A Victorian engraved gilt-brass carriage timepiece. Dent, London, mid 19th century. The four-pillar single fusee movement with Harrison’s maintaining power, lever escapement between the plates, and vertical monometallic balance with foliate engraved backcock and regulation pointer mounted on the backplate inscribed Dent, London, 1739, PATENT LEVER, the rectangular foliate-scroll engraved single-sheet silvered dial with Roman numeral chapter ring and gilt hands, the case with shaped hinged handle, concave caddy and spire finials above recessed frieze, bevel glazed doors to front and rear and deep foliate scroll work to sides divided by turned pilasters to angles, on stepped moulded base with turned feet, 11.5cm high excluding handle. According to Mercer (Mercer, Vaudrey EDWARD JOHN DENT AND HIS SUCCESSORS page 178) carriage clocks signed Dent, London can be included within the series signed E.J. Dent.. hence the current lot would have probably been made shortly prior to Edward John Dent’s death in 1853. Edward John Dent was a talented horologist who at the age of 17 transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1814 he was becoming well known as a watch and clockmaker receiving commissions from the Admiralty for a ‘Standard Astronomical Clock’ and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks. In 1852 Edward Dent successfully tendered to make the Great Clock to be housed in St. Stephens Tower at the New Palace of Westminster. The clock was completed in 1859, apparently at a financial loss to the firm, however it ensured that the Dent name became a household name synonymous with fine clockmaking. After his death in 1853 the firm was continued by his successors and was still trading well into the latter half of the 20th century.
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A French green onyx and brass four-glass mantel clock. Unsigned, circa 1900. The eight-day gong-striking movement with mercury compensated pendulum and circular white enamel Roman numeral dial in a bevel-glazed case with shaped onyx top and base united by caddy moulded brass uprights, on integral bracket feet, 27cm high.
An French gilt metal Art Nouveau. four-glass mantel clock. Unsigned, circa 1910. The eight-day gong striking movement with mercury compensated pendulum and stylised orchid painted white enamel circular Arabic numeral dial in a rectangular bevel-glazed case with elaborate foliate and whiplash cast pediment above caddy moulded uprights and conforming relief cast base with foliate cast feet, 35cm high.
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.
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 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 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 Edwardian silver hot water jug, London 1905, with wooden finial and scroll handle,the body with reeded bands, William, John, Michael & Stanley Barnard, height 20 cm together with a silver mustard pot, London 1918, a silver bottle holder, Birmingham 1942, with pierced gallery and later white metal claw and ball supports, a silver mounted clothes brush and a silver tea caddy, later marks, approximate gross weight 25.44 oz, (5).
A MID VICTORIAN COROMANDEL WOOD CASKET SHAPED TEA CADDY of generous proportions, having a hinged lid with chamfered and tooled decoration and figured veneers, hinged opening to reveal twin sliding lidded compartments, a central provision for mixing b owl and a Bramah lock, raised on bun feet, 20cm high x 38cm wide
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