A French gilt brass carriage clock with push-button repeat and alarm Henri Jacot, Paris, late 19th century The eight-day two train gong striking movement with silvered platform lever escapement and alarm sounding on the same gong, the backplate stamped with H.J. parrot trademark and numbered 15334 to the lower left hand corner, the rectangular white enamel Roman numeral dial with blued steel moon hands over alarm setting dial to lower margin, the frosted gilt bevel-glazed corniche case with hinged carrying handle, 14.5cm (5.75ins) high excluding handle; with a leather covered outer travelling case. Henri Jacot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working from 31 Rue de Montmorency, Paris as well as possibly having a factory in Saint-Nicolas-d’Aliermont. The business was awarded Bronze Medals at the Paris ‘Exposition’ in 1855 and in London 1862; Silver in Paris 1867, 78 and 89 and Gold, again in Paris, 1890. Henri Jacot senior died in 1868 and was succeeded by his nephew of the same name. The business is thought to have continued until around 1920. Please note: As an addendum to the above footnote the information provided by Allix and Bonnert relating to the business being succeeded by Henri’s nephew of the same name is incorrect. Research undertaken by Leigh Extence has revealed that after his death in 1868, Henri's business was continued by his brother Julien who was actually only 'keeping the bench warm' until his son, and Henri's nephew Albert, was able to take over and move the concern forward in 1874.
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A fine French champleve enamelled gilt brass ‘bamboo’ carriage clock with push-button repeat and alarm Unsigned, late 19th century The two train eight-day gong striking movement with silvered platform lever escapement and numbered 1860 to the lower left hand corner of the backplate, the rectangular dial plate champlevé enamel decorated with asymmetric trails of blue flowering foliage in the Japonesque style around a gilt Arabic numeral chapter ring with blued steel hands and conforming enamel centre over subsidiary alarm setting dial, the bevel-gazed case with frame modelled to resemble sections of bamboo overlapping at the corners and with each segment champlevé enamelled with further blue floral sprays on a cream ground, with conforming hinged carrying handle to the gilt panel-glazed top and angled bamboo feet 16.5cm (6.5ins) high excluding handle; with a tooled morocco covered travelling case.
A George III mahogany eight-day longcase clock William Creak, London, circa 1760 The eight-day 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 and calendar aperture to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced blued steel hands and applied with twin bird and urn cast spandrels to angles, the arch centred with a circular silvered boss signed W’m Creak, London flanked by dolphin cast mounts, in a case with break-arch dentil cavetto cornice over brass stop-fluted columns flanking the glazed hinged dial aperture, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with break-arch flame-figured door flanked by brass stop-fluted rounded angles, on raised shaped panel fronted plinth base with moulded double skirt incorporating shaped apron to lower edge, 222cm (87.5ins) high. William Creak is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a ‘fine maker’ who worked in London from 1754-63. Other sources indicate that he was working from 1740-75 and his workshop was located in the Royal exchange from 1754. Creak supplied musical and automaton clocks for export to the Middle East and China and often incorporated similar complications into examples made for the domestic market.
A French lacquered brass carriage clock with push-button repeat Retailed by Charles Frodsham, London, early 20th century The eight-day two train bell striking movement with silvered platform lever escapement and stamped with serial number 4895 to backplate, the rectangular white enamel Roman numeral dial inscribed CHARLES FRODSHAM, TO THE QUEEN, 84 STRAND, 18898 to lower margin and with steel moon hands, the obis bevel-glazed case with hinged carrying handle, 13.5cm (5.25ins) high excluding handle.
A Scottish Victorian mahogany longcase clock with two-in-one quarter striking Peter Penman, Dunfermline, circa 1840 The eight day two train four pillar movement with anchor escapement regulated by seconds pendulum to the going train and the strike train both ting-tang striking the quarters on a graduated pair of bells and sounding the hour on the larger of the two, the 13 inch white painted Roman numeral dial with subsidiary seconds over calendar dials and signed PETER PENMAN, Dunfermline to centre, with engraved brass hands and spandrels polychrome painted with figural representations of the four members of the United Kingdom beneath scene of a courting couple to arch, the swan neck pediment with free-standing columns flanking hinged glazed dial aperture to hood over ogee throat and swollen frieze above bowed ogee cupola capped trunk door flanked by split pilasters with further swollen apron panel beneath, 2178cm (85.5ins) high. Peter Penman is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Dunfermline circa 1820-40.
Darken, Jeff (editor) HOROLOGICAL MASTERWORKS Catalogue for the exhibition held at The Museum of the History of Science, Oxford, 29th March-22nd June 2003, The Antiquarian Horological Society, Ticehurst 2003, later quarter blue leather bound with marbled boards and gilt title to spine, with a copy of van den Ende, van Kersen-Halbertsma, Taylor, Dr. John C. and Taylor, Neil HUYGENS' LEGACY The Golden Age of the Pendulum Clock catalogue for the exhibition held at Paleis Het Loo, Apeldoorn, 12th September-28th November 2004, Fromanteel Ltd, Castletown, Isle of Man 2004 (soft bound), (2).
A pierced brass table clock winding key Probably 20th century in the late 17th century style The loop pierced and engraved with asymmetric tulip stems; with four cast silver coloured metal winged cherub head spandrels in the late 17th century style for a 9.5 to 10 inch longcase clock dial, and a sculpted steel hour hand in the manner of John Knibb, late 17th century, measuring 3 inches from centre to tip, (6).
A fine gilt brass grande-sonnerie striking gorge cased carriage clock with push-button repeat and alarm Lepine, Paris, circa 1880 The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement and alarm sounding on the smaller gong, the backplate signed Lepine over engraved number 27367 and the inside of the frontplate stamped with numbers 3, 273 and with the letter H, the dial with rectangular rococo scroll and matted diamond lattice engraved frosted gilt mask enclosing recessed circular white enamel disc signed Lepine AParis, Place des Victoires 2 to centre within chapter ring with vertical Arabic numerals and five minute markers to outer track, with fine pierced sculpted gilt hands over subsidiary alarm setting dial to lower margin, the bevel-glazed gilt gorge case with large top glass and G’de Sonnerie/Silence/P’te Sonnerie selection lever to underside, 15cm (6ins) high excluding handle. The eminent Lepine dynasty of Parisian clockmakers was established Jean Antoine Lepine who started horological career in Geneva. In around 1744 he moved to Paris as was apprenticed to the King’s clockmaker André Caron (1697-1775), whose daughter he married in 1756, before becoming a partner in his business. Lepine was received as a maître in 1762 and at the same time he was appointed to the coveted position of Horloger du Roi (Louix XV) et du Garde-Meuble de la Coronne. Until 1772 he operated from premises in the rue Saint-Denis and then transferred his business several times until 1789 when it moved to 12 Place des Victoires. By this time the running of the business was in the hands of his son-in-law, Claude-Pierre Raguet-Lepine (1753-1810), who had joined Lepine in 1783.After his death in 1810, Raguet-Lepine’s only son, Alexandre, sold the business to Jean-Paul Chapuy, who is believed to be responsible for assigning a numbering system (starting at 4000) to Lepine clock movements. Whilst trading under the Lepine name Chapuy supplied clocks to no less than Napoleon I; Jerome, King of Westphalia; Charles IV, King of Spain; and the princes de Talleyrand. The business was subsequently sold to Calvet, who was succeeded in 1840 by Fabre. Boulay purchased the firm in 1853 and resold it to Roux in 1885. It was then passed on to Ferdinand Verger, who resold it in 1914 and it continued trading under the name Lepine until 1919, when it was taken over by L. Leroy.
A rare George III scarlet japanned eight-day longcase clock with alarm Robert Higgs and Diego Evans, London, circa 1775 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and transverse alarm mechanism positioned to the right hand side of the movement with verge hammer sounding in the hour bell, the 12 inch brass break-arch dial with alarm setting disc, recessed subsidiary seconds dial, calendar aperture and shaped silvered signature plate engraved Higgs y, DIEGO EVANS, LONDRES to the finely matted centre within slender silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath TOCAR/SILENCIO subsidiary strike selection ring flanked by conforming mounts to arch, in a scarlet red japanned case with gilt painted shaped upstand over break-arch cavetto cornice and conforming scroll pierced fretwork frieze, the hood door with alternating gilt floral trail and trellis band decoration and applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with grotesque mask centred floral trail painted throat over ‘block-top’ break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with abstract foliate scroll painted upper quadrants and geometric banded borders flanked by reeded quarter columns to the front angles, the sides with large leafy sprays, the plinth base with raised shaped panel decorated with equestrian scene of hunters trapping a tiger, on shallow skirt with block feet, 236cm (93ins) high. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom of the Clockmaker's Company in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770. James Evans is recorded by Baillie as also working from Sweetings Alley from 1773. In 1775 he went into partnership with Robert and Peter Higgs; the firm subsequently moved to Exchange Alley and continued in business until around 1825. The partnership of Higgs and James Evans specialised in producing clocks for the export market - particularly to Spain hence a significant proportion of surviving examples (including the current lot) being annotated and signed in Spanish.
An unusual Austrian small early pendulum spring-driven timepiece Albrecht Erb, Vienna, third quarter of the 17th century The circular single chain fusee movement with three baluster-turned pillars pinned through the backplate and four wheel train incorporating verge escapement with escape wheel set above the plates and regulated by short bob pendulum suspended from combined top potance and pallet arbor pivot arm, the backplate with blued steel mainspring set-up ratchet incorporating sculpted scroll-pierced pawl spring tail and fine flowering poppy trail engraved and pierced gilt brass footed guard, the upper margin boldly signed Albrecht Erb, In Wienn, the 3.5 inch square gilt copper dial now with applied scroll engraved disc to centre within a silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes beyond the arcaded minute track, with pierced steel hands and fine foliate spray engraved infill to the spandrel areas beneath later added strapwork scroll engraved gilt brass arch panel, the movement and dial now mounted on a mahogany ogee moulded plinth with glass dome cover, the timepiece 12cm (4.25ins) high; overall height including base and dome 19.5cm (7.75ins) overall. Provenance: From the beneficiaries of the estate of the eminent Anglo-Austrian economist and philosopher Friedrich August von Hayek. Albrecht Erb is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working as a master clockmaker in Vienna circa 1661. Britten, F.J. in Britten’s Old Clocks and watches and their Makers indicates that Erb was born in 1628 and died 1714. He is believed to have made watches, astronomical timepieces, horizontal table clocks and ‘Telleruhr’ (plate) pendulum timepieces. Examples of his work are in the collection of the Kunsthistoriches Museum Vienna and have been known to turn-up at auction with notable recent examples being a fine silver mounted horizontal table clock with grande-sonnerie striking which was sold at the Christies, New York sale of The Abbott Guggenheim Collection: A New York Kunstkammer 15th January 2015 (lot 96) for a buyer’s premium inclusive $47,500; and an impressive gilt brass Telleruhr offered at Sotheby’s, Paris sale entitled Pierre Berge -from one home to another 30th October 2018 (lot 4) for a premium inclusive 43,750 EUR. The arch to the dial of the current lot appears to be an 18th century addition hence in its original form the dial would have only been 3.375 inches square. This coupled with the overall compact nature of the movement suggests that it could have been made to ‘accessorise’ a table cabinet perhaps forming the centre-piece of an architectural pediment.
Horological reference - approximately thirty titles: Mercer, Vaudrey THE FRODSHAMS, THE STORY OF A FAMILY OF Chronometer Makers The Antiquarian Horological Society, Ramsgate 1981, dj; Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS Paris 1971, softbound; Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks Antique Collectors’ Club, Woodbridge 1982, dj; Barder, Richard C.R. The GEORGIAN BRACKET CLOCK, 1714-1830 Antique Collectors’ Club, Woodbridge 1993, dj; Rose, Ronald E. English DIAL CLOCKS Antique Collectors’ Club, Woodbridge 1978, dj; Roberts, Derek SKELETON CLOCKS, BRITAIN 1800-1914 Antique Collectors’ Club, Woodbridge 1987, dj; Robinson, Tom THE LONGCASE CLOCK Antique Collectors’ Club, Woodbridge 1989, dj; Shenton, Alan and Rita COLLECTABLE CLOCKS, 1840-1940, Reference and Price Guide Antique Collectors’ Club, Woodbridge 1994, dj; Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their History and development Antique Collectors’ Club, Woodbridge 1974, dj; Britten, F.J. The Antique Collectors’ Club edition of Old Clocks and watches & Their Makers Antique Collectors’ Club, Woodbridge 1994, dj; Hana, w.F.J. English Lantern Clocks Blandford Press, Poole 1979, dj; Banfield, Edwin BAROMETERS Aneroid and Barographs Baros Books, Trowbridge 1985, dj; Banfield, Edwin BAROMETERS Stick or Cistern Tube Baros Books, Trowbridge 1985, dj, and a further selection of general standard reference works, (qty).
A fine Louis XVI style Sevres porcelain inset ormolu cartel clock and matching aneroid barometer en suite Bearing signatures for Martinout, Paris and Passemant, au Louvre, circa 1870 The clock with circular eight-day two train bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with S. Marti et Cie, MEDAILLE DE BRONZE roundel over number 7 2, to the lower edge and A.C roundel over further number 2671 to left hand margin, the 6.5 inch convex white enamel Roman numeral dial inscribed Martinout, AParis to centre and with Arabic five minutes to outer track, with scroll pierced and engraved brass hands set behind bayonet fitted convex glazed repeating acanthus cast bezel, the case with finely painted oval porcelain panel of a cherub in flight holding a barometer within decorative gilt and blue ground border, and cast surround modelled as ribbon tied vine stems issuing fruiting sprays draped around the guilloche scroll bordered dial, the base with inverted break-arch panel incorporating curved gadroon cast upper border and inset with a panel with a another cherub with a globe and surveyor’s instruments within conforming blue ground border and fine repeating lappet leaf cast surround terminating with inverted acanthus leaf crest and pineapple pendant finial; the barometer with concealed aneroid mechanism and circular convex white enamel register inscribed PASSEMANT, AU LOUVRE to centre within concentric scale calibrated in barometric inches and with weather observations in French to outer track, with blued steel pointer set behind convex glass fitted with a central brass recording hand, the case matching that of the clock with the upper porcelain panel similarly painted with a cherub in flight holding a telescope and the lower with another observing a globe, each 67.5cm, (26.5ins) high. A cartel clock and matching aneroid barometer of the same pattern as the current lot (but this time with the clock inscribed for Louis Montjoye, Paris) were sold at Christies New York sale of The Alexander Collection:French Furniture, Boxes & Porcelain 30th April 1999 (lot 178) for a premium inclusive $51,750.
A figured mahogany small eight-day longcase clock Geoffrey Bell, Arlesford, dated 1974 The four knopped pillar rack and bell striking movement with anchor escapement regulated by cylindrical bob seconds pendulum, the 9 inch brass break-arch dial with subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the narrow outer track, with pierced steel hands and festoon cast foliate spandrels to angles, beneath arch with silvered Signature boss Geoffrey Bell, Arlesford Fecit, 1974 flanked by conforming mounts, the break-arch case with small concave sided upstand over generous cavetto cornice and hinged caddy-moulded glazed dial aperture flanked by canted angles to hood, the sides with rectangular windows, over concave throat mouldings and slender break-arch line edged caddy-moulded flame figured trunk door on conforming raised panel fronted plinth base with double skirt, 196cm (6ft 5ins) high. Provenance: The family of Alf Godsell, former Managing Director of Geoffrey Bell Ltd. An identical clock to the current lot was sold in these rooms on 17th February 2010 (lot 49) for £1,500 hammer.
A quantity of longcase clock case elements For use in the restoration of late 17th century and later clock cases Including a walnut and floral panel marquetry door with panel measuring 41.5 by 8.25 inches, a conforming marquetry plinth panel, throat moulding, a pine and oak trunk carcass, a hood carcass with fixed 10.5inch dial aperture, a part-restored grotesque figure inhabited floral marquetry veneered trunk door panel measuring 42.5 by 9 inches, a hood carcass with similar marquetry to the 11 inch dial aperture and a selection of hood side and front panels etc., (qty).
Two carved walnut longcase clock pediment crest ornaments For use in the restoration of longcase clock cases dating from 1680 to 1695 The first of winged cherub mask and floral festoon swag centred swan neck design measuring 21 inches across, the second similar but lighter in its feel and centred with a woven basket of flowers, 18.25ins wide; with another carved crest of winged cherub head centred swan neck pattern most likely cut in poplar to take an ebonised finished and measuring 16 inches across, (3).
An impressive George III mahogany eight-day quarter chiming Longcase clock with automata and moonphase Edward Mann, London, circa 1775 The substantial seven pillar triple train rack and bell striking movement with T-shaped plates measuring 9.25 by 11.875 inches, the going train with anchor escapement regulated by seconds pendulum and the quarter train sounding a melodious peel on a graduated nest of eight bells with eight hammers before unlocking the hour strike on a larger separate bell at the hour, the 12 inch silvered brass Roman numeral break-arch dial with subsidiary seconds dial, curved pierced sector aperture for the calendar and signed Edward Mann London to centre, with pierced blued steel hands and spandrels polychrome painted with individual automata scenes of 18th century musicians incorporating actions motioned whilst the quarter chiming train is running, the arch with rolling moonphase incorporating engraved terrestrial globe lunettes to lower margin and age of the moon to the outer track of the disc beneath margin now applied with arched plate engraved with HIGH WATER AT LONDON BRIDGE, in a brass mounted mahogany case with pagoda shaped superstructure fronted by shaped grille fret over cavetto break-arch cornice incorporating foliate scroll pierced frieze fret and glazed arched dial aperture flanked by brass stop-fluted columns, the sides with rectangular grilles and quarter columns applied against bargeboards at the rear, the trunk with concave throat moulding over break-arch door flanked by brass stop-fluted quarter columns to angles, on shaped raised panel fronted plinth base with moulded skirt, the whole now with polychrome painted decoration in the Sheraton taste with musical trophy to trunk door, grisaille oval panel of a Classical female to plinth and floral trail borders throughout, (movement originally with tune selection), 245cm (86.5ins) high excluding top finial. An Edward Mann is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working before 1722. However, as the current lot can be dated to around 1775 on stylistic grounds it must have been made by maker of the same name but of the next generation. The most likely candidate is a maker who Baillie records as working in Coventry circa 1787 who could have previously worked in London.
The remnants of a rare spring verge timepiece movement and a fine pierced and engraved verge backcock apron Both unsigned, probably London, circa 1675-80 and 1690-95 respectively The movement with tall narrow bottle-shaped plates measuring 8.25 by 3.125 inches united by four finned and knopped pillars enclosing narrow fusee and stopwork only; the backcock apron pierced and engraved with symmetrical scrolling foliage, 9cm (3ins) wide, (2). The proportions and original specification of the movement in the current lot can be compared to a timepiece by Edward East illustrated in Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 309 (Plate 441); whilst the bottle-shaped plates are reminiscent of an eight-day longcase clock movement, also by East, illustrated on page 124 (Plate 155). The pierced and engraved backcock apron can be directly compared to an example signed John Clowes, London illustrated in Early English Clocks on page 402 (Plate 571).
A selection of brass longcase clock case mounts, hinges, locks, spandrels, bells and related items For use in the restoration of 17th century and later longcase clocks Including four cast brass Corinthian column capitals and group of other hood column castings, numerous 17th century pattern winged cherub and scroll cast spandrels, trunk door locks, wrought iron and brass trunk door strap door hinges, four cast brass lenticle surrounds nine longcase and other clock bells and other items, (qty).
A Queen Anne eight-day longcase clock movement and dial Brounker Watts, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement for regulation by a seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and twin bird and basket of fruit border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Brounker Watts, London to lower margin, with pierced steel hands and female mask and scroll cast spandrels to angles within a herringbone engraved border (lacking pendulum and weights).Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmaker’s Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company’s Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmaker’s Company in 1711 due to being ‘out of town’. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West.
A very rare French Louis XIII small brass lantern or chamber clock G. Estienne, Caen, first half of the 17th century The posted two train bell striking movement with fine Roman Doric turned corner posts and separately wound trains with the going now with verge escapement for regulation by short small bob pendulum, the dial with fine foliate scroll decorated hour disc applied with sculpted steel trefoil hand tip and engraved with Arabic hour numerals for the alarm to outer track, within applied silvered narrow Roman numeral chapter ring with cruciform half hour markers, set onto a dial plate finely engraved with tulip, poppy, narcissi and other floral blooms and trails to the upper and lower margins, beneath conforming engraved shaped front fret centred with a vacant cartouche, small acorn finials and iron-strap bell bearer surmounted with a bulbous brass finial, the base with frame securing nuts and engraved G. Estienne ACaen to underside, (unrestored, formerly verge with balance regulation, lacking countwheel, pendulum rod, alarm and alarm hand; the bell and bearer replaced), 18cm (7ins) high excluding bell and bearer. G. Estienne of Caen does not appear to be recorded in the usual sources. The engraving to the dial plate of the current is very finely executed and composed of scrolling floral trails with different blooms arranged in a symmetrical manner. This engraving can be compared to that on the dial of a chamber clock dated 1588 by Francis Nawe illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 18 (Plate 5), which although incorporates grotesques and a small amount of strapwork is very similar in feel and quality. Francis Nawe was a Huguenot immigrant who is believed to have come to London from Antwerp in around 1575 and died of the plague in 1593. Other timepieces with related engraving are two very similar small table clocks by Bartholomew Newsam illustrated in Early English Clocks on pages 26 (Plate 19) and 29 (Plate 26) and another drum clock by the same maker illustrated on page 28 (Plate 22). George White in English Lantern Clocks also illustrates the side panel of Francis Nawe’s 1588 clock (on page 58, Figures II/23 & 24) and notes that the designs were after Etienne de Laune and Abraham de Bruyn. When the engraving on these late 16th century clocks are compared to those a little later in date it becomes clear that the size of the flowerheads increased and the designs became more abstracted although the symmetrical balance remained. This is well illustrated on the dial of wall alarm timepiece dating to before 1615 by Robert Harvey, London, illustrated in White, George English Lantern Clocks on page 61 (Figure II/30). Interestingly on the same page White also illustrates a possibly English unsigned steel and brass chamber clock with related dial engraving and similar arrangement of hour hand tip applied to revolving disc (this time indicating the lunar calendar) within the chapter ring. One final clock with floral engraved dial worth considering is a silver example by David Bouquet dating to around 1650 illustrated in Early English Clocks on page 61 (Plate 69). The engraved blooms on this example are much larger than the present clock although some semblance of symmetry is retained whilst the quality of execution is good but not as fine as that on the current lot. From the above observations it would seem appropriate to suggest a date of around 1625 for the current lot. The movement was originally made with verge escapement with balance wheel regulation and has separately wound trains which also suggests an early date of manufacture.
A George III brass mounted mahogany table clock Thomas Lozano, London, circa 1780 The five pillar twin fusee movement with verge escapement regulated by short bob pendulum and striking the hour on a bell, with rococo scroll engraved backplate and 7 inch brass break-arch dial plate applied with circular white painted centre signed THO’s LOZANO, EN LONDRES within Roman numeral chapter ring and Arabic five minutes to outer track, with pierced brass hands, and rococo scroll cast spandrels to angles beneath subsidiary calendar dial flanked by conforming mounts to arch, the brass mounted bell top case with hinged brass carrying handle to the brass scroll pierced fretwork border decorated upstand over pinecone finials and cavetto top mouldings, the front door with inset brass fillet moulding to the glazed dial aperture, foliate and scroll cast upper quadrant frets flanked by canted angles adorned with fine female caryatid and pendant floral cast mounts, the sides with circular martial trophy cast brass frets over further concave topped rectangular sunburst cherub mask centred rococo scroll cast frets, the rear with rectangular break-arch glazed door set within the frame of the case, the cavetto moulded shallow skirt base with generous leafy scroll cast feet, 49cm (19.25ins) high excluding handle. Tomas Lozano was Spanish by birth and is known to have worked in both London and Spain. Whilst working in London it seems that he primarily produced timepieces for export to his native Spain; he is also known to have successfully repaired damaged marine chronometers for the Spanish Navy in 1786.
A William III walnut and floral marquetry eight-day longcase clock of one month duration Paul Dupen, London, circa 1700 The six finned pillar rack striking movement with anchor escapement regulated by seconds pendulum, the 10.75 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes 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 Paul Dupen, London to lower margin, with scroll pierced blued steel hands and winged cherub head and scroll cast spandrels to angles with foliate scroll engraved decoration between, in a case with raised platform surmounted floral marquetry decorated dome superstructure above crossgrain ogee moulded repeating motif inlaid cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with walnut three-quarter columns with fine cast gilt caps and bases to front angles, the sides with rectangular windows and quarter columns set against bargeboards rising up to the underside of the cornice projection at the rear, the trunk with concave floral marquetry veneered throat moulding over 42 inch rectangular door centred with a circular brass lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays on an ebonised ground within a figured walnut field and Arabesque scroll surround, the sides veneered with twin slender panels within triple-line strung crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel within Arabesque border, 228cm (89.75ins) high to top edge of domed caddy. Provenance : Queens Berry, Anna House, Kintmount, near Dumfries. A Paul Dupin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London and Geneva circa 1710-67. The current lot may be by this maker or by a relation (perhaps father) of the same name who may not be recorded. Indeed many French speaking immigrant makers tended to work directly for the larger Huguenot workshops, such as that of Claude DuChesne, at this time hence often did not gain the freedom of the Clockmaker’s Company.
A substantial quantity of English walnut crossgrain clock case mouldings For use in the restoration of 17th and early 18th century longcase clocks Including around twenty feet of trunk door half-round mouldings, break-arch over door hood mouldings, a length of ogee plinth top moulding, various lengths assorted crisply drawn lintel and cornice mouldings, concave throat moulding and some straight-grain lintel and door mouldings, (qty).
Ï’ A George III tortoiseshell japanned eight-day longcase clock with rocking ship automaton Thomas Hackney, London, 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 recessed starburst engraved silvered subsidiary seconds disc, calendar aperture and shaped nameplate engraved Tho:s Hackney., London to matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and rococo cast spandrels to angles beneath arch cut with a shaped aperture revealing polychrome painted representation of a square-rigged warship rocking back and forth with the motion of the pendulum, the scroll engraved surround incorporating a terrestrial sphere to front margin, in a mottled iron red and dark brown/black japanned case with leafy band decorated break-arch cavetto cornice and scroll bordered glazed hood door applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with scallop shell centred acanthus leaf painted throat over break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with gilt trellis painted upper quadrants and scroll banded borders, the sides with large leafy sprays, the plinth base with further naturalistic landscape over moulded skirt, 219cm (86.25ins) high. Provenance: Brocket Hall, Hertfordshire. Thomas Hackney is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1764. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A William and Mary eight-day longcase clock movement with 10 inch dial Edward Stanton, London, circa 1695 The five finned pillar countwheel bell striking movement with anchor escapement for regulation by a seconds pendulum, the 10 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes within the outer minute track and signed Edw’d Stanton, Londini Fecit to lower margin, with fine sculpted steel hands and cast winged cherub head spandrels to angles within a scribed line border (no pendulum or weights). Edward Stanton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in about 1641 and apprenticed to Francis Bowen (a journeyman for William Bowyer) in 1655 before being transferred to Nathaniel Allen by 1662. Stanton gained his freedom of the Clockmakers’ Company in January 1662/63 and is believed to have moved to Fetter Lane in the Parish of St. Dunstan in the West by 1666. He took in many apprentices most notably William Cattell (freed 1672) and Samuel Stevens (freed 1671). Many of Edward Stanton’s (particularly his lantern clocks) are signed with his address at ‘Leaden Hall Street’ probably executed in his own hand as records indicate that he was also an engraved who was accused of engraving Robert Seigniour’s name on a clock made by Henry Jones. In 1688 he witnessed the will of his former apprentice, William Cattell and was overseer to the execution of John Ebsworth’s will in 1699. Edward Stanton served made an Assistant of the Clockmakers’ Company in 1682, served as a Warden from 1693 and became Master of the Company in 1697. He was also one of the original subscribers of the Bank of England when it was founded in 1694 depositing £100, and signed the Clockmakers Company oath of Allegiance whilst serving as Master in 1697. Stanton had an illness in 1701/2 and is believed to have died in 1715.
A stock of hand-sawn English walnut veneers For use in the restoration of late 17th century clock cases and cabinet furniture Comprising around forty lengths each around 4 inches wide and varying between circa 12 and 24 inches in length with small quantity of thinner machine cut sections, a bundle of around twenty-five thicker walnut sections/offcuts varying in width and length, a small group of similar olivewood veneers and offcuts and three rough-sawn walnut tree trunk sections each measuring around 2 inches thick and between 33 and 66 inches in length, (some worm damage), (qty).
A fine engraved gilt brass oval carriage clock with push-button repeat and alarm Retailed by J. Pyke, London, third quarter of the 19th century The two train eight-day bell striking movement with silvered platform lever escapement and alarm sounding on the hour bell, the frontplate with stamped oblong cartouche inscribed E. PRONOST, … PARIS, the dial with fine rococo scroll engraved rectangular mask enclosing a inset white enamel Roman numeral hour disc inscribed J.PYKE, 138 NEW BOND ST., LONDON to centre and with blued steel moon hands over conforming subsidiary alarm setting dial to lower margin, the substantial engraved satin gilt oval case with hinged scroll outline carrying handle over fine rococo scroll border engraved top and repeating leaf decorated top mouldings, the front and sides with thick curved bevel glass panels set into border-engraved frames and the rear with conforming pin-hinged door, on ogee profile skirt base adorned with bands of repeating leaves over linked cartouche panels on a matted ground, 14cm (5,5ins) high excluding handle.
A fine and very rare lantern clock minute hand Possibly from the workshops of Thomas Knifton or Peter Closon, London, mid 17th century Made from forged sculpted steel with circular boss and faceted filed tapered shaft decorated with a banded collar at the, the tail of conforming shorter profile terminating with a spade-shaped finial, from centre to tip 8.9cm (3.5ins), 13.3cm (5.25ins) long overall. Lantern clocks made to read the minutes as well as the hours are very rare with most being larger quarter chiming examples. Of the few makers who made such clocks Peter Closon and Thomas Knifton appear to be the most prolific. An example by each maker are illustrated in White, George English Lantern Clocks on page 136 (Figure III/20) and 136 (Figure III/22).
An early Victorian figured mahogany bracket clock Unsigned, circa 1850 The five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob pendulum with holdfast beneath the bell on the backplate, the 8 inch circular white painted Roman numeral dial with steel moon hands behind hinged glazed cast brass bezel incorporating canted fillet to interior, the case with humped pediment fronted by foliate carved crest terminating with rosette fronted batons to each side, the front with further leafy scroll carved decoration to lower corners, the sides with rectangular brass grille frets over scroll profile bands to lower margins and the rear with rectangular glazed door, on ogee moulded skirt base with block feet, 42.5cm (16.75ins) high.
A rare Charles II longcase clock movement of around eight-week duration Possibly attributable to the Fromanteel workshop, London, 1675-80 The substantial five finned and latched pillar movement with plates measuring 8.125 inches by 5.25 inches enclosing delicate wheelwork, the five wheel going train with large diameter sixteen-groove barrel and anchor escapement for regulation by seconds pendulum, the strike train with high position external countwheel, now with a later 12 inch square brass dial with engraved signature Jam’s Berry, PONTEFRACT to the rococo scroll engraved centre. The current lot exhibits many features which are seen on other examples signed by either Ahasuerus or Johannes Fromanteel. Firstly the barrels are formed from split-castings where each cylinder is cast in two halves along the arbor axis and soldered together. Although barrels that are constructed in this manner were used by almost all workshops at this time it is believed that the castings themselves originated from the Fromanteels. Secondly the countwheel is secured by a brass spring cut with a keyhole to engage with a groove turned into the diameter of the pivot post. It would seem that makers of the Edward East school preferred to retain high-position countwheels with screws (see Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks page 92, Plate 114 and page 111, Plate 139). Thirdly the fly to the strike train utilises a tab spring riveted to the leaf as a friction brake rather than an end leaf-spring preferred by Joseph Knibb (see Early English Clocks pages 136, Plate 175/76 and compare with Darken, Jeff (editor) HOROLOGICAL MASTERWORKS page 149). Finally the shape of the latches being simple fanned curves terminating with a distinctive thumbnail hook differs from those used by Knibb which generally have a down-sweep along the outer edge before the hook (compare Early English Clocks page 78, Plate 94 with page 107 Plate 134). Indeed the latches on the current lot are practically identical to those on a three-in-two quarter striking table clock movement by Johannes Fromanteel (formerly at Cassiobury Park) which was sold at Sotheby’s, London sale of Important Clocks, Wristwatches and Barometers 13th October 1988 (lot 178).In addition to the movement having the combination of the above details the overall feel of the mechanism , in particular the weight and proportions of the pillars and delicate nature of the wheelwork, is wholly commensurate with those made by John Fromanteel. It is also perhaps interesting to note that one of Ahasuerus Fromanteel’s sons, Abraham, worked in Newcastle upon Tyne at various points between 1674 and 1730 when he died there. The fact that a member of the family was based there well into the 18th century could possibly account for why the movement is currently fitted with a re-purposed dial made in Pontefract, Yorkshire.
A rare French gilt brass ‘humpback’ cased petit sonnerie striking carriage clock with push-button repeat and alarm L. Leroy et Cie, Paris, circa 1900 The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour on the larger of the two, with silvered platform lever escapement and alarm set via a small silvered Arabic numeral dial positioned the winding squares and sounding on the smaller gong, the backplate signed L. Leroy & Cie, 7. B’d de la Madeleine, Paris to upper margin and numbered 18080 to centre, the 3.25 inch wide engine-turned silvered brass arched dial with Roman numeral chapter ring and gilt spade hands over repeat signature L. LEROY & CIE, 7. BOUL’D DE LA MADALEINE, PARIS inscribed in three lines onto small chamfered panel reserves, the arched gilt brass case with hinged gilt oval pendant handle over bevel-glazed moulded dial aperture and slender architectural stepped ogee shoulder mouldings to each side, the rear with hinged door and standing on four generous bun feet, the underside with strike selection lever inscribed Silence/Sonnerie, 15cm (6ins) high excluding handle; with original blue velvet black leather covered travelling case stamped gold lettering L. LEROY & CIE to front edge. Provenance: Sold at Christies, South Kensington, London The Dr. Eugene and Rose Antelis Collection of Important French Carriage Clocks 26th November 1998 (lot 76) for a premium inclusive £2,990. The firm of 'L. Leroy & Cie' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century.The arched ‘humpback’ form of the case of current lot was most likely first used by Abraham-Louis Breguet in around 1822 (see Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development page 43). During the latter years of the 19th century this style of case was revived with English makers such as Jump and Nicole Nielsen producing highly complicated carriage clocks in the Breguet tradition. The current lot would almost certainly have been made to follow this fashion with the engine turned dial echoing that of Breguet. The classic simplicity of the ‘humpback’ carriage clock remains popular today as demonstrated by the premium inclusive £5,312 achieved for a closely related (but hour striking only) example, also by Leroy (No. 17894), sold at Bonhams, London Fine Clocks, 19th June 2019 (lot 4).
An interesting gilt brass electromagnetic master clock Unsigned but conforms to Gents’s 1907 patent design, early 20th century The rectangular gilt brass backplate decorated with engraved alternating triangular hatched decoration and concave cut corners except to the bottom left, applied with pivot post for the crutch assembly incorporating release lever and detent for the gravity arm and pivoted armature for the electromagnetic coils positioned to the left of the mechanism, the right hand side with shunt countwheel pivoted between shaped brass plates and locking detent for the gravity arm, the top of the plate with electrical connection posts and the whole assembly hung from a rectangular mahogany board via screws into four posts with the upper two doubling-up as twin supports for the wide jaw pendulum suspension to allow the steel-rod seconds pendulum with cylindrical gilt brass bob to swing behind the backplate, the whole in a mahogany glazed standing case with moulded cornice over glazed front door and conforming twin panels to sides, on plinth base with shallow moulded skirt, the movement backplate 24cm (9.5ins) high; the case 170cm (67ins) high overall. Gents of Leicester were founded by John Thomas Gent in 1872 and specialised in producing electric timepieces principally for semi-public and industrial use alongside fire alarm systems, telephones, transformers and related products. The firm initially operated from Faraday Road, Leicester, later (after WWII) moving to nearby Kibworth. They were bought-out by the multi-national organisation, Chloride, in 1981. In 1907 Gents patented a design of electric pendulum time transmitter or master clock, this design went on to be used in the series of ‘Pulsynetic’ timepieces which were made well into the 20th century.Although unsigned the current lot conforms to Gents’s 1907 patent design as illustrated in Miles, Robert H.A. SYNCHRONOME, Masters of Electrical Timekeeping Fig. 3/16. The overall high level of finish (including fine hatched engraved decoration to all the major components) would suggest that it was made to be an exhibit to demonstrate the operation of Gents’s design. Whether it was executed by Gents as a prototype or perhaps for promotional demonstration is unknown, however, as it is to their patented design, it would appear reasonable to suggest that it may have originated from their workshops.
A fine French Louis XV ormolu mantel clock Louis Jouard, Paris, mid 18th century The five knopped pillar two train bell striking movement now with Brocot deadbeat escapement for regulation by pendulum with Brocot rating adjustment to suspension, the backplate with canted angles, crossed out countwheel annotated for the hours and signed Jouard AParis across the plate beneath, the 6.75 inch circular white enamel Roman numeral dial signed JOUARD, A PARIS to centre within dark cobalt blue numeral hour ring and Arabic five minutes to outer track, with fine scroll pierced and engraved gilt brass hands set behind hinged convex glazed cast gilt bezel, the heavy case cast in the full-blown Louis XV rococo manner with a figural surmount modelled as the juvenile Diana with quiver of arrows perched within a generous asymmetric scroll issuing a floral trail over pair of finely chased eagle wings flanking the dial at the rear, the front with bold sweeping foliate rocaille scroll enveloping the left hand side of the dial and continuing down and across to merge with the substantial right hand front support issuing generous stylised leafy sprays and a floral trail, the left hand side with bold sculpted S-scroll support beneath the dial continuing down to form the foot, the rear with further asymmetric pair of scroll supports and glazed hinged cover for the movement, 60cm (23.5ins) high. Louis Jouard is recorded in Tardy DICTIONNAIRES DES HORLOGERS FRANCAIS as becoming a Paris maître in 1724 and is noted as a ‘Horloger de la ville de Paris’ in 1739. He was appointed Jure in 1741 and Garde 1742-69. His workshop was located at Rue de la Monnaie 1746-49 then Rue St-Germain I’Auxerrois until 1772. He is believed to have trained or worked in the workshop of Jacques Cogniet (1661-1731) and his son Jean-Baptiste Cogniet (d. 1726) who were at rue de la Monnaye (where Jouard was also listed in September 1724). When J-B Cogniet died Jouard married his widow Marie-Ursule Prévost and in so doing took over Cogniet’s business. The current lot is essentially a perfectly formed example of Louis XV ormolu mantel clock. The finely cast, chased and burnished bronze doré case demonstrates a feeling of movement and tautness only achieved by the most confident of modellers through the combination of abstracted foliate scrollwork, floral sprays and in the case of the current lot, eagle wings.
A fine French engraved gilt brass and painted porcelain panel inset carriage clock with push-button repeat Retailed by Payne and Co., London, circa 1860 The eight-day bell striking movement with platform lever escapement and stamped with serial number 6421 next to engraved retailer’s signature PAYNE & Co., 163 NEW BOND STREET, LONDON to the lower margin of the backplate, the rectangular blue ground porcelain dial polychrome painted with a figure in 17th century style dress to centre within Roman numeral chapter ring with gilt inverted trident half hour markers and gilt outer border, with pierced blued steel moon hands and gilt foliate motifs to upper and lower margins, the corniche case with hinged carrying handle and porcelain panel painted with a cherubic artist within blue ground gilt surround to top over repeating geometric engraved bands to frieze, the sides and rear door with panels painted with 17th century figures courting within conforming blue and gilt surrounds, the base mouldings engraved with panels of repeating rosettes, 14.5cm (5.75ins) high. The firm of Payne and Company was founded by William Payne who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1820-40, other sources suggest that he worked from 1811 until 1856 with the firm continuing to trade as Payne and Company until around 1875.
A fine French Empire patinated bronze, ormolu and Siena marble figural mantel clock Louis Mallet, Paris, circa 1820 The two train eight-day bell striking movement with anchor escapement regulated by disc bob pendulum with Brocot type regulation to suspension, the circular white enamel Roman numeral dial signed L’s. Mallet, h’s de S. A. R. M. J’r le duc d’orleans to centre with blued steel moon hands and outer minute track within crisp egg-and-dart cast surround fitted with convex glazed hinged bezel, the case with movement inset into a gilt plinth surmounted by a globe standing on a stack of books and oil lamp over fine cast anthemion inset mounts to quadrant areas around dial flanked by a pair of figures modelled as seated putto conversing, the base hewn from a solid block of Siena marble applied with a central bronze panel relief cast with putti performing academic pursuits flanked by crisply cast trophy mounts emblematic of the Arts and Sciences, on integral skirt base applied with lappet leaf cast ogee moulding to top edge and on block feet, 49cm (19.25ins) high. Louis Mallet is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS was working from 1810-30 in the Rue J.-J. Rousseau and later at the Rue Neuve des Petits-Champs.
ϒ A Victorian small two-day marine chronometer Charles Frodsham, London, circa 1845 The four pillar full-plate single chain fusee movement with Harrison's maintaining power, split bimetallic balance with keystone-shaped compensation weights, helical balance spring and faceted diamond endstone, the spotted backplate signed Charles Frodsham, London and with brass bayonet fitting dust cover, the 3.25 inch circular silvered Roman numeral dial with blued steel fleur-de-lys hands, subsidiary seconds and power reserve dials, and inscribed CHARLES FRODSHAM, 7 Pavement, Finsbury Park, London, No. 2012 to centre, set in a lacquered brass bowl with screw-down bezel mounted within pivoted gimbals with locking screw, the mahogany three-tier case with vacant nameplate to top surface and push button clasp for the top tier above inset ivory panel inscribed ARNOLD, CHARLES FRODSHAM, 84 STRAND, LONDON. to the middle tier, with brass key escutcheon over circular plate engraved with repeat serial number 2012 beneath, the sides with brass carrying handles, the box 15cm (6ins) wide. Charles Frodsham was born in 1810 into a family of clockmakers with his grandfather, William originating from Cheshire before moving to London prior to 1781 where he was admitted to the Clockmaker’s Company. His son, William James, had six sons, four of whom joined the firm of Parkinson and Frodsham in London; whilst Charles, the third born son set-up on his own at Barnes Place, Islington in 1834. He moved to 12 Finsbury Pavement in 1836 then to number 7 in 1838. On the death of the renowned chronometer maker John Roger Arnold in 1843 Charles Frodsham acquired the business and began trading as ‘Arnold, Charles Frodsham’ from 84 Strand, London. Unusually Frodsham was not admitted to the Clockmaker’s Company until 1845 but went on to serve as master twice in 1855 and 1862; he was also a founder member of the British horological Institute in 1858.Charles Frodsham became one of the most eminent chronometer makers of his generation who served as a juror in the 1852 International Exhibition held at South Kensington where he also showed a month duration marine chronometer with experimental ‘Duo-in-uno’ balance springs and three different forms of compound balance. In 1854 he purchased the ‘goodwill’ of the late Benjamin Lewis Vulliamy’s business which led to his appointment as Superintendent and Keeper of Her Majesty’s clocks at Buckingham Palace. Charles Frodsham died of liver disease in January 1871 and was succeeded by his son, Harrison Mill Frodsham. The business became Charles Frodsham and Company and in 1884 and then was incorporated as a limited Company in 1893 before relocating to 115 New Bond Street, London two years later where they remained well into the Twentieth Century. The firm is still trading today (from 32 Bury Street, London) as specialist in chronometer, watch and clock makers. The current lot appears to be one of the first chronometers sold by Frodsham after he acquired the late John Roger Arnold’s business in 1843 as the dial carries his former address (7 Pavement, Finsbury Square) whilst the box has a plaque for ‘Arnold, Charles Frodsham’ at 84 Strand, London. This fact is further supported by the existence (in the collection of the National Maritime Museum -accession number ZAA0058) of a small marine chronometer numbered 2025 and signed by Frodsham at 84 Strand which utilises a pocket chronometer movement made by Arnold in around 1802. From this it is reasonable to surmise that Frodsham initially used-up old stock, both from his Finsbury address and Arnolds former business, when he first started trading from 84 Strand in 1843. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A lantern clock hand Anonymous, probably provincial, late 17th century Made from forged sculpted steel with circular boss and short tapered faceted shaft terminating with twin foliate scrolls joined by a heart issuing pointed tip, the tail formed as a spike filed with ogee decoration to tip, from centre to tip 6cm (2.375ins); 9.6cm (3.75ins) long overall. The current lot is heavy in its construction and well finished with the design being typical of the late 17th century. The form appears influenced by hour hands seen on high-end eight-day longcase clocks of the period, hence it is also possible that the present hand may have fitted to a hooded wall clock or small thirty-hour longcase.
Ï’A fine William III walnut and Arabesque panel marquetry eight-day longcase clock Langley Bradley, London, circa 1700 The five finned pillar outside countwheel bell-striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with ringed winding holes, elaborate scroll-border decorated calendar aperture and subsidiary seconds dial 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 L. Bradley, London to lower margin, with sculpted steel hands and winged cherub head and scroll cast spandrels to angles, the case with stepped domed caddy fronted with symmetrical Arabesque marquetry over fretwork fronted upstand, moulded cornice and conforming frieze, the foliate strapwork scroll inlaid glazed hinged dial surround applied with turned three-quarter marquetry veneered columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with concave marquetry veneered throat moulding over 41.5 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited strapwork scrolling foliage on a light ground within a walnut field, the surround with ebony and box triple-line border and the sides veneered with twin line-strung crossbanded panels, the base with stepped ogee top moulding and conforming rectangular marquetry panel within further crossbanded surround over moulded double skirt, 239cm (94ins) high. Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers' Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul's Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton.Despite this embarrassment Sir Christopher Wren attempted to influence the Crown's potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as 'a very able artist, very reasonable in his prices' in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain's response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A selection of cast brass table clock case mounts For use in the restoration of late 17th century clock cases Comprising a pair of multi-section brass Corinthian column capitals and bases, a set of four similar capitals, a foliate cast hinged handle, set of four acanthus decorated vase finials, two ‘Knibb’ pattern cherub head and scroll escutcheon plates and a selection of door hinges and locks, (qty).
Ï’A fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A fine French engraved gilt brass and porcelain panel inset carriage clock with Le-Roy and Fils patent keyless winding, push-button repeat and alarm Le Roy and Fils, Paris, circa 1880 The eight-day two train gong striking movement with silvered platform lever escapement and alarm sounding on the same gong, both trains wound via a contrate wheel connected to a large fixed key engraved LE ROY & FILS, PATENT 9501 fitted within the underside of the case configured to wind the going winding in one direction and the strike in the other, the backplate stamped with partially obscured serial number 59.. the dial with rectangular gilt brass mask engraved with leafy scrolling foliage enclosing a circular white enamel Roman numeral hour disc with Arabic five minutes to outer track and blued steel moon hands over conforming alarm setting dial to lower margin, the finely engraved gilt brass cannelee case with hinged carrying handle to the glazed oval panel centred floral spray decorated top over border-engraved top mouldings and inset porcelain side panels each finely painted with a romantic ruinous Classical landscape within an applied ‘split pearl’ and gilt painted cobalt blue ground border, the rear with hinged door engraved with intense floral scrolls on a matted ground, the base decorated with further conforming shaped panel infill, 15cm (6ins) high excluding handle. The firm of 'Le Roy & Fils' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century.The ingenious patent keyless bottom-wind system fitted to the current lot is described in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development pages 219-21.
A William III style part-finished walnut longcase clock case for a movement with eleven inch dial Unsigned, recent Executed with well selected figured veneers and fine cross-grain mouldings, the hood configured to rise with ogee cornice and scroll-pierced frieze fret to entablature over Solomonic twist turned three-quarter columns flanking the fixed dial aperture and the sides incorporating rectangular openings with bargeboards at the rear, the trunk with convex throat mouldings, vacant door aperture measuring 42.25 by 9 inches and triple-line strung book-matched panels within crossbanded borders to sides, on conforming book-matched panel veneered plinth base with crossbanded borders and ogee top moulding, (hood rear quarter columns detached but present), 203cm (80ins) high. Please note: The trunk door made with the case has now turned up and will be available for the buyer to purchase for a fixed (all inclusive) price of £60.
A walnut and floral marquetry eight-day longcase clock The movement and dial by Edward Speakman, circa 1695-1700, the case later The five finned pillar internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes 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 E. Speakman, London to lower margin, with scroll pierced blued steel hands and twin cherub and crown cast spandrels to angles within herringbone engraved border, now in a case with floral marquetry decorated shallow dome superstructure over crossgrain ogee moulded cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with solomonic three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex floral marquetry veneered throat moulding over 42 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground within a figured walnut field, the sides veneered with twin slender oyster-cut panels within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over bun feet, 213cm (84ins) high to top edge of domed caddy. Edward Speakman is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in 1668 and apprenticed to his father, William, from 1682/3 to 1689. He gained his freedom of the Clockmaker’s Company in 1691 and worked from Newgate Street. Edward Speakman was married to Sarah Brown in 1695 however it would seem that she had died within a year of the marriage. He signed the Oath of Allegiance in 1697 and worked until his death in Christ Church Parish 1713.
A fine and rare first period lantern clock hand Anonymous, second quarter of the 17th century Made from forged sculpted steel with oval boss and half-round filed tapered shaft decorated with a banded collar at the root and terminating with twin foliate scrolls issuing reverse arrow shaped tip, the tail of conforming shorter profile terminating with an acorn finial, from centre to tip 6.7cm (2.25ins); 8.9cm (3.5ins) long overall. The current hand is of a design that originated in the early 17th century with versions appearing on examples by William Bowyer amongst others and remained popular until around 1680. Peter Closon seemed to prefer the design as it appears on many clocks by him made during the turbulent middle years of the 17th century. The current lot would appear to be a relatively early example of the type as it has an oval central boss as well as a distinctive acorn finial to the tail, later examples tend to have circular centres and terminate the tail with a spike. Indeed present hand can be compared to that fitted to a first period lantern clock by William Selwood previously in the Iden collection. Dating to around 1635 this clock is illustrated in Loomes, Brian LANTERN CLOCKS and Their Makers on page 74 (Fig. 6.48).
A fine and extremely rare pair of early Victorian mahogany small library mantel timepieces supplied to H.M. Government General Register Office Benjamin Lewis Vulliamy, London, circa 1837/8 Each with substantial rectangular four pillar single fusee movement with half deadbeat escapement for regulation by heavy disc bob pendulum suspended from typical wide-jaw backcock, the backplates signed VULLIAMY, LONDON over serial numbers 1363 and 1364 with the latter also incorporating a circular GVR stamp, each 4 inch circular silvered Roman numeral dial with finely engraved Royal VR monogram over signatures VULLIAMY, London and designation GENERAL REGISTER OFFICE to centre, with blued steel spade hands, the rectangular cases each with tablet upstand over crisp cavetto cornice and full-width front door incorporating circular glazed dial aperture inset with a moulded silvered brass bezel, the rear with plain rectangular door, on skirt base with squab feet, (both lacking pendulums), 25.5cm (10ins) high. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); however his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion. The Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy work books still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067. There is also a third surviving Vulliamy workbook, relating only to repairs and servicing dating to the period 1846-53. Interestingly this volume records at least sixty five clocks being in the possession of the government ‘Office of Works’ and another forty being in the possession of Queen Victoria at Buckingham Palace. The General Records Office (GRO) was established by the Births and Deaths Registration Act 1836 with Registration commencing in July 1837. The first registrar general was Thomas Henry Lister whose responsibilities grew to also include that of conducting the first census for England and Wales in 1841. In 1972 the GRO became a sub department of the newly established Office of population Censuses and Surveys and 2007 witnessed the passing of Statistics and Registration Service Act leading to the establishment of the non-ministerial UK Statistics Authority. In order for the GRO to remain ministerially-accountable the office became part of the Home Office Identity and Passport Service at this time. The current lot is extremely rare being a pair of timepieces with consecutive serial numbers supplied by Vulliamy for H.M. Government offices. Roger Smith in his article entitled Vulliamy Clock Numbering, A Postscript, published in Antiquarian Horology Vol. 21 No. 5 (September 1994), used surviving data in the records of the British Horological Institute at Upton Hall and known documented examples to compile a graph from which unrecorded clocks can be fairly accurately dated. According to this chart numbers 1363 and 1364 would appear to have been supplied in 1837/38 -indicating that the present timepieces were most likely supplied to Whitehall for use in The General Records Office at the time of the department’s establishment. Although timepieces supplied by Vulliamy for use in H.M. Government offices do turn-up at auction from time to time most seem to be drop dial wall timepieces. One such example, engraved with the Royal V.R. Cypher and banner POOR LAW COMMISSION was sold in these rooms on 15th March 2018 (lot 121) for £6,500 hammer; whilst another, this time inscribed PAYMASTER OF EXCHEQUER BILLS over date AD 1842, was sold at Bearnes, Hampton and Littlewood, Exeter, on 7th October 2015 (lot 744) for £8,800 hammer. A third example still resides in the Lord Chancellor’s office inscribed BAIL COURT over AD1845. Small mantel timepieces marked with the Royal cypher and Government office designation appear to be much rarer with, to the best of the cataloguer’s knowledge, apparently none appearing at auction within the last ten years. This may be be in part due the much smaller and more portable nature of these timepieces resulting in them perhaps being less likely to have been engraved with the full cypher and designation when made for practical reasons. Indeed one such timepiece (from the same source as the present lot) is also included in the sale This example only bears the signature to the dial but evidence of labels and other markings to the case strongly suggests that this third timepiece was supplied for Government office use. Another closely related small mantel timepiece, perhaps also supplied for Government use, was sold in these rooms on 20th September 2016 (lot 76) for £14,000; an auction record for a timepiece of this type.Close examination of the current lot throws-up some interesting observations most noticeably the choice of veneers for the sides of each of the cases which are an exact match for each side of both timepieces. Also it would seem that at one point they were overhauled at the same time in the same workshop and the texturing to the silvering of the dials are slightly different indicating that re-silvering was executed by different workmen.
A fine French engraved gilt brass and porcelain panel inset carriage clock with push-button repeat and alarm Unsigned but possibly Jules Brunelot, Paris, circa 1880 The eight-day two-train gong striking movement with silvered platform lever escapement, alarm sounding on the same gong and stamped with trademark formed as the letter B within a circle to the lower left hand corner of the backplate, the rectangular porcelain panel dial with fine polychrome floral painted centre within pink and gilt bordered Roman numeral cartouche chapter ring, with gilt spade hands, the lower margin incorporating subsidiary alarm setting dial flanked by painted figures of a peasant girl and cupid, the upper decorated with fine bunched floral sprays, the finely engraved gilt brass corniche case with hinged carrying handle to the oval glazed panel centred rococo scroll decorated top over porcelain side panels each centred with a finely painted cartouche of a courting couple in traditional dress within an applied turquoise bead and gilt painted pink ground border, the caddy moulded corner uprights with spiral ribbon engraved decoration and the rear with hinged glazed door incorporating a scroll engraved frame, the base decorated with further rococo scrollwork on a matted ground, 13.5cm (5.25ins) high excluding handle. The trademark stamped to the lower left hand corner of the backplate of the current lot (letter B within a circle) is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as possibly being for Jules Brunelot although no evidence has been found to confirm this.
A fine and rare French engraved gilt brass five minute-repeating carriage clock with ‘Dumb-Striking’ Indistinctly signed, late 19th century The eight-day gong hour-striking movement with silvered platform lever escapement and five minute repeat on a second smaller gong, the rear with plunger operated hammer arrest lever and stamped with small indistinct trademark serial number 20721 to lower margin, the dial with rectangular gilt engine-turned mask enclosing an inset Roman numeral enamel hour disc with red Arabic five minutes to outer track and blued steel moon hands, the cannelee engraved satin gilt bevel glazed case with hinged carrying handle over oval panel with hinged carrying handle to the glazed oval panel centred rococo scroll decorated top incorporating Minutes and Hours repeat plungers to front edge and a further plunger labelled Dumb Striking to the rear, with repeating foliate motif top mouldings and uprights over rococo scroll decorated base, 14cm (5.5ins) high. Five-minute repeating clocks are discussed in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development on pages 197-98. Of the two variations described by Allix the current lot falls into the first with the strike-work being related to that of a grande or petit sonnerie striking clock. However the current lot is unusual in being of this type but having separate plungers for sounding full five minute repeat or hours only as well as well as ‘dumb striking’. Another closely related example with this unusual configuration (housed in a plain unengraved case) was sold at Christies, South Kensington, London The Dr. Eugene and Rose Antelis Collection of Important French Carriage Clocks 26th November 1998 (lot 106).
A George III brass lantern clock James Wilson, London, circa 1760 The posted countwheel bell striking two-handed movement with verge escapement for regulation by short bob pendulum swinging at the rear behind the frame, the eight inch brass break-arch dial with central vestigial alarm disc to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a circular boss signed James Wilson, LONDON flanked by conforming mounts, with domed bearer enclosing bell supported over vase finials behind over hanging hoop, brass backplate and on ball feet, (lacking pendulum bob, alarm, side doors and weights), 31cm (12.25ins) high. James Wilson is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working circa 1775.
A William III thirty-hour longcase clock movement and dial William Martin, London, circa 1695 The four thickly turned finned pillar plated two handed outside countwheel bell striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with engraved rosette to the matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed W’m Martin, London to lower edge, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles, (lacking pendulum and weight). William Martin is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1668 and apprenticed to his father, John Martin, until 1689 but did not gain his freedom of the Clockmaker’s Company until 1702.
A French Louis Philippe ormolu and green marble mantel clock J. Charles, Paris, circa 1840 The eight-day circular two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the backplate stamped with serial number 811 over J. CHARLES, A PARIS oval trademark, MEDAILLE D’OR, Paris, 1827 roundel, and further number 71 32, the circular engine turned silvered brass Roman numeral cartouche dial with oval panel inscribed J. Charles, A PARIS to centre and with wavy outer minute track, with blued steel moon hands within a concentric bead cast moulded bezel, the case with stylised scroll cast crest to the back panel upstand cast to resemble a bookcase with desk stand flanked by conforming side scrolls to the foreground, the dial flanked by winged leafy term mounts to front angles over veined grey marble block base, on gilt shallow skirt with milled bun feet, 42cm (16.5ins) high.
A Victorian brass skeleton timepiece with passing strike Unsigned, third quarter of the 19th century The eight-day single chain fusee movement with six spoke wheel crossings and anchor escapement regulated by decorative disc bob pendulum with elaborate pierced frame enclosing the regulation adjustment screw, the scroll-pierced waisted frame united by six decorative knopped pillars and incorporating pivoted hammer with tail engaging with a pin on the centre-arbor minute wheel to sound a single blow on a bell mounted above the frame every hour, with silvered arcaded Roman numeral chapter ring and steel spade hands, mounted via flanged cylindrical feet onto a baize lined ebonised ovoid base and with glass dome cover, the clock 35.5cm (14ins) high; 44.5cm (17.5ins) high including stand and dome.
Clockmakers - seven volumes: Mason, Bernard Clock and Watchmaking in Colchester Country Life, London 1969, dj; H. Miles CORNISH CLOCKS and CLOCKMAKERS David and Charles, Newton Abbot 1970, dj; Ponsford, C.N. TIME IN EXETER Headwell Vale Books, Exeter 1978, dj; Daniels, George FREEMEN OF THE WORSHIPFUL COMPANY OF CLOCKMAKERS 1631-1984 Published and signed by the Author, Riverside, Isle of Man 1984, dj; Baillie, G.H., Clutton, C. and Ilbert, C.A. BRITTEN’S OLD CLOCKS AND WATCHES AND THEIR MAKERS E. & F.N. Spon Ltd., seventh edition, London 1956; White, George The Clockmakers of London The Clockmakers Company, London 1998, (soft bound), and a copy of Bromley, John The Clockmakers’ Library, THE CATALOGUE OF THE BOOKS AND MANUSCRIPTS IN THE LIBRARY OF THE WORSHIPFUL COMPANY OF CLOCKMAKERS Sotheby Parke Bernet Publications, London 1977, dj, (7).
A George III mahogany table clock Bearing a signature for Benj, Gray, London, late 18th century The five pillar twin fusee bell striking movement with verge escapement and trip repeat, the backplate engraved with a Neo-Classical urn centred cartouche within delicate rococo scroll infill, the 6 inch cream painted Roman numeral break-arch dial with calendar aperture and bearing inscription Benj. Gray, LONDON to centre, with Arabic five minutes to outer track and pierced brass hands beneath STRIKE/SILENT selection dial to arch above, the bell-top case with hinged brass carrying handle and vase finials over complex top mouldings, the front door with brass fillet bordered glazed dial aperture and scroll-pierced upper quadrant frets, the sides with break-arch windows and the rear with break-arch glazed door, on cavetto moulded skirt base with brass ogee bracket feet, (pallets and pendulum assembly lacking), 43cm (17ins) high excluding handle. Provenance: Brocket Hall, Hertfordshire.
A William III burr walnut and floral panel marquetry eight-day longcase clock Joseph Windmills, London, circa 1695 The five finned and latched pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, external countwheel locking detent and sculpted steel hammer spring mounted on the tall backplate, the 11 inch square brass dial with ringed winding holes to the matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, small Arabic five minutes beyond the narrow outer minute track and signed Joseph Windmills, London to lower edge, with fine sculpted steel hands and with twin cherub and crown cast spandrels to angles, the case with crossgrain ogee moulded cornice and scroll pierced frieze to lintel, over leafy trail inlaid fixed glazed dial surround applied with generous solomonic three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex figured walnut veneered throat moulding over 41 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground within a figured walnut field, the sides veneered with single slender panel within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over moulded skirt, 206cm (81ins) high. Provenance: Brocket Hall, Hertfordshire. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at ‘Swan Court, Mark Lane End, next Tower Street’ by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers.
A rare French lacquered brass giant carriage clock with push-button repeat and alarm Unsigned, late 19th century The substantial two train eight-day gong striking movement with four double-screwed pillars, large silvered platform lever escapement and alarm sounding on a bell mounted within the base of the case, the backplate stamped with a roundel inscribed MEDAILLE D’OR. 1822, Paris to lower right and numbered 2765 to lower left, the rectangular white enamel Roman numeral dial with blued steel hands and alarm setting dial to lower margin, the substantial bevel-glazed corniche case with hinged carrying handle and thick glasses, (dial with faults to restored enamel), 21.5cm (8.5ins) high excluding handle.
A Regency brass mounted ebonised small lancet bracket clock with trip hour repeat Unsigned, early 19th century The four pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum and shouldered plates, the 4.75 inch circular convex white enamel Roman numeral dial with blued steel serpentine spade hands set behind hinged convex glazed cast brass bezel and with N/S strike selection switch at twelve o’clock, the Gothic lancet arch shaped case with raised brass line outline shaped panel infill to front incorporating looped double-lozenge motif beneath dial flanked by slender three quarter columns supporting arched mouldings to angles, the sides with gilt lions mask ring handles over pierced brass lancet-shaped sound frets and the rear with lancet arch glazed door, on brass strip inset stepped skirt base with brass ball feet, 30.5cm (12ins) high.
A selection of wooden longcase clock case fittings For use in the restoration of 17th century and later longcase clocks Including six giltwood ball and spire finials, a set of three flambeau urn finials, a group of hood column caps and bases, two walnut and one ebonised trunk door lenticle surrounds, and a quantity of assorted bun feet, (qty).
A George III / Regency mahogany eight-day longcase clock Unsigned, late 18th / early 19th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch white painted break-arch Roman numeral dial with subsidiary seconds and calendar dials to centre beneath STRIKE/SILENT selection to arch, in a break-arch case with concave-sided upstand over cavetto cornice and brass stop-fluted canted angles flanking the break-arch glazed hood door, the sides with rectangular windows, the trunk with flame figured break-arch door over raised panel fronted plinth base with moulded double skirt, 221cm (87ins) high.
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