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Lot 534
An early/mid 20th century demi-lune side cabinet profusely hand-gilded and lacquered with chinoiseries; the top with a gilded running guilloche and with two outset columns headed with rams' masks over harebells, central convex drawer above a conforming lower cupboard door, the whole gilded and decorated with figures, birds and buildings etc., raised on four short gilded tapering fluted legs terminating in ebonised and gilded spade feet, 128cm wide CONDITION REPORT: The piece appears in generally overall good original condition although looking at the top from an angle with a light the lacquer is lightly scratched in places and there are some indentations where items have been placed upon the top over the years. In our view this does not particularly detract from the look of the piece and although scratches, scuffs and one or two minor “holes” the size of a match head are visible the eye is not immediately drawn to them. Some rubbing of gilding is noticeable under scrutiny, mostly to extremities to include one of the ram's head noses, some running guilloche style gilded moulding around the top and naturally enough scuffing and paint away etc., to the tapering square block feet. The door does not appear to be warped although there is some scuffing to the left hand side of the vertical where the escutcheon is visible, presumable where the lock has not been retracted fully and has caused minor damage. In our view this could be rectified fairly easily. No breakages, splits, cracks or major problems are noted and the auctioneer asks that prospective bidders (of which there are a few) refer to the images published to include all angles with front, top, underside, interior and drawer close ups etc. The panels to the left and right of the central panel appear in very generally very good overall decorative order and it is a nice effect that the gilding has dulled down in most places. The Demi Lune commode has a black painted panelled back affixed with largish screws to the side verticals which have evidently been in place for a good period of years. Overall good general original condition commensurate with age. Dimensions: 126cm wide x 56.5cm deep x 94cm high. We can't see any plywood used in the piece.
Lot 355
An antique (mostly 18th century) oak-cased longcase clock; the flaring cornice above an 11" brass dial with silvered chapter ring with Roman numerals, subsidiary date arch and moon phase aperture etc., the chapter ring signed 'T. Travis' and cornered by ornately pierced gilt-metal spandrels headed with cherubs and flanked by Classical-style columns, elongated vertical trunk door, with pendulum and single weight, the trunk raised on shaped bracket feet, 213cm high
Lot 580
A large Edwardian mahogany and satinwood-crossbanded compactum; the breakfront cornice above a central panelled door enclosing shelves and flanked by two further full-width mirror-fronted doors opening to reveal hanging space, four central graduated and crossbanded drawers below panelled door, raised on front plinth base with bracket-style feet, 195cm (widest) x 65cm (deepest) x 213cm high
Lot 354
A 19th century oak and mahogany-crossbanded eight-day longcase clock; the broken swan-neck pediment surmounted with a central gilt-metal finial above a 13.5" painted dial with Roman numerals, subsidiary seconds hand and date aperture and signed 'Heywood - Bangor', all within ornately painted spandrels modelled as ripening strawberries, two fluted columns flanking and the vertical rectangular crossbanded trunk-door flanked by quadrant fluted pilasters with gilt-metal capitals, raised on bracket feet, together with two weights, pendulum and key etc., 219cm high
Lot 631
An early 19th century mahogany cased Scottish long case clock with swan neck pediment and turned columns to the hood, moulded arched door and half turned side columns to the trunk, with arched painted dial and 8 day striking movement. Height 83", bears faded signature.small amount of old woodworm noted to first 2 or 3 inches of feet, some veneer missing there too.
Lot 568
An early/mid 18th century oak country made Welsh dresser, the raised back with moulded cornice and fretted frieze, 2 side cupboards enclosed by raised panel doors with small drawers under and 3 central shelves, the base with 3 frieze drawers with raised geometric panels and brass pear drop handles, similar central 2 door cupboard under with open shelves on each side, barley twist side columns, on bun feet, height 80"
Lot 382
An 18th century oak cased longcase clock, the moulded cornice above Ionic columns and a long trunk door, box base and plinth, the 30cm square dial painted with flowers to the corners, the dial with Roman numerals, a seconds subsidiary dial and calendar aperture, the eight day movement striking on a bell, 181.5cm high
Lot 49
A George III mahogany mercury stick barometer with hygrometer, John Hawting, Oxford, circa 1790 The chevron line inlaid and crossbanded case with open triangular pediment and cavetto cornice above hygrometer, the inset silvered Vernier scale calibrated in barometric inches to the right hand margin opposing weather observations over engraved putto infill to the left, the upper margin signed Jn’o Hawting, Oxford set behind flush hinged glazed door, the trunk with conforming inset silvered Fahrenheit scale alcohol tube behind hinged glazed cover, the rounded base with hemispherical domed cistern cover above brass level adjustment screw to underside, 114cm (41ins) high.John Hawting is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Oxford 1765-91.
Lot 153
A fine George III brass mounted mahogany table clock, Eardley Norton, London, circa 1790 The substantial five pillar twin fusee bell striking movement with unusual vertical crownwheel deadbeat escapement regulated by lenticular bob pendulum with banking pins and holdfast to the basket of flowers centred foliate scroll engraved backplate, the 7 inch gilt brass break-arch dial with recessed silvered calendar dial to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and fine foliate scroll pierced and chased gilt brass spandrels to angles beneath arch centred with silvered STRIKE/SILENT selection ring flanked by conforming mounts beneath curved silvered signature plate engraved EARDLEY NORTON LONDON to upper margin, the figured mahogany break-arch case with bow-fronted concave pyramid upstand and brass ball finials above brass fillet inset glazed door flanked by brass stop-fluted canted angles, the sides with sculpted hinged brass carrying handles over arched fishscale sound frets, the rear matching the front, on generous cavetto moulded skirt base with brass ogee bracket feet, 55cm (21.5ins) high. Eardley Norton was thought to have been born into a farming family from Rigsby, Lincolnshire, however he was apprenticed as a clockmaker 25 May 1743 to Robert Dawson of Alford. Latterly he moved to London where he is listed as working at 49 St. John’s Street, Clerkenwell between 1760 and 1794. He was member of the Clockmakers’ Company being freed in 1770 and remained a member until his death in 1792. He applied for a patent for a new type of striking mechanism for both clocks and watches on 31 August 1771. Norton enjoyed Royal patronage being perhaps best known for his silver mounted four-dial astronomical clock (made in collaboration with James Ferguson F.R.S.) commissioned by George III for Buckingham House (later Palace) which still remains in the Royal Collection (RCIN 30432). He married Mary Swinnerton of Oswestry and later retired to Stonegrove House (no longer existing), Little Stanmore, Middlesex, in the parish of Whitchurch. On his death, his business was taken over by the partnership of Gravell and Tolkien. He is buried at St. Lawrence's church in Little Stanmore.The current lot has noticeably thick plates, very generous heavy pillars and utilises an unusual form of deadbeat escapement configured with teeth set at ninety degrees to then rim.
Lot 136
A large gilt brass mounted ebonised quarter chiming bracket clock, unsigned, late 19th century The substantial four pillar triple chain fusee movement chiming a choice of two melodies on a graduated nest of eight bells and sounding the hour on a gong, with anchor escapement regulated by a lenticular bob pendulum and foliate scroll engraved backplate, the 8 inch arched brass dial with matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced steel hands and foliate scroll cast gilt spandrels beneath arch incorporating subsidiary CHIME/SILENT and CHIME ON EIGHT BELLS/CAMBRIDGE CHIMES selection within conforming cast infill, the bell top case with flambeau urn finials and foliate swag cast mounts to superstructure over front with canted silvered fillet inset cast brass bevel-glazed hinged dial surround and winged cherub mask quadrant frets to upper margins, flanked by female caryatid mounts to the canted angles, the sides with generous foliate cast hinged carrying handles over sunburst decorated arched sound frets, the rear with brass grille inset rectangular door flanked by conforming caryatids, on generous cavetto moulded skirt base with scroll cast feet and foliate mount to apron, 70cm (27.5ins) high. Provenance: Nicholas Edwards Baron Crickhowell (1934-2018), Conservative MP for Pembroke 1970-87 and Secretary of State for Wales 1979-87.
Lot 119
A fine French engraved gilt brass carriage clock with push-button repeat and chronometer escapement, Gontard and Bolviller, Paris, circa 1840-50 The eight-day bell striking movement with platform lever chronometer escapement incorporating helical sprung balance beneath yoke-shaped bridge, the backplate stamped with oval BOLLVILLER, A PARIS trademark and numbered W, 414, the rectangular white enamel Roman numeral dial with signature GONTARD ET BOLVILLER A PARIS beneath VI and fine blued steel Breguet style moon hands, the bevel glazed one-piece caddy moulded case with hinged faceted baton and baluster turned engraved carrying handle above large top glass and foliate scroll engraved trails to angles and edges, the rear with intensely engraved door decorated with hatched foliate strapwork and incorporating shutters for the winding and adjustment squares, on conforming cavetto moulded skirt base with recessed sections to angles, 13.5cm (5.25ins) high excluding handle. Bolviller is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development (page 432) as working from several addresses in Paris from 1830 until after 1870. Bollviller are known for being relatively early and inventive makers of fine French carriage clocks. Bolviller appears to have entered into partnership with C.P. Gontard in the 1840’s as a Brevet was granted to both makers for a lever chronometer escapement in 1848. Gontard went on to show carriage clocks in London 1851 and patent two further related escapements and produce carriage clocks under his name alone.
Lot 146
A Fine Viennese mahogany grande-sonnerie striking ‘Dachluhr’ regulator wall clock, Anton Pohl, Vienna, circa 1830 The four pillar triple train eight-day movement with shallow-arch plates and deadbeat escapement incorporating tall inverted V-shaped pallets regulated by brass lenticular bob pendulum with ebonised wooden shaft to the weight-driven going train, the quarter train driven by standing spring barrel and sounding on the smaller of the pair of graduated gongs positioned behind the movement followed by the hour train again powered by a standing spring barrel and sounding the last hour on the larger of the two, the 6.5 inch circular two-piece silvered Roman numeral dial signed Anton Pohl, IN WIEN to the slightly recessed centre within gilt engine-turned border and chapter ring with outer minute track, with blued steel hands within fine gilt engine-turned bezel, the figured mahogany six-light case with foliate carved scroll pediment over elaborate ripple-moulded ogee cornice and slender-framed full-height front door incorporating square glazed dial aperture over conforming rectangular panel within box-strung surrounds applied with twist-carved mouldings to uprights, the sides with conforming glazed apertures over cavetto shaped base incorporating ripple-carved collar and terminating with a simple inverted arch, 109cm (43ins) high. Anton Pohl is recorded in Kaltenbock, Frederick Viennese Timepieces as becoming a ‘Viennese Master’ in March 1835 and is thought to have worked until his death twenty years later in 1855.
Lot 134
ϒA late Victorian inlaid rosewood quarter chiming bracket clock, unsigned, late 19th century The substantial four pillar triple chain fusee movement chiming a choice of two melodies on either a graduated nest of eight bells or four gongs and sounding the hour on a further larger gong, with anchor escapement for regulation by a lenticular bob pendulum incorporating pivoted rise/fall regulation to suspension, the 7.5 inch gilt brass shallow-arch dial plate overall engraved with fine foliate scrolls applied with silvered Roman numeral chapter ring with stylized fleur-de-lys half hour markers and Arabic five minutes to outer track beneath CHIME/SILENT, regulation and CHIME ON EIGHT BELLS/CAMBRIDGE CHIMES subsidiary dials to the shallow arch, with blued steel hands, the shallow break-arch top with urn flanked by foliate scroll inlay to tympanum over silvered brass angled fillet inset dial aperture to the bevel-glazed front door with line inlaid border and further foliate scroll infill to upper angles flanked by ribbon-tied pendant husk decorated canted angles, the sides with rectangular scroll-pierced sound frets within line-panel border with conforming scroll spandrel infill, the rear with rectangular glazed door, the moulded skirt base further decorated with stylized urn and scroll decoration to front, on paw cast gilt brass feet, 51cm (21ins) high. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 178
ϒ A brass mounted ebony table clock, the movement by Henry Jones, London, circa 1685-90 and later The six latched and finned pillar bell striking movement with verge escapement regulated by short bob pendulum and incomplete pull quarter-repeat mechanism, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Henry Jones, in the Temple to a leafy scroll bordered cartouche to centre, now with a 6.5 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles, now in an ebony veneered case with hinged tied floral bud handle and foliate cast and pierced oval mount to the caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll escutcheons to jambs, the sides with conforming rectangular windows beneath lozenge-shaped sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over squab feet, 30.5cm (12ins) high excluding handle; with a fine 17th century scroll pierced and engraved winding key. Henry Jones is an important maker who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1772. In 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name. The engraving to the backplate of the current lot can be directly compared to a silent-pull quarter repeating timepiece by Henry Jones sold in these rooms on Tuesday 17th March 2015 (lot 88) where it is noted that the design and execution of the engraved decoration could be very closely compared to that of the only known table clock by Peter Knibb which is illustrated in Lee, Ronald A. The Knibb Family, Clockmakers (page 129, plate 139). Lee also illustrates (on the preceding page, plate 138) another closely related backplate for a clock by John Knibb, Oxford and notes that both have internal rack striking, which would suggest that each date from the mid 1680's. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 171
ϒ A William III parquetry banded walnut eight-day longcase clock, Samuel Barrow, London, circa 1695-1700 The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and triple-crown decorated calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Sam. Barrow, Londini Fecit to lower margin, with scroll pierced steel hands and twin winged cherub and foliate scroll cast spandrels to angles with foliate scroll engraved infill to margins between, in a figured walnut case with parquetry chevron banded ogee cornice and scroll pierced fretwork frieze over conforming decoration to hood door applied with three-quarter columns to angles, the sides with rectangular glazed panels, the trunk with convex throat over 41.5 inch oval lentical centred book-matched veneered rectangular trunk door within parquetry banded surround, the sides each with three ebony and boxwood triple line bordered panels within crossbanded borders, the plinth base with ogee top moulding over panel veneered and banded front and moulded skirt incorporating bracket feet with shaped apron between, 207cm (81.5ins) high. Samuel Barrow is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1674 and apprenticed to John Barrow in 1688 until 1695 gaining his freedom of the Clockmakers’ Company in 1696. He worked at the Spring Clock in East Smithfield near Hermitage Bridge, and was still active in 1704. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 175
A fine and potentially historically important George III mahogany striking table regulator, Thomas Mudge and William Dutton, London circa 1770 The nine-pillar twin fusee rack and bell striking movement with plates measuring 9.75 by 6 inches, massive spring barrels, Harrison’s maintaining power to the going train and now with half-deadbeat escapement regulated by half seconds pendulum with cylindrical brass bob, the foliate rococo scroll engraved backplate with arched recess to lower margin and applied with unusual twin scroll-shaped uprights attached via four knopped pillars and connected at the top via a complex bracket with slots cut to take a wide T bar pendulum suspension, the front plate of conforming dimensions inscribed William Dutton & Sons,London over the arched recess to lower margin, the 7.5 inch single sheet silvered brass Roman numeral dial with vacant calendar aperture and signed Tho’s Mudge, Will’m Dutton to centre, with Arabic five minutes to outer track and scroll-pierced blued steel hands, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over glazed circular dial aperture over concave-topped recessed panel to front door, the sides with arched brass trellis sound frets, the rear with further glazed break-arch door set within the frame of the case, on cavetto moulded skirt base with brass squab feet, 38cm (15ins) high excluding handle. Provenance: The property of a private collector; purchased Sotheby’s, London sale of Good Clocks, Watches, Wristwatches, Barometers and Scientific Instruments, Thursday 5th March 1992 (lot 69). Thomas Mudge was born in Exeter, Devon in 1717 and was apprenticed to George Graham before setting himself up in business at 151 Fleet Street, London in 1748. At around the time of the death of his former Master in 1751, Mudge was joined in partnership by a fellow former apprentice of Graham, William Dutton, who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1738 and gaining his freedom of the Clockmakers' Company in 1746.The business subsequently traded from 148 Fleet Street and Mudge, whilst in partnership with Dutton, rapidly acquired a reputation as one of England’s outstanding watchmakers. In around 1755, if not earlier, Mudge invented the detached lever escapement, which he first applied to a clock, but when incorporated into a watch became the greatest single improvement ever applied to them.In 1765 Mudge published the book, Thoughts on the Means of Improving Watches, Particularly those for Use at Sea, and the following year, alongside Dutton, was elevated to Liveryman. In around 1771 Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. The first of these went on trial in 1774 where it performed superbly leading to an award of 500 guineas. Mudge went on to complete two others in 1779 in the continuing attempt to satisfy the increasingly difficult requirements set by the Board of Longitude. They were tested by the Astronomer Royal, Nevil Maskelyne, and declared as being unsatisfactory. There followed a controversy in which it was claimed that Maskelyne had not given them a fair trial. A similar controversy had arisen when John Harrison had been denied the full amount of the 1714 prize by the Board of Longitude. Eventually, in 1792, two years before his death, Mudge was awarded £2,500 by a Committee of the House of Commons who decided for Mudge and against the Board of Longitude, then headed by Sir Joseph Banks.In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew. The work of William Dutton can be characterised by its distinctive originality, high quality and attention to detail which one would come to expect from a clockmaker who, alongside Thomas Mudge, succeeded George Graham who in turn had succeeded Thomas Tompion. The movement of the current lot appears to be a unique product of the Mudge and Dutton partnership. The provision of noticeably large diameter spring barrels coupled with a relatively shallow range of gearing to each of the fusees indicates that constant power delivery throughout the duration of the timepiece was off significant importance. This, together with the incorporation of maintaining power to the going train and delicate wheelwork, suggests that the movement was built with accuracy in mind. The highly unusual frame applied to the rear of the backplate indicates that a heavy pendulum (most likely compensated) was probably employed. In addition to this it has been suggested (by the late Charles Allix and Christopher Greenwood from evidence in the form of spare holes, slots etc. within the armature assembly) that, when first made, the current movement may well have employed a form of detached escapement. This possibility is further supported by the relatively low position of the original pallet arbor (in relation to the current escapewheel) which implies that the escapement itself was of highly unusual design and may well been positioned partly above the plates and connected to the pendulum suspended within the top frame of the armature to the rear of the backplate.The possibility of the current lot being originally made with a form of experimental detached escapement warrants further investigation and, if found to be the case, would identify the present timepiece as an example of significant historical importance. Indeed in the in the context of Mudge’s development of his detached escapement the current lot would sit between his famous balance lever table clock of circa 1760-65 (formerly in the possession of Isambard Kingdom Brunel now in the British Museum no. 1958,1006.2118) and his marine chronometers (the first of which was made in 1774). Furthermore, to the best of the cataloguer’s knowledge, this example would have also been the only clock from the Mudge and Dutton workshops to have been made with a detached escapement for regulation by pendulum. It is perhaps appropriate to mention that the late Charles Allix considered this timepiece to be of substantial historic importance and provided his views in a letter written to the vendor many years ago; regrettably this correspondence has been mislaid. When considering other details it is most probable that the current clock remained in the workshops of William Dutton and his successors for a significant time before essentially being ‘re-purposed’ and sold-on. Later work undertaken in the workshop included creating an arched profile to the lower margin of the plates - to allow the swing of the pendulum bob to be visible through apertures cut to the front of the case (including a fretwork overlaid glazed panel beneath the dial). The front upper margin of this arched cut-out was subsequently signed by William Dutton and Sons so this modification post-dates Mudges partnership in the business. In addition to this the original dial was overlaid with a white enamel dial which required the original dial feet to be shortened (and holes drilled to allow clearance the under dial pivot posts) and finally a relatively standard escapement was fitted. Subsequent to the clocks purchase in 1992 the later enamel dial has been removed and is no longer with the clock and the panel beneath the dial has expertly reinstated with fine figured veneer matching the rest of the case. Without a great deal of further work (mainly to the dial) the current lot could become a very attractive useable clock which, through further investigation, also has the potential to be identified (and subsequently restored) as an important example in the development of precision timekeeping.
Lot 179
A William III walnut and floral marquetry eight-day longcase clock, Daniel Quare, London, circa 1695 The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and delicate repeating ring border decorated calendar aperture to the matted centre incorporating a conforming concentric band of rings around the centre hole, within applied silvered Roman numeral chapter ring with stylised sword hilt hour markers, Arabic five minutes within the outer track and signed Dan: Quare, London to lower margin, with pierced blued steel hands and winged cherub mask and leafy cast spandrels to angles with foliate scroll engraved infill to margins between, in a case with ogee cross grain moulded cornice and plain frieze above hood door applied with Solomonic three-quarter columns to angles and veneered with floral trial marquetry, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with flowerhead decorated convex throat above 41 inch door centred with a brass bordered lentical and decorated with marquetry bird inhabited flowering foliage around a central urn into a faded ebonised ground within line border, the surround with foliate wreath banding and the sides with two line-edged panels, the plinth base with stepped ogee top mouldings over conforming foliate decorated panel within wreath border, on shallow moulded skirt, 207cm (81.5ins) high. Provenance: The property of a gentleman. Labels pasted to the interior of the case indicate that the current clock was formerly in the collection of A.J. Colls of 125 Foxley Lane, Purley, Surrey; subsequently sold (by Order of his Executors) at Sotheby’s, New Bond Street, London, 26th March 1954 (lot 78) where it was purchased in the name of Alcock for £55 0 0. The current owner subsequently acquired the clock by private purchase on 25th June 1975 for £2,650.00. Daniel Quare is an important maker who is recorded on Loomes, Brian The Clockmakers of Great Britain 1286-1700 as born in Somerset circa 1647/8; by 1671 he had moved to London as he was admitted as a Free Brother to the Clockmakers' Company in April of that year. Quare initially worked in St. Martin's Le Grand, London (where he married in 1676) later moving to Allhallows, Lombard Street in 1681, before finally relocating to Exchange Alley where he is believed to have taken-on the former premises of Robert Seignior in around 1686. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1709 he is believed to have taken his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European Royal and aristocratic clients. As a committed Quaker he refused to sign the Oath of Allegiance in 1697, however as a much respected maker, he was still able to discreetly supply the court of William III.In around 1680 Quare made repeating watches to his own design which eventually lead him to dispute a conflicting patent filed by Edward Barlow in 1686; the resulting exchange two years to resolve.
Lot 145
A Viennese walnut small regulator wall timepiece, unsigned, mid 19th century The four pillar single weight movement with Harrison's maintaining power, deadbeat escapement regulated by wood-rod pendulum incorporating fine beat adjustment to crutch and tapered plates stamped with serial number 3313 to rear, the two-piece circular white enamel Roman numeral dial with decoratively pierced blued steel hands and ogee moulded brass bezel, the movement mounted via key-hole latched pillar supports into the arch glazed case with ebonised vase finial to the button-adorned pierced arched crest over break-arch cavetto cornice and slender arched door applied with crisply-turned opposing ebonised finials to upper and lower margins of the uprights, the sides with slender rectangular glazed panels over fluted frieze front apron and inverted ogee shaped base, 85cm (33.5ins) high.
Lot 150
ϒA fine early Victorian rosewood five-glass mantel timepiece, James Whitelaw, Edinburgh, circa 1840 The four pillar single chain fusee movement with anchor escapement regulated by heavy disc bob pendulum and shouldered plates incorporating pendulum holdfast to the rear, the 3.5 inch silvered brass Roman numeral dial signed JA’S WHITELAW, EDINBURGH to centre and with blued steel moon hands, the case with thick bevel-glazed rectangular top panel above moulded cornice and silvered brass canted fillet inset glazed dial aperture to the front door, the sides with conforming rectangular bevel glazed panels, the rear with rectangular glazed door, the base with ogee outline apron over moulded skirt with brass adjustable disc feet, 23cm (9ins) high. James Whitelaw is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in Edinburgh 1776 and dying 1846. He worked alongside his brothers Alexander and David and was based at addresses in Princes Street and Register Street during his working career. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. Please note that the current timepiece also has Harrison's maintaining power
Lot 149
A Fine Victorian patinated bronze mantel timepiece with platform lever escapement, James McCabe, London, circa 1850 The single chain fusee four column-turned pillar movement with Harrison’s maintaining power and McCabe’s generous underslung English lever platform escapement regulated by sprung three-arm monometallic balance with cabochon endstone and pivoted regulation arm reading against a curved silvered scale to the rear, the backplate signed James McCabe, Royal Exchange, London, 1848, the six inch circular silvered Roman numeral dial with repeat signature and blued steel hands incorporating a pierced heart to the tip of the hour, the patinated bronze chamfer-top case with hipped superstructure over cavetto cornice and hinged cast brass bevel-glazed bezel to front, the rear with rectangular glazed door, in moulded skirt base with disc feet, 30.5cm (12ins) high. James McCabe senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'very fine maker' who worked from Cheapside and Royal Exchange, London 1778-1811. The business was continued under his name by his sons including James junior who was apprenticed to Reid and Auld in Edinburgh, and Robert Jeremy who ran the business up until its closure in 1883.
Lot 50
A George III mahogany mercury tube stick barometer, Lincoln, London, circa 1800 With open triangular pediment over rectangular glazed silvered brass Vernier scale calibrated in barometric inches and with the usual observations beneath engraved signature Lincoln, London to upper right margin opposing spirit Fahrenheit scale thermometer to left hand side, set behind hinged glazed door with convex lower angles over chevron line edged caddy moulded trunk incorporating visible tube, the rounded base with domed cistern cover, 97cm (38.25ins) high excluding finial. A Charles Lincoln is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from 11 Cornhill, London in 1763 then at 62 Leadenhall Street from 1791 until his death in 1807.
Lot 144
ϒA Fine Viennese inlaid rosewood grande-sonnerie striking regulator wall clock, W. Schonberger, Vienna, mid 19th century The four pillar triple train eight-day movement with deadbeat escapement incorporating tall inverted V-shaped pallets regulated by brass lenticular bob pendulum with ebonised wooden shaft and incorporating fine beat adjustment to crutch, the quarter train sounding on the smaller of the pair of graduated gongs positioned on a decorative brass T-shaped bracket behind the movement followed by the hour train sounding the last hour on the larger gong, the 7.5 inch circular two-piece silvered Roman numeral dial signed W. Schonberger, IN WIEN to the slightly recessed centre within gilt border and chapter ring with outer minute track, with delicately pierced blued steel hands within gilt repeating scroll motif cast bezel, the line-inlaid rosewood case with unusual foliate rococo scroll and shaped swan neck pedimented moulded composition crest stained to resemble rosewood over line-edged canted cornice and slender-framed full-height arch-glazed front door applied with conforming relief foliate-scroll infill to upper quadrants flanked by rounded angles applied with moulded fruiting vine decoration within stylised lozenge borders, the sides with slender short over long glazed panels the base with conforming canted section over inverted ogee caddy applied with further moulded panel decoration incorporating grotesque masks to angles and terminating with a scroll pendant, 149cm (58.75ins) high. Wenzel Schönberger was a citizen and master small clockmaker who worked in Vienna from 1847; he is further mentioned in 1852 and 1862 when he repaired the St. Stephens Cathedral tower clock. He is thought to have ceased working by 1885. He was a fine and relatively prolific maker of clocks primarily wall regulators including at least one year-going example. The current lot appears to be a relatively early example of his work. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 184
A fine Queen Anne walnut eight-day longcase clock, ichard Street, London, circa 1705 The six crisply turned finned pillar inside rack and bell striking movement with bolt-and-shutter maintaining power and anchor escapement regulated by seconds pendulum incorporating long crutch, 12 inch square brass dial with subsidiary seconds dial, shuttered winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed Rich. Street, London to lower edge, with delicate pierced steel hands and unusual lambrequin cherub mask and foliate scroll cast spandrels to angles with foliate engraved infill between incorporating maintaining power lever to right hand margin, the walnut case with brass ball finials to the domed caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 42 inch rectangular door with figured book-matched veneers, the sides with twin line-bordered panels within crossbanded surrounds, the plinth base with ogee top moulding and conforming line-bordered crossbanded veneered panel to front over two-tier moulded skirt, 244cm (96ins) high excluding finials; 257cm (101ins) high overall. Richard Street is an important but relatively enigmatic maker who is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1687, made Assistant in 1713 and appointed Warden 1716. He was a fine maker who had close working connections with Thomas Tompion for whom it is thought he made repeating watch movements (see Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 114). Street is perhaps best known for his commission by Sir Isaac Newton to supply a monumental month duration longcase clock for presentation to Dr. Bentley for the Observatory at Trinity College Cambridge in 1708; he also, alongside William Wright, took over the maintenance of the turret clock at St. Pauls Cathedral from Langley Bradley in 1716. A year going clock in an Arabesque marquetry case by Street also survives in the Collection of the National Trust at Melford Hall, Suffolk. Tompion's influence/connection with Richard Street becomes apparent when the current lot is examined. The six pillar movement is very well made with the use of inside rack for the striking mechanism and the delicate functionality of the wheelwork echoing Tompion's standards. The dial is clean and refined in its design and utilises an unusual pattern of spandrel. The proportions, external detailing and choice of veneers used on the case can be compared to those supplied to Tompion, and again is very well made.
Lot 172
A fruitwood table timepiece, Thomas Taylor, Holborn, circa 1710 and later The five finned pillar single fusee movement with fine herringbone bordered asymmetric foliate scroll engraved backplate centred with a conforming oval reserve signed Tho. Taylor, in =Holborn, London, the 7 inch square brass dial now silvered and engraved with Roman numeral hours and Arabic five minutes enclosing later recessed basket of flowers engraved panel and original calendar aperture to centre, with pierced steel hands, the inverted bell-top case with hinged brass handle over cavetto top mouldings and glazed front door, the sides with rectangular windows, the rear with glazed door set within the frame of the case, on cavetto moulded shallow skirt base with moulded squab feet, (movement with losses, dial with alterations) 36cm (13.25ins) high excluding handle. Thomas Taylor junior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 was born in 1668 and apprenticed to his father (of the same name) from 1678 until 1685 when he gained his freedom of the Clockmakers’ Company. In 1697 Taylor signed the Oath of Allegiance and served as a Clockmakers’ Company Assistant from 1701; in 1707 he became a Warden and finally served as Master in 1710. He worked in the parish of St. Andrews, Holborn, London and died in around 1723. The current lot was originally made with ‘silent-pull’ quarter repeat hence would have only sounded the hours and quarters on demand only. Such timepieces were made for use in the bed chamber hence would have most likely been supplied to a particularly wealthy individual who could afford the luxury of having an additional clock for ‘upstairs’ use. The silent-pull mechanism has sadly been removed and the escapement converted from verge with short bob pendulum to anchor escapement with lenticular bob however the fusee, barrel, centre wheel and frame of the movement remains intact with no ‘butchering’ to the plates hence could be fully restored back to its original state by a suitable skilled horologist. In addition to this the dial plate has been ‘updated’ by removing the chapter ring, spandrels and matting to create a ‘single-sheet’ silvered dial which required a new chapter ring to be engraved directly into the plate and holes left over from the previous fittings filled. This modification would have most likely been done during the late 18th century in order to ‘update’ the appearance of the timepiece. The case, which appears original to the movement and dial, is of good quality and exhibits fine proportions and restrained mouldings reminiscent of cases housing movements and dials by leading makers such as George Graham
Lot 185
ϒA Queen Anne ebony table clock, George Etherington, London, circa 1710 The six finned pillar twin fusee bell striking movement with pivoted rise/fall rate adjustment beam to the pendulum suspension and backplate engraved with grotesque ‘Green Man’ mask, baskets of fruit and Ho-Ho bird inhabited symmetrical foliate strapwork around a central herringbone and husk swag bordered reserve signed Geo Etherington, LONDON, the 7.75 by 7 inch rectangular gilt brass dial with herringbone-edged shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced steel hands and gilt winged cherub mask cast spandrels to lower angles, the upper margin with scroll engraved spandrel infill interrupted by subsidiary vestigial alarm setting and regulation dials, each with complex rosette centres, flanking repeat signature Geo Etherington, LONDON, with S/N strike selection switch to upper margin, the ebony and ebonised case with hinged brass carrying handle and brass ball-and-spire finials to the domed caddy superstructure over front door and the sides with small horizontal rectangular scroll-pierced frets over larger conforming panels, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base fitted with brass domed feet, (movement with losses, case with significant replacements to veneers and mouldings and other faults), 39.5cm (15.5ins) high excluding handle. George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the Oath of Allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 135
An impressive late Victorian Gothic revival carved mahogany quarter-chiming longcase regulator, unsigned, circa 1890-1900 The very substantial four column-turned pillar triple train movement chiming a choice of two tunes on eight large tubular bells suspended within the rear of the case and striking the hour on a coiled gong, the going train with Harrison’s maintaining power and deadbeat escapement regulated by mercury jar compensated seconds pendulum incorporating wide-jaw suspension and fine beat adjustment to crutch, the 11.25 inch engraved gilt brass lancet-shaped dial with subsidiary seconds ring to the foliate quatrefoil engraved centre within silvered chapter ring applied with gilt Gothic Roman numerals with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced steel hands and spandrels engraved with foliate scroll trefoil panels beneath triple subsidiary CHIME/SILENT, WHITTINGTON/WESTMINSTER and HOUR STRIKE/SILENT selection dials within a conforming engraved field, the substantial carved mahogany case with foliate crenulated crest and square rosette applied ogee cornice over full-width bevel glazed hood door inset with canted silvered brass bezel beneath foliate scroll upper quadrant panels and flanked by triangular section panelled spires with crocheted finials, the sides with lancet-pierced rectangular sound frets, the trunk with bevel glazed lancet window incorporating scroll tracery margin to apex section and blind sections to upper the quadrants flanked by full-height panelled uprights, on triple skirt base incorporating further blind tracery, 223cm (88ins) high.
Lot 180
ϒA fine William III brass mounted ebony table clock with pull-quarter repeat, Brounker Watts, London, circa 1690-95 The six finned pillar twin fusee inside rack bell striking movement with verge escapement regulated by short bob pendulum and pull-quarter repeat on a single smaller bell, the backplate engraved with tulips and symmetrical scrolling foliage around a herringbone bordered lozenge-shaped reserve signed Brounker Watts, Londini Fecit, the 6.5 inch square gilt brass dial with high position calendar aperture and ringed winding holes to the finely matted centre within applied silvered Roman numeral chapter ring with trident half hour markers and Arabic five minutes within the narrow outer track, with sculpted blued steel hands and angles applied with gilt winged cherub head spandrels with engraved repeat signature Broun: Watts London to lower margin opposing N/S strike/silent selection lever to upper margin, the ebony veneered case of Knibb ‘phase III’ type with scroll outline foliate-bud tied hinged gilt brass carrying handle to the domed caddy surmount applied with cast foliate scroll pierced mounts to front and sides flanked by later pineapple finials, over ogee moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll cast gilt escutcheon mounts, the sides with lozenge sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case, on ogee moulded shallow skirt base, 32cm (12.5ins) high excluding handle. 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 Clockmakers’ 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 Clockmakers’ 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. When the current lot compared with examples by Joseph Knibb strong similarities become apparent. In particular the layout and detailing within the movement which, other than the use of standard finned pillars secured by pins and the signature, one could be quite forgiven for mistaking it for an example by Knibb himself. The attention to detail within the mechanism, such as decoratively sculpted scroll feet to the hammer springs/stops, shaped stopwork blocks and deeply domed collets, is particularly noteworthy and demonstrates Watts’s desire to maintain the quality of finish demanded by his master. The dial layout reflects Knibb’s work also with high position calendar aperture although the ringing to the winding holes is a departure by Watts away from Knibb’s preference for plain winding holes. The case is essentially a ‘textbook’ example of Knibb phase III design and can be directly compared to that of a timepiece illustrated in Lee Ronald A. The Knibb Family * Clockmakers on page 87 (plate 84). Notwithstanding this there are a couple of very slight differences; the first is the handle whose distinctive scroll design was actually favoured by Daniel Quare, the second are the door escutcheon mounts which at first glance appear to be of Knibb type however they differ in detail by incorporation twin masks (rather than a single) in each as well as feathered wings within the upper and lower extensions (not present in the typical Knibb castings).The current lot generally presents as a fine honest original example which is fresh to the market having been in the same family for as long as anyone can remember. This coupled with strong connections to one of the most important workshops of the ‘Golden Age’ of English clockmaking renders it worthy of inclusion in the finest of collections. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 164
A George III green japanned eight-day longcase clock with moonphase, Richard Wills, Truro, circa 1780 The four 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 dial to the square rigged sailing ship, beached hoy and scroll engraved silvered centre engraved Rich. Wells, TRURO, within Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced steel hands and rococo scroll cast spandrels to angles beneath arch with rolling moonphase incorporating landscape engraved lunettes, age of the moon and HIGH WATER AT GUERNSEY ISLAND times to the upper margin, in a green japanned case with gilt floral and radial fan painted pagoda upstand over geometric band decorated break-arch cavetto cornice and trellis banded 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 floral trail painted throat over break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape over square rigged warship, the surround with abstract foliate scroll painted upper quadrants and geometric banded borders, the sides with large leafy sprays, the plinth base with naturalistic landscape and now incorporating bracket feet with shaped apron between, 216cm (85ins) high. Richard Wills is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Truro, Cornwall circa 1777-95.
Lot 151
A fine Regency mahogany longcase regulator, Thomas Hodges, Hitchin, circa 1825 The substantial eight-day five double-screwed columnar pillar movement with plates measuring 8.5 by 6.75 inches enclosing wheel train with high pinion count, six spoke wheel crossings and end stops for all pivots terminating at the plates, with Harrison’s maintaining power and deadbeat escapement incorporating jewelled pallets regulated by mercury jar compensated seconds pendulum with fine beat adjustment to crutch, wide jaw suspension and hanging from a massive cast brass A-frame secured to the substantial seatboard behind the movement, the trains enclosed within brass dust shutters attached to the plates via finely engineered thumbscrews, the 12 inch circular silvered brass dial with subsidiary seconds over Roman numeral hour dials and signed THOMAS HODGES, SUN ST. HITCHIN. to centre within outer Arabic minute track, with fine blued steel hands with the minute counterweighted behind the dial plate, the figured mahogany case with gadrooned shallow domed caddy to the stepped upstand over slender cornice and hood door applied with cast brass circular bezel within panel decorated quadrants and flanked by canted angles, the sides with blind panels, the trunk with slender cavetto throat over conforming canted angles flanking rectangular glazed door enclosing veneered interior incorporating silvered brass pendulum beat scale set against the flame-figured backboard, on recessed panel fronted plinth base with double skirt, 197cm (77.5ins) high. Thomas Hodges of Hitchin does not appear to be recorded in the usual directories as a clockmaker; it is therefore most likely that he was a jeweller who also retailed timepieces. If this was the case then the current lot was probably ordered-in from a highly skilled London workshop and signed in Hodges name for use as the ‘shop regulator’ on his premises.
Lot 64
A mahogany Pulsynetic C-7 electromagnetic pendulum master clock, Gents, Leicester, circa 1927 The movement with green painted cast-iron bed inscribed in relief THE B-P PATENT SYSTEM over PAT NOS 24620/04 & 919/07 with integral cast wide-jaw suspension for the steel-rod seconds pendulum with cylindrical green painted bob over brass pivot for the crutch assembly incorporating shunt for the escapement and switch armature for the electromagnetic coils positioned to the left of the mechanism, the right hand side with the Hipp-toggle escapewheel pivoted between shaped brass plates, the whole applied to the case backboard along with rheostat and other electrical components within box surround with hinged arch-glazed front incorporating slave dial with brass electromagnetic coil driven mechanism, the exterior with ogee cornice over 6.5 inch circular silvered Arabic numeral dial inscribed PULSYNETIC, GENT & CO. LTD., LEICESTER, ELECTRIC. to centre and with blued steel hands, the lower rail of the glazed front door with ivorine button inscribed PULSYNETIC, PATENT NOS 24620/04 & 919/07, TIME TRANSMITTER over moulded skirt, the upper internal rail of the case stamped with serial number 1595 and the upper left hand side pasted with an original paper label relating to the transmitter incorporating indistinct date 28-2-27 in ink, 103cm (52.5ins) high. 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.The current lot appears to be a rare variant in that it incorporates an integral extension to the lower right hand of the bed casting to take an additional accessory.
Lot 170
ϒA fine George II gilt brass mounted ebonised quarter-chiming table clock with moonphase, Daniel Torin and Moses Fontaine, London, circa 1745 The substantial eight pillar triple chain fusee movement chiming the quarters on a graduated nest of three bells and striking the hours on a further larger bell, with trip repeat and backplate finely engraved with Ho-Ho bird and lambrequin panel inhabited foliate strapwork centred with Apollo standing with a harp over twin female busts to lower margin, the 8.25 inch wide brass break-arch dial with calendar aperture, false bob aperture and applied oval signature plate engraved Daniel Torin & Moses Fontaine, London No. 475 to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and female bust and scroll cast spandrels to angles beneath arch incorporating rolling moonphase with scroll engraved lunettes and herringbone decorated arch flanked by small panels to shoulders featuring S/N strike selection switch to the right hand side, the inverted bell-top case with brass mouldings and vase finials to superstructure over cavetto top mouldings and break-arch glazed front door with raised brass mouldings to the aperture and upper quadrant frets incorporating scroll cast infill flanked by canted angles applied with grotesque mask strapwork pendant mounts, the sides with hinged brass handles over concave-topped fishscale sound frets, the rear matching the front with the exception of the upper quadrants being glazed, on brass bound cavetto moulded base with generous bracket feet, 61cm (24ins) high. The partnership between Daniel Torin and Moses Fontaine is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from ‘the dial’ at Moorfields circa 1744-61. Literature: The current lot is illustrated in Barder, Richard C.R. The Georgian Bracket Clock on page 119 (Plate II/40). The highly decorative nature of the dial coupled with the beautifully engraved backplate incorporating an allegorical figure is typical of the Huguenot school of London clockmaking which thrived during the latter quarter of the 17th century and the first half of the 18th century. This distinct branch of London clockmaking was established by immigrant makers such as Claude Duchesne who established large workshops employing highly skilled specialist craftsmen many of whom remained anonymous. Clocks made in such workshops are invariably finely made which rich engraving, highly decorative dials and cases and complex movements often musical or incorporating complications. The importance of the Huguenot influence in London clockmaking cannot be underestimated indeed the fact that Claude Duchesne supplied the plates and frame for John Harrison’s first marine timekeeper (H1) is indicative of the esteem to which his workshop was held by his contemporary peers. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 155
A George III inlaid mahogany hooded wall timepiece with alarm, John Edgecumbe, Bristol, late 18th century The four pillar two-handed weight driven movement with anchor escapement regulated by seconds pendulum and verge alarm mechanism set between the plates sounding via a vertically pivoted hammer on a bell mounted above, the 8 inch silvered brass break-arch dial with alarm setting disc, scroll pierced hands and Arabic five minutes to outer track, the spandrels engraved with leafy sprays and the arch signed John Edgecumbe, Bristol, the case with swan neck pediment incorporating flame-figured frieze with inlaid baton decoration to front angles over break-arch door with line inlaid surround flanked by turned columns with gilt caps and bases, the sides with conforming quarter columns set against bargeboards at the rear, the bracket with concave throat over scroll-outline side panels and break-arch recess to the lower edge of the backboard, 78cm (30.5ins) high. John Edgecumbe is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from 15 Old Market, Bristol 1784-1834. He was a notable maker known producing fine longcase clocks in the ‘high Bristol style’ often incorporating ‘High Water at Bristol Key’ and with fine engraved decoration to the dial. Edgecumbe was made a Burgess of the city in 1812 and was succeeded by his Son Nathaniel who continued form the same address until 1841.
Lot 140
An interesting Continental iron-framed weight-driven wall clock, inscribed with initials F.H., probably Swiss provincial, bearing the date 1761 The rectangular movement with iron plates measuring 5 by 4 inches united by four rectangular section pillars pinned through the backplate, the wheelwork with separately wound trains, the going with verge escapement regulated by 8 inch disc bob pendulum and the strike with outside countwheel, nag’s head lifting for the single-arbor warnless mechanism incorporating cam applied to the second wheel arbor for overlift and sounding via a vertically pivoted hammer on a bell attached above the case top board, the strike detent arbor applied with a decorative pierced and engraved brass gate inscribed F.H., the 9 inch painted iron rectangular dial with gilt rosette decorated centre within applied cream painted Roman numeral chapter ring with Arabic five minutes to outer track and pierced brass hands, the lower section with pendulum aperture within scroll painted panels and bearing inscription 1761, St. B. to bottom edge, in a shallow break-arch case with generous cavetto moulded cornice over shaped raised frame moulded glazed front door, the rear with plain door, the base with shallow moulded skirt, (dial retouched, case rebuilt, no weights), 33cm (13ins) high excluding finials. The current lot is interesting in that the movement resembles those of the earliest pendulum timepieces made during the third quarter of the 17th century. The strike train however utilises the single-arbor warnless system incorporating nag’s head lifting and cam for overlift. From this it would be fair to say that the mechanism was made by a provincial craftsman who was conversant with the form and layout of pendulum clocks made in the previous century (perhaps by studying Huygens’ various printed works) and made the going train along these lines; but then incorporated a typically Germanic form of strike mechanism rather that the twin arbor warned system preferred by French and Dutch makers.
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