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Lot 259
A Victorian caddy spoon George Unite, Birmingham 1839, of single struck King`s pattern with scoop bowl; a Fiddle pattern example with shaped bowl by TW Newcastle date letter lacking; a Fiddle pattern fish slice London 1816, with shaped and pierced bale and engraved crest to terminal; together with a George III tablespoon and a continental ladle with twisted stem (5) combined weight 11oz
Lot 383
Early Victorian bombe papier-mache tea caddy , painted on the black ground in gilt and polychrome with peacocks, flowers and fountains, the interior revealing two lidded boxes and a (non--matching) glass bowl, width 34cm; together with a similar rectangular box, 16.5cm; and a Thetford Pulpware snuffers tray, 22cm. (3)
Lot 18
A rare George III mahogany cistern tube stick barometer, Hannah Adams, London circa 1796, with broken triangular pediment and rectangular silvered vernier scale calibrated in inches and signed Hannah Adams, Fleet Street, LONDON above exposed tube to the caddy moulded trunk, the rounded base with domed cistern cover and level adjustment screw, 96cm high. Provenance: The Estate of the Late Professor Rupert Hall and Mrs Hall Hannah Adams inherited the business on the death of her esteemed husband George Adams in August 1795, she continued the business until the summer of 1796, when the stock in trade of business was sold off to William Jones.
Lot 19
A George III parquetry strung mahogany bulb cistern tube stick barometer Antony Gatty & Co. Reading circa 1810 With broken pediment above rectangular engraved silvered brass scale with vernier, alcohol tube Fahrenheit thermometer and signed Antony Gatty & Co. READING to upper margin, above caddy edge-moulded trunk with exposed tube flanked by angled-grain veneers and parquetry strung borders, with domed cistern cover to the rounded base (glass lacking to front door), 96cm high. Antony Gatty & Co. are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Royal Oak, Fisher Row, Reading circa 1810-40.
Lot 30
A French brass four-glass mantel clock Japy Freres, late 19th century The eight-day gong striking movement with mercury compensated pendulum and visible Brocot escapement to the recessed centre of the two piece white enamel Roman numeral dial in a bevel glazed case with cavetto cornice above caddy moulded uprights and moulded base incorporating bracket feet to the curved corners, 34cm high.
Lot 41
A George II mahogany bracket clock Joseph Smith, Bristol, circa 1750 The six pillar twin fusee movement with trip hour repeat and foliate engraved backplate incorporating signature Joseph Smith, BRISTOL to an elaborate scroll decorated cartouche, the 7 inch brass break-arch dial with calendar aperture, finely worked false bob aperture and silvered plaque with repeat signature to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and rocaille cast spandrels to angles, the arch with Strike/Silent dial flanked by conforming mounts, the bell top case with brass carrying handle above arched side windows and caddy moulded angles, on moulded base with block feet, 46cm (18ins) high excluding handle. 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. Joseph Smith is recorded in Moore A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from several addresses in Bristol 1725-1775. He is generally considered a fine and diverse maker with known examples ranging from eight day longcase clocks with tidal dials to watches with champleve dials. Other bracket clocks by him include a very rare miniature walnut case bracket clock with verge escapement and 4 inch arched dial (private collection) and a fine brass mounted quarter chiming bracket clock with moonphase (illustrated in Barder, R.C. Georgian Bracket Clocks page 112). The current lot with its six movement pillars, exquisite engraved backplate and finely worked dial demonstrates Joseph Smith`s high quality approach.
Lot 44
A George II ebonised table timepiece with pull quarter repeat Edward Cockey, Warminster, circa 1730 The five finned pillar movement with verge escapement and silent pull-quarter repeat sounding the quarters on two small bells and the hour on a larger bell operated via a double groove pulley (to allow repeat cords on both sides) mounted on the foliate scroll engraved backplate, the 7 inch brass break-arch dial with Ho-Ho bird and floral basket engraved decoration to calendar and false bob apertures and ringed winding holes (one false) to the matted centre, within applied silvered Roman numeral chapter ring with fluer-de-lys half hour markers and Arabic five minutes to outer track, the angles with Indian mask and scroll cast spandrels beneath arch with silvered boss signed in Gothic script Edw. Cockey, Warminster flanked by conforming cast mounts, the inverted bell top case with hinged tied floral bud cast brass carrying handle above foliate pierced frets to upper quadrants of the front door and break-arch beneath shaped glazed apertures to sides, the rear door with rectangular glazed panel beneath lunette, on moulded base with small block feet, 41cm (16ins) high excluding handle. 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 a private collector. Edward Cockey senior, born in 1669, was the son of Lewis Cockey (a bellfounder and clockmaker working in Warminster) from whom it is believed 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 of Longleat. Weymouth is thought to have subsequently commissioned Cockey to make another, very similar example, as a gift to Queen Anne for her drawing Room at St James Palace (now residing at the National Maritime Museum, Greenwich). Edward Cockey junior was born in 1701 and although initially thought to have followed in his fathers 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 current lot is one of probably less than half a dozen surviving table clocks by Edward Cockey. The movement is noteworthy in that it incorporates a repeat mechanism which was originally devised by Joseph Knibb to enable a clock to sound the hours and quarters only on demand by pulling one of the lines exiting from the case. In this form the repeat mechanism has to power both hour and quarter striking mechanisms rather than just the quarters before tripping the hour strike train (for striking table clocks). This type of repeating mechanism is often called a `silent pull` and is thought to have been intended for clocks destined for use in the bedchamber, suggesting that current lot would have probably been supplied to a very wealthy individual who could afford to have a clock made primarily for bedroom use. The case is interesting in that the carcass of the caddy is dovetailed into the structure of the case in order to remove the possibility of the caddy coming adrift whilst being transported by the handle.
Lot 45
A fine William IV brass inlaid goncalo alves bracket clock with centre seconds John Cross, Trowbridge, circa 1830 The five pillar twin fusee bell striking movement with deadbeat escapement and decorative border engraved backplate fixed into the case with conforming securing brackets, the 9 inch single sheet circular silvered brass Roman numeral dial signed Jn`o Crofs, TROWBRIDGE to centre and with Arabic fifteen minutes to outer track, the arched case with substantial brass pineapple finial and plinth applied to the shallow caddy upstand above contra-parti brass and ebony foliate marquetry arched border enclosing brass bezel with generous convex glass for the dial and recessed apron panel further decorated with heraldic design incorporating stags and foliate trails within bead moulded border, the sides veneered in decorative bands with brass ring handles above Gothic arch sound frets, on moulded base with brass ball feet, 61cm (2ft) high, with wall bracket decorated in premier-parti with foliate designs to frieze above brass inlaid scroll support with spade terminal, 88cm (2ft 11ins) high overall. 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: Purchased by M.W. Allday Esq. of `The Shrubbery`, Hartlebury, Worcestershire from Peter Dryden Ltd. Antiques & Works of Art, Ferndown, Dorset, 11th March 1968, thence by descent to the current owner. John Cross is recorded in Loomes, Brian, Watchmakers & Clockmakers of the World Volume 2 as working in Trowbridge circa 1830. An apparently identical premier-parti version of the case housing the current lot is illustrated in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 on page 299 enclosing a movement by Thomas Noble of Bath who worked 1829-50.
Lot 48
A small walnut quarter chiming eight-day longcase clock Elliott for Garrard & Co. Ltd, London, 20th century The triple-train weight driven movement with deadbeat escapement, Harrison`s maintaining power and chiming the quarters on four tubular gongs with hour strike on a further gong, the 8.25 inch square brass dial inscribed Garrard & Co. Ltd., 112 Regent Street, London. AN Elliott CLOCK to the scroll engraved centre within applied narrow silvered Roman numeral chapter ring with stylised fluer-de-lys half hour markers and Arabic five minutes within the outer track and winged cherub head cast spandrels to angles, the case with shallow dome caddy to hood and long rectangular quarter-veneered door to trunk, on conforming plinth base with moulded skirt and compressed bun feet, 175cm (5ft 9ins) 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.
Lot 57
A rare George II scumbled pine thirty-hour longcase clock John Wainwright, Wellingborough, circa 1740 The plated outside countwheel bell striking movement with 11 inch square brass dial signed John Wainwright, Wellingborough, No: 1403 to centre within an applied Roman numeral chapter ring with lozenge half hour markers and female mask and scroll cast spandrels to angles, the case with ogee caddy upstand above moulded cornice, fretwork frieze and integral pilasters to hood door, the trunk with rectangular door, on plinth base with moulded skirt incorporating shaped apron, the surface with painted grained decoration to resemble walnut, (worn), 220cm (7ft 3ins) 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 a lady. John Wainwright is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Wellingborough, Northants 1738-51. The case of the current is directly comparable to that housing the following lot (from the same vendor) confirming that they must have been supplied by the same casemaker. Furthermore both have survived in remarkably original condition each retaining most of the original surface finish as well as the base section which is very rare for a pine case of this period. The current lot together with the following lot are believed to have been in the same Northamptonshire family since new.
Lot 58
A rare George II scumbled pine thirty-hour longcase clock Giscarde, Thrapston, circa 1740 The plated outside countwheel bell striking movement with 10 inch square brass dial signed Giscarde, Thrapston to an arched nameplate to the matted centre within an applied Roman numeral chapter ring with lozenge half hour markers and unusual winged cherub head, lambrequin and foliate cast spandrels to angles, the case with ogee caddy upstand above moulded cornice, fretwork frieze and integral pilasters to hood door, the trunk with rectangular door, on plinth base with moulded skirt incorporating shaped apron, the surface with painted grained decoration to resemble oak, (worn), 214cm (7ft) 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 a lady. A John Giscarde is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working from Thrapston, Northants in the late 18th century. As the current lot can be stylistically dated to around 1740 it is either an early clock by the same maker or by an apparently unrecorded predecessor. This clock appears to have survived in remarkably original condition and along with the previous lot, a contemporary thirty hour longcase by John Wainwright of Wellingborough (housed in a very similar case), is believed to have been in the same Northamptonshire family since new.
Lot 75
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.
Lot 86
Four George III silver caddy spoons, one by Joseph Taylor, Birmingham 1796, with a shell shape bowl and bright cut handle, another by Cocks & Bettridge, Birmingham 1811 handle, bright cut and pierced rim bowl, a.f., one by Elizabeth Morley, London 1811, the plain bowl with a monogrammed handle, and another attributed to Thos. Northcote, maker`s mark only, with shell shape bowl (4) Visit www.sworder.co.uk for larger image and condition reports.
Lot 102
A George III silver tea caddy, maker`s mark overstruck, T?, London, 1779, of oval form, the hinged cover with leaf and bud finial, bright cut engraved with floral swags and wrigglework borders, with vacant oval cartouches, 10.5cm high 13oz Visit www.sworder.co.uk for larger image and condition reports.
Lot 128
A collection of continental silver/metalwares, comprising: an oblong snuffer`s tray, unmarked, possibly 19th century, a Norwegian caddy spoon, a mote spoon, a souvenir spoon, and a collection of Swedish items comprising three tablespoons, two 1805, three dishes, 1963?, a half fluted circular bowl on stand, possibly 1836, probably by Anders Lundqvist, and a candlestick, 1965 Visit www.sworder.co.uk for larger image and condition reports.
Lot 241
An early Victorian rosewood Tunbridge ware tea caddy, the rectangular top with sloping sides with a tesserae mosaic castellated building, opening to an inalid fitted interior with two caddies, flanking a central aperture, 30.5cm wide 17cm high 15cm deep Visit www.sworder.co.uk for larger image and condition reports.
Lot 312
Attributed to Henry Clay, a George III oval papier mache tea caddy, having a ground mother of pearl and lacquered finish on a green ground within painted anthemion borders, the cover with a double C-scroll ornate white metal handle over an oval escutcheon. 11.5cm. Henry Clay was the pre-eminent manufacturer of papier mache of his time with premises in Covent Garden and Birmingham. George III was one of his patrons and, by 1792, Clay was claiming the title `Japanner to His Majesty`. in 1793, he presented his `New Material for Painting a Pot` to Buckingham Palace, and presented to the Queen a sedan chair painted after Guido Reni. By 1803, Clay`s bill head read `Japanner In Ordinary to His Majesty and to Her Royal Highness The Princess of Wales`. The paper Clay used was made of cotton rags and had a greenish-grey colour. Some of his early objects are marked `Clay patent` under a crown, but much 18th century work was personally commissioned and therefore not every piece was marked. Visit www.sworder.co.uk for larger image and condition reports.
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81449 item(s)/page