectangular case with hinged gilt brass carrying handle over inset bevelled rectangular t glass within brass foliate scroll and line-strung borders to top, the front with down-sliding glass and double-line decorated surround, the sides inlaid with musical trophies within scroll cartouche and conforming line borders, the rear with lift-out wooden panel, 13cm (5ins) high excluding handle. Paul Garnier is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS as born 1801 and receiving Silver Medals in the Paris Exhibitions of 1827, 34, and 39; and gold medals in 1844 and 49. He worked from various addresses at Rue Taitbout, Paris and died in 1869 leaving the business to his son of the same name who was still exhibiting carriage clocks in the Paris Exhibition of 1889. Paul Garnier is generally credited for being the first maker to essentially standardise the 'petit pendule portative' which was in effect to become the prototype for the archetypal French carriage clock.Cites RegulationsPlease note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Lot 372
A George II walnut eight-day longcase clock Thomas Hill, London, circa 1730 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 14 inch brass break-arch dial with foliate border engraved calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and five minutes to outer track, with pierced steel hands and unusual male mask and scroll cast spandrels to angles beneath arch centred with a silvered boss inscribed Tempus Fugit within circular border signed THOMAS HILL, LONDON flanked by conforming mounts, In a case with ogee cornice over break-arch glazed door flanked by fluted Corinthian columns to hood, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with break-arch door centred within a circular lenticle over ogee moulded crossbanded plinth base, 204cm (80.5ins) high. Several makers with the name Thomas Hill are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first half of the 18th century.
Lot 327
A fine French gilt brass carriage clock Japy Freres, Beaucourt and Paris, circa 1860 The eight-day two train bell striking movement with gilt platform lever escapement regulated by unusual three-arm sprung monometallic balance applied with three axe-head shaped blued steel projections to rim, the backplate with small bell over stamped central oval trademark JAPY FRERES & CIE, EXPOSITION 1855, GRANDE MED. D HONNEUR and serial number 1055 to lower left corner, the rectangular white enamel Roman numeral dial inscribed BREVET D INVENTION S.G.D.G. to centre and with delicate blued steel moon hands, the bevel glazed gilt brass case with hinged handle modelled as entwined mermaids and strapwork panel bordered escapement aperture over decorated cavetto and ogee top mouldings, the canted angle uprights with elaborate foliate scroll cast upper and lower panels interrupted by niches containing standing silvered female figures emblematic of the four seasons, the front and sides with conforming glazed apertures and the rear with opening door, on cavetto moulded skirt base cast with further elaborate scroll tendrils and fruiting vines incorporating integral bracket feet feet, 18.5cm (7.25ins) high excluding handle. The firm of Japy Freres et Cie was founded by Frederick Japy in 1774 who set-up a modest workshop in Montbeliard as a watch and machine tool maker. Japy expanded his business rapidly and by 1804, the year he was awarded the Legion d Honneur by Napoleon (in recognition for his Brevets in horological machinery), he employed 300 people at his manufactory in Beaucourt. From 1806, he took five of his sons into partnership and the firm expanded adding buildings at Badevel and La Feschotte amongst others to become one of the largest makers of clocks in Europe. The business continued into the Twentieth century but during the inter-war period went into decline and is thought to have finally wound-up in around 1840. A detailed history of Japy Freres et Cie is provided in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development chapter VI pages 133-48.
Lot 362
A Marcolini period Meissen porcelain cased figural mantel clock The movement unsigned, late 18th century The Swiss made four pillar movement with rectangular plates incorporating going train with fusee and watch-type verge escapement set between the plates regulated by sprung three-arm monometallic balance pivoted behind a scroll pierced and chased oval balance bridge mounted on the backplate over regulation disc, the strike train with standing barrel and trip hour repeat sounding on a bell mounted behind the movement, the 2.75 inch circular convex white enamel Roman numeral dial with Arabic five minutes to outer track and scroll pierced and engraved gilt brass hands set behind hinged convex bevel glazed brass bezel, the polychrome painted porcelain case modelled with a seated putto reading a journal with quill in his left hand beside a blue diaper fabric and laurel draped simulated marble drum housing the clock movement with gilt detailed guilloche surround to the dial surmounted by a standing cockerel, the whole on simulated red porphyry base with further guilloche decoration to apron centred with a drop panel front with leafy spray, the angles with floret applied projecting panels over mottled green bun feet, underglaze blue crossed swords and asterisk mark to underside, 17cm (10.5ins) high. The Marcolini period of Meissen porcelain is characterised by the asterisk and crossed swords mark and is named after Count Camillo Marcolini who became director of the company in 1774, a position he held until 1814.
Lot 261
A fine William III longcase clock movement of one month duration Jonathan Lowndes, London, circa 1695 The substantial six thickly turned finned and latched pillar movement with anchor escapement for regulation by seconds pendulum and incorporating separately cocked pallet arbor, the strike train with high position outside countwheel and vertically pivoted hammer positioned to the upper left hand side of the backplate sounding the hours on a bell positioned high above the plates, the 12 inch square gilt brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture 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 winged cherub head and scroll cast spandrels with foliate scroll infill between incorporating signature Iona Lowndes in Pall Mall, London to lower margin, (no pendulum, weights, hands or seatboard). Jonathan Lowndes is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Knutsford, Cheshire in around 1656. He was one of four clockmaking brothers, the others being Charles, Samuel and Isaac. By 1679 Jonathan Lowndes was in London and in July 1682 was made a free Brother of the Clockmakers Company. By 1686 he was working perhaps alongside his brothers in Pall Mall, Parish of Westminster. Jonathan Lowndes is thought to have died in around 1710 with his cousin, John, possibly taking on the running of the Pall Mall workshop. The movement of the current lot is noteworthy in that it is substantially constructed and finely finished with delicate trains. The separately pallet arbor is reminiscent of Joseph Knibb s work whilst the vertically pivoted hammer was perhaps chosen to facilitate effective striking on a larger than normal bell positioned well above the plates. This is an alternative arrangement to the usual horizontal hammer arbor which often resulted in a fairly weak sound when used in a month clock through compromised power delivery because of the long trains. The fact that the current lot was designed to get around this potential problem would suggest that it was commissioned for a substantial property where it needed to be heard.
Lot 392
A fine George III brass mounted mahogany quarter chiming table clock with enamel dials James McCabe, London, circa 1800 The substantial six pillar triple chain fusee bell striking movement with verge escapement regulated by short bob pendulum and chiming the quarters on a nest of eight bells with eight hammers, the backplate signed James McCabe, LONDON to an oval cartouche within geometric borders incorporating panels with floral sprays to corners , the 7 inch brass full-arch dial applied with circular Roman numeral enamel centre with Arabic five minutes to outer track and pierced brass hands, the angles with applied foliate cast spandrels beneath subsidiary STRIKE/SILENT selection dial flanked by conforming cast mounts to arch, the case with brass ball finial to the gadroon-edged concave sided upstand with foliate scroll brass inlaid frieze above moulded break-arch top applied with four further ball finials and brass-fillet inset glazed front door flanked by brass stop-fluted quarter columns to front angles, the sides with hinged brass handles over fishscale sound frets, the rear with arch-glazed door, on brass faced cavetto moulded skirt base with ogee bracket feet, 61cm (24ins) high. James McCabe senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'very fine maker' who worked from Cheapside and Royal Exchange, London 1778-1811. The business was continued under his name by his sons and Robert Jeremy until 1883. The current lot has remnants of a label inscribed with Arabic text to the inside of the lower rail of the front door suggesting that at some point it was in a Middle-Eastern collection.
Lot 249
A quantity of longcase clock spandrels, case fittings, pulley wheels and bells Anonymous, mainly 18th century Including a set of four rare winged cherub head and lambrequin pattern spandrels amongst numerous others, a pair of fine cast brass trunk door hinges, hood column caps and bases, a group of eight-day longcase clock pulley wheels and a Knibb type pork pie hour bell, (qty).
Lot 397
An extremely rare hour-striking night-and-day spring table clock The movement attributed to the workshop of Joseph Knibb, London, circa 1675 and later The eight fully latched tulip baluster turned twin fusee movement with gable-shaped plates measuring 7.25 by 8.125 inches applied with slide-on dust cover to upper edges, the going train with verge escapement regulated by short bob pendulum driving motionwork for both traditional two-handed twelve-hour notation and revolving night hour disc set on a pivot at the apex of the plates, the strike train with outside countwheel and sounding on a bell set behind a circular aperture in the frontplate between the mainspring barrels, now with 10.75 by 8 inch rectangular matted brass dial applied with narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with pierced and sculpted blued steel hands, the upper section with pierced arched sector to reveal the revolving chapter hour disc painted with gilt stars on a deep blue and ground incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band, the upper margin applied with arched silvered plate pierced with Roman numerals I, II and III for the quarters around a scalloped inner edge with each division denoting the minutes, the margins of the sector aperture and the edge of the dial plate with precise line-scribed polished borders, the purpose made ebonised case with moulded box upstand enclosing tin chimney with flue exiting at the rear over simple moulded cornice and rectangular glazed door incorporating small lozenge pierced sound fret to lower rail and enclosing mask around the dial incorporating strike/silent lever at nine o clock, the sides with rectangular windows set within the lower half beneath aperture for slide-out lamp carrier to right hand side only, the rear with plain rectangular door, on cavetto moulded base incorporating key drawer to right hand side and bun feet, 41.5cm (16.25ins) high. Provenance: From the estate of Michael Hurst. Details in the construction of the current lot, in particular the baluster tulip turned pillars latched to the frontplate, relatively thin/delicate plates and use of the twin-disc system for the night dial would indicate that the movement was made in the workshop of Joseph Knibb. Indeed the general feel of the movement can be compared to that of a contemporary architectural table clock by Knibb illustrated in Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces form The Tom Scott COLLECTION on page 337 and 348-49. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. Currently there are four documented spring night clocks by Joseph Knibb, one was sold in these rooms on Tuesday 15th September 2015 (lot 197) with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was possibly developed by the Fromanteels prior to Joseph's arrival in London in 1671. In addition to this twin disc system English makers also utilised two differing mechanisms to denote the hours at night. The first, which seems to be preferred for use in longcase night clocks, is very similar to the twin disc system but substitutes the secondary discs for a linked chain of pierced numeral tabs which are driven by a ten-sided sprocket wheel (an explanation of this system is provided in Robinson, Tom THE LONGCASE CLOCK on page 154). The second alternative system can be seen on three hour-striking night-and-day clocks of the East School including an example by John Hilderson described in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5 (plates 759-63).
Lot 323
A Swiss brass inlaid ebonised carriage clock with push-button repeat and alarm The dial signed for Barevise, mid 19th century The two train eight-day bell striking movement with platform lever escapement regulated by sprung split bimetallic balance and visible strikework planted on the backplate along with standing barrel for the alarm both sounding on a bell mounted within the base of the case, the rectangular white enamel Roman numeral dial with blued steel moon hands over script BAREVISE and subsidiary alarm setting dial to lower margin, the ebonised case with shaped hinged brass carrying handle over small bevel glazed aperture within brass line strung borders to the cavetto moulded top edged in brass over bevel glazed dial aperture with conforming brass lines to surround, the sides with further brass stringing to margins, the rear with plain rectangular door, on brass capped ogee-outline skirt base, 18cm (7ins) high excluding handle.
Lot 383
A rare Swiss or South German Renaissance small iron chamber clock Unsigned, first half of the 17th century The two train weight-driven movement with verge escapement regulated by balance wheel contained within the frame, the strike train with countwheel released via single arbor warnless nag s head lifting against a star wheel mounted behind the dial incorporating a friction clutch to allow setting of the hand and with overlift provided by a shaped cam cut with a slot for locking, both trains pivoted between iron vertical bars which locate via tenons into slots cut into a horizontal strip at the base, the top secured with another strip terminating with angled end forged with pierced tenon at the front and integral lug at the rear passing through slots in the uprights and secured by wedges, the polychrome painted iron box-form case with a single lugged bell supported within domed bearer, the front with black ground starburst painted centre and cut steel arrow-shaped hand reading against a cream painted chapter ring with Gothic Roman numerals within architectural panel painted with stylised pilasters flanking a blue shield incorporating trident and circle motif within a red field above the dial, the top with integral scroll pierced fret and the sides with hinged doors secured by sprung clasps, the rear with forged hanging hoop and spurs, (escapement restored), 28cm (11ins) high. Provenance: The estate of Michael Hurst. The general construction and layout of the current lot can be directly compared to a spring-driven example illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES (English version translated by H. Alan Lloyd) on page 203 which is described as probably made in Zurich about 1630-40. The basic construction of the movement frame (formed essentially as a vertical rectangular loop around the movement) has its roots in the earliest form of domestic striking clock and can be directly compared with a clock dating to around 1500 illustrated in Muhle, Richard and Vogel, Horand M. Alte Uhren (Verlag Georg D.W. Callway, Munchen 1976) on page 152 (figure 256). Other related weight-driven clocks are illustrated by Bassermann-Jordan on page 106 (Fig. 80) and in Edwardes, Ernest L. Weight-driven Chamber Clocks of the Middle Ages and Renaissance Plates 31 and 32. The provision of a star wheel behind the hour wheel for strike lifting (rather than via a pin applied to the going train greatwheel) and a friction clutch for setting the hand (without the need to release the escapement and run the going train through) would suggest a date after 1600 (similar details had only really become standardised on English Lantern clocks from around 1610).
Lot 358
A small Victorian gilt brass mounted mahogany bracket clock in the George III style Unsigned, last quarter of the 19th century The four pillar twin chain fusee gong striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with holdfast to backplate, the 5 inch ogee-arch top gilt brass dial with fine rosette and foliate scroll engraved centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with blued steel hands and fine scroll pierced and engraved fretted infill to spandrel areas and continuing up into the arch to envelop the subsidiary STRIKE/SILENT selection dial, the bell top case with gilt brass carrying handle and moulded collar to superstructure over ball finials and complex upper mouldings, the front door with gilt fillet bordered glazed dial aperture and engraved scroll pierced upper rail and quadrant frets flanked by brass stop-fluted canted angles, the sides with further fine scroll pieced and engraved ogee-arch topped fretwork panels set within gilt brass fillet surrounds, the rear matching the front, on brass bound cavetto moulded skirt base with slender out swept bracket feet, 37cm (14.5ins) high excluding handle.
Lot 324
A fine French engraved gilt brass gorge cased petit sonnerie striking small carriage clock with push-button repeat and alarm Unsigned but possibly by Drocourt, third quarter of the 19th century The eight-day two train movement striking the hour on the larger of two bells and ting-tang notation for the relevant quarter every fifteen minutes, with silvered platform lever escapement regulated by sprung split bimetallic balance and alarm sounding on the larger bell, the backplate with stamped serial number 563 to lower left corner, the circular white enamel Roman numeral dial with blued steel moon hands set within rectangular gilt brass mask finely engraved with rococo scrolls on a matted ground and incorporating conforming subsidiary alarm setting dial to lower margin, the bevel-glazed gilt gorge case with typical Drocourt type hinged carrying handle over rectangular escapement aperture within fine scroll border to top over complex upper mouldings and channelled uprights further engraved with rococo scrollwork, the sides decorated with conforming bird and floral festoon inhabited panels and the rear with door similarly decorated incorporating shuttered winding and hand/alarm setting apertures, on ogee moulded base with shallow pad feet, 11.5cm (4.5ins) high excluding handle. Although the current lot is unsigned it appears fairly typical of the high-end examples made by Drocourt during the third quarter of the 19th century (albeit a little smaller than normal). Indeed the design of the carrying handle is generally considered as one of their trademark details. Pierre and Alfred Drocourt are recorded in Allix, Charles CARRIAGE CLOCKS, Their history and development as working from Rue Debelleyne 28 and Rue de Limoges, Paris as well as Saint-Nicholas-d' Aliermont from circa 1860. Allix describes them as makers of 'Superb' carriage clocks who were awarded numerous medals for entries submitted to various international exhibitions throughout the second half of the 19th century, including a gold medal at the1889 Paris 'Exhibition Universelle'.
Lot 393
A fine George III ebonised table clock with pull-quarter repeat Benjamin Vulliamy, London, number 272, circa 1796 The five pillar twin fusee rack and bell striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with pivoted beam rise-fall regulation and pull-quarter repeat on two bells, the backplate signed Vulliamy, LONDON and numbered 272 within foliate spray bordered cartouche and fitted with hinged pendulum locking bracket, the 7 inch brass break-arch dial with small calendar aperture to the finely matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with fine pierced blued steel hands and applied rococo scroll cast spandrels to angles beneath relatively shallow-profile arch applied with subsidiary silvered pendulum regulation and STRIKE/SILENT selection rings flanking a fan-shaped silvered nameplate engraved VULLIAMY, LONDON, No. 272 to upper margin, the inverted bell-top case with hinged brass carrying handle and crisp top-mouldings above brass fillet inset glazed dial aperture and foliate pierced upper quadrant frets to the front door, the sides with typical Vulliamy pattern symmetrical foliate scroll pierced arched sound frets, the rear with rectangular door incorporating break-arch glazed dial aperture and raised edge mouldings, on conforming moulded skirt base with generous cast brass squab feet, 39cm (15ins) high excluding handle; with a contemporary ebonised wall bracket with caddy moulded table supported by three fan-shaped scroll supports decorated with pierced Gothic tracery, 26cm (10.26ins) high; the clocks and wall bracket 65cm (25.5ins) high overall excluding handle. Provenance: The property of a private collector. Benjamin Vulliamy was born in 1747 and was presumably trained by his father, Justin. He was granted the Royal Appointment as the King's Clockmaker in 1773 before joined his father in around 1780 and was admitted as an Honoury Freeman to the Clockmakers Company in 1781. It was at this time he built a regulator for the King's Observatory at Kew which served as the Prime Meridian until Greenwich Royal Observatory took over in 1884. Benjamin Vulliamy is perhaps best known for his highly decorative sculptural timepieces in the executed in the Neo-Classical taste created from white marble and Derby biscuit porcelain with the finest cast and chased ormolu mounts. As Royal clockmaker Vulliamy supplied several timepieces of this type to the Royal family many of which still reside reside in the Royal collection (see Jagger, Cedric ROYAL CLOCKS page 117, figure 161). Benjamin Vulliamy was succeeded by his son, Benjamin Lewis, who worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. The Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy work books still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067, which means that the current lot, number 272, remains unidentified. The confident and distinctive design of the current lot with dial incorporating twin subsidiaries to the shallow arch and case with squat proportions to the caddy surmount, crisp mouldings and design of side frets is highly typical of those produced by Vulliamy family. The movement is finely executed with crisp wheelwork, superbly finished fittings such as the two-part backcock and plates measuring around 4mm thick. The overall general appearance/proportions of the present clock remains essentially unchanged from those first made by Justin Vulliamy during the third quarter of the 18th century and similar examples continued to be made by the Vulliamy family into the second quarter of the 19th century. Indeed a related clock dating to around 1835 (number 1260) was sold in these rooms on 15th September 2015 (lot 192) for £22,000 hammer.
Lot 388
A mahogany table clock with pull quarter repeat on six bells The movement and dial by Christopher Goddard, London, circa 1760, the case later The six pillar twin fusee bell striking movement now with anchor escapement regulated by lenticular bob pendulum with original rise/fall regulation to suspension, pull-quarter repeat on a nest of six graduated bells and fine foliate scroll and strapwork engraved backplate, the 7 inch gilt brass break-arch dial with calendar and false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch with twin Strike/Silent and regulation dials flanking fan-shaped recessed signature plate engraved Chrs:pr Goddard, LONDON within foliate engraved infill, now in a mahogany break-arch case with hinged brass carrying handle applied to a shallow pad over cavetto top mouldings and glazed dial aperture bordered by raised mouldings to the front door, the sides with rectangular scroll-pieced sound frets within conforming surrounds, the rear with break-arch glazed door set within the frame of the case, on moulded skirt base with brass ogee bracket feet, 44cm (17.25ins) high excluding handle. Christopher Goddard is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in 1729 and gaining his freedom of the Clockmakers Company in 1756. He worked in Little Britain, London and was declared bankrupt in 1761.
Lot 224
A German iron framed weight-driven chamber clock Unsigned, second half of the 18th century The single-handed countwheel striking posted movement with anchor escapement, square section uprights and two-tier top plate, the strike train with single arbor warnless nag s head lifting against a star wheel mounted behind the dial incorporating a friction clutch to allow setting of the hand and with overlift provided by a shaped cam cut with a slot for locking, the 8.5 inch square painted iron dial plate with repeating leaf rosette painted centre and scroll pierced steel hand within cream Roman numeral chapter ring with arrowhead half hour markers and plain green painted spandrel areas within line borders beneath shaped panel crest incorporating polychrome floral spray decoration, the sides with iron doors, the rear with conforming fixed panel fitted with hanging hoop and spurs, (lacking pallets, pendulum, alarm mechanism, bell and weights), 32.5cm (12.75ins) high. Provenance: The estate of Michael Hurst.
Lot 380
A Charles II brass lantern clock Unsigned, London, circa 1670 The posted countwheel bell-striking movement with later anchor escapement for regulation by a seconds pendulum swinging behind the frame at the rear, the dial with engraved ring of stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and iron hand within applied narrow Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the standard London third period frame with column turned corner posts beneath dolphin inhabited foliate pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors and the rear with original iron backplate (no pendulum), 32.5cm (12.75ins) high excluding later top finial. Provenance: By repute an important private estate, Cardiganshire. The current lot is a textbook example of London third period practice using frame castings developed probably just prior to 1660 (see White, George English Lantern Clocks page 180 figures IV/37 - IV/39 and lot 153). By this time the design of the dial engraving had also become relatively standardised hence the tulip decoration on the current lot can be compared (along with the iron hand) with that seen on a clock by Benjamin Hill which was sold in these rooms on Tuesday 15th September 2015 (lot 155), as well as numerous other examples by the likes of Nicholas Coxeter, Richard Ames and Thomas Wheeler made during the 1660's-70's.
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