An unusual George III small spring driven alarm timepiece John Monkhouse, London, circa 1760 The five pillar single chain fusee movement with verge escapement and alarm mounted behind the dial sounding on a bell mounted above, the plates measuring 4.25 high and 3 inches wide and applied with dust shutters to top and sides, the single sheet silvered Roman numeral dial measuring approximately 5.25 inches by 3 inches with alarm disc to centre and blued steel hands within chapter ring with Arabic five minutes to outer track, within foliate strapwork engraved spandrels and signed J.n.o. Monkhouse, London to the ogee outline arch above, now mounted on a cavetto moulded mahogany base, 15cm (6ins) high. John Monkhouse is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1756-71. From the evidence of his surviving work, which includes several quarter chiming and musical longcase clocks as well as a miniature grande-sonnerie longcase clock, he was a fine and inventive maker. The current lot was probably designed as a travelling timepiece (a spring-driven alternative to a miniature weight-driven lantern alarm timepiece), and was probably originally supplied with a fitted wooden case for protection whilst in transit.
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A George II small table clock James Snelling, London, circa 1735 The six pillar bell striking twin chain fusee movement with verge escapement, rise/fall regulation and pendulum holdfast to the fine symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with false bob and calendar apertures 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 fine unusual foliate scroll cast spandrels beneath arch with twin subsidiary Strike/Silent and regulation dials with applied shaped signature plaque James Snelling, LONDON between and fine foliate scroll engraved infill, the inverted bell top case now veneered in figured walnut with brass carrying handle above raised mouldings to the glazed dial aperture and scroll-pierced frets to the upper quadrants of the front door, the sides with circular over concave-topped rectangular foliate side frets, the rear with door conforming the front set within the frame of the case, on cavetto-moulded shallow skirt base with moulded squab feet, 38cm (15ins) high excluding handle. Provenance: purchased 15th June 1937 from James Oakes of 37 Bury Street, St. James`s, London, for £75. The purchase invoice together with further correspondence and an extract from the June 1951 edition of The Antique Dealer and Collectors` Guide featuring this clock is included with the lot. James Snelling is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as being admitted as an apprentice in 1703 and gaining his freedom of the Clockmakers` Company in 1712. He was appointed Master in 1736 and died 1751. Baillie notes him as an `eminent maker`.
A George I ebony table clock with `silent` pull quarter repeat on two bells Francis Gregg, London, circa 1725 The five finned pillar single chain fusee movement with verge escapement, rise/fall regulation via a snail shaped cam mounted to the rear of the dial and silent pull quarter repeat on two bells, the symmetrical foliate scroll and strapwork engraved backplate with central eagle motif above oval reserve signed FRA: GREGG, AT ST. JAMES`S the 5.75 inch brass break-arch dial with calendar aperture beneath XII over false bob aperture and shaped plate with repeat signature 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 drapery lambrequin cast foliate spandrels beneath arch centred with silvered regulation ring flanked by conforming spandrels, the case with generous hinged brass handle to the inverted bell top above front door with raised mouldings to the glazed dial aperture and upper quadrant frets, the sides with conforming break-arch windows, the rear with door matching the front set within the frame of the case, on cavetto moulded shallow skirt base with squab feet, 39.5cm (15.5ins) high excluding handle; with a later ebonised wall bracket with ogee mounded waist above cavetto moulded section terminating in an inverted ogee caddy, 18cm (7ins) high; the clock and wall bracket 47.5cm (22.5ins) high overall excluding handle. Francis Gregg is recorded in Loomes, Brian The Early Clockmakers of Great Britain as born circa 1677 and apprenticed to John Clowes in 1691 through to 1698, he is recorded working in Russell Street in 1711 and then in St. James`s 1714-29 when he was declared bankrupt. His work tends to be of high quality and distinctive with at least one longcase clock of month duration with annular calendar and equation of time of the type normally signed by John Topping known (illustrated in Robinson, Tom THE LONGCASE CLOCK page 232). The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bed chamber; whilst striking clocks with quarter repeat facility were generally intended to be used downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers and can be directly compared with another example by Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON`S CHOICE pages 78-9. The case is also of fine quality with generous handle, bold mouldings, break-arch side apertures and squab feet being reminiscent of those housing movements and dials by highly esteemed makers such as George Graham and Delander. An almost identical clock can be seen in the collection of the National Trust at Mompesson House, Salisbury.
A George III brass mounted fruitwood table clock with pull-quarter repeat Thomas Smith, London, circa 1770 The six pillar twin fusee bell striking movement with pull-quarter repeat on a nest of six graduated bells, the backplate engraved with asymmetric rococo foliate scrolls, the 7 inch brass break-arch dial with calendar and false bob apertures and arched silvered signature plate Thomas Smith, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with scroll cast spandrels beneath subsidiary silvered STRIKE/SILENT selection dial flanked by conforming mounts to arch, the inverted bell-top case with hinged brass carrying handle and subsidiary mouldings to the superstructure above front door with brass fillet inset glazed dial aperture and engraved brass upper quadrant frets, the sides with conforming fillet-inset circular over concave-topped rectangular fishscale sound frets, the rear with door matching the front set within the frame of the case, on cavetto moulded brass-bound shallow skirt base with cast ogee bracket feet, 49.5cm (19.5ins) high excluding handle. Several makers with the name Thomas Smith are recorded working in London during the third quarter of the 18th century, the current lot was probably made by the maker of the this name recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1763, gaining his Freedom of the Clockmakers` Company in 1770 and worked in Princes Street, Aldgate.
A George III brass mounted ebonised small table clock case Unsigned, late 18th century, the movement and dial later The current French eight-day bell striking movement with Brocot type pendulum suspension and stamped 968 to backplate, the 4 inch circular convex white enamel Roman numeral dial with blued steel hands and red Arabic numeral quarter hours within outer minute track, now fitted to the earlier brass mounted ebonised bell-top case with pineapple finial above radial gadroon cast cornice moulding and front door with convex bevel glazed brass bezel over shaped cast bead bordered panel to apron flanked by inset mouldings to angles, the sides with brass fillet bordered arched glazed apertures, on skirt base with foliate trail cast moulding and leaf decorated bracket feet, 27cm (10.5ins) high excluding finial, 32cm (12.5ins) high overall.
An unusual George III weight-driven hooded wall clock with automaton Unsigned, probably for the Chinese market, late 18th century The posted countwheel bell striking movement with verge escapement and square section corner posts, the rear of the movement fitted with secondary countwheel for operation of the automaton whilst the clock strikes via a mechanism mounted within the right-hand side of the frame, the 6.5 inch arched dial plate applied with square enamel panel centred with a circular white Roman numeral dial with Arabic quarters within blue ground green leafy spray decorated enamel to spandrels, the arch painted with a landscape incorporating shallow-arch niche enclosing portrait of gentleman in a red jacket which moves aside to now reveal a portrait bust of a Chinese courtier, the whole supported on ball turned feet onto cavetto moulded platform supported from a backboard and fitted with brass feet to resemble a table clock, now with break-arch ebonised hood with brass fillet edged arch-glazed front aperture (with restoration), 34cm (13.5cm) high. The dial of the current lot, with relatively plain Roman numeral centre within tight foliate decorated enamel spandrels incorporating `bright-cut` leaf decoration, is typical of the type often seen on clocks made by leading London makers for export to China. Indeed these features share stylistic similarities to those seen on a more elaborate clock by Perigal sold at Christies, King Street in their sale of MAGNIFICENT CLOCKS 15th September 2004 (lot 16), as well as another by Perigal offered in the same rooms sale of Important Clocks 13th December 2000 (lot 84). The automata is also a feature that would have appealed to the Chinese market and can perhaps be best described as an early English version of the cuckoo automaton seen on later Black Forest clocks.
A Victorian brass lantern clock Unsigned, late 19th century The four pillar single chain fusee movement with anchor escapement and passing hour strike on a bell mounted within the domed bell bearer above the frame, the brass dial with foliate engraved centre and applied Roman numeral chapter ring with fleur-de-lys half hour markers, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets, with brass side doors and backplate, 38cm (15ins) high.
A Victorian brass lantern clock Jump, London, late 19th century incorporating earlier elements The four pillar twin chain fusee movement with anchor escapement and striking the hours on a bell mounted within the domed bell bearer above the frame, the backplate with pendulum holdfast and signed Jump, London, the brass dial with foliate engraved centre and applied Roman numeral chapter ring with bold fleur-de-lys half hour markers, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets beneath unusual iron bell bearer, with brass side doors and backplate, 33cm (13ins) high. The current lot was probably put together by the firm of Joseph and Henry Jump who are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1875-81. The Jump family were fine makers who succeeded the Vulliamy family, and are perhaps best known for their complex shagreen covered tombstone-shaped carriage clocks.
A William III brass lantern clock James Gray, Shaston (Shaftesbury), circa 1695 The posted bell striking movement with verge escapement and pendulum swinging outside the frame to the rear, the dial signed James Gray Shaston above unusual engraved decoration with large tulip buds issuing from a twin scroll handled planter, with pierced brass hand within applied Roman numeral chapter ring with stylised trident half hour markers and with leafy infill to angles, the frame with one-piece column turned corner posts beneath dolphin engraved and pierced frets, integral vase turned finials and domed bell bearer, with hanging hoop to rear and on ball feet, (lacking side doors and backplate), 38cm (15ins) high; with an oak and brass wall bracket with female mask and scroll cast supports. James Gray of Shaftesbury in Dorset is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as working around the turn of the 18th century. Loomes illustrates a similar example to the current lot (page 203 fig. 12.25) and notes that the integral pillar castings, brass hand and primitive but bold `flowers in a vase` engraved decoration to dial centre indicate a Bristol influence, with the engraving perhaps being a naive interpretation of decoration seen on examples by John London. The example illustrated by Loomes differs from the current lot in that it has an anchor escapement, sword-hilt half hour markers to the chapter ring and lion and unicorn pattern fets. These differences suggest that the current lot is a little earlier than the one illustrated in Loomes, indeed the trident half hour markers in particular are much more akin to 17th century practice, hence it is probably safe to suggest that the current lot predates 1700. A third example, which is almost identical to the current lot, is illustrated in Hana, W.F.J. English Lantern Clocks page 88 (plate 42) where it is wrongly identified as a `lantern clock made in Scotland`.
A fine and well documented William and Mary brass lantern clock Thomas Veale, Chew Magna, dated (16)92 The posted countwheel bell-striking movement with verge escapement and short bob pendulum swinging outside the frame to the rear, the dial with central vestigial alarm disc concealing an area of practice engraving with initials TV above 92 and further inscribed Clean`d Feb. 19, `3, `94 within symmetrical foliate tulip engraved infill and with pierced brass hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, the angles engraved with bands of concentric brickwork, the `Bristol` frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer, with brass side doors, iron backplate and hanging hoop above spurs to rear, on tall disc-knopped ball feet, 40cm (15.75ins) high. Thomas Veale`s dates are collated in Loomes Brian Lantern Clocks & Their Makers page 307 where it is noted that; - `Bellchambers records his freedom at Bristol in 1652. Moore records him as being of Bristol in 1660 when he was a bondsman to a marriage. George White records his marriage at Chew Magna 1656 to Charity Plaister. He was working to at least 1697. He left sons John and James, but no clocks are yet recorded by them`. The current lot utilises frame castings that were favoured by the Chew Valley school of clockmakers with the earliest surviving dated example made by Edward Webb of Chew Stoke in 1676 (private collection). Several other clocks by Webb are known with dates ranging from 1678-93, with all of the documented examples sharing the same frame castings. These castings were also used by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695) for his earlier lantern clocks, long after Bristol makers had tended to opt for castings more closely related to London work of the period. The on-going use of this pattern of frame suggests that they were cast locally, perhaps initially by Edward Webb at his foundry in Chew Stoke (which was just over a mile from Thomas Veale`s home at Denny Farm, Chew Magna), then by the Bilbie family after Webb`s death in 1694. Of Thomas Veale five lantern clocks are documented, with all but one dated and made within the timespan 1692-7. All these examples share the same basic frame castings and are signed with the initials TV either behind the alarm disc or chapter ring. These examples can be found and compared in the following sources; White, George English Lantern Clocks page 230 fig. V/35 (undated example), page 231 figs. V/36 (the current lot) and V/38 (dated `97 -detail of dial only). Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS 1615-1700 page 50 (dated 1692). Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67 (dated `95). All of the four dated examples share similar engraving executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central flowerhead motif at the top. The angles are decorated with the same concentric brickwork infill. The undated example (White, George English Lantern Clocks page 230 fig. V/35) departs a little from the above similarities by incorporating larger more abstract scroll-work towards the lower margin of the dial centre and terminates with a female mask at twelve o`clock. It is perhaps interesting to compare this example with those made by Edward Webb during the 1680`s which tend exhibit the same basic design within the engraving; which was strongly influenced by the work of Thomas Brown of Bristol during the 1650`s (see White, George English Lantern Clocks page 232). From this observation it would be perhaps reasonable to suggest that the undated example is probably the earliest surviving example of his work and may pre-date 1680. The current lot also exhibits an unusual insight into clock ownership during the 17th century. The dial centre is inscribed clean`d Feb.19, `3, `94 indicating that it was common practice at this time to send a clock back to the maker for cleaning on an annual basis. This detail adds yet further interest to what is a fine and original well documented example of a 17th century Chew Valley lantern clock.
A Fine Charles II brass lantern clock Thomas Wheeler, London, circa 1685 The posted countwheel bell-striking movement now converted to anchor escapement with long pendulum, the dial engraved with continuous band of scrolling flowering tulip foliage around vacant centre formerly fitted with an alarm disc, with original iron hand and applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and leafy infill to angles, the standard London third period `Lothbury` frame with column turned corner posts beneath engraved and pierced dolphin pattern frets signed Tho: Wheeler neare ye french Church to lower front margin between vase turned finials and with domed bell bearer above, the sides with original plain brass side doors, on turned ball feet, (alarm removed), 40cm (15.75ins) high; with a later oak wall bracket. Provenance: Purchased by the vendor from Philips Fine Art Auctioneers in 1978 having belonged to the former owner for around 40 years. Illustrated in Cescinky, Herbert & Webster, Malcolm R. English Domestic clocks page 61 (fig. 36) where it is described as being in the possession of Percival Griffiths Esq. Thomas Wheeler is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as apprenticed in 1648 to Nicholas Coxeter and gaining his freedom of the Clockmakers` Company in 1656. He became Assistant from 1674, Warden from 1680 and was appointed Master in 1684. His last record of attendance was in 1694 and is thought to have died between 1695 and 1701, when his widow received charity from the Company. The introduction of the verge escapement with short bob pendulum to lantern clocks presented difficulties to makers with regards to the positioning of the alarm mechanism. Traditionally, on balance wheel clocks, the alarm was placed to the rear on the outside of the backplate. However on a pendulum clock this position is likely to conflict with the preferred position of the pendulum. One solution to the problem was to relocate the pendulum within the frame, either at the rear or between the trains in the centre of the movement; with latter being the option preferred by many London makers during the 1680`s including John Ebsworth, Richard Ames as well as Thomas Wheeler. Another option was to relocate the alarm within the frame to the rear, this solution was preferred by West Country makers such as Edward Webb of Chew Stoke. The current lot, however, takes a novel approach with alarm being originally mounted halfway through the backplate, with the pulley positioned within the frame (holes for the lines to exit are still visible in the bottom plate) and the crownwheel and hammer assembly positioned outside. The alarm would have been fitted on a pivot post fitted to a curved iron bridge which would have been riveted to the backplate. The current lot has a relatively early and neat conversion to anchor escapement but with an unusually large escape wheel of 52 teeth, pallets spanning 12 teeth, and pendulum with effective length of 46.5 inches. This layout results in a pendulum beating slower than a standard seconds period pendulum and with very small amplitude. The most logical reason for this unusual arrangement is that the clock was to be housed in a tall narrow `longcase` at the time of conversion, this would also probably account for the hanging hoop and spurs being removed at that time.
A William and Mary brass lantern clock With signatures for both Thomas Colpeas, and John Maer, Richmond, circa 1690 The posted countwheel bell-striking movement with verge escapement and pendulum swinging within the frame of the clock between the trains, the dial engraved with script Tho: Colpeas towards the upper margin of the dial centre and with flowering tulip scrolling infill beneath, the centre with alarm disc and original iron hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and engraved John Maer, Richmond to lower edge, the standard London third period `Lothbury` frame with column turned corner posts beneath foliate engraved and pierced frets, vase turned finials and domed bell bearer, the sides with plain brass side doors, the rear with iron hanging hoop and spurs fitted to the iron backplate, on turned ball feet, (alarm removed), 39.5cm (15.5ins) high. The current lot is an almost textbook example of a `third period` London made lantern clock with classic `Lothbury` pattern frame and pendulum swinging between the trains. Both signatures, however, do not appear to be recorded as makers working in the London area at this time. Thomas Colpeas is apparently unrecorded and a John Ma(y)ers is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Richmond, Yorkshire, circa 1770. The most likely explanation for the probable discrepancies with these names is that the current lot was possibly bought-in/ordered from a London maker for retail locally (Yorkshire perhaps) by Thomas Colpeas in around 1690 (see White, George English Lantern Clocks page 204). The clock could have been subsequently acquired by John Ma(y)ers who may have had his signature added before selling it on.
A fine William III brass mounted ebony table clock Langley Bradley, London, circa 1700 The five finned pillar movement with verge escapement, pull-quarter repeat on a nest of six graduated bells and striking the hour on a further larger bell, the backplate signed Langley Bradley, LONDON within fine leafy scroll bordered cartouche to the symmetrical foliate scroll engraved backplate with herringbone border, the 7 inch square brass dial with canted herringbone border-engraved shaped false bob and calendar apertures to the finely matted centre within applied silvered Roman numeral chapter ring with sword hilt half hour markers, Arabic five minutes to outer track and signed L: Bradley, London to lower margin, with delicate pierced steel hands and winged cherub head cast spandrels to angles within herringbone engraved outer border incorporating S/N switch at twelve o`clock, the case with elaborate repousse double basket top surmount with fine twin cherub cast handle to the profile mask medallion scroll centred pierced upper tier flanked by small urn finials, the lower tier with relief panel of St. George slaying the dragon flanked by figural military trophies within a conforming cherub and scroll decorated field and flanked by unusual gilt urn finials with tall baluster spires, the front with unusual projecting scroll cast mounts incorporating putti holding hour-glasses and grotesque masks, the sides with rectangular glazed apertures overlaid with scroll pierced repousse panels with geometric panel bordered open centres, the rear with door matching the front set within the frame of the case flanked by conforming mounts to angles, on complex moulded shallow skirt base with fine scroll cast gilt brass feet, 44cm (17.35ins) high excluding handle. Provenance: The property of a private collector. Exhibited at The Luton Museum and Art Gallery Loan Exhibition of Art Treasures July to August 1949 (exhibit 120), subsequently with Biggs of Maidenhead and illustrated in their advert in ANTIQUARIAN HOROLOGY number 2 Volume 3, March 1960 (to rear cover). Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers` Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul`s Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton (see lot 177). Despite this embarrassment Sir Christopher Wren attempted to influence the Crown`s potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as `a very able artist, very reasonable in his prices` in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain`s response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. The current lot was clearly made to impress and was a product catering for the new fashion for elaboration made popular by the Williamite Court at the turn of the 18th century. Although double-basket top clocks do survive they are relatively scarce, perhaps due to the inherent fragility of the superstructure. The cast mounts applied to the angles of the current lot are highly unusual and depart from the usual repousse adornments often seen on basket top clocks. However these mounts do appear to be original and perhaps indicate a Continental influence, as similar configurations are sometimes seen on the last of the great German Augsberg-type table clocks dating to the third quarter of the 16th century. The incorporation of putti holding hour-glasses within the design is a horological reference which adds further credence to their originality.
A William III burr walnut eight-day longcase clock Joseph Windmills, London, circa 1695 The six finned and latched pillar rack and bell striking movement with anchor escapement and 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed J: Windmills, London to lower edge, the angles with gilt twin cherub and crown cast spandrels with foliate engraved infill between, in a case with gilt ball finials to the domed caddy upstand above moulded cornice, fine foliate pierced frets to frieze and generous three-quarter columns with gilt caps and bases flanking dial aperture, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up the underside of the cornice projection, the trunk with convex throat moulding and 41 inch book matched veneered door, the sides divided into pairs of panels with line borders, on crossbanded plinth base with bun feet (case probably with restoration) 214cm (7ft) high excluding top finial, 222cm (87.5ins) high overall. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers` Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark Lane End, next Tower Street by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph`s death in 1724. As a contemporary of Knibb, Quare and Tompion Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. The current lot is no exception as the movement is very well made with no less than six finely turned and latched pillars, the underdial lever work for the rack strike is also fully cocked (rather than pivoted on steel posts alone). The dial is typical of Windmills at this period with the winding holes, calendar aperture and centre of the seconds dial having ring-turned decoration, and the chapter ring utilises his preferred form of stylised sword hilt half marker. A slightly later clock with almost identical movement and dial is illustrated in Neale A.J. Joseph and Thomas Windmills.., page 123 (fig. 5.3). The case is also of fine quality with richly figured veneers and `Tompionesque` proportions. The current lot is in has been consigned in fine presentable working order however the case has probably had some well executed conservation work undertaken in the past.
A fine George III brass mounted mahogany quarter-chiming table clock with enamel dials Herman Diedrich Sporing, London circa 1765 The seven pillar triple fusee movement with rise/fall regulation to the verge escapement, chiming the quarters on a nest of six graduated bells and striking the hour on a further larger bell, the backplate engraved with delicate asymmetric foliate scrolls with pendulum holdfast hook to lower left hand corner, the 7 inch brass break-arch dial plate with applied circular convex white enamel dial signed HERMAN DIEDRICH SPORING, LONDON to centre and with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with two conforming subsidiary enamel dials for Strike/Silent selection and regulation within delicate foliate scroll engraved field, the bell top case with pedestal surmount capped with a pineapple finial above brass collar and four further finials to superstructure, over front with scroll cast upper quadrant frets and fillet inset glazed dial aperture to door flanked by cast female caryatid applied canted angles, the sides with generous hinged carrying handles above conforming concave topped rectangular side windows, on moulded shallow skirt base with foliate scroll cast bracket feet, 46cm (18ins) high excluding top finial and pedestal, 56cm (22ins) high overall. Herman Diedrich Sporing was Finnish by birth and was one of the `four gentlemen of the faculty` employed by Joseph Banks to accompany Captain James Cook (then Lieutenant) on his first voyage on H.M.S. Endeavour 1768-71. Born in Turko, Finland, 1733 Herman Diedrich Sporing was initially destined to follow his father (of the same name) by studying to become a physician at Turku University (where his father was Professor), before going onto Stockholm to continue his training. Whilst in Stockholm Sporing decided to go to sea (1755) which lead him to settle in London where he trained as a watch and instrument maker (although it appears that he never gained his freedom of the Clockmakers` Company). It was at this time that he befriended Dr. Daniel Solander, a Swede of the same age who also had medical training, who in turn introduced Sporing to Joseph Banks. It was through Banks that both Solander and Sporing were enlisted on H.M.S. Endeavour, with Sporing taking the position of Assistant Naturalist to Banks. The primary official purpose of Cook`s voyage was to ensure that the astronomer, Charles Green, was able to undertake observations of the transit of Venus from Tahiti which was due to take place on 3rd June 1769. The Endeavour landed at Tahiti in plenty of time allowing Lieutenant Cook to construct `Fort Venus`, an elaborate fortified structure from which the observations can be made. Unfortunately, shortly before the event was due to take place, the astronomical quadrant (supplied by Bird) was stolen by local islanders and disassembled. Fortunately all of the parts were recovered by the party of men sent out charged with the task and Sporing (as a trained watch and instrument maker) reassembled the instrument. On the day of the transit Sporing was detailed along with Dr. Jonathan Monkhouse to accompany Lieutenant Gore and Banks to proceed to nearby York Island (Moorea) where Sporing and Monkhouse were to undertake secondary observations. Lieutenant James Cook, a trained astronomer in his own right, clearly found Sporing to be useful at this time; no doubt his abilities as a watch and instrument maker were also crucial to his purpose, as the inventory of instruments was extensive and included a portable longcase regulator by John Shelton. The observation data gathered was eventually transferred to the Admiralty for dispatch to the Astronomer Royal Neville Maskelyne (during the ill-fated stop-off at Batavia on the return leg of the voyage). This data, along with other observations of the same event taken around the globe, were used by Thomas Hornsby to calculate a fairly accurate approximation of the distance of the Earth from the Sun. After the observations had taken place Lieutenant Cook opened sealed orders from the Admiralty which instructed him to seek the position of the great Southern Continent. Charged with these instructions H.M.S. Endeavour proceeded to eventually find New Zealand. During the seven month circumnavigation of the islands Sporing`s primary role was to produce drawn records of fauna and flora (most of the surviving drawings are now held in the British Museum). On the 2nd November 1769 the Endeavour was assaulted by Maori war canoes whilst off Motuhora Island (Whale Island). During this attack Sporing drew details of the canoes and the Maori`s themselves, these drawings along with those of the previous month depicting the arched rock at Tolaga Bay are the earliest images of Maori culture recorded by a Westerner. In recognition of Sporing`s efforts Lieutenant Cook named a small island after him (in Tolaga bay near present day Gisborne) which has now quite rightly reverted back to its Maori name `Pourewa`. Leaving New Zealand H.M.S Endeavour proceeded onto Australia with the `first landing` at Botany Bay taking place on 29th April 1770. During the eight-days spent at Botany Bay Sporing was extremely busy recording the overwhelming quantity of new fauna and flora. Perhaps the best known of Sporing`s drawings from Botany Bay are those of a stingray and banjo shark which were observed from fresh specimens. From Botany Bay Cook headed northwards, up the Eastern Coast of Australia, until H.M.S. Endeavour was seriously holed on the Great Barrier Reef. The vessel was skilfully beached by Cook for repairs near a small river outlet, now called The Endeavour River, near modern day Cooktown in Queensland. It was during these two months of being laid-up that the first kangaroos were seen; on the 14th July one was shot by Lieutenant Gore and examined by Sporing and his fellow Naturalists. Once the vessel had been successfully refloated Cook proceeded (beyond the Great Barrier Reef) northwards until he eventually landed at Batavia on 10th October 1770. By this time H.M.S Endeavour was somewhat worse for wear so was docked for repairs. By 7th December she was ready to depart for the home leg of the voyage and left on Christmas Day 1770 bound for the Cape of Good Hope. Unfortunately whilst at Batavia the crew had been exposed to disease, such as malaria and dysentery, which resulted in disastrous outbreaks. No less than 26 members of the crew succumbed, with Banks, Solander, Green and Sporing also falling ill. Herman Diedrich Sporing died at sea on 24th January 1771 with the astronomer Charles Green dying five days later. When H.M.S. Endeavour finally landed off Deal on 12th July 1771 she had been absent for three years and had lost 38 eight from her compliment of 100 men. The current lot can be fairly accurately dated between circa 1760 and 1768 as it would have been made during Sporing`s time in London after he had undergone training as a Watch and Instrument maker. The dial, with its applied enamel centre beneath twin subsidiaries, echoes the work of Justin Vulliamy and can be closely compared to an example by him illustrated in Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 on page 138 (colour plate 18). As the current lot is believed to have (up until recently) spent all its life in Sweden, it is probable that Herman Diedrich Sporing supplied it direct to a client in his home country of Finland - possibly his own family. This historically interesting and apparently unique clock has survived in fine unrestored condition and requires only gentle conservation to bring it back to full original working condition.
A fine George III mahogany quarter-chiming eight-day longcase clock Thomas Gardner, London, circa 1760 The six pillar movement with anchor escapement, chiming the quarters on a nest of eight-graduated bells and striking the hour on a further larger bell, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and arched nameplate engraved Thomas Gardner, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes, with pierced blued steel hands and figural cast spandrels emblematic of the four seasons to angles beneath arch with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a pagoda pedimented case with Gothic arch pierced fret to superstructure, break-arch cavetto cornice and foliate scroll blind fret frieze above generous brass stop-fluted columns flanking dial and break-arch side windows to hood, the trunk with cavetto throat above geometric `block top` figured trunk door flanked by conforming brass inset quarter columns, on raised shaped panel fronted plinth base with double skirt incorporating bracket feet with shaped apron between, 250cm (98.5ins) high. Thomas Gardner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working at the Minories, London, from circa 1740 until his death in 1770.
A George III green chinoiserie japanned eight-day longcase clock James Scholefield, London, circa 1760 The five pillar rack and bell striking movement with anchor escapement and 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and shaped signature plate Jam`s Scholefield, LONDON 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 beneath subsidiary STRIKE/SILENT dial flanked by conforming mounts to arch, in a break-arch case with cavetto moulded cornice above gilt foliate panel bordered door applied with three-quarter columns to angles, the trunk with break-arch door decorated in raised polychrome and gilt with figures within an oriental garden with pavilions above a square rigged man-o-war to lower margin, the sides painted with large gilt floral sprays, on conforming plinth base with shallow moulded skirt, 213cm (84ins) high. James Scholefield is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working at the Strand, London from before 1747 to circa 1760.
An impressive George III green chinoiserie japanned quarter-chiming table clock Thomas Eastland, London, mid 18th century The substantial six pillar triple fusee movement with verge escapement, chiming the quarters on a graduated nest of eight-bells and striking the hour on a further larger bell, the symmetrical foliate scroll and strapwork engraved backplate signed Tho:s Eastland, London to centre, the 7.5 inch brass break-arch dial with calendar and false-bob aperture signed Tho Eastland London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes and unusual fine foliate cast and pierced gilt spandrels to angles beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the elaborate case with gilt pineapple finial to the bell-top upstand decorated in raised polychrome and gilt with oriental figures conversing above gilt blind fret infill and four further finials to the break-arch cornice, the front with figural panels within trellis borders to door surround flanked by finely cast and chased bare-breasted female terms with fabric drapery and scroll terminals issuing inverted floral sprays to the canted angles, the sides with brass handles over concave-topped rectangular windows, the rear matching the front, on floral panel centred gilt trellis decorated concave moulded skirt base incorporating shaped apron and bracket feet, 58.5cm (23ins) high excluding top finial; 63.5cm (25ins) high overall. Thomas Eastland is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1744-51.
A George III ebonised musical quarter-chiming table clock Thomas Green, Bristol Hotwell, dated 1789 The six pillar triple fusee movement with original anchor escapement, chiming phrases for the quarters on a graduated nest of eight-bells and completing `Queens` melody on the hour before striking hour on a larger bell, the delicate open foliate-scroll engraved backplate signed Thomas Green, Hotwell, BRISTOL, 1789 to centre and with holdfast for the original lenticular bob pendulum, the 8 inch convex white painted Roman numeral dial with repeat signature Tho. Green, BRISTOL HOTWELL to centre, with Arabic five minutes to outer track and fine pierced and engraved gilt brass hands, the inverted bell-top case with hinged brass handle and neoclassical urn finials above rectangular front door applied with cast brass convex-glazed bezel flanked by canted angles and enclosing STRIKE/SILENT switch above dial, the sides with break-arch brass fishscale sound frets, the rear with rectangular glazed door, on moulded shallow skirt base with cast brass bracket feet, 51cm (20ins) high excluding handle; with a contemporary ogee-outline front sliding wall bracket with applied brass detail to the complex table edge, waist and base mouldings, 18cm (11ins) high; the clock and wall bracket 69cm (31ins) high overall excluding handle. Thomas Green is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. The current lot is illustrated by Moore on page195.
A George III mahogany eight-day longcase clock Thomas Green, Bristol Hotwell, circa 1790 The four pillar rack and bell striking movement with 12 inch white painted Roman numeral break-arch dial with subsidiary seconds dial, arched calendar aperture and signed THO. GREEN, Briftol Hotwell to centre, the angles with gilt foliate scroll decoration beneath arch with central Adam style urn flanked by further Classical scrollwork, the break-arch case with dentil cornice and blind fret frieze above fluted Corinthian pilasters to hood, fine flame veneered shaped-outline rectangular caddy moulded door flanked by canted angles to trunk, on conforming raised panel fronted plinth base with moulded skirt, 225cm (88.5ins) high. Thomas Green is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. Please note: The movement and the dial are not original to the case
A George III mahogany eight-day longcase clock in architectural case Allam and Caithness, London, circa 1800 The four pillar rack and bell striking movement with 12 inch square single sheet brass Roman numeral dial with recessed subsidiary seconds dial and signed ALLAM & CAITHNESS. LONDON to centre, Arabic five minutes to outer track and with slender pierced steel hands, the case with triangular pediment above brass stop-fluted columns flanking dial and blind side panels with raised mouldings to hood, the trunk with convex throat above rectangular flame figured door flanked by conforming brass mounted quarter columns, on rectangular raised panel fronted plinth base with moulded double skirt, 218cm (93.75ins) high. The partnership of Allam and Caithness are recorded in Baillie, G.H., Clutton, C. and Ilbert, C.A. BRITTEN`S OLD CLOCKS AND WATCHES AND THEIR MAKERS as working from 119 New Bond Street, London 1800-1804. Prior to that John Allam worked in partnership with Clements (presumably Thomas) from the same address 1785-94, then alone from 1798-1800.
A 19thC oak and mahogany crossbanded longcase clock, with painted arch dial having hay cart to the arch, rural scenes to the spandrels, Roman numerals, seconds ring and maker`s mark to painted dial, T Pearce, Bourne, canted trunk with line and dot inlay, 79" high, (excl additional platform), eight-day movement striking on a bell.
A collection of five Border Fine Arts, including; `Blue Faced Leicester Ewe And Lambs`, model No. A1247 by Lesley McKenzie, 15.9cm high, on wood base, with box; `Blue Faced Leicester Ram`, model No. A0737 by Lesley McKenzie, on wood base, with box; `Collie And Three Pups`, model No. A5209 by Kerry Bell, 10.1cm high, with box; `Doe`Si Doe`, model No. A1021 by John Brown, 10.8cm high, on wood base, with box; `Shared Resources`, model No. A0455 by Kirsty Armstrong, 10.8cm high, on wood base, with box (5)
Two Victorian Berlin woolwork and brass mounted bell pulls, circa 1880, one decorated with animals on a trailing grapevine, including monkeys, a squirrel, a lizard, a frog and a hedgehog, with satin backing, a mid 19th century horse brass utilised as the pull handle, 222cm high overall; the other decorated with dogs and rabbits amongst foliate sprays, with silk backing and also with a horse brass utilised as the pull handle, 145cm high
A mahogany eight-day longcase clock, George Yeats, Maldon, 18th century, the five pillar bell striking movement with anchor escapement and 12 inch brass break-arch dial with subsidiary seconds dial, ringed winding holes and 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 mask and scroll cast spandrels beneath silvered boss signed Geo: Yeats, Maldon flanked by dolphin cast mounts, in a case with break-arch swollen cornice and brass stop-fluted Corinthian columns to hood above break-arch door flanked by conforming quarter columns to trunk, on shaped raised panel fronted plinth base with double moulded skirt, 229cm high
A George III inlaid mahogany eight-day longcase clock with moonphase, circa 1805, the four pillar rack and bell striking movement with 14 inch white painted Roman numeral break-arch dial with subsidiary seconds and calendar dials and indistinctly signed Kendall, Liverpool to centre, with floral painted spandrels beneath rolling moonphase to arch, in a swan neck pedimented case with shaped-top short trunk door flanked by fluted quarter columns to trunk, 229cm high Provenance: Widgenton House, Buckinghamshire.
McVitie & Prices - a rounded rectangular biscuit tin, lithograph printed with The Disputation Queen Mary and John Knox, the sides with Holyrood Palace, Edinburgh Castle, Linlithgow Palace, Mary`s Birthplace, Mary`s Cradle, Hand Bell and Bath House, with original paper label on the inside lid
A 19th century French gilt metal mantel clock of demi lune form, surmounted by a two handled urn with pineapple and fruit final, applied with swags, laurel wreaths and scrollwork, the ivory enamel dial with Arabic numerals and twin winding apertures, key wound eight day mechanism striking on a bell, all on a fluted and foliate applied plinth supported by three short feet, 35cm high, requires attention
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