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Lot 360
A Victorian black lacquered papier-mache and mother of pearl inlaid tea caddy of swept sarcophagus form, the domed top painted with flowers opening to reveal a two section interior, 26 cm wide CONDITION REPORTS There are signs of cracking to the lacquerwork throughout conducive with age. The caddy has had some restoration as there has been some colouring in of chips to the edges, particularly around the base. The lacquerwork is chipped in numerous places around the bottom edge. The interior - one handle has a small chip. There are signs of foil still to the inside. There are some surface scratches throughout.
Lot 365
A black lacquered gilded and painted tea caddy of bombé sarcophagus form in the Chinoiserie taste, opening to reveal a removable tin liner stamped "R Seymour, York Maker", raised on turned ebonised feet, 23 cm x 18.5 cm CONDITION REPORTS Knocks and bumps throughout. Overall colours are reasonable. Interior shows signs of wear throughout. The base has a section of paper missing. The feet appear to be later replacements, and previous holes are visible. It looks as though it has had some restoration in the past but, but some time ago.
Lot 366
A late George III paper roll or quilling decorated tea caddy of elongated hexagonal form, decorated with panels of wreaths and lyres, the front panel with oval painted silkwork portrait of a lady, 18.5 cm wide x 13.5 cm high CONDITION REPORTS Signs of shrinkage between the top and the base as there is a clear gap between the two. There is a large amount of fading to the portait, the baize from the underside has almost disappeared altogether. The joint at the back - there is a small piece missing bottom corner. There is some general fading throughout. Interior - there is very little foil remaining but there are some remnants. Would suggest that the lid hinges are possibly replacements. Please see images for examples.
Lot 182
A Victorian silver tea caddy modelled in the early George III style of circa 1760, of bombe form, with rococo style C scroll, floral spray and shell decoration, atop four acanthus leaf scroll supports, the hinged cover with rococo shell finial, hall-marked for Thomas Bradbury, London 1900, height 15 cm, weight 9.5 ozt / 295 g approx
Lot 3105
A Japanese shaped ogee marquetry and lacquer collector's cabinet, hinged caddy top above a pair of short drawers, the waist with hinged doors opening to reveal an arrangement of six short drawers, the base with a further long drawer, inlaid throughout with geometric motifs, 46cm high, 35.5cm wide, Shōwa Period
Lot 140
A fine Queen Anne walnut eight-day longcase clock John Knibb, Oxford A fine Queen Anne walnut eight-day longcase clock John Knibb, Oxford, early 18th century The five fully latched and crisply turned finned pillar inside countwheel bell-striking movement with anchor escapement regulated by seconds pendulum, the 11.875 inch square brass dial with delicate border engraved calendar aperture and subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with fine pierced steel hands and gilt winged cherub mask spandrels to angles within deep herringbone engraved outer border incorporating signature IOHN * KNIBB * OXON to lower margin, the walnut case with three cast brass flambeau urn finials to the domed caddy surmounted foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns set against bargeboards, the trunk with convex throat above 41 inch rectangular door fronted with book-matched burr veneers laid in quarters, the sides divided into pairs of panels within crossbanded borders, on ogee moulded plinth base with book-matched veneers within herringbone bordered crossbanded surround to front over applied moulded double skirt, 240cm (94.5ins) high excluding top finial, 253cm (99.5ins) high overall. 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. 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 became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph's larger concern in London. The strong similarities between John's best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The movement of the current lot is fully latched with the usual delicate wheelwork and typical Knibb feature of having no bridge for the hour wheel to the frontplate. The dial plate is unusual in having a broad herringbone border interrupted by the bold signature at the base which echoes that of an earlier (circa 1680) clock by John Knibb in Ashmolean Museum, Oxford. The half hour markers and engraved decoration to the calendar aperture however are 'typical' of John Knibbs later work; the case echoes London work of the period despite being provincially made (probably Oxford) and is veneered in well chosen figured walnut.
Lot 138
An ebony small table timepiece with silent-pull quarter-repeat on two bells... An ebony small table timepiece with silent-pull quarter-repeat on two bells The movement and dial by Benjamin Wright, London, circa 1690, the case later The four finned and knopped pillar movement with verge escapement regulated by short bob pendulum and silent-pull quarter-repeat sounding the hours and quarters on two bells mounted above the plates, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Benjamin Wright, Londini Fecit to a lambrequin cartouche to centre, the 6.125 inch square gilt brass dial with single winding hole and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles with foliate scroll inlaid infill to margins between, now in an ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the domed caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll mounts to jambs, the sides with conforming rectangular windows beneath lozenge-shaped foliate scroll pierced sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow moulded skirt over ebonised disc feet, 31cm (12.25ins) high excluding handle. Benjamin Wright is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1664, apprenticed to Abraham Prime in April 1678 and gaining his freedom of the Clockmakers' Company in July 1685. He is believed to have worked from Bell Alley, Coleman Street, London and died before January 1709 when his widow, Mary, is recorded taking George Wright as an apprentice. 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 night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence 'silent-pull' quarter repeating timepieces are rarer as the original owner have to have been extremely wealthy to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is essentially based on the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7.
Lot 1
A German ebonised cased pair of coin scales Johann Caspar Mittelstenscheid A German ebonised cased pair of coin scales Johann Caspar Mittelstenscheid, Lennep, early 19th century With filed steel beam fitted with central knife-edge pivot incorporating vertical pointer within arched armature to centre and loops for attaching the brass pans suspended via three cotton lines to each end, in ebonised pocket case with a selection of various weights named with their numismatic equivalent and applied with trade label to lid inscribed Deife geachte Waag und Gewicht, macht, Ibro Churfurftl. Durchl., zu Pfalz-Bayern, gnagigft privilegirter und, gefchworner, JOHANN CASPAR MITTELSTENSCHEIDT, in der Bergifchen Hauptftadt Lennep, 18.. the exterior of the case with caddy moulded edge to top and two hinged securing clasps, (two weight apertures vacant), 18cm (7ins) wide; with a German simple portable lacquered brass table-top sextant, Polytechniker Brandegger, Ellwangen, mid 19th century, the folding frame with cylindrical section lower rail drilled to take adjustable tripod supports and fitted at one end with pivoted arched scale calibrated in degrees, the other end with angled upper frame member drilled for a plumb bob at the apex and central adjustable arm stamped Brandegger fitted with pin-hole projection sight and steel pointer for the elevation scale, in original scumbled pine box with wooden rule and printed with trade label inscribed Taschen-Sertant, .. Stellung der Uhr, nach der Sonne, von, Polytechniker Brandegger, in Ellwangen , the box 23cm (9.125ins) long, (2). Johann Caspar Mittelstenscheid was born in 1764 and trained under his uncle Peter Braselmann, in Wichlinghausen. He specialised in producing coin scales and died in 1819.
Lot 81
A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned, mid to late 19th century The triple train weight-driven movement striking the hour with every quarter on a pair of graduated gongs, the going train with deadbeat escapement regulated by wood rod pendulum with large brass lenticular bob, the two-piece white enamel Roman numeral dial with pierced steel hands and moulded brass bezel, the case with elaborate break-arch pediment applied with urn finials and turned rosette to frieze over full-height arch glazed door flanked by corbels and short spiral twist columns to the canted moulded uprights, the sides with tall rectangular windows, the base with inverted bell-shaped caddy with pendant finial, 129cm (51ins) high.
Lot 161
A George III mahogany longcase regulator William Hewlett, Bristol A George III mahogany longcase regulator William Hewlett, Bristol, circa 1785 The four pillar eight-day single train movement with bolt-and-shutter maintaining power and deadbeat escapement regulated by seconds pendulum with heavy lenticular bob, the 12 inch square silvered brass dial with shuttered winding hole and signed William Hewlett, Bristol to centre beneath brass ring bordered panel incorporating sector with Roman numerals for the hours within outer sweep Arabic five minute track, the case with swan neck pediment superstructure over moulded cornice, plain frieze and glazed hinged dial aperture flanked by columns with brass caps and bases, the trunk with concave throat moulding over caddy moulded rectangular door, on plain plinth base with bracket feet, (movement with possible alteration), 209cm (82.25ins) high excluding later finial. William Hewlett is recorded in Moore, A.J. The Clockmakers of Bristol 1650-1900 as working in Bristol circa 1775-97. Evidence in the movement plates would suggest that the current lot was originally made with a subsidiary seconds dial positioned within the area now occupied by the brass ring enclosing the hour sector. This possibility is further supported by the fact that the hour sector is cut into a separate circular plate inserted into an aperture in the dial with the brass ring serving to conceal the join. Interestingly the hour disc (fitted behind the sector aperture) is made form a piece of recycled brass as the rear is engraved with a lantern clock dial centre signed for John Culliford of Bristol. The fact that the current lot was originally made to display minutes and seconds only would suggest that it served to test the timekeeping of watches, hence was probably made as the 'shop regulator' for Hewlett's own use. The conversion to show hours was probably done early in its life to make it more appropriate for subsequent usage.
Lot 164
A George III mahogany eight-day longcase clock Samuel Bradley, Worcester A George III mahogany eight-day longcase clock Samuel Bradley, Worcester, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and signed SAM'L BRADLEY, WORCESTER to a shaped silver plaque to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn foliate cast spandrels to angles beneath arch centred with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a case with open centred break-arch cavetto cornice incorporating scroll cartouche to apex and foliate scroll pierced blind fret frieze over fluted columns flanking the glazed dial aperture, the plain sides with half columns applied to the rear, the trunk with break-arch caddy moulded crossbanded door flanked by fluted quarter columns over raised shaped panel fronted plinth base with fluted canted angles and moulded shallow skirt incorporating reduced ogee bracket feet, 223.5cm (88ins) high. Samuel Bradley is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1744 until his death in 1783.
Lot 175
A fine George III ºngo' cased black chinoiserie japanned tavern timepiece... A fine George III ºngo' cased black chinoiserie japanned tavern timepiece John Rayment, Huntingdon, circa 1785 The substantial six pillar eight-day movement with high pinion count to the five-wheel train and anchor escapement regulated by seconds pendulum, the 17 inch circular gilt on black Roman numeral dial with Arabic five minutes to outer track and decorative pierced gilt brass hands set behind substantial hinged glazed wooden ogee moulded bezel within caddy moulded border to the dial panel behind, the teardrop shaped drop-trunk case signed in gilt John Rayment Huntingtdon in a curve to throat above concave-topped baluster outline lift-out door finely decorated in raised polychrome and gilt with figures and oriental pavilions including a female in European dress within double line border and continuous gilt scroll band painted surround, the sides with movement access panels above large stylised floral spray decoration, the base with ogee moulded canted foot decorated with further large scale foliate motif to front, 140cm (55ins) high. Provenance: George Fludyer, (d.1837) and by descent through the Fludyer Family, finally to Sir Arthur John Fludyer, 5 th and last baronet, who died childless in 1922. Then to his sister Katherine who married Henry Randolph Finch of the Croft, Manton, second son of George Finch, Burley-on-the-Hill, Rutland and by descent. The Finch Family had the title of the The Earls of Winchelsea and Nottingham Burley-on-the-Hill. John Rayment is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Huntingdon 1751-95. The current lot is unusual in having a wooden glazed bezel which would suggest that the owner sought to ensure that the hands could not be tampered with when in use. From this it may be appropriate to speculate that the timepiece could have been supplied for use in the servants hall of a large country house rather than in a tavern or other public place. This possibility is supported by the continuous single-family provenance which is also perhaps the principal reason why the timepiece has survived in fine original unrestored condition.
Lot 152
An ebonised miniature thirty-hour longcase timepiece with alarm The movement... An ebonised miniature thirty-hour longcase timepiece with alarm The movement and dial by Conyers Dunlop, London, circa 1740 The posted single-handed movement with verge escapement regulated by short bob pendulum swinging to the rear of the clock and alarm set within the frame behind the going train, the 5 inch brass break-arch dial with alarm disc and pierced steel hand to the matted centre within applied silvered Roman numeral chapter ring and rococo scroll cast spandrels to angles beneath circular boss signed Conyers Dunlop, London flanked by conforming mounts to arch, with domed bell bearer behind, in an ebonised case with ball and spire finial to the shallow domed caddy superstructure over ogee moulded cornice, scroll cast brass infill mounts and break-arch glazed door to hood, the trunk with concave throat moulding over slender caddy moulded rectangular door and ogee moulded plinth base with applied skirt, (case with restoration), 193cm (76ins) high excluding finial; 206cm (81ins) high overall. Conyers Dunlop, the son of renowned clockmaker Andrew Dunlop, is recorded in Baillie. G.H. Watchmakers & Clockmakers of the World as apprenticed in 1725 gaining his freedom of the Clockmaker's Company in 1733; he was appointed Master in 1758 and died in 1779.
Lot 148
A Queen Anne ebonised eight-day longcase clock Etherington, London A Queen Anne ebonised eight-day longcase clock Etherington, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with rise/fall regulation to suspension, the 12 inch shallow break-arch brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Etherington, London to lower margin, with fine pierced steel hands and crisply cast gilt brass Indian mask and scroll spandrels to angles within herringbone engraved outer border, the shallow arch centred with applied arched silver rise/fall regulation scale annotated Slo/Fas and divided 0-60 within fine symmetrical foliate scroll engraved field incorporating basket of fruit and strapwork over festoon to centre and conforming herringbone border to upper margin, the ebonised case with brass ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand over moulded cornice and conforming foliate pierced quadrant frets to frieze and generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with arched apertures and quarter columns set against bargeboards at the rear beneath further rectangular blind frets, the trunk with concave throat above 42 inch rectangular door centred with a brass lenticle, on ogee moulded plinth base applied with two-tier moulded skirt, (case reduced in depth), 259cm (102ins) high excluding finials; 277cm (109ins) high overall. Provenance: By repute formerly at Marston House, Somerset. Literature: The dial of the current lot is illustrated in Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 on page 39 (Fig. 40). George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the oath of allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. George Etherington's work can generally be characterised as distinctive, often impressive and innovative in its decorative form; this very much follows the shift in fashion towards increased scale and heightened decoration which occurred during the Queen Anne period. The current lot is typical of this approach with the very early use of a shallow break-arch dial featuring unusual arched regulation scale within a finely engraved field. The case is also of impressive proportions and was almost certainly made by the same case maker responsible for that accommodating a clock of six week duration by John Lowndes which was sold in these rooms on Tuesday 15th September 2015, lot 204.
Lot 130
A fine George III ebonised table clock with pull-quarter repeat on six bells... A fine George III ebonised table clock with pull-quarter repeat on six bells John Jefferys, London, circa 1750 The six pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull quarter repeat sounding on a graduated nest of six bells followed by the hour on a single larger bell, the symmetrical foliate scroll engraved backplate signed John Jefferys, London beneath a stylised basket of fruit to centre, the 7 inch brass break-arch dial with shaped false bob aperture backed with silvered name plate engraved Jn'o Jefferys London and calendar to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast brass spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, the inverted bell top case with hinged brass carring handle over brass fillet inset break-arch glazed dial aperture and fine foliate scroll engraved and pierced upper quadrant frets flanked by caddy moulded angles to the full-width front door, the sides with further engraved brass circular sound frets over concave-topped brass fillet inset rectangular glazed apertures, the rear with door set within the frame of the case with break-arch window and further scroll pierced ebonised upper quadrant frets, on cavetto moulded skirt base with squab feet, 44.5cm (17.5ins) high excluding handle. John Jeffrys was an important clock and watchmaker (through his association with John Harrison) who was born in Midgham, Berkshire in 1701. In November 1717 he was apprenticed to in London to the watchmaker Edward Jagger gaining his freedom of the Clockmakers' Company in 1726. In 1735 Jeffrys took Larcum Kendall as an apprentice followed by another named Jethro Tull in 1739. In 1751-2 Jeffrys was commissioned by John Harrison to make a watch for his personal use mainly to assist with astronomical observations and interval timing. In order to satisfy Harrison's needs the timepiece was specified to incorporate features such as maintaining power, centre seconds and bimetallic strip temperature compensation for the modified balance. On completion the watch performed beyond expectations leading Harrison to focus his attention on watch-based technology to create a suitably accurate marine timekeeper. John Jeffrys died in 1754 leaving his workshop in the hands of his former apprentice, Larcum Kendall, who continued to assist John Harrison with the development of H4 before producing his own versions (K1 and K2) of Harrison's design in order to satisfy the requirements of the Board of Longitude. The current lot is one of only a small handful of clocks known by Jeffrys and is notable in that the repeat work operates with a slight but precise action which befits the description of him being a 'Repeating motion maker'. In addition to this the signature is executed in the same manner as that of his famous watch further leaving little doubt that it originated from his workshop.
Lot 146
A fine George II japanned eight-day quarter chiming musical longcase clock... A fine George II japanned eight-day quarter chiming musical longcase clock Newman Cartwright, London, circa 1730 The substantial five pillar triple train rack and bell striking movement with anchor escapement regulated by seconds pendulum, the musical train peeling the quarters and playing a choice of two tunes on the hour via a sixteen hammers on eight bells, the 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and applied arched signature plate Newman Cartwright, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and applied female mask and scroll cast spandrels to angles beneath arch centred with A Minuett/A March tune selection dial flanked by dolphin cast mounts, in a black japanned case with domed caddy surmount to the blind fret fronted box upstand over moulded cornice and conforming infill to the quadrants above the break-arch glazed hood door decorated with gilt foliate trails, the sides with rectangular glazed apertures and quarter columns applied to bargeboards at the rear, the trunk with floral spray painted concave throat moulding over break-arch door finely decorated in raised polychrome and gilt with a stag being pursued by hounds within an arcadian Oriental landscape with pavillions, the surround further decorated with foliate trails beneath birds to upper quadrants, the sides painted with full height flowering foliage, on cavetto moulded plinth base with conforming landscape scene to front and applied skirt over squat ogee bracket feet (wear and loss to decoration), 234cm (92cm high). A clockmaker with the name Newman Cartwright does not appear to be recorded in the usual sources however a watch dating to around 1720 by 'N. Cartwright, Lombard Street' (with pierced silver pillars) is noted in Britten, F. J. FORMER CLOCK AND WATCH MAKERS AND THEIR WORK. In addition to this a walnut eight-day longcase clock by Newman Cartwright, also dating to around 1720, was sold at Chorley's, Prinknash Abbey on 24th June 2010 (lot 445) for £3,000 hammer. Finally a record of successful proceedings and notice of a meeting for debtors relating to the bankruptcy of Newman Cartwright 'of Lombard Street, Silversmith and Chapman' is recorded in the Gazette printed in late May or early June 1758.
Lot 171
A fine George III mahogany quarter chiming eight-day longcase clock Ellicott A fine George III mahogany quarter chiming eight-day longcase clock Ellicott, London, circa 1770 The six pillar triple train movement with deadbeat escapement regulated by seconds pendulum, chiming the quarters on a graduated nest of eight bells and striking the hour on a single larger bell, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Ellicott, London to lower margin, with fine pierced blued steel hands and rococo cast spandrels to angles beneath subsidiary STRIKE/SILENT selection dial flanked by conforming mounts to arch, in a mahogany break-arch case with cavetto cornice and plain frieze over brass stop fluted columns flanking the glazed dial aperture, the sides with break-arch windows and quarter columns applied to bargeboards at the rear, the trunk with shaped-top caddy moulded flame figured door flanked by brass stop-fluted quarter columns over raised panel fronted plinth base with further conforming quarter columns to angles and applied moulded double skirt incorporating squat bracket feet with shaped apron between, 231cm (91ins) high. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers' Company in 1696 and died 1733. John junior worked from Swithin's Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772.
Lot 121
A George III fruitwood table clock Unsigned A George III fruitwood table clock Unsigned, circa 1760 The five pillar twin fusee bell striking movement with fine Ho-Ho bird and grotesque mask centred foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and shaped false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and pierced steel hands within applied rococo scroll cast brass spandrels to angles beneath arch centred with rosette engraved subsidiary Strike/Silent selection dial flanked by Indian mask and scroll cast infill mounts, the bell top case with hinged brass carrying handle over front door with applied raised mouldings bordering the glazed dial aperture flanked by caddy moulded angles, the sides with blanked-off circular over concave topped rectangular apertures, the rear with door matching the front, on moulded skirt base (formerly ebonised), 46cm (18ins) high excluding handle.
Lot 162
A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.
Lot 124
An Irish George II mahogany table timepiece Phil An Irish George II mahogany table timepiece Phil. Cusack, Wexford, mid 18th century The four pillar single fusee movement with verge escapement incorporating sprung 'silent' pallets regulated by short bob pendulum, the 7 inch brass break-arch dial with shaped false bob aperture to centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Phil. Cusack, WEXFORD to lower margin, with pierced steel hands and angles applied with rococo scroll cast spandrels beneath arch centred with silvered calendar ring flanked by Indian mask and scroll cast infill mounts, the inverted bell top case with hinged brass carrying handle over complex mouldings to leading edges, the front with full width break-arch glazed door incorporating caddy moulded angles, the sides with break-arch windows and the rear with conforming glazed rectangular door set within the frame of the case also flanked by caddy moulded angles, on shallow moulded skirt base with brass ball feet, (movement with losses), 46cm (18ins) high excluding handle. Phil. Cusack of Wexford appears not to be recorded in the usual sources.
Lot 6
A George III mahogany stick barometer Dollond, London A George III mahogany stick barometer Dollond, London, late 18th century With open triangular pediment above rectangular brass vernier scale calibrated in barometric inches, with the usual observations and signed Dollond, London near the upper margin, the chevron veneered caddy moulded trunk inset with visible tube over hemispherical cistern cover to the rounded base incorporating brass level adjustment screw to underside, 98cm (38.5ins) high excluding finial. Peter Dollond is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1680-1860 as born 1730 and died 1820. He was the son of John Dollond, a Huguenot silk weaver and started business as an optician in 1750. He was joined by his father in 1752 until his death in 1761, and then by his brother, John, until his death in 1804. The family business was continued by Peter Dollond's nephew, George Huggins, who changed his name to Dollond. George Dollond became instrument maker to William IV and Queen Victoria, exhibited at the Great Exhibition in 1851 and died 1856.
Lot 82
An ebonised grande sonnerie striking 'Vienna' wall regulator Unsigned An ebonised grande sonnerie striking 'Vienna' wall regulator Unsigned, mid to late 19th century The triple train weight-driven movement striking the hour with every quarter on a pair of graduated gongs (both lacking), the going train with deadbeat escapement regulated by wood rod pendulum with large brass lenticular bob and fine beat adjustment to crutch , the two-piece white enamel Roman numeral dial with pierced steel hands and moulded brass bezel, the elaborate case with shallow break-arch ogee moulded pediment over scroll carved wavy outline glazed front door and tall rectangular windows to sides, the base with inverted ogee-shaped caddy with pendant finial (movement and case with faults), 90cm (35.5ins) high.
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