A Walnut Eight Day Longcase Clock, signed John Marsden, London, circa 1730, the case with flat top pediment, pierced frieze to the front, glazed side viewing windows, columns with brass capped capitals, feather crossbanded rectangular moulded trunk door, rectangular plinth upon a stepped base, 12-inch square brass dial with silvered Roman and Arabic chapter ring, matted dial centre with ringed winding holes, date aperture, subsidiary seconds and a oval silvered plaque signed `John Marsden, London`, five pillar movement with anchor escapement and inside countwheel striking on a bell, (case with restorations), 220cm high John Marsden is recorded working at St John`s Square, London. He was Free of the Clockmaker`s Company in 1698, and in 1731 became Master until 1741. He is known as specialising in repeating work. See Baillie (GH) Watchmakers & Clockmakers of the World, pg.210.
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A Fine and Extremely Rare Burr Elm and Walnut Three Month Duration Longcase Clock, signed Morgan Lowry in Leeds, circa 1715, the attractive and nicely figured case with a later built caddied top and pierced fretwork panels, glazed movement viewing windows to the sides, gilt wooden capitals with three-quarter columns flanking the hood door, case with burr elm panels and walnut crossbanding veneers on a oak carcass, moulded edged trunk door with glazed lenticle, rectangular plinth raised upon a later built double skirting, 13-inch square brass dial with silvered Roman numeral chapter ring signed `Morgan Lowry in Leeds`, finely matted dial centre with subsidiary seconds and engraved above on a silvered plaque depicting cherubs, dial with herringbone engraving around the perimeter, finely pierced hands, the large six pillar movement with a anchor escapement and outside countwheel striking on a bell, possibly later seatboard, 260cm high Morgan Lowry (Leeds, 1682-1757) was the son of Jeremy Lowry. He is recorded as a maker of repute, and was working in London c.1700 where he picked up his skills for producing quality movements, including long duration longcase clocks. In 1703 he married Ann Boyes in Leeds and they had a daughter named Anne in 1715. His wife died in 1726 and in 1737 he married Mary Thwaites. He worked in Briggate and in Boar Lane in Leeds. He was a Sergeant at Mace for the Borough of Leeds until 1755. His clocks are extremely rare. There is a walnut long duration clock and a year going longcase clock by him in the Leeds City Museum. For more information see Britten (FJ) Old Clocks & Watches And Their Makers, pg.791; Loomes (Brian) Yorkshire Clockmakers, pg.121); and Loomes (Brian) Watchmakers & Clockmakers of the World, pg.147.
A Fine Late 17th Century Walnut Small Eight Day Longcase Clock, signed Joseph Knibb, London, circa 1690, the case with spiral twisted columns, (re-converted) back to rising hood, pierced frieze fretwork and surmounted by a later carved floral cresting, glazed side viewing windows, top of the backboard with a rising hood coiled spring and lever, rectangular trunk door with matching veneers and with moulded border, re-built plinth raised upon a moulded skirting, 10-inch square brass dial signed `Joseph Knibb, London` positioned below 6 o`clock, silvered chapter ring with Roman and Arabic numerals and typical trident half hour markers, finely engraved with floral decoration between the winged cherub spandrels, matted dial centre with date aperture below 12 o`clock position, finely pierced and sculpted blue steel hands, latches to the dial feet and to the five ringed pillars of the movement, anchor escapement, outside countwheel positioned to the movement backplate and striking on a bell, 199cm high Case backboard with a label inscribed Temple Newsam House Leeds, Exhibition of English Clocks 1949, No.21. This clock is recorded in the catalogue of Exhibition of English Clock 1600-1850, September 3rd - October 9th 1949, No.21. The catalogue states A William and Mary longcase clock by Joseph Knibb London, circa 1690, in a oak case with walnut veneer, formerly in the Fitzwilliam Museum, Cambridge and Lent by Harold Wildsmith Baxter, Esq. Harold Wildsmith Baxter was one of the great post war collectors of Early English Clocks. Sold together with a photocopy of the Exhibition of English Clocks catalogue entry No.21. Joseph Knibb, the most famous and inventive member of the celebrated Knibb clockmaking family, was born in 1640. In 1655 he was apprenticed to his cousin Samuel and after serving seven years he worked first at Oxford and then moved to London in 1670, where he was made Free of the Clockmaker`s Company. Records show he supplied a turret clock for Windsor Castle in 1677 and payments were made to him in 1682 by King Charles II. Towards the end of the 17th century Joseph Knibb moved to Hanslop in Buckinghamshire. By the early 18th century Knibb had virtually retired and he died in December 1711.
A Blue Glass Pear Shaped Jug, 19th century, with high loop handle, 13cm high; A Similar Jug, on large circular foot, 10.5cm high; Three Further Blue Glass Jugs; and Two Amethyst Glass Jugs; A Blue Glass Small Drinking Glass, early 19th century, the bell shaped fluted bowl on knopped cylindrical stem and circular foot, 9.5cm; A Similar Wine Glass, 9.5cm; A Similar Campana Shaped Glass, 7.5cm; A Similar Green Glass, 8.5cm; A Blue Glass Bowl, on circular foot, 5cm; Another Similar, with pan topped bowl, 6.5cm; and An Amethyst Glass Wrythen Bowl, the tallest 13.5cm high (14)
A Creamware Commemorative Mug, circa 1826, printed and painted with a bust portrait inscribed BELL AND VICTORY within a laurel wreath and with two flags inscribed TRUE BLUE AND BELL and NORTHUMBERLAND The Great Contest Concluded at Alnwick 6th July 1826 ..., within pink lustre borders, 10cm high
A Rare Early 18th Century Gold Pair Cased Verge Clockwatch, signed Jos Windmills, London, 1701, full plate gilt fusee verge movement signed `Jos Windmills London`, pierced and engraved winged balance cock, silvered regulator disc and silvered countwheel, three pierced tulip pillars and two turned baluster pillars, fusee worm and wheel barrel setup, blued steel mainspring visible through the pierced and engraved resting barrel, blued steel striking work, single steel hammer striking the hours on a bell inside the case back, gold champleve dial with Roman and Arabic numerals, matted dial centre with scroll work and signed `Windmills`, blued steel tulip and poker hands, (glass missing), fine gold inner case with gold pendant and ringed bow, the edge profusely pierced and engraved with a mask and framed landscape scene, gold outer case pierced and engraved with matching mask, bird and floral decoration, both cases with makers marks `WI` and the outer case with a London hallmark for 1701, 56mm wide Joseph Windmills (1648-1724) is recorded as a fine clock and watch maker. He was made a free Brother by the Clockmakers Company in July 1671, working in St Martin Le Grand before moving to Mark Lane End Tower Street in 1687. In 1699 he was appointed Warden of the Clockmakers Company and sat with Thomas Tompion on the committee. In 1702 he succeeded Tompion as Master of the Clockmakers Company. He went into partnership with his son Thomas in 1714 and many of their fine clocks and watches are in museums around the world. Windmills is recognised as one of the important makers of the late 17th/early 18th century.
A rare Chinese white jade vajra, 18th/19th century. With eight prongs issuing from stylized mythical creatures, joined by a baluster knop, faintly incised with a four character Qianlong mark, which may be a later addition, traces of gilding around the centre, 10.5cm. The thunderbolt, or vajra is a Buddhist ceremonial mace and symbol, usually interpreted as a diamond or thunderbolt. One of the five central Buddhist principles, the vajra represents indestructible substance that cuts and penetrates through emotional instability or uncertainty. It is the male aspect of wisdom and supreme knowledge, and combined with the bell or ghanta, they form the most important symbols in Tibetan Buddhism. Together they represent the perfect union of wisdom and compassion, the two principles necessary for attaining enlightenment. Other ritual objects include the dagger or phurba, skull-cup, and thigh-bone trumpet.An almost identical white jade vajra in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum, No.42, Jadeware (III), p.134, no. 112. Another of a slightly different design, in the collection of the Potala Palace in Lhasa, is illustrated in Treasures from Snow Mountains, Gems of Tibetan Cultural Relics, by Chen Xiejun, & Wang Qingzheng, p.131, no.51, Shanghai Museum.
After Cecil Aldin, a coloured print of The Garth Hunt - "Over the Point to Point course, Lordlands Farm, Hawthorn Hill", signed in pencil by the artist and annotated verso with the names of the riders and hounds originally published by Alfred Bell & Co, 6 Old Bond St, London 1925 and after the same artist, a trial plate print of the South Berks - "Away from Pearman`s Covert, Lower Earley", similarly annotated and framed (both 61cms x 34cms)
A Continental Silver Lidded Bowl, of circular form, the pull-off cover with beaded rim and cast foliate finial, to a demi-lune body with chased foliate borders and base, with further lion’s mask and ring supports terminating in paw feet on a trefoil base, height 6 5/8”, and marked with a bell only
A 3rd quarter of the 19th Century Lacquered Brass Carriage Clock, with push repeat, Aubert & Klaftenberger of Geneve, the silvered levered platform escapement with bi-metallic cut compensated balance and blued steel hairspring and screws, with strike on a bell, to signed Roman enamel dial with outside minute track and blued steel moon hands, in a gorge case, with push repeat and large top glazed aperture, height 5 ½”
A 20th Century Reproduction Dutch Wall Clock, the shaped backboard with arched canopy and cast and applied finals, to a burr and ebonised arched cased with cast brass pediment, to a 4 ½” arched brass dial with moon phases, Roman and Arabic chapter ring and black painted hands to an 8-day weight-driven movement with strike on a bell, height 24”
A late 19th Century American Walnut and Mahogany Wall Clock, the arched case with further arched and glazed door with carved frieze, and waisted base with inverted finial, to an 8” painted Roman dial with outside minute track and blued steel trefoil hands, to a spring-driven movement with anchor escapement and strike on a bell
A late 19th Century Walnut and Crossbanded 30-hour Weight-Driven Wall Clock, the octagonal surround with crossbanded and rosette detail, to a spun brass bezel with convex glass enclosing an 8” painted convex wooden dial with Roman numerals and outside minute track and gilt centre, with further cast brass hands to wooden weight-driven movement, with strike on a bell, width 13”
An early 19th Century Mahogany and Brass Inlaid Single Pad Top Bracket Clock, Honeybone of Brentford, the arched case with single pad and cast carry handle, over fish-scale sound frets, to ebonised canted corners and recessed frieze panel, to a further fluted border and plain plinth base, raised on brass ball feet, to a spun brass bezel and convex glass enclosing an 8” painted Roman dial signed to the centre, with outside minute track and pierced and blued steel moon hands, to a movement with engraved and shouldered plates united by four knopped pillars, with anchor escapement and strike on a bell, height 20”
An early 20th Century Lacquered Brass Mantel Clock, modelled in the form of a lantern clock with strapwork frame and bell support, over pierced and engraved pediments, and oversize Roman chapter ring with half-hour markers, inside quarters, to a further floral engraved centre, and raised on cast ball feet, to a spring-driven movement with rectangular plates united by four plain pillars and with anchor escapement and strike on the bell, height 15”
A late 19th Century Black and Variegated Green Marble Mounted Mantel Clock, the serpentine plinth case to a brass bezel with bevelled glass enclosing a 5” two-part Roman enamel chapter ring, with outside minute track (hairlines) to a visible Brocot escapement to the centre, and blued steel moon hands, to a circular brass movement with strike on a bell, height 15”
A 19th Century Porcelain Clock Garniture Set, the waisted case surmounted by an urn of spring flowers over further floral garlands and putti depicting the four seasons, and further detail of courting couples, with gilt highlights and raised on scrolling feet, to a cast brass bezel enclosing a 3” porcelain dial with gilt Roman numerals and outside minute track with pierced gilt hands, to a circular brass movement with anchor escapement and strike on a bell, height 16 ½”; and flanked by a pair of matching Candelabrum, each with four lights on scrolling arms, and with gilt highlighted and painted floral detail, also with seasonal putti, height 20” (losses and restoration throughout) (3)
An early 20th Century patinated Spelter and Alabaster mounted Mantel Clock, modelled in the form of a well head, and with Corinthian column capital, surmounted by a dove over scrolling mounts, and compressed circular drum case, to a shaped baluster reservoir flanked by a bare-breasted young lady holding an amphora with a further dove, to cast and beaded bezel with bevelled glass enclosing a 3 ½” Arabic chapter ring with outside minute track and matted centre to blued steel hands, and fitted with a circular brass movement with platform escapement and strike on a bell, height 28”
An early 20th Century Lacquered Brass Alarm Clock, the drum-shaped case with ring suspension and peg feet, to a bevelled glass enclosing a 3 ½” Roman enamel dial, signed Payne & Son of Oxford and Tunbridge Wells, with outside minute track and alarm subsidiary at 6, with blued steel hands, to a brass spring-driven movement by R & Co Paris, with platform escapement and strike on a bell, height 5”
A late 19th Century French pink Onyx Mantel Clock, the architectural case with overhanging cornice, to three quarter columns and large plinth base, to a cast Brass bezel set with bevelled glass enclosing a 3 ½” Roman enamel chapter ring (hairline), to a further enamelled centre and visible Brocot escapement, with blued steel moon hands, to a circular Brass movement, with anchor escapement, strike on a bell (bell lacking), height 12”
A late 19th Century White Alabaster Mantel Timepiece, the drum-shaped case raised on scrolling supports to a breakfront plinth base on bladed and lacquered brass feet, to a 4” dial with applied gilt Roman numerals and further gilt moon hands, to a circular brass movement with backmounted count wheel and anchor escapement, strike on a bell, height 14”
A late 19th Century Gilt Painted Spelter and Porcelain Mounted Mantel Clock, the breakfront case surmounted a lidded urn with floral swags and further ribbon detail, and inset with musical trophy and putti panels on cobalt blue background, to a 3 ½” Roman enamel dial with outside minute track and blued steel moon hands, to a circular brass movement with anchor escapement and strike on a bell, height 16”
A late 19th Century black and variegated rouge marble mounted Mantel Clock, the plinth-shaped case with overhanging cornice and stepped base, to a cast brass bezel enclosing a black 3 ½” Roman dial, with gilt numerals and fleur-de-lys hands, to a circular brass movement with back mounted count wheel and anchor escapement, strike on a bell, height 11 ½”
A late 19th Century black Marble and Gilt metal mounted Mantel Clock, the plinth shaped case with break front pediment, raised on four columns, to a plinth base and raised on paw feet, to a cast Brass bezel with bevelled glass enclosing a 3 ½” Roman enamel dial with blued steel moon hands, to a circular Brass movement, with back mounted count wheel and anchor escapement, strike on a bell, width 18”
A mid-19th Century Mahogany and crossbanded 8-day Long Case Clock, Roberts of Downham, the arched hood with shaped pediment over freestanding reeded column, to an ogee throat and long arched trunk door flanked by canted corners to a plinth base, to a 12” arched and painted 3rd period dial, and painted with ruinous buildings to the spandrels, enclosing Roman chapter ring with outside minute track and further subsidiary seconds with pierced black painted hands, to a movement with plates united by four knopped pillars with anchor escapement and strike on a bell, height 83”
An early 19th Century Mahogany Cased 8-day Long Case Clock, B N Russell of Norwich, the arched hood with shaped pediment and globe and spike finials over freestanding columns to an ogee throat and long arched trunk door, raised on a plinth base, to a 12” arched and painted 2nd period dial, with moon roller, and gilt spandrels enclosing a Roman chapter ring with Arabic quarters and subsidiary seconds, and date sector with black painted pierced and stamped hands, to a signed false plate and movement with plates united by four knopped pillars, and with anchor escapement and strike on a bell (associated), height 83”
An early 19th Century Mahogany and Boxwood line inlaid 8-day Long Case Clock, Andrew Crawshaw of Rotherham, the plain drum head case on scrolling mount to an ogee throat and long shaped trunk door flanked by canted corners to a panelled and plinth base, to a spun brass bezel enclosing a 14” painted Roman dial with outside minute track, subsidiary seconds, pierced steel hands, to a movement with plates united by four knopped pillars, with anchor escapement and strike on a bell (requiring full restoration), height 76 ½”
An early 19th Century Oak cased 8 Day Long Case Clock, Swaine of Woodbridge, the oak case with applied pediment with a single brass finial, to an overhanging cornice and freestanding brass capped columns, to a moulded throat and long arched trunk door, and raised on a stepped plinth base, to a signed and silvered arched 12” dial, with engraved floral and foliate spandrels enclosing a Roman and Arabic chapter ring, and further engraved centre with subsidiaries for seconds and date, and fitted with pierced and blued steel hands, to a movement with plates united by four knopped pillars with anchor escapement and strike on a bell, height 87” (associated)
A Mahogany cased 8 day Long Case Clock, unsigned, the associated case with overhanging and stepped cornice, to a glazed door and moulded throat, with short trunk door and panelled plinth base, to a repainted third period Roman dial, with outside minute track and enclosing subsidiary seconds and date sector, to a movement with plates united by four knopped pillars and anchor escapement, strike on a bell, height 80”
A Mahogany Cased Floor Standing Clock, the case with shaped pediment and moulded detail on a plinth base, to an associated cast brass bezel with bevelled glass enclosing a 5 ½” Roman enamel dial with outside minute track and blued steel moon hands, to a circular brass movement with anchor escapement and strike on a bell, height 48 ½”
An early 19th Century Oak Cased 30-hour Long Case Clock, ? of Heacham, the overhanging cornice to a plain frieze and freestanding columns to an ogee throat, and long arched trunk door flanked by quarter columns to a plinth base, to a 12” arched 3rd period painted dial with floral spandrels and shipping scene to the arch, with Roman chapter ring and pierced and stamped brass hands, to a movement with plates united by a four knopped pillars, and anchor escapement with strike on a bell, height 82”
A late 18th Century Oak Cased 8 Day Long Case Clock, unsigned, the case with overhanging cornice and shaped pediment to freestanding columns and moulded throat to a long square trunk door and plinth base, associated 12” first period painted square dial with fruiting spandrels within gilt highlighted gesso borders and enclosing a Roman and Arabic chapter ring with outside minute track and subsidiary seconds, with pierced and stamped brass hands, to a movement with plates united by four knopped pillars and anchor escapement with rack strike on a bell (associated), height 83”
A Mahogany Cased 8 Day Long Case Clock, Nevill of Norwich, the associated mahogany case with overhanging cornice to a pierced pediment with ring turned finials, over freestanding columns, to an ogee throat and long arched trunk door with reeded edging, and raised on a plinth base, to a 12” arched brass dial with subsidiary for strike/silent to the arch, and cast floral and foliate spandrels enclosing a Roman and Arabic chapter ring with outside minute track to matted centre with subsidiary seconds, date sector and applied nameplate, with later black steel hands, with a plain false plate and movement with plates united by four knopped pillars and anchor escapement with rack strike on a bell (case, dial and movement associated), height 87”
19TH CENTURY WELSH OAK EIGHT DAY LONGCASE CLOCK, by Furtwengler of Llanelly, having broken swan neck pediment above arched aperture, crossbanded and shell inlaid door to the waist with canted angles on a panel base with bracket feet. Arch painted face with seconds dial and date aperture, Roman numerals and foliate spandrels, painted portrait of a farm girl to the arch. Eight day two train movement striking on one bell. The face 17.5" x 13". 88" High overall.
A LATE 19TH CENTURY FRENCH GILT BRASS FOUR GLASS TWO TRAIN MANTEL CLOCK, having enamel face with Roman numerals and exposed escapement, French brass drum movement striking on one bell and with mercury compensated pendulum. The movement marked L initial Marti & Co. 11.5" High x 6.5" Wide x 5.5" Deep.
19TH CENTURY MAHOGANY TWO TRAIN EIGHT DAY LONGCASE CLOCK, the arched hood with circular aperture, cross banded and strung inlaid waist with rectangular door on panelled feet. Painted face with seconds dial and date indicator. Two train movement lacking bell. Possibly Scottish. Face 15.5" Diameter x 84" High overall.
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