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Click here to subscribeA FRENCH GILT METAL AND PORCELAIN MANTEL CLOCK, 19th century, the twin barrel movement striking on a bell and stamped P.R. 630352, 4" gilded porcelain dial painted with cherubs, in urn shaped porcelain vase flanked by cherubs and painted with lovers in a garden, pineapple finial on domed lid, female mask loop handles, moulded rounded oblong base with central cartouche, on bracket feet, 26" high (Illustrated)
A brass bulkhead clock and matching aneroid barometer. Sestrel, London, late 20th century. The eight-day movement with ship’s bell annotation to the striking and 6 inch white Roman numeral dial with subsidiary seconds dial, strike/silent and repeat levers and signed Sestrel to centre, the drum-shaped case with glazed hinged bezel and drilled mounting flange to rear, the matching barometer calibrated in barometric inches and millibars, both 20cm diameter and with mahogany wall mounting panels.
A fine lacquered brass ‘Concorde’ skeleton timepiece with Harrison’s grasshopper escapement. Fred Whitlock for Dent, London, 1970’s. The substantial five-pillar A-shaped pierced plates with compound ‘dumb bell’ pendulum, grasshopper escapement and large escapewheel with Harrison type 20 second spring rementoire driven from a weight with Huygens style endless chain self-wound via an electric winder every seven minutes, the front applied with pierced brass and black-button applied abstract chapter ring, 66cm high, on rectangular mahogany base with glass cover, 75cm high overall. Provenance: Acquired directly from the maker by a family member of the vendor.. This skeleton timepiece was conceived and constructed by Fred Whitlock for retail by Dent and is based on a design by Martin Burgess. Approximately 25 examples were constructed during the 1970’s with a further batch of around 10 produced from unused parts discovered in around 2000. The grasshopper escapement was developed by John Harrison in the early 1720’s, first used in his precision longcases and turret clocks it was later employed in his marine timekeepers H1-3. The spring rementoire (a device enabling power to be isolated and delivered to the escapewheel alone thus alleviating error caused by varying friction in the wheel train) was developed by Harrison in the 1730’s whilst refining the design of H2. In essence this clock serves to demonstrate the escapement action and rementoire design employed in Harrison’s marine timekeeper H2.
A French porcelain inset ormolu mantel clock. Henry Marc, Paris, late 19th century. The eight-day bell-striking movement with circular white enamel Roman numeral dial in a drum-shaped case with pink ground gilt decorated urn surmount and lion mask ring side handles above acanthus cast support fronted with a lambrequin inset with panel of a classical female, on shaped platform base inset with further gilt hightened panels and foliate cast feet, 33cm high.
A French Louis XVI style gilt metal and marble mantel clock Unsigned, circa 1900. The eight-day bell striking movement with floral garland painted white enamel Arabic numeral dial set into a brass drum-shaped case with marble tablet issuing foliate spray to crest, raised on four pink veined marble columns with laurel finials, on rectangular base with turned brass feet, 40cm high.
A French Charles X ormolu mantel clock Deppler, Paris, early 19th century. The eight-day bell-striking movement with silk suspension and circular gilt Roman numeral dial signed DEPPLER A PARIS to centre with egg-and-dart cast bezel in a rectangular plinth form case surmounted by the bust of a classical muse above rose spray cast spandrel mounts and frieze modelled with a lyre flanked by cherubs, on acanthus moulded base with tablet feet, 37cm high.
A French Belge noir mantel clock garniture. Unsigned, late 19th century. The eight-day bell striking movement with visible Brocot escapement to the recessed centre of the two-piece white enamel Roman numeral dial, the drum-head case with mottled red marble dial surround and rosette fronted open side scroll supports, on a rectangular base with conforming coloured marble moulding above boss-centred panel fronted apron and turned feet, 35cm high, with a pair of matching tazza side pieces each with alternating bands or red and black marble to upright and pedestal stand, each 25cm high.
A French Belge noir marble mantel clock. Roblin & Fils Freres, Paris, mid 19th century. The eight-day two train bell-striking movement with offset Brocot escapement and stamped ROBLIN, FILS FRERES, A PARIS, 21528 to backplate, the gilt brass Roman numeral dial with foliate engraved centre in a rectangular plinth-form case with ogee moulded angles and on conforming moulded plinth base, 21.5cm high.
A Victorian brass skeleton timepiece with passing strike. Unsigned, mid 19th century. The single fusee movement with anchor escapement and passing strike on a bell mounted above the pierced scroll-shaped plates united by five turned pillars, with silvered Roman numeral chapter ring and on four integral shaped supports 22cm high, on ovoid stepped red velvet lined mahogany base with ebonised bun feet and glass dome, 35cm high overall.
A brass skeleton timepiece with passing strike. Unsigned, mid 19th century . The single fusee movement with anchor escapement and passing strike on a bell mounted above the triple gothic spire pierced scroll-shaped plates united four turned pillars, with pierced Roman numeral chapter ring and on four brass bell-shaped feet, 34cm high, on ovoid stepped white marble base with glass dome, 46cm high overall.
A Victorian mother of pearl inlaid rosewood drop dial wall clock. Alexander Barrett. Whitchurch, mid 19th century. The five-pillar twin fusee bell striking movement with 12 inch circular white painted Roman numeral dial signed Alex, Barrett, WHITCHURCH to centre within a cast brass bezel and foliate trail inlaid octagonal rosewood surround above later carved ears and oval lenticle to the mother of pearl inlaid trunk, with pendulum adjustment flap to the conforming rounded base, 73cm high. An Alexander Barrett is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Whitchurch circa 1879.
A mahogany eight-day longcase clock with rocking ship. Unsigned, probably Bristol, early 19th century. The four-pillar rack and bell striking movement with 13 inch white painted Roman numeral break-arch dial with arched calendar aperture and subsidiary seconds dial to centre, polychrome foliate scroll painted spandrels to angles and ship rocking back and forth to the motion of the pendulum within maritime painted scenery to arch, the case with shaped outline arched crest above twist turned Corinthian pilasters and wavy-edge door aperture to hood above rectangular panel-inlaid trunk door flanked by conforming columns on plinth base with moulded skirt, 217cm high.
A George III mahogany eight day longcase clock. Edward Bilbie, Chewstoke, circa 1765. The four-pillar rack and bell striking movement with 12 inch square brass dial with subsidiary seconds dial and calendar aperture to the basket of flowers and foliate trail engraved centre within an applied Roman numeral chapter ring with Arabic five minutes, fleur-de-lys half hour markers and signed ‘Edward Bilbie, Chew Stoke’ to lower edge, the angles with foliate scroll cast spandrels, the case with swan neck pediment and fluted pilasters to hood above long shaped-top trunk door flanked by fluted canted angles, on plinth base with integral bracket feet 234cm high. This clock was made by the third member of the highly regarded Bilbie clock making dynasty to bear the name Edward. He is thought to have been brought-up and taught clockmaking by his uncle Thomas. Edward III set up business as a clockmaker and bell founder in Chew Stoke around 1745 and worked until his death in 1768. The current lot is very typical of his later work with fine engraved decoration to the dial centre, however the high-style Bristol Mahogany case is unusual suggesting that the clock was ordered by a discerning client.
A brass mounted mahogany chamfer-top bracket clock. William Page, London, 19th century. The five-pillar twin-fusee bell-striking movement with anchor escapement and signed William Page WEST END CLOCK MANUFACTURER, 31 & 33 Great Portland St’t, London, the 8 inch circular brass dial with matted centre within an applied silvered Roman numeral chapter ring with stylised sword-hilt half hour markers and repeat signature, the case with brass pineapple finial to the chamfer top above brass fillet inset quadrant panels flanked by canted angles to front and rectangular brass fishscale side frets beneath ring handles to sides, on stepped plinth base with brass ball feet, 50cm high overall.
A mahogany eight day longcase clock. Charles Blanchard London circa 1770, the case later. The five-pillar rack and bell striking movement with 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and silvered oval plaque signed Chas: Blanchard, LONDON to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and mask and scroll spandrels to angles, the arch with Strike/silent ring flanked by dolphin cast mounts, now in an early 19th century Bristol area case with break-arch pediment, spiral twist pilasters and wavy edge door aperture to the hood above rectangular trunk door flanked by canted angles, on line inlaid plinth base with bracket feet, 203cm high.
A George III ebonised 30-hour longcase clock. John Hathaway, Westminster, mid 18th century. The posted countwheel bell-striking movement with anchor escapement and 11 inch brass break-arch dial with single hand to the matted centre within an applied silvered Roman numeral chapter ring with lozenge half-hour markers and female mask and scroll cast spandrels to angles, the arch with herringbone-bordered silvered boss signed John Hathaway, Westminster flanked by dolphin cast mounts, the flat-top case with ogee moulded cornice above integral pilasters to hood door, concave throat moulding and rectangular door to trunk, on plinth base with moulded skirt, 207cm high. Provenance: The case bears a label This clock was in the vestry at St. John’s, Smith Square, 1886. Now the property of a private collector. John Hathaway is recorded in Baillie, G.H Watchmakers & Clockmakers of the World as apprenticed to Chas. Davis in 1756. The utilitarian nature of this clock suggests that it was originally made for ‘backstairs’ use in large London house or supplied to an owner of more modest means. The label applied to the case leads rise to a theory that it may have possibly been supplied to St. John’s Church, Smith Square, which was designed by Thomas Archer In 1728. Known as ‘Queen Annes Footstool’ St John’s was bombed out during the war and has know been refitted as a concert hall. The fact that the clock was inscribed Westminster rather than London with the makers name supports the idea that it made for a client in the immediate locality.
A Queen Anne walnut longcase clock. Asselin, London, early 18th century. The four-pillar inside countwheel bell-striking movement with 12 inch square brass dial with calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes, stylised fleur-de-lys half hour markers and signed Asselin, London to lower edge, the angles with twin cherub and crown pattern spandrels, in a case with moulded cornice and foliate fretwork frieze above integral columns to hood door, concave throat moulding and rectangular quarter veneered door centred by a brass lenticle to trunk, on a rebuilt plinth base with moulded skirt, 217cm high. Probably Stephen Asselin who is recorded in Loomes, BrianThe Early CLOCKMAKERS of Great Britain as working circa 1700-20.
A William III eight-day longcase clock movement and dial. John Webster, London, circa 1700. The four (formerly five) finned pillar movement with internal countwheel bell strike and 12 inch square gilt brass dial with herringbone engraved calendar aperture, ringed winding holes and subsidiary seconds ring to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to the narrow outer track, stylised sword-hilt half hour markers and signed John Webster, London to lower edge, the angles applied with gilt mask and scroll cast spandrels with foliate engraved infill between. Two clockmakers with the name John Webster are recorded working at the end of the 17th century, the first was apprenticed to Thomas Tompion in 1676 but apparently not made Free of the Clockmakers Company, the second was apprenticed to Henry Merryman in 1686, Freed 1695 and was known to be working into the early 18th century. The current lot has survived in good original condition retaining its original gilt finish to the dial plate and escapewheel, the only significant fault being the removal of the fifth pillar.
A hooded wall clock with eight inch dial. Thomas Guluan, Horsemonden circa 1730, the case later. The 30-hour posted countwheel bell-striking movement with anchor escapement and 8 inch square brass dial signed Thos. Guluan, Horsemonden to the foliate-scroll engraved centre within an applied silvered Roman numeral chapter ring with cruciform half-hour markers and mask and scroll cast spandrels to angles, now in a shallow-arch pedimented case with foliate pierced fret above integral columns to hood with shaped apron and side sections to the bracket beneath, 53cm high.
A George III mahogany crossbanded oak eight-day longcase clock with moonphase. Thomas Richardson, Weaverham, late 18th century. The four-pillar rack and bell striking movement with 13 inch brass break-arch dial with subsidiary seconds dial, shaped signature cartouche Tho’s Richardson, WEVERHAM and sweep calendar to the foliate scroll engraved centre, within an applied Roman numeral chapter ring with Arabic five minutes and scroll cast spandrels to angles, the arch with rolling moonphase inscribed HE APPOINTED THE MOON FOR CERTAIN REASONS to upper margin, the swan neck pedimented case with reeded columns to hood above crossbanded shaped-top door flanked by conforming quarter columns to trunk, on raised panel-fronted plinth base with canted angles, 219cm high. Thomas Richardson is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in Weaverham circa 1795.
An inlaid oak and mahogany eight-day longcase clock with moonphase. William Parr, Liverpool, circa 1785 and later. The four-pillar rack and bell striking movement with 14 inch brass break-arch dial with sweep calendar hand, applied silvered signature plaque W’m Parr, LIVERPOOL and subsidiary seconds dial to the foliate-scroll engraved hatched centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and calendar to inner track, the angles applied with scroll-cast spandrels beneath rolling moonphase to arch inscribed TIME SHEWS THE WAY TO LIFES DECAY to upper edge, now in a case with swan neck pediment and reeded columns to hood above parquetry banded throat panel and conch-shell centred short shaped-top door flanked by reeded quarter columns to trunk, on a raised-panel fronted plinth base with canted angles and bracket feet, 225cm high.
A Scottish rosewood crossbanded mahogany eight-day longcase clock Charles Low, Arbroath, circa 1840. The four-pillar rack striking movement (lacking bell) with 13 inch circular white painted Roman numeral dial with subsidiary calendar and seconds dials to centre and signed Cha’s Low, Arbroath to lower edge, the case with break-arch pediment above brass bezel to hood, shallow inlaid panel to throat and shaped-top crossbanded trunk door flanked by line-inlaid quarter columns to trunk, on panel banded plinth base with splayed bracket feet, 200cm high.
A mahogany eight-day longcase clock with moonphase Josiah Bartholemew, Sherborne, circa 1800. The five pillar rack and bell striking movement with T-shaped frontplate and 12 inch brass break-arch dial with scroll engraved calendar aperture and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating landscape and globe engraved lunettes and signed IOSIAH BARTHOLEMEW-SHERBORNE to a curved silver plate to upper edge, now in a break-arch case with dentil carved cornice and integral columns to hood above rectangular door flanked by canted angles to trunk, on plinth base with bracket feet, 210cm high.
A George III mahogany bracket clock William Robinson, London, circa 1780. The five-pillar twin fusee bell-striking movement with verge escapement and foliate engraved backplate, the seven inch brass break-arch dial with calendar aperture and signed Will’m Robinson, LONDON to a recessed silvered shaped reserve to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and foliate scroll cast spandrels to angles beneath arch with STRIKE/SILENT dial flanked by conforming mounts, the bell top case with brass carrying handle above break-arch foliate pierced side frets and gilt metal foliate cast inserts to front angles, on moulded base with brass bracket feet 49cm high excluding handle, with a later Gothic fretwork wall bracket. William Robinson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London from 1758.
A George III mahogany table clock. Samuel Norton, London, circa 1770. The five-pillar twin fusee bell-striking movement with verge escapement and delicate pagoda and foliate-scroll engraved backplate, the 7 inch square single-sheet silvered Roman numeral dial (viewed through a brass-bezel lined 6.5 inch circular aperture to the front door) with calendar aperture, blued steel hands and signed Sam. Norton, LONDON to a shaped recessed plate to centre, with Arabic five minutes and Strike/Silent switch at 12 o’clock, the mahogany bell top case with brass carrying handle above circular brass-bezel applied quarter veneered front door and rectangular fish-scale fret side apertures, on mounded base with moulded squab feet, (case distressed) 38cm high excluding handle.Samuel Norton is recorded in Baillie G.H. WATCHMAKERS & CLOCKMAKERS OF THE WORLD as working in London 1773-92. The design of the current lot with the circular aperture in the front door only revealing the central section of the square dial was first introduced by John Ellicott in around 1760.
A rare Queen Anne ebonised thirty-hour longcase clock. Robert Rouch, Bristol, early 18th century. The posted countwheel bell-striking movement with anchor escapement and 11 inch square brass dial with herringbone border engraved calendar aperture incorporating pinhole adjustment and rectangular silvered signature plaque Rich’d Rouch, Bristol to the matted centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and stylised fleur-de-lys half hour markers, with original pierced steel hands and gilt female mask and scroll cast spandrels to angles, the case with silvered wood ball finials and domed caddy to the blind fret fronted box upstand, above moulded cornice with conforming fret to frieze and integral columns to hood door, the trunk with concave throat moulding and lenticle-centred rectangular door, on plinth base with moulded skirt, 220cm high. Provenance: the property of a private collector. Robert Rouch is recorded in Bellchambers, J.K. Somerset Clockmakers as working in Bristol circa 1725-55, where he is listed as ‘a fine maker’. A single-handed clock by Dennis Chambers of Pucklechurch with identical engraved half-hour markers is illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks Origin & Development 1600-1800 on page 145. The calendar has the unusual feature of pin-hole adjustment for advancing the date at the end of shorter months, a feature normally associated with the workshop of Thomas Tompion and his successor George Graham. The case is a rare survivor and is in good original condition considering its pine construction, and was made by a cabinet maker who successfully captured the feel and proportions of a high-end London case of the period.
A mahogany eight-day longcase clock. Francis Rowbotham, Hampstead, 18th century. The four-pillar rack and bell striking movement with calendar aperture and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes and signed Francis Rowbotham, HAMPSTEAD to lower edge, the angles with twin cherub and crown pattern spandrels beneath STRIKE/SILENT dial flanked by dolphin mounts to arch, now in a case with dentil cornice to the break-arch pediment above fluted pilasters to hood, break-arch trunk door and plinth base with moulded skirt 205cm high.
A George III mahogany eight-day longcase clock. William Peterson, London, late 18th century. The five-pillar rack and bell striking movement with 12 inch single sheet brass break-arch Roman numeral dial with subsidiary seconds and calendar dials and signed W’m Peterson, London to centre within chapter ring with Arabic five minute outer track, and foliate spray engraved lower spandrels, the arch with STRIKE/SILENT dial flanked by festoon decoration continuing down to the upper spandrels, the case with reduced pagoda pediment above break-arch trunk door flanked by brass stop-fluted quarter columns, on shaped raised panel fronted plinth base with shallow moulded skirt (generally distressed) 211cm high.
A William and Mary walnut and marquetry eight-day longcase clock. John Clowes, London, circa 1690. The five finned-pillar outside countwheel bell striking movement with tall plates and 11 inch square gilt brass dial with foliate engraved calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and stylised sword hilt half hour markers, the angles with cherub head and foliate scroll cast spandrels, and boldly signed Jo’n. Clows, Russell Street, Covent Garden to lower edge, in a case with moulded cornice and foliate fretwork frieze above ebonised spiral twist pilasters to hood and convex throat, the trunk with rectangular door centred with a circular lenticle and inlaid with three bird inhabited floral decorated marquetry panels on an ebonised ground, on a rectangular plinth base with conforming decoration and ebonised bun feet, (case with restoration), 198cm high. John Clowes is recorded in Loomes, Brian, . The Early CLOCKMAKERS of Great Britain as working in London 1673-1713.
A William III walnut and marquetry eight-day longcase clock. Charles Gretton, London, circa 1700 and later. The five finned-pillar inside countwheel bell-striking movement with 11 inch square brass dial with foliate-scroll bordered calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes, stylised sword hilt half hour markers and signed Cha Gretton, London to lower edge, the angles wth twin cherub and crown pattern spandrels, the case with moulded cornice and fretwork frieze above twist turned pilasters and foliate marquetry surround to the hood the trunk with concave throat above rectangular door profusely decorated with bird inhabited foliage on an ebonised ground within delicate scrollwork surround, on a rebuilt plinth base with bun feet, case with restoration, 214cm high.Charles Gretton is recorded in Baillie G.H. WATCHMAKERS & CLOCKMAKERS OF THE WORLD as working 1672-1733, and is generally regarded as a fine maker.
An Important burr walnut longcase clock of three month duration with pull quarter-repeat on six bells. Simon DeCharmes, London, with movement and dial supplied for the clock by Claude DuChesne, dated 1717. The substantial eight finned-pillar rack and bell striking movement with five-wheel trains, rise/fall pendulum regulation and pull-quarter repeat on six bells, the 24 hour wheel inscribed Claudius Du Chesne Londini, 24th May 1717, the 12 inch gilt brass break-arch dial with calendar aperture, turned collets for the winding holes, pierced steel hands and silvered subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the outer track, the angles with gilt cast mask-and-scroll spandrels, beneath arch with central domed silvered boss boldly signed Simon DeCharmes, London, flanked by subsidiary strike/silent and regulation dials with matted centres and within conforming foliate scroll relief infill, the case of impressive proportions and fine colour, with tall ogee domed caddy applied with three cast brass ball-and-spire finials above blind fret break-fronted box upstand incorporating ogee moulded break-arch frieze with conforming fret infill, the hood door with applied half-round gilt brass dial surround flanked by integral columns with gilt caps and bases, the sides with brass-edged large rectangular windows and dressed with quarter columns backed onto bargeboards to the rear edges, the trunk with book-matched veneers to the concave throat and unusual applied break-arch mouldings above herringbone banded finely figured trunk door, on conforming banded panel plinth base with double skirt, 253cm excluding finials, 271cm high overall. Provenance: The property of a Lady. Claude DuChesne and Simon DeCharmes were both of French Huguenot immigrant extraction. DuChesne originated from Paris and was made Free of the Clockmakers Company in 1693, De Charmes was made a Free brother in 1691. Both specialised in producing very distinctive high quality clocks usually of complex specification, often playing music or with astronomical features, many for export to Northern Europe. When the work of both makers is compared it becomes apparent that they must have had a close working relationship. A good example illustrating the similarities of both makers work, can be seen when comparing two japanned musical table clocks sold at Sotheby’s in 2006/7. The first example, by DuChesne, sold in London on 14/12/06 (lot 66) the second, by DeCharmes, also sold in London, on 25/04/07 (lot 81). Both these clocks are of similar specification and are in near identical cases, only differing slightly in detail. The dial layout of the current lot with two subsidiary dials beneath a central feature (either signature plaque or third dial) appears to have been the favoured format of DuChesne at this period. This coupled with the use of fitted disc collets around the winding holes (also favoured by DuChesne) and the fact that the 24 hour wheel is signed by him confirms that the movement was supplied by DuChesne to DeCharmes for use in this clock, complete with the finished dial to which he had only to add a signed boss. The case on the other hand exhibits details which appear to be unique to DeCharmes, most noticeably the unusual break-arch moulding above the trunk door. This feature (coupled with directly comparable caddy configurations and break-arch detail immediately above the arch of the case) can be seen on two other examples by DeCharmes. The first (now with later marquetry) was sold by Sotheby’s, London on 19/12/00 (lot 335) the second also sold by Sotheby’s in London on 23/03/99 lot 252. The case can also be compared with a marquetry example housing a grande sonnerie movement by Quare (number 145) illustrated in Robinson, Tom The LONGCASE CLOCK pages144-5 which Robinson dates to 1716-18. The brass half-round moulding applied to the front door and side windows of the hood is also a feature often found on examples by Quare. Clocks of three month duration are extremely rare, especially example which also strike the hours due to the enormous power reserve required to operate for a full three months. To tackle this problem Joseph Knibb developed Roman striking, (a coded form of hour notation on two bells one representing the ‘I’ on a dial the other ‘V’) in order to reduce the amount of power required. The current lot however, in addition to striking the full hours for the entire three-month period also has reserve built into the hour train to allow reasonable operation of the pull-quarter repeat over that period. Both . The movement and case are of suitably substantial construction to accommodate the strains and stresses created by the heavy driving weights. The extraordinary specification of the movement coupled with the complex dial layout and impressive proportions of the case suggests that this magnificent clock was made for an extremely wealthy client who wished to express his high status in the most appropriate manner.
A fine George III mahogany quarter-chiming eight-day longcase clock with moonphase. Sadler, Norwich, late 18th century. The substantial five-pillar triple train movement chiming the quarters on a nest of six bells and striking the hour on a further bell, the 13 inch brass break-arch dial with sweep calendar hand and flush-fitting silvered subsidiary seconds dial to the finely engraved ho-ho bird inhabited rococo scroll decorated matted ground within an applied silvered Roman numeral chapter ring with sweep calendar to inner track, Arabic five minutes and signed Sadler, Norwich to lower edge, the angles applied with cherub-head and foliate cast spandrels beneath rolling moonphase to arch, the case with foliate-capped verre eglomise fronted pagoda upstand and swan neck pediment above reeded columns to hood above swollen frieze to throat and shaped-top double book-matched flame figured mahogany veneered door flanked by quarter columns to trunk, on a shaped raised-panel fronted plinth base with ogee bracket feet 251cm high. Provenance; ex Caister Castle, Great Yarmouth.A Thomas Sadler is recorded in Baillie G.H. WATCHMAKERS & CLOCKMAKERS OF THE WORLD as working in Norwich 1752-84
A fine Queen Anne ebonised eight-day longcase clock. John Knibb, Oxford, early 18th century. The fully-latched five finned-pillar inside countwheel bell-striking movement with separate shaped-cock for the pallet arbor and backplate cut for the pallets, long crutch and 11.75 inch square gilt brass dial with delicate border engraved calendar aperture, silvered subsidiary seconds ring and blued-steel hands to the finely matted centre within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes and signed John Knibb, Oxon to lower edge, the angles applied with gilt twin cherub and crown pattern spandrels, the case with Knibb type button-capped giltwood centre finial flanked by conforming brass examples to the domed caddy upstand with blind fret infill beneath, with moulded cornice with conforming fret to frieze and integral columns with gilt brass caps and bases to hood door, the trunk with concave throat moulding and lenticle-centred rectangular door, on plinth base with moulded skirt, 229cm high excluding top finial, 241cm overall. Provenance: The property of a private collector. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took-on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Throughout the latter three decades of the 17th century John and Joseph worked in parallel, however when the products from both workshops are examined, it is evident that they had a close working relationship. Joseph Knibb retired in 1697 selling-up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb continued in business until his death in 1722. The movement of the current lot is fully latched and has the feature of separate cock for the pallet arbor (and cut-out for the pallets in the backplate) normally found on earlier clocks by Joseph with butterfly-nut pendulum regulation, however the casting for the pendulum hanging cock differs from those found on earlier clocks and the use of internal countwheel for striking the hours certainly dates it towards the end of the century. From these observations one could speculate that the movement of the current lot may well have been acquired by John from Joseph’s stock when he retired in 1697 or even on his death in 1711 before finishing and fitting with a dial. The fine proportions of the case closely echoes London work of the period. Despite being provincially made (probably Oxford) the case does exhibit features such as the distinctive spherical finials with button-shaped caps (which are often seen on other longcase clocks by the Knibb family) which set it aside from other provincial examples of the period.
A George III brass-mounted ebonised triple pad-top small bracket clock. Lake, Romford, late 18th century. The five-pillar twin fusee bell-striking movement now with anchor escapement and backplate engraved with foliate sprays around a central basket of flowers, the 6 inch white painted break-arch Roman numeral dial signed LAKE, Romford to centre, with gilt painted floral sprays to spandrels beneath STRIKE/SILENT dial to arch, the case with brass carrying handle to the triple brass edged pad applied break-arch top above brass fillet inset arched side windows and moulded angles to front door, on brass bound moulded base with cast ogee bracket feet, 36cm high excluding handle.
A George III brass mounted mahogany pad-top bracket clock. Robert Flight, Bath, late 18th century. The five-pillar twin fusee bell-striking movement now with anchor escapement and signed Rob’t Flight, Bath to the foliate scroll engraved backplate, the 6 inch brass break-arch dial applied with convex circular white enamel Roman numeral centre (some damage) with Arabic five minutes, within foliate cast brass spandrels beneath enamel STRIKE/SILENT dial flanked by conforming mounts to arch, the break-arch case with hinged carrying handle and brass edged pads above arched fishscale frets to sides and caddy moulded angles to front door, on moulded base with cast brass bracket feet, 36cm high.
An early third period large brass lantern clock. The movement and frame attributed to the Fromanteel workshop, circa 1660, the dial later. The two train posted movement with heavily tapered arbors, double-cut hoop wheel, iron countwheel and conversion to anchor escapement with long pendulum and later motion work for two handed notation, the frame with ball feet, well-turned Doric corner columns and distinctive vase finials with four-stage graduated knopped caps, the current dial bearing signature Gibbon, London to the rose and tulip engraved centre within an applied silvered Roman numeral chapter ring with baton half hour markers, with later bell-bearer, foliate scroll cast and pierced frets, brass backplate and side doors, 44cm high, with an oak wall bracket, pendulum and weights. For examples by the Fromanteel family with comparable frame castings see White, George English Lantern Clocks figures III/22 (page 137), III/64 (page 155), IV/26 (page 175) and IV/59-61 (page 189). On page 148 White comments ‘Fromanteel’s large frames were exclusive to his workshop’. This large lantern clock retains many early features such as separately wound trains, heavily tapered arbors and iron countwheel, however evidence in the central bar of the movement and top plate indicates that this clock was originally made with verge escapement and short pendulum.
A composite Regency style walnut cased bracket clock, 19th century and later, the eight day twin chain fusee movement striking on a single bell, the painted dial with Roman numerals, inscribed "Barrand & Lund London", the case sides with pierced brass frets, the arched top with brass carrying handle, on brass bracket feet, height 45 cm, with pendulum, winding handle, and key.
An early 19th century mahogany cased bracket clock, the eight day fusee movement striking on a single bell, the painted dial with Roman numerals, inscribed "Massey, Bridge Rd, Lambeth", the arched top case with brass fret panels and carrying handle, on gilt metal ball feet, height 43 cm, lacking pendulum and key, (a/f). (Recorded as working at 40, Bridge Road, 1810-35).
A mahogany longcase clock, early 19th century, the hood with flared cornice and gilt capped pilasters enclosing the brass dial with applied spandrels and monthly subsidiary dial, signed Geo Quinton, Downton, the eight day bell striking movement contained within a mahogany case with full length trunk door upon box base, height 187 cm.
A collection of shooting medals comprising three bronze medals, the obverse showing a statue of Victory with four men shooting with inscription `The Bell Medal`, the reverse with decorated laurel leaves with the inscription `Presented by the Society of Miniature Rifle Clubs`, two of the medals are in original case of issue, also a silver and enamel medal with inscription `Miniature Society Rifle Clubs` on a blue and red ribbon and a silverplated watch chain with two silver fobs, one with two crossed rifles with engraved inscription `W & D 1909 to 1910 MRC`.
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