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Click here to subscribeA silver taper stick, modelled as a miniature Corinthian column candlestick, on a stepped square base, Sheffield 1903, a silver caddy spoon, decorated with fruiting vine, Birmingham 1975, a silver model of a seated pig, four slide action pencils with seal terminals and a silver rectangular case, having crocodile skin effect decoration, Birmingham 1902.
A French champleve enamelled gilt brass four-glass mantel clock Retailed by... A French champleve enamelled gilt brass four-glass mantel clock Retailed by James Shoolbread and Company, London, late 19th century The circular eight-day gong striking movement with Brocot escapement regulated by decorative pendulum and stamped with oval A.1 trademark over serial number 5155 4 8 to backplate, the dial with puce and light blue enamelled rosette to centre within gilt chapter ring with Arabic cartouche numerals and inscribed JAS. SHOOLBRED & CO., MADE IN PARIS to inner edge, with pierced steel hands and conforming enamel bezel over pendulum centred with a matching enamel rosette to the lenticular bob, the frosted gilt bevel-glazed case with canted enamel moulding to top over cavetto cornice and enamelled caddy-moulded uprights, the base with futher cavetto moulding and canted enamel decorated apron, on turned feet, 27.5cm (10.75ins) high.
An Edwardian inlaid mahogany tubular bell quarter chiming eight-day longcase... An Edwardian inlaid mahogany tubular bell quarter chiming eight-day longcase regulator, William Drew, Peterborough, early 20th century The very substantial triple train movement chiming the quarters on eight tubular gongs and striking the hour on an additional gong, the going train with deadbeat escapement, Harrison's maintaining power and fine beat adjustment for the wood rod pendulum with cylindrical nickel plated bob, the 13 inch brass break-arch dial with subsidiary seconds dial to the fine foliate scroll engraved centre within applied silvered chapter ring with raised gilt Arabic numerals and rococo scroll cast spandrels to angles, the arch with twin subsidiary Strike/Silent and Whittington/Westminster selection dials with rosette engraved centres, upper silvered infill panel signed WILLIAM DREW, MAKER, Peterboro' and flanked by conforming mounts, the swan neck pedimented case with Corinthian columns flanking dial and rectangular sound frets to sides of hood above bevel-glazed break-arch caddy moulded door flanked by Corinthian quarter columns to trunk, on fielded panel fronted plinth base with canted front angles and moulded skirt, 246cm (97ins) high.
A Scottish William IV satinwood crossbanded mahogany eight-day longcase... A Scottish William IV satinwood crossbanded mahogany eight-day longcase clock The dial signed for William Young, Dundee, circa 1830 The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 13 inch circular white painted Roman numeral dial with subsidiary seconds and calendar dials, bearing signature WILLIAM YOUNG, DUNDEE to centre and with steel moon hands, the break-arch case with moulded cornice above hinged cast brass convex glazed circular bezel within crossbanded ebony line bordered surround flanked by canted angles, the trunk with complex moulding to throat above recessed satinwood banded panel decorated short rectangular caddy moulded door set between conforming horizontal panels above and below and flanked by quarter columns to angles, the plinth base fronted with a further recessed satinwood panel, standing on bracket feet, 206cm (81ins) high. Provenance: Purchased from P A Oxley, Calne, January 1995 for £4250.
A Regency mahogany eight-day longcase clock The dial signed for John Roberts A Regency mahogany eight-day longcase clock The dial signed for John Roberts, London, early 19th century The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch circular white painted Roman numeral dial with subsidiary seconds dial and bearing signature John Roberts, LONDON to centre and with steel moon hands, the break-arch case with scroll pierced fretwork crest and cavetto cornice above hinged cast brass convex glazed circular bezel and ebony line bordered lower quadrant infill flanked by canted angles, the trunk with convex throat moulding above shallow-arch caddy moulded flame figured door flanked by brass stop-fluted quarter columns, on shaped panel outline fronted plinth base with moulded skirt incorporating shaped apron, 207cm (81.5ins) high excluding top finial; 220cm (86.5ins) high overall. Provenence: Purchased from P A Oxley, Calne, February 1996 for £5850.
A George III inlaid mahogany eight-day longcase clock with moonphase... A George III inlaid mahogany eight-day longcase clock with moonphase Wasbrough and Mailard, Bristol, circa 1785 The four pillar rack and bell striking movement with 12 inch single sheet brass Roman numeral break-arch dial with subsidiary seconds dial, arched calendar aperture and signed WASBROUGH & MAILARD, BRISTOL to the coastal island landscape and floral spray engraved centre within chapter ring with Arabic five minutes to outer track and rococo scroll engraved decoration to spandrel areas, the arch with rolling moonphase calibrated for age of the moon beneath times of HIGH WATER AT BRISTOL KEY to outer margin, in a case with arched fan inlaid motif and concentric border pierced infill to the swan neck pediment over wavy-edge glazed dial aperture flanked by Corinthian columns, the trunk with shaped-top caddy moulded door inlaid with a central conch shell within oval satinwood crossbanded border flanked by blind fret decorated canted angles, the plinth base with conforming circular crossbanding and fretwork canted angles on bracket feet, (the inlaid decoration probably later), 246cm (97ins) high. The partnership of Wasbrough and Maillard are recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as coppersmiths, brassfounders and clockmakers working from Wine Street, Bristol circa 1785. The Wasboroughs were one of the more prolific families of clockmakers and metal founders working in Bristol throughout the eighteenth century whose roots can be traced back to William Wasbrough who married Mary Rice (who may have been related to the Bristol clockmaker Roger Rice) on 12th January 1746.
A fine Charles II gilt brass mounted ebony small basket top table clock with pull-quarter repeat Charles Gretton, London, circa 1680 The five finned pillar twin fusee bell striking movement with pull-quarter repeat on a single bell, the going train with verge escapement regulated by short bob pendulum, the strike train with counting via early double-cut sprung rack gathered away from the snail via pallet engaging with teeth cut to the underside opposing locking enabled by pawl to the upper set of teeth, the fine symmetrical flowering tulip engraved backplate with foliate engraved apron to backcock over drapery lambrequin cartouche signed Charles Gretton, in Fleete Street and visible mainspring barrel set-up clicks with pawls held by elaborate scroll-cut brass spring, the 6.25 inch square brass dial with high position winding holes to the 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, the ebony veneered case with hinged tied floral bud shouldered brass handle to the foliate scroll and husk swag relief decorated pierced domed ºsket' caddy surmount flanked by ball finials over smooth ovolo top moulding and plain glazed front door, the sides with conforming rectangular windows, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ovolo moulded skirt over brass disc feet, 29cm (11.5ins) high excluding handle. Charles Gretton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Claypole, Lincolnshire in 1648. He was apprenticed to Humphrey Downing from June 1662 until 1670 but did not gain his Freedom of the Clockmakers' Company until 1672. Gretton married Mary Phillips in 1677, however by 1695 he was a widower hence his second marriage to Lucy Uffman in 1700. By 1683 Charles Gretton was working at The Ship in Fleet Street, and in 1685 he is noted as 'in Fleet Street over against Sergeants Inn Gate'. He was made Assistant of the Clockmakers' Company in 1689, Warden in 1697, and Master in 1700. He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. In 1701 Gretton put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members. He died in 1731 leaving his business to be continued by his nephew William Moore. The life and work of Charles Gretton is currently receiving detailed attention by Dennis Radage and Warner Meinen for a forthcoming publication. The current lot is a fine early example of Gretton's work and incorporates the earliest form of rack striking where the double-cut rack is gathered away from the snail by a pallet to the lower set of teeth whilst being held by a hook engaging with the upper set. This system requires separate locking of the train which is enabled by a detent raised by a flag engaging with a pin fitted to the end of the rack. Prior to striking the rack hook is released by a pin fitted to the minute wheel and is held in warning by a pair of detents lifted by another pin to a second minute wheel (fitted behind the hour wheel). This layout is essentially identical to that seen on a clock by Robert Seignior described and illustrated in Dawson, Percy G., Drover, C.B. and Parkes D.W. Early English Clocks pages 352-60, plates 512-7. In addition to this unusual and particularly early form of rack striking, the current lot also has a similar shaped bent-brass escape wheel top cock to that seen the example by Robert Seignior; this would suggest that both probably originated form the same ... [Please contact Auctioneer for full lot description]
A William III ebony table clock Charles Gretton, London A William III ebony table clock Charles Gretton, London, circa 1695 The five finned pillar rack and bell striking movement with verge escapement regulated by short bob pendulum, the symmetrical floral scroll engraved backplate with cartouche signed Charles Gretton, London to centre and visible mainspring barrel set-up clicks with decorated pawls towards lower margin, the 7.25 inch square brass dial with ringed winding holes, calendar aperture and herringbone border engraved false bob 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 Char. Gretton, London to lower edge, with pierced steel hands, vacant N/S strike/silent switch aperture to the edge of the plate at nine o'clock and winged cherub mask cast brass spandrels to angles, the ebony veneered case with eagle head and leafy scroll cast hinged brass carring handle to the domed caddy superstructure above complex top moundings and foliate scroll pierced elongated lozenge shaped sound fret to the upper rail of the front door, the sides with rectangular glazed apertures, the rear with rectangular glazed door fitted with lozenge sound fret to upper rail, on complex moulded shallow skirt base now fitted with brass ball feet (movement with losses), 37cm (14.5ins) high excluding handle. Charles Gretton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Claypole, Lincolnshire in 1648. He was apprenticed to Humphrey Downing from June 1662 until 1670 but did not gain his Freedom of the Clockmakers' Company until 1672. Gretton married Mary Phillips in 1677, however by 1695 he was a widower hence his second marriage to Lucy Uffman in 1700. By 1683 Charles Gretton was working at The Ship in Fleet Street, and in 1685 he is noted as 'in Fleet Street over against Sergeants Inn Gate'. He was made Assistant of the Clockmakers' Company in 1689, Warden in 1697, and Master in 1700. He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. In 1701 Gretton put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members. He died in 1731 leaving his business to be continued by his nephew William Moore. The life and work of Charles Gretton is currently receiving detailed attention by Dennis Radage and Warner Meinen for a forthcoming publication. The current lot is a recent discovery which, until now, had not been recorded by Radage and Meinen. Flourishes such as the decorative spring set-up clicks to the backplate are typical of Gretton's work which often incorporates such features to give his clocks a distinctive 'personality'.
A fine James II gilt brass mounted ebony small basket top table timepiece with silent-pull quarter-repeat on two bells Henry Jones, London, circa 1685-90 The seven 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 Henry Jones, in the Temple to a leafy scroll bordered cartouche to centre, the 6.125 inch square brass dial with single winding hole 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, the ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the foliate pierced domed ºsket' caddy surmount decorated with cherub masks, Ho-Ho birds and floral swags flanked by figural terms to angles 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 repousse brass sound frets centred with cherub mask motifs, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over brass disc feet, 32cm (12.5ins) high excluding handle. Henry Jones is an important maker who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1772. In 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name. 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. The design and execution of the engraved decoration to the backplate of the current lot can be very closely compared to that of the only known table clock by Peter Knibb which is illustrated in Lee, Ronald A. The Knibb Family, Clockmakers page 129, plate 139. Lee also illustrates (on the preceding page, plate 138) another closely related backplate for a clock by John Knibb, Oxford and notes that both have internal rack striking, which would suggest that each date from the mid 1680's. The dial, with its distinctive relatively strong concentric engraving and squat fleur-de-lys half hour markers to the chapter ring ... [Please contact Auctioneer for full lot description]
A fine and rare William III walnut veneered table clock with pull... A fine and rare William III walnut veneered table clock with pull quarter-repeat on six bells John Boucheret, London, circa 1695-1700 The five finned and knopped pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull quarter-repeat on a nest of six graduated bells, the backplate engraved with fine symmetrical foliate scrolls around an oval herringbone bordered cartouche signed John Boucheret, Londini Fecit to centre, the 8 inch square brass dial with ringed winding holes and foliate scroll border decorated calendar and false bob apertures 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 Boucheret, London to lower edge, with pierced blued steel hands and angles applied with cast winged cherub head spandrels within herringbone border interrupted by N/S strike/silent switch aperture at twelve o'clock, the figured walnut veneered case with unusual twin female term and tied foliate bud cast hinged brass carrying handle to the domed caddy superstructure flanked by vase finials above complex crossgrain top mouldings and glazed front door now applied with female mask cast mounts to uprights, the sides with brass repousse scroll pierced lozenge shaped sound frets over rectangular glazed apertures, the rear with rectangular glazed door set within the frame of the case, on complex moulded shallow skirt base with brass disc feet, 39cm (15.25ins) high excluding handle. A maker with the name John Boucheret is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working circa 1750. Baillie also records a Jacob Boucheret as gaining his Freedom of the Clockmakers' Company in 1728; it is most probable that these records relate to subsequent generations of the maker of the current lot. From his name it may be appropriate to speculate that John Boucheret was probably a first generation Huguenot immigrant clockmaker who could have possibly quietly worked outside the jurisdiction of the Clockmakers' Company maybe in one of the larger Huguenot workshops such as that of Claude Du Chesne. The movement of the current lot echoes the work of Daniel Quare and Thomas Windmills, in particular the layout of the repeat work with the hammer arbors pivoted between the plates (rather than fitted to a separate carriage). Such detailing is typical for clocks made during the latter years of the 1690's as is the engraving to the backplate which can be closely compared to that on an ebony table clock by Quare illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks page 373, Plate 534. The dial again is nicely detailed with the relatively refined appearance of the centre being perfectly complimented by the herringbone border to the edge of the plate. The walnut veneered case is particularly rare and attractive with well-chosen figured veneers. Due to the enduring fashion for ebony, walnut-cased table clocks from this period are very scarce. This is illustrated by the fact that only one from Tompion's numbered series (number 88) is recorded as being in a walnut case (see Barder, Richard The Georgian Bracket Clock 1714-1830 page 49, and Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 88).
A rare French gilt brass and red marble small barograph Richard Freres, Paris A rare French gilt brass and red marble small barograph Richard Freres, Paris, late 19th century The mechanism with five-segment aneroid chamber within lacquered brass armature operating via a system of of pivoted levers a pointer for recordeing the change in barometric pressure on a clockwork-driven rotating paper scale lined drum, the baseplate stamped with R.F. BREVETES S.G.D.G, PARIS roundel over serial number 34214 to front margin, the bevel glazed case with four-glass caddy-moulded one-piece cast brass cover incoporating figural surmount cast with a pair of putto and a goose seated on a rocky outcrop applied to the red mottled marble top panel, on ogee moulded base, 19.5cm (7.75ins) wide.
A Queen Anne walnut eight-day longcase clock Samuel Townson, London A Queen Anne walnut eight-day longcase clock Samuel Townson, London, circa 1710 The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum , the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed Sam. Townson, London to lower edge, with pierced blued steel hands and twin cherub and crown pattern cast brass spandrels to angles, in a fine burr walnut veneered case with removable domed caddy surmounted by box upstand above ogee moulded cornice and fine foliate scroll pierced frets to front and side friezes, generous three-quarter columns with gilt brass caps and bases to the glazed hood door, the sides with fine rectangular scroll pierced frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with burr veneered convex throat above 42 inch herringone bordered rectangular trunk door centred with a brass lenticle and applied with an arrangement of three pairs of book-matched veneers within half-round moulded border, the sides crossbanded, on conforming herringbone bordered crossbanded plinth base with ogee top mouldings and tall skirt base, 226cm (89ins) high excluding caddy superstructure, 245cm (96.5ins) high overall (excluding finials). Samuel Townson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as the son of Robert Townson born in 1692. He was apprenticed to Thomas Wheeler in 1695 and gained his Freedom of the Clockmakers' Company by redemption in 1702. He was apparently married twice; first to Sarah Wheeler (the daughter of his Master) in 1694 and then to Martha Fellowes in 1706. Loomes also notes a record of a Samuel Townson being interred in a non-conformist burial ground in 1758.
A 19th century chest shaped tea caddy with satinwood inlaid borders and ivory inlay to the lock escutcheon, the hinged lid enclosing a two divisional lidded interior together with an early cased signalling lamp with protruding lens enclosing a mirror plate and green felt interior, set within hinged clasping doors, stamped verso Ever Ready Electric, etc
A Regency sarcophagus shaped timber caddy with hinged lid, the exterior with all-over chinoiserie style applied lacquer decoration depicting figures in a courtyard setting amongst flowers with further trailing foliate borders, two Victorian stamp presses, a hard wood book trough with carved scrolling decoration to the sides, a heavy cast metal dish in the form of grapes and vine leaves, a heavy worked iron stand with loop handle and hook, an unusual French resin work dish of circular form, raised on three supports in the form of Egyptian pharaoh masks, stamped to the underside 775 Paris with further indistinct mark (AF), three African carved hardwood figure busts, etc
A good quality Victorian brass mounted oak tea caddy The hinged lid enclosing a lined and partitioned interior, flanked on either side by drop knop handles, mounted with strap work and shield shaped applique, raised on four ball feet, (the brass was originally silver-plated but has now worn), width approx. 21cm.
John Mercer, Hythe, an oak longcase clock, the 8-day two-train movement strking the hours on a bell, square brass dial with Roman hour numerals and Arabic five-minute outer numerals, subsidiary seconds dial, date aperture and scroll foliate spandrels to the four corners, the oak case with a long trunk door on a plinth with bracket feet, the caddy-top hood with a panel of blind-fret decoration and pilasters, 80in (203cm) high.
A 1937 Royal Commemorative silver Caddy Spoon, hallmarked Birmingham, 1936, the handle with portraits and inscription, 3?in (9.75cm) long, together with a late Victorian silver-handled ivory letter knife/page turner; silver charm bracelet; silver vesta case; silver stamp case; silver spoon and fork set; pair of silver salt spoons; silver conserve spoon; silver sugar nips and a Grana G.S.T.P. military issue pocket watch with two watch chains, one silver, approximate total weight of silver 6ozt (a lot)
An early 19thC silver-plated Tea Caddy, of oval form with hinged cover and foliate engraved decoration, 5in (12.5cm) wide, together with a silver spoon and pusher set, by Walker & Hall, hallmarked Sheffield, 1939, cased, a Victorian silver sovereign case, hallmarked London, 1881, and a small wooden barrel bearing a plaque inscribed "From the teak of H.M.S. Iron Duke, Admiral Jellicoe's Flag Ship, Jutland, 1918" (4)
A George III mahogany tea caddy, having sarcophagus hinged cover opening to reveal fitted interior, all raised on ogee bracket feet, w.27cm; and one other provincial inlaid fruitwood example with canted corners and slide-off top, w.18cm (2) Condition Report / Extra Information Large caddy - split to cover, both back feet incomplete, some age wear. Small caddy - mechanism good, light age wear only.
A George III walnut and marquetry inlaid tea caddy, having canted corners and fitted interior, w.19.5cm; and one other smaller example with marquetry feather banding, unfitted, w.13cm (2) Condition Report / Extra Information Large caddy - appears restored; especially to canted corner, hinges good, top marked. Small caddy - veneer loss above hinge, split to veneer at back, light age wear.
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