An engraved brass mounted ebonised small mantel clock now incorporating a musical box mechanism. Unsigned, probably Austrian, mid 19th century and later. The two train bell striking movement with push-button hour repeat, standing barrels, anchor escapement and shaped plates, the white enamel Roman numeral waisted dial with elaborate scroll hands and overlaid with a pierced and engraved brass decoration to the lower section, in a waisted ebonised case with button finial and ogee moulded surmount above rectangular side windows, the front and side surfaces overlaid with conforming shaped pierced and engraved lacquered brass decoration, on two later gilt brass rail supports, 24cm (9.5ins) high; with original conforming ebonised plinth applied with further decorative brass mounts and now fitted to upper surface with a later musical box mechanism formerly playing a choice of two airs via a 2.25 inch cylinder and tuned steel comb within brass frame and glazed cover, on scroll cast brass feet, (musical mechanism incomplete, dial with faults) 18.5cm (11.25ins) high overall.
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A rare rack striking thirty-hour longcase clock movement and dial. James Webb, Bristol, circa 1710. The substantial five finned pillar two-handed movement rack striking on a bell mounted above the plates measuring 7 x 6 inches, with anchor escapement and 11 inch square brass dial with rose engraved matted centre within applied Roman numeral chapter ring with Arabic five minutes, stylised sword hilt half hour markers and signed James Webb, Bristoll Fecit to lower edge, the angles applied with cast twin cherub and crown pattern spandrels, (lacking pendulum and weight). Provenance: The estate of a respected Bristol based Horologist. James Webb is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as born in 1685 and married Martha Farmer at St. Stephen`s Church on 10th January 1717.
A George III mahogany eight-day longcase clock with moonphase. Joseph Smith, Bristol, circa 1760. The five pillar rack and bell striking movement with 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, the angles with fine cast female mask and scroll spandrels beneath rolling moonphase with foliate scroll engraved lunettes and signed JOSEPH SMITH, BRISTOL in a downward curve to upper margin, in a case with break-arch frieze to the box upstand and fluted pilasters to hood, shaped top caddy moulded door flanked by fluted canted angles to trunk, on conforming plinth base with raised panel to front and on bracket feet, (pediment lacking, other faults), 210cm (82.5ins) high. Joseph Smith is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from several addresses in Bristol 1725-75. He is generally considered to be a fine and diverse maker with examples ranging from eight-day longcase clocks with tidal dial to watches with champlevŽ dials. He was perhaps the most prolific maker of high quality bracket clocks in Bristol during the middle of the 18th century as several examples are known including a very rare miniature walnut model with 4 inch dial and a quarter chiming clock with moonphase (illustrated in Barder, R.C. Georgian Bracket Clocks on page 112). A mahogany table clock by Joseph Smith was sold in these rooms on 17th February 2010 (lot 41).
A Queen Anne brass lantern clock. James Drury, London, early 18th century, The posted countwheel bell-striking movement with verge escapement, the silvered dial with vestigal alarm disc to the foliate scroll engraved centre within applied Roman numeral chapter ring with cruciform half hour markers and signed Jam. Drury, London to lower edge, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets beneath bell housed within the domed bearer above, with brass side doors, backplate, hanging hoop and spurs, (alarm removed, with restorations and replacements), 38cm (15ins) high. James Drury is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1687, gaining his Freedom in 1694, appointed Master in 1728 and died 1740.
A George III brass miniature lantern alarm timepiece. Benjamin Maude, London, circa 1780. The posted movement with verge escapement and alarm sounding on a bell mounted within the domed bell bearer above the frame with ball feet, turned corner posts and vase finials flanking original foliate pierced frets to sides, the 5 inch brass break-arch dial with alarm disc and blued steel hand to the matted centre within applied silvered Roman numeral chapter ring with short cruciform half hour markers and unusual female mask and scroll cast spandrels to angles, the arch with circular silvered boss signed Benj`n Maude, London flanked by mask and scroll mounts, the rear with integral hanging loop extension to top plate and threaded feet to take steel wall spikes, 19cm (7.5ins) high; in a later, (probably 19th century) stained figured birch hooded wall case with rounded pagoda pediment and cavetto moulded break-arch cornice, 37.5cm (14.75ins) high overall. Benjamin Maude is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1760, gaining his freedom by 1782 and working in London until his death in 1819.
A George III brass lantern clock made for the Middle Eastern market. Robert Ward, London, late 18th century, The posted countwheel bell-striking movement with verge escapement, the 8 inch brass break-arch two-handed dial with matted centre within applied silvered chapter ring with `Turkish` numerals and scroll cast spandrels to angles, the arch with circular silvered boss signed Rob`t Ward, London within herringbone border and flanked by conforming mounts, the frame with ball feet, columnar uprights and urn finials flanking pierced and engraved side frets beneath bell housed within the domed bearer above, with engraved brass side doors, hanging hoop and spurs, (side doors replaced, backplate lacking), 38cm (15ins) high. Robert Ward is recorded in Loomes, Brian Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company 1768, and working from Abchurch Lane 1779-1808. He seemed to specialise in musical clocks and clocks for export to the Middle East.
A brass quarter striking lantern clock. The dial signed William Grimes, London, frame and dial late 17th century the movement later. The four pillar twin chain fusee movement with anchor escapement and two-in-one ting-tang quarter striking on two bells mounted within the domed bell bearer above the frame, the brass dial bearing signature William Grimes, Londini fecit to the foliate scroll engraved centre within 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, 39.5cm (15.5ins) high.
A French brass lantern clock. Unsigned, mid 18th century, The posted rack and bell-striking movement with anchor escapement and passing half-hour strike on the same bell with a second hammer, the dial with alarm setting disc to the plain centre within applied Roman numeral chapter ring with starburst half hour markers beneath crest with sunburst mask within foliate scrolls surmounted with a cockerel, the frame with tall teardrop shaped feet, columnar uprights and urn finials beneath bell with turned finial (pendulum, pallets, and alarm lacking, generally distressed), 39cm (15.5ins) high.
A mahogany balloon shaped bracket clock. Unsigned, circa 1900. The four pillar twin fusee bell striking movement with anchor escapement and 8 inch circular white painted Roman numeral dial with blued steel hands within a cast brass bezel and convex glass, the waisted case with line edged shaped panel beneath dial and brass grille sound fret to rear door, on moulded base with brass disc feet, 47cm (18.5ins) high.
A French gilt brass four glass mantel clock. Retailed by Aird and Thomson, late 19th century, The eight-day two train bell striking movement with twin mercury jar pendulum and visible Brocot escapement to the recessed centre of the two-piece white enamel Roman numeral dial with blued steel Breguet hands and signed AIRD & THOMSON between the winding squares, the heavy brass bevel-glazed case with channel cut corners to the moulded cornice and rounded uprights above cavetto moulded skirt base with conforming detail to angles and incorporating bracket feet, 36cm (14ins) high.
A French Louis Philippe ormolu mantel clock. J.B. Beguin, Paris, mid 19th century, The eight-day outside countwheel bell striking movement with circular white enamel Roman numeral dial signed J.B. Beguin, A PARIS to centre and within cartouche shaped cast bezel, the elaborate case cast in the 16th century revival style with surmount of an angel surrounded by objects emblematic of the arts over double concave panel frieze relief decorated with masks and rosettes, the front with martial trophy beneath dial flanked by spiral twist Corinthian columns and concave side sections applied with niches supporting figures in 16th century dress, on conforming strapwork panel cast shaped swept base with pierced scroll feet to angles and winged dragon to apron between, 47cm (18.5ins) high.
A French Louis XVI style ormolu mounted marble mantel clock. Unsigned, Paris, 19th century, The eight-day outside countwheel bell striking movement with circular white enamel convex Arabic numeral dial inscribed a Paris to centre and with pierced and engraved gilt brass hands within an engine turned glazed bezel, the case with chased gilt surmount modelled as a cherub with a flaming torch supported on a billowing cloud above moulded white marble cornice and side scrolls flanking a black marble rectangular central section applied with cast stylised foliate scroll mounts around dial, on black marble banded plinth base applied with conforming foliate mounts to lower edge and on engine turned gilt feet, 34cm (13.5ins) high.
A French Empire ormolu figural mantel clock. Choiselat-Gallien, Paris, early 19th century, The outside countwheel striking movement with silk suspension and circular white enamel Roman numeral dial signed CHOISELAT-GALLIEN, Fab`t de Bronzes du Garde-Meuble, LESIEUR Hs, A PARIS to centre within gilt lotus leaf cast bezel and set into a rectangular plinth with scroll cast decoration above and below and surmounted with an oil lamp and two books applied beside classical male scholar seated on an X-frame stool onto a rectangular base applied with central urn and wreath flanked by flaming torches to front and on engine turned bun feet (lacking pendulum, bell and minute hand), 38cm (15ins) high.
A French Sevres style porcelain inset ormolu mantel clock. Unsigned, circa 1870. The eight-day bell striking movement with circular white enamel Roman numeral dial with Breguet hands within repeating leaf cast bezel, the case with ovoid surmount painted with gilt bordered vignettes of exotic birds above egg-and-dart cornice and front with leaf cast fan shaped mounts to upper quadrants and shaped cherub decorated panel beneath dial, the sides with curved panels further decorated with exotic birds, on acanthus cast and chased moulded plinth base with foliate trails to skirt and turned feet, 35.5cm (14ins) high.
A French ormolu mounted white and grey marble mantel clock. Antoine Martin, Paris, circa 1800. The eight-day outside countwheel bell striking movement with silk suspension and circular white enamel convex Arabic numeral dial inscribed A.the Martin, a Paris in puce to centre, with gilt brass hands and within hinged gilt bead-cast glazed bezel, the case with surmount modelled as a vase of flowers above leafy side scrolls and festoon husk cast swag beneath dial, raised on rectangular section uprights applied with leafy mounts flanked by further slender inverted baluster uprights and with sunburst mask pendulum swinging between, on lozenge-outline platform base inset with further leafy mounts to borders and with cast feet, 42cm (16.5ins) high. An Antoine Thomas Martin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Paris circa 1788.
A French patinated bronze mantel clock garniture. Desnoue, Nantes, circa 1870. The eight-day bell striking movement with twelve-piece blue on white enamel Roman numeral dial signed DESNOUE FAB`T, NANTES to an enamel plaque to the upper border of the rosette cast centre, within egg-and-dart cast surround and bevel glazed bezel, the case with urn surmount above festoon husk draped decoration beneath dial issuing from the stylised lion`s mask cast masks with pendant handles to sides, the pedestal base fronted with a foliate scroll inset shaped cartouche flanked by openwork decoration and waisted block feet, 50cm (19.75ins) high; with a pair of conforming six-light candelabra, each with central nozzle above five scroll shaped branches and foliate cast upright applied with lion`s mask handles to the central knop, on conforming base with openwork side scrolls and fronted with a shaped panel flanked by waisted block feet, each 54cm (21.25ins) high (3).
A French Louis Philippe engraved gilt brass mounted tortoiseshell small portico mantel clock. Leroy, Paris, mid 19th century, The eight-day outside countwheel bell striking movement stamped LEROY A PARIS to backplate, the circular white enamel Roman numeral dial similarly signed to centre and with pierced blued steel hands within moulded gilt bezel, the mottled red shell veneered case with ogee shaped pediment fronted with scroll pierced and engraved gilt brass mounts around the dial, on four Corinthian column uprights with rosette cast `gridiron` pendulum swinging between, the inverted breakfronted plinth base with conforming shaped gilt mounts to upper surface and front panels and with ogee moulded skirt, 30cm (11.75ins) high; with an ogee moulded plinth base with canted angles, 35.5cm (14ins) high overall.
A French Louis XV style gilt brass small mantel clock Retailed by Whistler, London, mid 19th century The eight-day bell striking movement with blue on white enamel Roman numeral dial in a waisted rococo scroll cast case with foliate knop finial above shaped cast brass grille side frets and conforming panel to apron, on scroll feet and mounted on a conforming scroll cast shaped platform base with pierced feet, the rear of the case engraved Whistler, 11 Strand, 34.5cm (13.5ins) high.
A French Louis XVI style gilt brass mounted white marble small mantel clock. Unsigned, circa 1900. The outside countwheel bell striking movement with floral garland decorated white Arabic numeral enamel dial with cast brass hands within engine turned glazed bezel, the arched case with twin handled urn surmount and ribbon tied cast crest above acanthus side scrolls and tied flaming torch beneath dial, on inverted breakfront base with bowed central section fronted with intertwined laurel cast mount, on engine turned feet, 28cm (11ins) high.
A late Victorian brass mounted quarter chiming bracket clock. Unsigned, late 19th century, The four pillar triple chain fusee movement with rise/fall regulation, chiming a choice of two melodies for the quarters on a nest of eight graduated bells and striking the hour on a gong, the 7.5 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with foliate festoon and scroll cast spandrels beneath arch applied with subsidiary FAST/SLOW dial above further CHIME/SILENT and WESTMINSTER/CHIME ON EIGHT BELLS selection dials within conforming cast mounts, the bell-top case with basket of flowers and scroll cast mount to upstand and pineapple finials, conforming mounts to upper quadrants of the front door flanked by reeded Corinthian columns to front angles, the sides with rectangular cast brass sound frets decorated with foliate scrolls and Arabesques, on tall moulded base with leaf moulded upper border and lobed feet, 59cm (23ins) high excluding later top finial.
A George III inlaid mahogany eight-day longcase clock with moonphase. D. Collier, Eccles, early 19th century, The four pillar rack and bell striking movement with 14 inch square white painted Roman numeral dial with arched calendar and `axehead` moon apertures and signed D. Collier, Eccles to the seated lamb painted centre, the spandrels painted with female figures emblematic of the four seasons, the case with pierced swan neck crest above cavetto cornice, baton inlaid frieze and turned columns to hood, oval paterae inlaid frieze to throat over gothic ogee arch shaped trunk door flanked by reeded pilasters to angles, on crossbanded plinth base with canted angles and ogee bracket feet, 224cm (88ins) high.
A George III oak eight-day longcase clock. Benjamin Lockwood, Swaffham, late 18th century, The five pillar rack and bell striking movement with 12 inch brass break-arch dial with recessed subsidiary seconds dial, calendar aperture and signed Benj. Lockwood, Swaffham to the foliate scroll engraved silvered centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and rococo scroll cast spandrels to angles, the arch with conforming subsidiary STRIKE/SILENT selection dial flanked by scroll cast mounts, in a case of good colour with `whales tail` pieced fretwork crest above three-quarter columns to hood, caddy moulded break-arch door to trunk, on a reduced plinth base with moulded skirt, 215cm (84.5ins) high. Benjamin Lockwood is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born in Swaffham 1737 and worked up to 1795. The `whales tail` crest to the hood is a regional characteristic often seen in clock cases made in East Anglia during the latter half of the 18th century.
A George II thirty-hour longcase clock movement and dial with penny moon. Richard Midgley, Halifax, circa 1740. The plated four pillar two handed outside countwheel bell striking movement with 12 inch square brass dial with arched calendar aperture, dummy ringed winding holes and penny moon with age of the moon aperture to the ring bordered matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to the outer track and signed Rich.d Midgley, Halifax to the lower edge and with cast female mask and scroll pattern spandrels to angles (lacking pendulum and weight). Richard Midgley is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Halifax circa 1720-40.
A George I eight-day longcase clock movement and dial. Thomas Lodge, London, circa 1725. The five finned pillar rack and bell striking movement with 12 inch square brass dial with cartouche engraved calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Tho. Lodge, London to lower edge, the angles applied with twin cherub and crown cast spandrels (with pendulum but no weights). Thomas Lodge is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London before 1725.
A Queen Anne eight-day longcase clock movement and dial. William Moore, London, circa 1715. The five finned pillar rack and bell striking movement with 12 inch square brass dial with herringbone engraved calendar aperture, ringed winding holes subsidiary seconds dial, and oval signature cartouche Wm. Moore, London to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels, (with pendulum but lacking hands and weights). William Moore is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being apprenticed in 1693, gaining his Freedom in 1701 and working in London up to 1719.
A William IV rosewood small bracket clock. Frodsham and Son, London, circa 1830. The current five pillar twin fusee movement with half deadbeat escapement, formerly striking on a bell mounted on the backplate and stamped FRODSHAM, GRACECHURCH STREET, LONDON to centre, fitted to the original 4 inch square single sheet silvered brass Roman numeral dial signed FRODSHAM & SON Gracechurch Street, LONDON to centre and with brass Breguet hands, in a case with brass carrying handle to the gadroon carved upstand above cavetto and ripple carved cornice and brass fillet inset canted angles to front door, on plinth base with moulded skirt and disc turned feet, (movement a well matched replacement, lacking bell), 28cm (11ins) high excluding handle.
A Regency brass inlaid mahogany bracket clock. Unsigned, early 19th century, The five pillar twin fusee bell striking movement with pendulum holdfast to the shouldered backplate, the 8 inch circular cream Roman numeral convex dial with unusual lozenge pierced blued steel hands and cast brass glazed bezel, the break-arch case with brass ring handles above arched fishscale sound frets to sides and stylised foliate spray brass inlay to a shaped panel beneath dial, on skirt base with ripple moulded band and disc feet, 40cm (15.75ins) high.
A George III mahogany small bracket clock. Richard Cannon, London, late 18th century. The five pillar twin fusee bell striking movement with verge escapement and engraved backplate decorated with an urn of flowers and foliate scrolls within a circular reserve and fitted with a pendulum holdfast hook, the 5 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes and female mask and scroll cast spandrels, the arch with circular silvered boss signed Rich. Cannon, London the break-arch case with brass carrying handle above brass fishscale inset arched side frets and moulded skirt base with brass bracket feet, 29cm (11.5ins) high excluding handle.
A Fine George III Scottish military commemorative ebonised musical bracket clock Turnbull and Aitchison, Edinburgh, circa 1778. The substantial six pillar triple fusee movement with verge escapement, striking the hour on a bell before playing a lively tune on eight bells with fifteen hammers every hour, the foliate scroll engraved backplate with oval reserve signed Turnbull & Aitchison, Edinburgh within a leafy border with eagle surmount, the 8 inch black velvet covered break-arch dial with blued steel ring-turned collets to the winding holes and separately applied silvered Roman numerals with Arabic five minutes and dot minute markers between, the arch applied with shaped plaque inscribed in raised silvered lettering COL. BIRD 15 REG. HOBL. WILLM. FALCONER LT. GRENAD. KILLD. action of Brandywine SEPT. 11 1777 around a memento-mori motif on a black background, the bell top case with five pineapple finials above caddy moulded angles and brass handle over circular and concave-topped rectangular foliate pierced frets to sides, on moulded base with cast brass paw feet, 52cm (20.5ins) high. Provenance: The property of a private collector. Possibly commissioned by Anthony Adrian Keith-Falconer the 7th Lord Halkerton, 5th Earl of Kintore for his newly acquired seat, Keith Hall, circa 1778. Thence down the family line to Arthur George Keith-Falconer 12th Lord Halkerton, 10th Earl of Kintore before possibly passing to his widow Helena Zimmerman, (previously Duchess of Manchester) on his death in 1966. Thence by family descent until sold at Sotheby`s, London, January 21st 1995 (with provenance as property of the Dowager Countess of Manchester thence by descent). Subsequently at Hayfield House, Saratoga, California prior to acquisition by the current owner. The clockmaking partnership of Turnbull and Aitchison (probably William and Robert) is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being active 1768-80. The current lot commemorates the loss of the 4th Earl of Kintore`s youngest son, Willem, at the Battle of Brandywine in 1777. The clock also commemorates the death of his commanding officer Lieutenant Colonel John Bird who was killed at the subsequent action of Germantown. The battle at Brandywine Creek was the first significant action between the British and American forces during Sir William Howe`s Philadelphia campaign of 1777. In late July Howe had landed his force of around 17,000 troops at the Northern end of Chesapeake Bay with the intention of marching on Philadelphia. The American force of 20,600 troops under the command of General George Washington positioned themselves near the strategic crossing of Brandywine Creek at Chadd`s Ford with further divisions covering other crossing points nearby. Lord Howe, (relying on better intelligence provided by sympathetic locals) decided to commit to an outflanking manoeuvre. As a diversion, around 5,000 troops, mainly Hessian Guards under the command of Lieutenant General Wilhelm von Knymphausen, were deployed to confront Washington`s forces at Chadd`s Ford. The rest of Howe`s forces, under the command of Major General Lord Charles Cornwallis, headed north, intending to cross Brandywine Creek at Trimble`s Ford before attacking the rear of Washington`s right flank. After crossing, Howe allowed his troops a two-hour rest from their exhausting 17 mile march (to take afternoon tea according to American accounts) before advancing on to outflank the American forces. Howe`s hesitation allowed the Americans enough time to consolidate some of their troops on higher ground at Birmingham Meeting House which subsequently slowed Howe`s advance enough to allow many of the enemy troops to withdraw safely. Meanwhile Knyphausen, on the east bank of the Brandywine at Chadd`s Ford advanced into the weakened American centre forcing their retreat. Careful damage limitation, co-ordinated by Gilburt du Motier, Marquis de Lafayette, ensured that the battle was not turned into a rout of the American forces who managed to retreat and regroup at Chester. The victory at Brandywine allowed the British and Hessian forces to take Philadelphia with little resistance on 26th September 1777. At Brandywine 15th Foot were attached to Lord Cornwallis`s column and were under the command of Major General Charles Grey. Grey`s troops were engaged in perhaps the bloodiest part of the battle attacking General Sullivan`s position at Birmingham Meeting House. The 15th Foot were short of musket balls hence only the sharpest of shooters was allowed to fire `live` at the battle with other troops firing small charges of powder only, this lead to the regiment being nicknamed `The Snappers` It is probable that Lieutenant Grenadier Willem Falconer was attached to this force hence probably lost his life near the Birmingham Meeting House. Colonel John Bird survived Brandywine but was possibly wounded as he is recorded as `lying sick` at Bringhurst House, Germantown when the American forces attacked on 4th October. He apparently arose from his bed to lead his troops but was subsequently mortally wounded and died after the battle at Bringhurst House. He is buried at DeBonneville cemetery, Philadelphia in a grave with the inscription; Here lie the remains of General James Tanner Agnew a British Officer who was killed at Germantown on the 4th October 1777 and of Lieutenant Colonel John Bird a British Officer at Germantown on or about the 4th October 1777. The bodies of the above were removed from the lower Burial Ground Germantown by order of General Howe and placed in this cemetery with the consent of Doctor George de Benneville in May 1778. Requiescat in Pace. This stone was erected in their memory by His Britannic Majesty`s Government, October 4th 1903. The fact that the current lot commemorates both the death of Lieutenant Falconer as well as his commanding officer, Colonel John Bird, is unusual. The Keith-Falconer family perhaps chose to include his name on such a personal object of remembrance as a mark of respect for his heroism and influence on their son.
A George III brass mounted ebonised table clock. Abel Panchaud, London, circa 1780. The five pillar twin fusee bell striking movement with verge escapement, trip hour repeat and symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar aperture and signed Abel Panchaud, Oxford Street to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes and foliate scroll cast spandrels to angles beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the triple pad top break-arch case with hinged carrying handle and brass fillet mouldings to top above arched fishscale sound frets to sides and moulded brass inserts to front angles flanking the fillet inset aperture of the front door, on cavetto moulded base incorporating further brass strung moulding and on cast ogee bracket feet, 41cm (16ins) high excluding handle. Abel Panchaud is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1764-84.
A George III mahogany table clock. Charles Wilson, London, circa 1770. The five pillar twin fusee bell striking movement with backplate engraved with a pagoda within open foliate scrolls, the 7 inch brass break-arch dial with calendar and recessed shaped signature plaque Cha`s Willson, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll cast spandrels to angles beneath arch with STRIKE/SILENT selection dial flanked by conforming mounts, in a bell-top case with brass carrying handle and ball finials above front door with gilt foliate frets to upper quadrants and brass fillet inset dial aperture flanked by caddy moulded angles, the sides with circular over concave-topped bevel glazed windows, the rear door with break-arch window, on cavetto moulded shallow skirt base with brass bracket feet (escapement with alteration, movement with losses), 47cm (18.5ins) high. A Charles Wilson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being apprenticed in 1734.
A fine George III mahogany longcase clock with dual Julian and Gregorian calendar indication and deadbeat escapement. George Lindsay with movement attributed to the workshop of George Graham, London, circa 1752. The substantial fully latched five pillar rack and bell striking movement with plates measuring 8.5 x 7.25 inches, deadbeat escapement and currently of month duration with five-wheel trains, the 12 inch brass break-arch dial with dual Julian and Gregorian date of the month apertures and subsidiary seconds dial 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 fine female mask and scroll cast gilt spandrels beneath arch centred with a silvered boss signed George Lindsay, LONDON flanked by dolphin cast mounts, the case with convex sided upstand incorporating brass foliate engraved sound fret infill to frieze and mahogany ball finials above break-arch cavetto cornice and free-standing large diameter columns flanking the hood door, the trunk with break-arch one-piece mahogany door over plain plinth base with moulded double skirt and squab feet, the interior of the case inscribed in pencil 1752 KV, 241 (95ins) excluding top finial, 251cm (99ins) high overall; with a period copy of Thomas Baskett and the Assigns of Robert Basket An Act to amend an Act made in the last Seffion of Parliament (intituled, An Act for regulating the Commencement of the Year, and for correcting the calendar now in Ufe.) 1752. (2). George Lindsay is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London from circa 1743 until his death in 1776, as well as being a watch and clockmaker Lindsay also produced scientific instruments. In 1743 he published an advertisement for a `Generally Portable` microscope, in another hand written trade pamphlet Lindsay refers to himself as `Watch & Clockmaker to his Royal highness ye Prince of Wales at ye Dial near Catherine Street in ye Strand`. He was later appointed watchmaker to George III, a position he held until his death in 1776. The movement of the current lot with its distinctive substantial bulbous knopped pillars, teardrop shaped pivot cocks for the under dial work and other more subtle details such as the elongated collet for the escape wheel and the suspension cheeks being screwed to the lower edge of the backcock nib, indicates that it originated from the workshop of George Graham. The overall arrangement of the strikework and the impressive nature of the snail/hour wheel assembly is typical of Graham`s work and can be directly compared with numerous examples of his work such as number 777 sold Christie`s King Street, June 1994 (lot 483). The presence of a deadbeat escapement and larger than normal plates is noteworthy suggesting that the current lot may have been devised with further refinements in mind. Originally the movement was made to run for eight-days only and was fitted with bolt and shutter maintaining power (dial has vacant slot at 3 o`clock for the shutter lever and movement has related vacant holes in the plates) however the duration has been increased with by inserting another wheel into each train and reversing the winding pulleys. The bolt-and-shutter maintaining power was removed at this time as it is would be no longer required in a long duration movement. These improvements were probably done early in the clock`s life perhaps even by Lindsay himself however there is no immediate evidence to confirm this. The provision of two date apertures (to give the date of the month according to both the Julian and Gregorian calendars) to the centre of the dial indicates that the current lot was made at the time when the `new` calendar was adopted by Act of Parliament in 1752. By this time the Julian calendar had become inaccurate (due to the error in the estimation of the length of the day) causing difficulties in respect to the synchronisation of the vernal equinox and subsequent calculation of Easter. In order to correct the error twelve days were added to the British calendar at midnight on September 2nd 1752 and the rules for calculating leap years were altered. The Roman Catholic Church had adopted the new calendar in 1582 with most of Continental Europe (under Catholic rule) following shortly afterwards, Great Britain was the last major Western European state to implement the new calendar.
An unusual George II black japanned table clock with Dutertre`s duplex escapement. Indistinct original signature, circa 1740. The five pillar twin fusee bell striking movement with escapement composed of two escape wheels of varying diameter mounted on the same arbor which alternately engage with cranked pallets fitted with a standard verge type short bob pendulum, the backplate finely engraved with a grotesque mask within Ho-Ho bird inhabited foliate scrolls and a narrow ropetwist border, the 7 inch brass break-arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring and Indian mask and scroll cast spandrels to angles, the arch with original signature boss bearing re-engraved script Tho Tompion, LONDINI (indistinct traces of original script visible on close examination) within a herringbone border and flanked by conforming mounts, the inverted bell-top case with foliate cast brass carrying handle above front door with scallop shell and scroll cast brass frets to upper quadrants, the sides with ruby glazed windows above blanked break-arch apertures, the rear with conforming glazed upper quadrants over break-arch aperture, the exterior decorated in raised polychrome and gilt with chinoiserie designs within foliate borders throughout, the cavetto moulded base with later brass bun feet, (finish rubbed, other relatively minor faults) 44cm (17.75ins) high excluding handle. The escapement in the current lot appears to be an early/contemporary application of the duplex arrangement as designed by the French horologist Jean Babtiste Dutertre (worked 1715-42), and was perhaps conceived as attempt to improve on the tic-tac escapement. The principle benefit is that the wear rate is greatly reduced as the pallets only engage once with each tooth for each rotation rather than twice (once from either side) for the standard tic-tac arrangement. In essence one wheel provides the entry action of a recoil arrangement and the second controls the exit. This division of the function of the escapement between two wheels allows the teeth on each wheel to be of a heavier profile than on the single escape wheel of a tic-tac escapement, further improving reliability and longevity. Dutertre`s design is illustrated in Reid, Thomas A TREATISE ON CLOCK AND WATCH MAKING plate IX/48 and is briefly described in Appendix B. The overall style, design and layout of the movement suggests London work from the second quarter of the eighteenth century. The engraving to the backplate is unusual being centred with a grotesque mask within a shaped reserve however the Ho-Ho bird foliate scroll infill is more typical of decoration found on London made clocks of the period. Overall the current lot has survived in original condition (including the escapement which is unaltered and has always been with the clock), however the erasing of the original signature to the boss in the arch is a shame as the name of maker of this unusual form of escapement has been lost, although further research and examination could result in a positive attribution.
A fine George I green japanned eight-day longcase clock with lunar calendar. Edward Cockey, Warminster, circa 1720. The five finned pillar movement rack striking the hours on a bell mounted vertically above the plates, the frontplate with extension to carry the motion work for the lunar calendar, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the basket of flowers and foliate scroll engraved and chased matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed ED. COCKEY, WARMINSTER to lower edge, the angles applied with fine urn-centred scroll cast gilt spandrels beneath arch with a central rotating foliate engraved disc with circular aperture to reveal a lunar disc representation of the age of the moon and blued steel pointer for the fixed silvered outer scale calibrated for the lunar month and flanked by dolphin and foliate cast gilt mounts, the case with wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above three-quarter columns attached to the gilt foliate spray decorated hood door, the trunk with rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape bordered by further gilt foliate scroll borders, the conforming plinth base adorned with Ho-Ho birds and foliage to front and with moulded double skirt, 229cm (90ins) high. Provenance: The property of a private collector. Born in 1669, Edward Cockey senior was the son of Lewis Cockey (a bellfounder and clockmaker working in Warminster) from whom it is believed that he subsequently learned the trade. Edward was clearly a talented and well-connected clockmaker who in 1707 made an extremely complicated astronomical clock for lord Weymouth for the Great Hall at Longleat. Weymouth is thought to have subsequently commissioned Cockey to make another example as a gift to Queen Anne for her drawing room at St. James`s Palace (now in the National Maritime Museum, Greenwich). Edward Cockey junior was born in 1701 and, although initially thought to have followed in his father`s footsteps, apparently chose to become a wine merchant instead. There is a record of the death of an Edward Cockey clockmaker in 1768 (which probably relates to Edward junior). The dial of the current lot, with decorated centre and lunar calendar to arch, coupled with the finely proportioned case (which has survived with the original finish intact) exhibits Edward Cockey`s individual and innovative approach to both function and aesthetic quality.
A black japanned bracket clock. The dial bearing signature Peter Nichols, Newport, late 18th century, The five pillar twin fusee bell striking movement with verge escapement and backplate engraved with two oriental figures within a stylised temple with urn surmount and flanked by Ho-Ho birds perched on foliate scrolls, with a 7 inch single sheet silvered brass break-arch Roman numeral dial with circular calendar aperture and bearing signature PETER NICHOLS, NEWPORT to centre and Arabic five minutes to outer track, the angles engraved with medallion and husk swag decoration incorporating further foliate scrolls and perched Ho-Ho birds flanking STRIKE/SILENT selection dial to arch, in a bell-top case with brass carrying handle and pineapple finials to the upstand above front with raised mouldings around dial aperture, the sides with circular above concave-topped side windows, the whole now decorated with raised stylised floral sprays within gilt line bordered panels, on conforming cavetto moulded short skirt base with brass bracket feet, (decoration probably early 20th century and with possible alteration to dial fixing), 46cm (18ins) high excluding handle.
A George I green japanned eight-day longcase clock. James Stevens, London, circa 1720. The four pillar inside countwheel bell striking movement with 12 inch brass break-arch dial with border-engraved calendar aperture and star decorated subsidiary seconds to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and signed James Stevens, London to lower edge, the angles with twin cherub and crown cast spandrels beneath arch applied with a rococo scroll cast cartouche centred with a silvered boss decorated with a mask and flanked by winged cherubs and putti holding flaming torches beneath upper border engraved with a curved herringbone decorated band, in a green ground gilt decorated case with domed caddy surmount above cavetto cornice and three-quarter columns to hood door, the trunk with rectangular door decorated in raised polychrome and gilt with oriental figures and pagodas within gilt foliate trail decorated borders, on conforming plinth base with moulded double skirt (case with restoration), 236cm (93ins) high. James Stevens is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1710.
A forged iron domestic `great chamber clock`. Unsigned, German/Swiss, late 16th century, The two train movement with forged wheels, a mixture of lantern and standard-leaf pinions, wooden winding barrels with English style sprung clicks to the great wheels and separate wheels driven via lantern pinions for key winding, the going train with verge escapement regulated by foliot complete with curser weights, the strike train with nag`s head lifting and countwheel (driven via teeth cut to the inside of the rim) controlling the hours sounded via a dragon headed hammer on a lugged bell supported above the frame, the 11.5 x 9 inch rectangular painted single-handed dial now with starburst decorated centre within cream ground Gothic Roman numeral chapter ring with winged cherub head painted decoration to lower angles and ribbon banner bearing Gothic script Wenn`s ubel geht habich Seduld, Herzag ich nit Io bringts mir huld to upper margin, the frame composed of one-piece forged upper and lower rings secured to the angled strip corner posts via baton-headed rivets, the upper terminals of the corner uprights narrowing and curving outwards and applied with shield shaped finials, the base with outswept feet, with winding key and two stone weights, (dial, escapement and superstructure with restoration) the frame 50cm (19.75ins) high, 34cm (13.5ins) wide and 42cm (16.5ins) deep, height including bell 66cm (22ins); supported on a purpose made welded steel stand, 204cm (80.5ins) high overall. The current lot can be compared to a similar lot sold at Sotheby`s, New York MASTERPIECES FROM THE TIME MUSEUM, PART FOUR, VOLUME 1 13th October 2004, lot 500. A related but incomplete example was sold in these rooms on 6th September 2011, lot 113. The presence of a dial indicates that the current lot was designed to be installed where it could be seen, however the overall relatively large size of the frame suggests that it was made to furnish a large interior space such as the Great Hall of a substantial house. The design and layout of the movement with nag`s head lifting, shaped cam for overlift and teeth cut to the inside of the countwheel to the strike train is typical of Germanic practice of the second half of the 16th century.
An Austrian small ebonised table timepiece with alarm. Unsigned, late 18th century, The four finned pillar short duration movement with verge escapement, short bob pendulum and standing barrel for the going train and crown wheel and further small standing barrel for the alarm, the 4.5 inch brass break-arch dial with alarm disc and false bob aperture to the foliate scroll engraved centre within applied silvered Roman numeral chapter ring with orb half hour markers and arcaded minutes ring annotated with Arabic five minutes, the angles applied with scroll cast spandrels beneath silvered boss decorated with a stylised basket of flowers within scroll engraved infill, the inverted bell-top case with dolphin cast brass carrying handle above engraved brass lozenge shaped frets over break-arch windows to sides and conforming upper quadrant frets above carved giltwood dial surround to front door, on cavetto moulded base with brass disc feet, 33cm (13ins) high excluding handle.
A George II brass mounted ebonised table clock. James Vaulove, London, circa 1720. The five pillar twin fusee bell striking movement with rise/fall regulation and decorated with a Ho-Ho bird to the symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with calendar aperture and false bob aperture now blanked with the silvered signature plaque Jam:s Vaulove, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic minutes to outer track, the angles with applied gilt Indian mask and scroll pattern spandrels beneath subsidiary silvered regulation dial flanked by conforming mounts to arch, in a case with gilt brass handle to the brass lined inverted bell top above foliate cast frets to the upper quadrants of the front door and raised gilt moulding around the dial aperture, the angles with brass inserts to edges the sides with conforming gilt bordered break-arch sound frets, on a stepped two stage moulded brass bound skirt base (movement with faults and losses), 43cm (17ins) high excluding handle. James Vaulove appears to be unrecorded however the design of the case with raised brass mouldings to the apertures and brass bound double skirt base displays the high style influence of Huguenot makers such as Claude DuChesne working at this time.
An extremely rare Charles II travelling timepiece with silent-pull repeat, alarm and calendar. Robert Seignior, London circa 1685, the pierced silver case of later date. The 4 inch diameter circular movement with five finned and knopped pillars secured with blued steel latches to the tulip and foliate trail engraved gilded backplate applied with a scroll pierced and engraved balance cock, double-headed alarm hammer and central bell, the going train with chain fusee and verge escapement regulated by a sprung three-arm flat rimmed steel balance, the silent-pull repeat powered via a standing barrel mounted on the inside of the backplate and now sounding the hours only on the bell mounted to the rear of the movement, the alarm with further standing barrel mounted on the frontplate and crown wheel for the dumb bell type hammer sounding on the same bell, the 4.5 inch circular gilt brass dial with recessed silvered alarm disc, ringed winding hole and calendar aperture to the matted centre within silvered Roman numeral chapter ring with quarter hour inner track, stylised fleur-de-lys half hour markers, Arabic five minutes within the narrow outer track and signed Rob.t Seignior, Londini Fecit to lower edge, with pieced blued steel hands and herringbone engraved outer border, now in a silver case of later date finely pierced and chased with panels in the Renaissance style with scrolling acanthus incorporating figural terms and grotesque masks, putti and squirrels divided by repeating borders including a pair of profile portrait medallions, the hinged front cover with convex glass within foliate cast bezel, opposing hinged rear cover relief decorated with a bathing scene with an old man attended by semi-clad female figures within elaborated pierced double border, the top fitted with a ball pivoted cast suspension ring, (repeat work formerly sounding the quarters on a second bell), diameter 13cm (5ins) overall depth 10cm (4ins). Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmakers` Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmakers` Company. In August 1674 he was appointed the King`s Clock and Watchmaker `without fee` until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment was never formally fulfilled as East outlived Seignior who died in 1687. The current lot is a particularly rare model as it is neither a table clock suitably adapted and scaled for travelling purposes, or a large clock-watch as the scale of the movement and details in construction and design are more akin to clockmaking practice rather than watchmaking. The design and layout of the repeat work closely resembles the earliest silent pull mechanisms first used by leading makers such as Joseph Knibb (See Allix, Charles and Harvey, Lawrence Hobson`s Choice pages 36-41 for closely related table clock repeat work). The engraved decoration to the backplate is again closely related to designs found on contemporary table clocks by the leading makers and can be directly compared to an example by Seignior dated to around 1680 illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks Plate 512 (page 359). The design of repeat work, style of movement pillar, backcock, engraving and other features such as the distinctive `S` scroll shaped cocks for both the alarm going train crown wheel lower pivots identify the movement and dial of the current lot as unmistakenly English. However two similar travelling timepieces by the Hague maker Johannes Van Ceulen are known. The first example is illustrated in Bruton, Eric THE HISTORY OF CLOCKS AND WATCHES page 173, this appears to be an alarm timepiece only and is housed in a plain drum shaped case with a foliate pierced band towards the rear to allow the alarm to be heard. The case may give an impression of how the original for the current lot may have appeared (the present fine purpose-made elaborately chased and pierced silver case is probably Continental and of later date). The second example is illustrated in Bertele, Hans von MARINE & POCKET CHRONOMETERS and is described as a `ship`s cabin clock`. This second example is generally a more complex model as it appears to strike, have a calendar dial as well as an alarm, and is housed in a more elaborate silver case with pierced decoration to rear cover. The original client for the current lot must have been an extremely wealthy individual to be able to afford the luxury of such a fine timepiece exclusively for travelling purposes. Furthermore a subsequent owner must have also valued it highly enough to commission such a fine purpose-made silver case to be supplied to house the movement and dial.
A fine George II walnut table clock. Robert Ward, London, mid 18th century, The five pillar twin fusee bell striking movement with foliate scroll engraved backplate and 7 inch brass break-arch dial with false bob and calendar apertures and applied shaped signature plaque Rob`t Ward, LONDON to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll cast spandrels to angles, the arch with Strike/Silent selection dial flanked by conforming mounts, the burr walnut veneered inverted bell-top case with brass carrying handles and flambeau finials (not illustrated) above gilt foliate frets to upper quadrants of the front door and raised mouldings to apertures, the sides with circular ruby glazed windows over concave-topped rectangular brass fishscale frets, the rear door with break-arch window, on cavetto moulded shallow skirt base now with foliate cast brass scroll feet, (escapement with alteration), 48cm (19ins) high. Robert Ward is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1751.
A George III ebonised table clock with pull quarter repeat on six bells. Robert Higgs, London, mid to late 18th century, The five pillar twin fusee bell striking movement with verge escapement, pull quarter repeat on six bells and fine foliate scroll engraved backplate signed Robert Higgs, LONDON to a symmetrical foliate cartouche surmounted with a reclining Classical female, the 7 inch brass break-arch dial with calendar and false bob apertures and plaque signed Higgs Y Evans, LONDRES to the matted centre within applied silvered Roman numeral chapter ring and scroll cast spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, in a bell top case with hinged brass carrying handle and cast artichoke finials above circular over concave topped rectangular glazed apertures to sides and engraved pierced brass frets to the upper quadrants of the front door with brass fillet inset dial aperture, on cavetto moulded base with brass bracket feet, (with restoration), 45cm (17.5ins) high. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770, by 1775 the firm had merged with that of James Evans to form the partnership of Higgs & Evans. James Evans worked from 1773 and specialised in producing clocks for the export market, in particular Spain. The presence of the signature plaque Higgs y Evans, LONDRES to the dial of the current lot suggests that it was supplied for export utilising an earlier movement and dial by Robert Higgs which may have been held as old stock or possibly bought back in from a client who was looking to upgrade.
A walnut and floral marquetry eight-day longcase clock. Christopher Gould, London, late 17th century and later. The five finned pillar inside countwheel bell striking movement with 11 inch rosette-centred square brass dial with ringed subsidiary seconds dial and winding holes and foliate engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and Arabic five minutes to outer track, the angles applied with winged cherub head and scroll cast spandrels with scroll engraved infill between and signed Chr: Gould Londini fecit to lower margin, in a case with moulded cornice and fretwork frieze above foliate trail inlaid dial surround applied with spiral twist three-quarter columns to front angles, the trunk with convex throat moulding and rectangular door centred with a glazed lenticle and inlaid with three shaped marquetry panels decorated with flowering foliage on an ebonised ground within triple ebony and box line borders and a walnut field, on conforming marquetry panel fronted base with applied ogee shallow skirt (case with faults), 203cm (80ins) high. Christopher Gould is generally regarded as one of the leading makers from the `Golden Period` of English clockmaking. He was made Free of the Clockmakers` Company in 1682 but by 1713 had become destitute and received charity from the Company until his death in 1718. His work tends to exhibit a distinctive character borne out of his particular attention to detail and design.
A Charles II style ebonised table clock. Unsigned, 20th century incorporating some earlier elements. The five pillar twin fusee bell striking movement with verge escapement, bolt-and-shutter maintaining power and decorative foliate pierced and engraved back cock apron to the herringbone border decorated backplate, the 6 inch square brass dial with arched false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes to outer track, with fine pierced blued steel hands and winged cherub mask cast spandrels to angles, in a case with gilt brass hinged handle to the domed caddy above foliate pierced sound fret to the upper rail of the front door, the sides with conforming frets above rectangular glazed apertures, on moulded base with squab feet, 33cm (13ins) high excluding handle.
A George III mahogany eight-day longcase clock. Bonsall, Beaston, mid 18th century, The four pillar inside countwheel bell striking movement with 12 inch brass break-arch dial with subsidiary seconds and calendar dials and signed Bonsall, Beaston to the foliate engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and female mask and scroll cast spandrels to angles beneath arch with silvered boss flanked by dolphin cast mounts, in a broken-arch pedimented case with dentil moulded frieze above Corinthian pilasters flanking dial aperture to hood, the trunk with shaped-top caddy moulded door above plinth base fronted with a conforming raised panel, on ogee bracket feet, 244cm (96ins) high.
BELL, John. The Principles of Surgery. London: 1815. 3 vols., 4to (188 x 225mm.) 88 engraved plates (12 hand-coloured, 3 folding), numerous engraved illustrations. (Some spotting and occasional browning.) Contemporary half-calf (extremities bumped and scuffed, spines slightly faded and chipped at head and foot). Provenance: George Taylor (presentation a.l.s. from Robert Freeman dated `March 22 1845` mounted to front paste-down).
British coins and tokens, including Elizabeth I, Shilling, i.m. bell, other hammered silver (3), generally fair, Victoria Crowns (3), other sterling silver, wt. 46g., pre-1947 silver, wt. 55g., varied state, Hereford Halfpenny 1794 (DH 5), very fine, Worcestershire Agricultural Corn Exchange, bronze admission ticket numbered 31, very fine, scarce, and sundry including a few ancients, contained in a mahogany collector`s cabinet, approximately 22cm high, 25cm wide, 27cm deep, with fifteen drawers for coins of various sizes. Coins generally fair to fine, except as stated. (Lot)
A silver coloured two handled loving cup, apparently unmarked, the bell shaped body embossed with scrolls, foliage and fruit, with moulded girth, on a short spreading foot, having two double scroll leaf capped handles, one cartouche monogrammed, the other inscribed, 10.5cm tall, 286g (9.2 troy ozs) gross
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