A Queen Anne style brass mounted walnut mercury pillar barometer Unsigned, in the manner of Daniel Quare, early 20th century The rectangular engraved brass superstructure enclosing two-piece silvered scale divided for barometric inches and annotated with summer and winter observations beneath grotesque mask engraved caddy flanked by brass finial-shaped recording pointer adjustment screws, above floral decorated rectangular panel to throat and tube concealed within Doric column-turned upright with cavetto moulded upstand to capital and brass collars to the spiral fluted lower section of the shaft, the base with moulded cylindrical cistern, 92cm (36.25ins) high; with a large alcohol Fahrenheit scale thermometer, recent, with arched brass plate in arch-glazed mahogany case with cavetto moulded base, 61.5cm (24.25ins) high, (2).
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A French engraved gilt brass carriage clock with push-button repeat Unsigned, late 19th century The eight-day gong striking movement with silvered platform lever escapement and stamped 2602 to backplate, the rectangular white enamel Roman numeral dial with blued steel spade hands, the bevel glazed corniche case with hinged carrying handle and engraved with floral blooms within rococo scroll bordered panels to top above repeat foliate lozenge decoration to caddy moulded angles, the base with further floral scroll motifs on a matted ground, 14cm (5.5ins) high excluding handle.
A rare Regency brass inlaid mahogany striking drop-dial wall clock Dwerrihouse, Carter and Co., London, early 19th century The five pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the 12 inch circular white painted wood Roman numeral convex dial signed DWERRIHOUSE CARTER & Co, Davies Street, BERKELEY SQ.E to centre and with blued steel spade hands within cast brass convex glazed bezel and caddy moulded turned wooden surround, the box case with side doors above drop-trunk fronted with panel centred with stylised floral decoration within line border interrupted with rosettes to angles flanked by scroll outline ears, over conforming decoration to the quarter-round base incorporating pendulum access flap, (case with repairs and losses), 58.5cm (23ins) high. Dwerrihouse Carter and Co. are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Davies Street, London, circa 1825.
A French gilt brass mounted Boulle `religeuse` style quarter chiming bracket clock Unsigned, late 19th century The eight-day triple train movement with deadbeat escapement, striking the hours on a gong and chiming the quarters on a graduated nest of eight bells mounted beneath the movement, the backplate stamped three times with oval winged hourglass trademark, the 8 inch arched single sheet silvered brass dial with blued steel spade hands and small square for adjusting the Brocot type regulation, the lower and upper margins with fine foliate scroll engraved infill incorporating CHIMING/SILENT selection dial to arch, the case with four gilt brass flambeau urn finials above foliate brown stained shell and cut brass contra parti marquetry decorated caddy and second tier with conforming urn finials and cast baluster gallery frieze to superstructure, over moulded cornice and foliate cast gilt metal bordered arched dial aperture with conforming marquetry surround flanked by cast Corinthian pilaster uprights with panel fronted plinths, the sides with arch glazed apertures with conforming brass surrounds and marquetry infill, on inverted breakfronted shallow moulded base with foliate cast gilt bun feet, 68cm (26.75ins) high.
A George III oak thirty-hour longcase clock Ball, High Wycombe, mid to late 18th century The posted single-handed countwheel bell striking movement with rectangular section steel uprights and 9.75 inch square brass dial decorated with charming engraved landscape of a Thameside watermill and windmill before a sailing craft incorporating an elaborate scroll bordered cartouche signed BALL High Wycomb to centre within applied Roman numeral chapter ring with squat cruciform half hour markers and fine rococo scroll cast spandrels to angles, in a case with dentil cornice above plain door to hood, shaped-top caddy moulded door to trunk, on plain plinth base, 186cm (73ins) high. A Samuel Ball is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in High Wycombe 1786.
A rare ebonised bracket clock with moonphase Signed for John Wilmer, London, mid to late 18th century The five pillar twin fusee bell striking movement with verge escapement and 7 inch gilt brass break-arch dial with calendar aperture and arched silvered plaque engraved Wilmer, LONDON to the highly unusual geometric hatched and ring-turned gilt centre within applied silvered Roman numeral chapter with Arabic five minutes to outer track, the angles with foliate scroll cast and pierced spandrels beneath arch with rolling moonphase calibrated for age of the moon to the outer edge of the disc and with conforming geometric hatched decoration to lunettes, the bell top case with hinged brass carrying handle and gilt flambeau vase finials above glazed dial aperture and scroll chased brass frets to the upper quadrants of the front door with caddy moulded angles, the sides with circular over concave topped rectangular glazed side windows, the rear with conforming door within the frame of the case, on shallow skirt base with moulded brass squab feet, 47cm (18.5ins) high excluding handle.
A Queen Anne ebonised eight-day longcase clock William Moore, London, early 18th century The five finned pillar inside countwheel bell striking movement with 12 inch square brass dial with subsidiary seconds dial, herringbone border engraved calendar aperture and silvered oval signature cartouche W`m. 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 Indian mask and scroll cast spandrels within herringbone engraved outer border, with fine pierced blued steel hands, the case with domed caddy surmount and box upstand above moulded cornice, foliate fretwork frieze and three-quarter pilasters to the glazed hood door, the trunk with concave throat and rectangular door, on conforming plinth base with moulded double skirt (case with restoration), 226cm (89ins) high. William Moore is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1679. He was apprenticed through Charles Gretton to Benjamin Johnson and gained his freedom of the Clockmakers` Company in 1701. Recent research undertaken by Warner Meinen and Dennis Radage, as part of their `Gretton Project`, has identified the fact that William Moore was indeed Gretton`s nephew who, in 1712, moved into Gretton`s premises at `The Ship` and took on three apprentices of his own. Gretton subsequently left to take-up residence at Two Crane Court next door. Moore at this time was signing clocks with his own name (rather than working as journeyman to his uncle) and continued at The Ship until the early 1720`s.
A George I ebony table clock with `silent` pull quarter repeat on two bells Francis Gregg, London, circa 1725 The five finned pillar single chain fusee movement with verge escapement, rise/fall regulation via a snail shaped cam mounted to the rear of the dial and silent pull quarter repeat on two bells, the symmetrical foliate scroll and strapwork engraved backplate with central eagle motif above oval reserve signed FRA: GREGG, AT ST. JAMES`S the 5.75 inch brass break-arch dial with calendar aperture beneath XII over false bob aperture and shaped plate with repeat signature to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and drapery lambrequin cast foliate spandrels beneath arch centred with silvered regulation ring flanked by conforming spandrels, the case with generous hinged brass handle to the inverted bell top above front door with raised mouldings to the glazed dial aperture and upper quadrant frets, the sides with conforming break-arch windows, the rear with door matching the front set within the frame of the case, on cavetto moulded shallow skirt base with squab feet, 39.5cm (15.5ins) high excluding handle; with a later ebonised wall bracket with ogee mounded waist above cavetto moulded section terminating in an inverted ogee caddy, 18cm (7ins) high; the clock and wall bracket 47.5cm (22.5ins) high overall excluding handle. Francis Gregg is recorded in Loomes, Brian The Early Clockmakers of Great Britain as born circa 1677 and apprenticed to John Clowes in 1691 through to 1698, he is recorded working in Russell Street in 1711 and then in St. James`s 1714-29 when he was declared bankrupt. His work tends to be of high quality and distinctive with at least one longcase clock of month duration with annular calendar and equation of time of the type normally signed by John Topping known (illustrated in Robinson, Tom THE LONGCASE CLOCK page 232). The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bed chamber; whilst striking clocks with quarter repeat facility were generally intended to be used downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers and can be directly compared with another example by Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON`S CHOICE pages 78-9. The case is also of fine quality with generous handle, bold mouldings, break-arch side apertures and squab feet being reminiscent of those housing movements and dials by highly esteemed makers such as George Graham and Delander. An almost identical clock can be seen in the collection of the National Trust at Mompesson House, Salisbury.
A William III burr walnut eight-day longcase clock Joseph Windmills, London, circa 1695 The six finned and latched pillar rack and bell striking movement with anchor escapement and 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed J: Windmills, London to lower edge, the angles with gilt twin cherub and crown cast spandrels with foliate engraved infill between, in a case with gilt ball finials to the domed caddy upstand above moulded cornice, fine foliate pierced frets to frieze and generous three-quarter columns with gilt caps and bases flanking dial aperture, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up the underside of the cornice projection, the trunk with convex throat moulding and 41 inch book matched veneered door, the sides divided into pairs of panels with line borders, on crossbanded plinth base with bun feet (case probably with restoration) 214cm (7ft) high excluding top finial, 222cm (87.5ins) high overall. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers` Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark Lane End, next Tower Street by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph`s death in 1724. As a contemporary of Knibb, Quare and Tompion Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. The current lot is no exception as the movement is very well made with no less than six finely turned and latched pillars, the underdial lever work for the rack strike is also fully cocked (rather than pivoted on steel posts alone). The dial is typical of Windmills at this period with the winding holes, calendar aperture and centre of the seconds dial having ring-turned decoration, and the chapter ring utilises his preferred form of stylised sword hilt half marker. A slightly later clock with almost identical movement and dial is illustrated in Neale A.J. Joseph and Thomas Windmills.., page 123 (fig. 5.3). The case is also of fine quality with richly figured veneers and `Tompionesque` proportions. The current lot is in has been consigned in fine presentable working order however the case has probably had some well executed conservation work undertaken in the past.
A George III blue chinoiserie japanned eight-day tavern clock William Gostling, Diss, circa 1785 The four pillar movement with anchor escapement, five-wheel train and slightly tapered plates, the 25 inch circular cream painted slightly convex circular Roman numeral dial with Arabic five minutes to outer track and pierced brass heart hands within gilt highlighted blue japanned moulded surround, the drop-trunk case signed in gilt Will`m Gostling, Diss between leafy scroll painted shaped ears to throat, above concave-topped caddy moulded door decorated in raised polychrome and gilt with oriental pavilions and exotic birds beneath sun disc issuing radial rays on a dark blue ground, within fine gilt trellis painted borders above ogee moulded canted foot decorated with stylised scallop shell in a field of foliate scrolls, the sides with pendulum access flap above large stylised floral spray decoration, 148cm (58.5ins) high. William Gostling is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Diss 1774-91. An early dial clock by William Gostling is illustrated in Rose, Ronald E. English DIAL CLOCKS on page 54.
A George III mahogany eight-day longcase clock Thomas Green, Bristol Hotwell, circa 1790 The four pillar rack and bell striking movement with 12 inch white painted Roman numeral break-arch dial with subsidiary seconds dial, arched calendar aperture and signed THO. GREEN, Briftol Hotwell to centre, the angles with gilt foliate scroll decoration beneath arch with central Adam style urn flanked by further Classical scrollwork, the break-arch case with dentil cornice and blind fret frieze above fluted Corinthian pilasters to hood, fine flame veneered shaped-outline rectangular caddy moulded door flanked by canted angles to trunk, on conforming raised panel fronted plinth base with moulded skirt, 225cm (88.5ins) high. Thomas Green is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. Please note: The movement and the dial are not original to the case
GEORGE V SILVER OVAL TEA CADDY AND A SILVER CIGARETTE BOX the tea caddy with reeded border to the hinged lid and base, and with twin lionhead and ring handles, maker Atkin Brothers, Sheffield 1921, approximately 479g, 16cm wide; the cigarette box with engine turned decoration and cedar lined interior, London marks, 18cm wide (2) The caddy is undamaged with good clear marks; the box has several tiny dent, the cartouche is monogrammed, the marks are slightly rubbed though legible
COLLECTION OF SILVER AND PLATED CUTLERY AND OTHER OBJECTS including two pairs of grape scissors, six silver coffee spoons, silver caddy spoon, silver condiment ladle, provincial silver teaspoon, silver salt spoon, two silver souvenir spoons, silver fork and a silver brush, total approximate weight for silver objects 115g
A George III burr yew, rosewood strung and marquetry tea caddy in Sheraton style, circa 1780, of rectangular form with canted angles, the hinged cover and front with shell motifs in oval reserves, the interior with central division, 11.5cm high, 18.5cm wide; a George III satinwood and marquetry tea caddy, circa 1790, of rectangular form, the hinged cover with copper ring handle within a foliate border, the front with swag motifs, the interior with twin subsidiary caddies with sliding covers, 13.5cm high, 25.5cm wide; and a George III satinwood and marquetry tea caddy in Sheraton style, late 18th century, of rectangular form with canted angles, decorated with shell motifs in oval reserves to cover and front, the canted front angles with vases of flowers, 11.5cm high, 12.5cm widePlease note the revised estimate of £400-£500
A George II mahogany and ivory chequer strung tea caddy, second quarter 19th century, of rectangular form with brass swing handle to the hinged cover, on bracket feet, the interior with two divisions, 15cm high, 25.5cm wide; an early George III mahogany tea caddy, circa 1765, of rectangular form, the hinged and cavetto edged cover with brass swing handle, above a moulded base, the interior with two divisions, 14cm high, 24cm wide; and a George III satinwood and crossbanded tea caddy in Sheraton style, circa 1780, the hinged cover with floral marquetry within an oval reserve, the interior with subsidiary cover, 12cm high, 14cm wide
A French gilt brass mounted oak mantel clock retailed by Bushell, York, circa 1900, the eight-day gong striking movement with gilt rosette-centred convex Roman numeral dial inscribed BUSHELL, YORK within bevel glazed bezel, the rectangular case with cherub surmount and gilt fishscale cast mounts to the shallow caddy upstand within scroll pierced mounts to the cornice above lyre pierced cast oval blind frets to sides and foliate quadrant mounts around dial, the angles applied with conforming projecting mounts, on cavetto moulded base applied with scroll cartouche to front, on brass bracket feet, 36cm high
A George IV mahogany and silver mounted tea caddy, circa 1825, of rectangular form with ebony stringing, the interior with twin subsidiary caddies and an associated glass bowl, 15cm high, 30.5cm wide; a George III lacquered and parcel giltwood tea caddy, late 18th century, of sarcophagus form, 16cm high; a George III and later decorated oval mahogany tea caddy, late 18th century, 13cm high; and two further George III mahogany tea caddies, late 18th century, of rectangular form, one with shell marquetry Provenance: Widgenton House, Buckinghamshire.
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81455 item(s)/page