A fine George I brass mounted ebonised quarter chiming table clock of impressive proportions Simon DeCharmes, London circa 1720 The substantial ten pillar triple fusee movement (plates measuring 10 by 9 inches) chiming the quarters on eight bells and striking the hours on a further bell, the backplate profusely engraved with Ho-Ho bird inhabited foliage, the 10 inch brass break-arch dial with calendar and false bob aperture signed S. De Charmes, London within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with female mask and scroll cast spandrels beneath regulation dial calibrated 0-60 flanked by dolphin mounts to arch, the case with brass ball-and-spire finials to the brass edged inverted bell top above carrying handles and brass edged break-arch windows to sides, the front with conforming brass surround to dial aperture and upper quadrants, on moulded base with brass ogee bracket feet, 69cm (2ft 3ins) high excluding top finial. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Simon DeCharmes was a French Huguenot immigrant clockmaker who became a Free Brother of the Clockmakers Company in 1691. His work can be directly compared with that of his contemporary Claude DuChesne with both makers being particularly well known for producing highly decorative clocks usually playing music or with other complications such as long duration. There are at least two clocks known where DuChesne has supplied the movement to DeCharmes including a fine walnut three month duration quarter-repeating longcase clock which was sold in these rooms on the 9th September 2009 (lot 102). Simon DeCharmes is known to have been working in London up to around 1730 when it thought that he may have returned to France. The current lot demonstrates DeCharmes no expense spared approach to clockmaking, the massive movement with no less than ten pillars was clearly made with the intention to fill what is in essence an oversized case. The form of the case with its applied brass mouldings (particularly the aperture surrounds to doors and side windows) are typical of those used to house movements by DeCharmes during the latter years of his career in London. Other oversized table clocks are known, particularly from the Windmills Workshop (a walnut clock of large proportions was sold in these rooms 21st March 2007 lot 403), another example by George Graham with a rectangular dial was formerly in the Iden collection. It is probable that such clocks were either made simply to impress or to be utilised in a semi-public context where the use of a longcase clock would be problematic.
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A Fine George III small gilt brass mounted ebonised quarter chiming table clock John Coleman, London, circa 1780 The six-pillar triple fusee movement chiming the quarters on eight bells and striking the hour on a further bell, with verge escapement and winding squares to the foliate engraved backplate signed John Coleman, London, the 4.25 inch circular convex white enamel Roman numeral dial with Arabic five minutes and finely pierced and chased gilt brass hands, the case with cast swag adorned flambeau vase finial to the concave sided pediment inset with foliate engraved brass fret panels and applied with husk swags, above cavetto cornice applied with rocaille cast finials and animal mask-and-swag frieze above further foliate scroll engraved fret infill around dial flanked by applied fluted Ionic pilasters, the sides with arched sound frets and conforming pilasters, on stepped base with brass ogee moulding and squat bun feet, 44cm (17.5ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Provenance: The property of Viscount Portman, Spencer House thence by descent to The Late Henry Clive and Mrs. Clive, formerly of Perrystone Court, Herefordshire. John Coleman is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Tottenham Court Road, London 1781-4. He specialised in highly decorative musical and chiming clocks mainly for export to China. Please Note: that whilst on view , a detachable section to top of case has come apart at the joints. This should not present much of a problem for a reasonably competent case restorer.
A William and Mary walnut and Arabesque marquetry eight-day longcase clock Samuel Stevens, London, early 18th century The five finned-pillar outside countwheel bell-striking movement with 11.875 inch square brass dial with subsidiary seconds dial, ringed winding holes and decorated calendar aperture to the foliate scroll engraved and matted centre within an applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and cruciform quarter markers to the narrow Arabic five minute outer track, the lower edge signed Sam. Stevens, London the angles with winged cherub head and foliate scroll cast spandrels with engraved infill between, in a case with marquetry fronted dome caddy above blind fret frieze and integral columns with well cast brass capitals and bases to the foliate trail decorated hood door and rectangular side windows to hood, the trunk with concave throat moulding above rectangular door with brass edged lenticle and plinth base with original moulded skirt, the whole profusely decorated with birds and grotesques within foliate strapwork in various timbers on an ebony ground within conforming repeating borders, 236cm (7ft 9ins) high. Provenance: The Property of a Gentleman of title. Purchased by the vendor`s family from Christie, Manson & Woods, 9th December 1897, the catalogue entry is pasted on the inside of the trunk door: 301 AN OLD ENGLISH CLOCK, by Sam. Stevens, London, in upright walnut wood case of marqueterie, elaborately inlaid with birds foliage and arabesques of a lighter coloured wood -8ft 4in high. From New Monckton Hall where it was at the time of Charles I`s visit before Marston Moor. From the Collection of Lord Walter Scott. Samuel Stevens senior is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being freed from his apprenticeship to Edward Stanton in 1679, he was known to be working from Grub Street in 1682. He took his son, also called Samuel, as an apprentice in 1699 who in turn was freed in 1706/7. Details in the movement and dial such as the outside countwheel striking mechanism and engraving between the spandrels suggests perhaps a slightly old fashioned approach at this time indicating that this clock was almost certainly made by Samuel Stevens senior. When the current contents of Sir Walter Scott`s library at Abbotsford are considered it is clear that he had a passion for artifacts with historic associations. Memorabilia from his collection includes Nelson`s pen case and blotting paper, Rob Roy`s purse and skene dhu, a lock of hair from both Bonnie Prince Charlie and Nelson, Flora MacDonald`s pocket book, the inlaid pearl crucifix that accompanied Mary, Queen of Scots to the scaffold, a carriage clock once owned by Marie Antoinette, and housed in his armory an assortment of weaponry including Rob Roy`s broadsword. The current lot, when considering its (erroneous) `provenance` to New Monckton Hall at the time of Charles I, could well have been perceived as a worthy addition to Sir Walter Scott`s collection.
A late 19th century/early 20th century mahogany inlaid eight-day longcase clock, the arched brass dial with a silvered chapter ring and subsidiary seconds dial, the three train movement with Whittington and Westminster chimes, striking on eight bells, and a single gong, crossbanded with satinwood and inlaid with a vase, bell flowers and ribbons. Dial 28.5cm (111Ú4 in) Case 181cm high Visit www.sworder.co.uk for larger image and condition reports.
A pair of large 1930s hanging lights, each with nine lights, an urn and ram`s heads, with bell flower linking chains, urn finials and classical decoration with six engraved frosted glass segmental panels, 97cm diameter 170cm high Visit www.sworder.co.uk for larger image and condition reports.
3 watercolours of full dress uniform: officer R Marines, 1833, with bell topped shako, coatee and sword; infantry officer’s of a Royal Regt, with Albert shako, coatee with blue facings and sword; officer, 1664, with feathered hat, buff coat, polearm and sword; all initialled HAB, 9½” x 6½”, framed en suite, with label of the Medici Society. GC (left hand side of the second water stained)
TENNYSON ALFRED: (1809-1892) English Poet Laureate. D.S., A. Tennyson, being a signed cheque, London, 20th July 1874. The partially printed cheque is drawn on the London & Westminster Bank and has been completed in Emily Tennyson`s hand, made payable to Messrs. John Bell & Co., the amount left blank. Evidently never presented, the cheque does not have any bank cancellations. Together with Robert Southey (1774-1843) English Poet Laureate. A.Q.S., Robert Southey, on a slim oblong 12mo piece, Keswick, 10th September 1829. In his typically neat hand Southey has penned a two line quotation, `No man shall ever come to heaven himself, who has not sent his heart thether before him.` Neatly laid down. G to VG, 2
HISTORICAL: Two albums containing over 60 signed clipped pieces, A.Ls.S. etc., including William Gladstone (A.L.S. as Chancellor of the Exchequer, two pages, 8vo, 11 Downing Street, 1st August 1860, to the Master of the Mint, asking to see a proof of the new copper coins), Lord John Russell, Benjamin Brodie, Henry Brougham, Charles Eastlake, Peter Guthrie Tait, Max Muller, Andrew Scott Waugh (responsible for naming Mount Everest), Joseph Hume, Thomas Bell, Julius von Mohl, David Masson, Herbert Spencer, Frederick Pollock, Thomas Carlyle, Lady Anne Blunt, Frederick W. Faber, Walter Besant, Charlotte Yonge, Victor Hugo (the signature in two separate pieces, laid down), Samuel Wilberforce, E. B. Pusey, Charles Kingsley, Eliza Lynn Linton etc., most lightly laid down to pages, a few loose, and many accompanied by unsigned original carte-de-visite photographs. One album lacking covers and spine, generally G, 2
A LARGE CHINESE CLOISONN… CUSHION-SHAPED BOX AND COVER with key-pattern borders, the lid decorated with goats in the shade of a pine tree in a landscape within a border composed of cellular panels and flowers, the base with conforming decoration and key pattern borders, the interior with scattered blossom on a cracked-ice ground, probably Wanli or later in the 17th century, 15?" dia. x 8?" high. See illustrations Provenance: The collection of Sir Claude Morrison-Bell and thence by descent to the vendor. This cushion-box may be compared to a large box with a shallow foot-ring illustrated in "Chinese CloisonnÈ: The Pierre Uldry Collection", no. 142 dated to the first half of the 17th century. The distinctive key pattern borders may also be found on a Pilgrim Flask (Daoyueping) from the same collection (no. 138)
A GEORGE III BRASS FACED EIGHT DAY LONGCASE CLOCK, the brass dial with subsidiary seconds dial and date aperture, with an arched top decorated with an engraved basket of flowers, with an eight day two train movement striking on a bell, the hood with swan-neck pediment, the trunk with a short door inlaid with a central shell motif, flanked by quarter recessed fluted columns, 86" high. See illustration
A GEORGE III MAHOGANY LONGCASE CLOCK, the brass dial signed "Ste Leuit, Chelmsford", with subsidiary seconds dial and date aperture, the chapter ring with Roman numerals and pierced spandrels, the five pillar eight day movement striking on a bell, the flat topped hood above stop-fluted columns, the trunk door with arched top and inlay, 82" high
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