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Lot 2920
A Dutch burr walnut longcase clock, 18th century, of one month duration, William Gib, Rotterdam, the stepped caddy top over three-quarter columns, the long door with lenticle on a plain base, the 12 inch arched brass dial with signature plaque over a Roman and Arabic chapter ring, the matted centre with subsidiary seconds and decorated date aperture, the movement with five knopped pillars, anchor escapement and rack strike on a bell, height 244cm. Condition report: The case has been restored perhaps 30-40 years ago.
Lot 2926
An oak cased 30 hour longcase clock, the square brass dial with a silvered chapter ring signed 'Rich'd Lorve, Newport', with a long rectangular heavily carved door and plinth base, height 208cm. Condition report: Case needs a bit of cleaning and attention, the only obvious repair is a rectangular patch to the right side of the case.
Lot 575
Six unboxed Tri-ang Spot On diecast models, including 256 Jaguar Police Car and 260 Royal Rolls Royce, in playworn condition some with damaged and or missing parts, together with a Dinky 273 RAC Mini Van with one rear door broken but included. A Tri-ang Wooden Garage is also included as part of this lot. (8)
Lot 351
A Victorian mahogany bracket clock Unsigned, third quarter of the 19th century The five pillar twin chain fusee gong striking movement with shouldered plates and anchor escapement for regulation by lenticular bob pendulum, the 7 inch circular silvered brass Roman numeral dial with steel moon hands set behind hinged glazed cast brass bezel with angled slip to interior, the chamfer top case with hipped superstructure over cavetto cornice and ogee-shaped waist moulding beneath dial, the sides with brass ring handles over rectangular fish scale sound frets and conforming ogee mouldings, the rear with rectangular glazed door, on shallow skirt base with compressed bun feet, (lacking pendulum and waist moulding to right hand side), 40.5cm (16ins) high.
Lot 240
A George III thirty-hour hooded wall timepiece movement and dial with alarm Henry Ward, Blandford, late 18th century The four pillar movement with anchor escapement for regulation by long pendulum and separate alarm train set between the plates sounding on a bell mounted above, the 6 inch break-arch single sheet silvered brass Roman numeral dial with alarm disc and pierced steel hand to centre within chapter ring with squat cruciform half hour markers beneath arch signed WARD, BLANDFORD, (lacking pendulum and weights), 21cm (8.25ins) high; with an oak wall clock hood, anonymous, late 18th century, with break-arch cavetto cornice over front door with 5.5 inch wide glazed fillet-bordered dial aperture enclosing conforming dial mask with aperture measuring 5.875 by 8.125 inches, the sides with break-arch windows over quarter-round moulded base, 28cm (11ins) high, (2). Henry Ward is recorded in Tribe, T. and Whatmoor, P. Dorset Clocks and Clockmakers as born in Blandford in 1776. He was a mechanically gifted maker who was granted Society of Arts Awards three times for papers submitted on a new design of striking clock (1805), a compensated pendulum (1807) and Equation Work for a clock (1814). He died in 1815. Ward s highly skilled and inventive approach is abundantly evident in a longcase regulator by him featuring elaborate pierced plates, unusual pinwheel escapement with pallets incorporated into the compensated pendulum rod and equation work which is extensively illustrated and described in Darken, Jeff (Editor) TIME & PLACE, English County Clocks 1600-1800 on pages 206-11. The oak wall clock hood included with the movement may well provide the basis from which to build an appropriate case for the current lot.
Lot 346
A Viennese mahogany Dachluhr wall timepiece Unsigned, circa 1840 The substantial eight-day four pillar two train gong striking movement with slightly tapered plates and deadbeat escapement for regulation by lenticular bob pendulum, the 7.75 inch circular silvered brass Roman numeral dial with steel moon hands, Arabic fifteen minutes to outer track milled brass bezel, the case with stepped superstructure over leaf carved ogee moulded triangular pediment and full-height front door incorporating laurel wreath carved surround to the dial aperture and fan carved spandrel infill to angles above rectangular glazed panel, the sides with slender rectangular windows, and the cavetto-shaped base with pineapple carved pendant finial, 149cm (58.75ins) high.
Lot 231
A black japanned wall-mounted watch holder in the form of a miniature bracket clock Anonymous, mid 18th century The upper part with gilt bird inhabited foliage painted ogee-shaped superstructure and moulded cornice over front door incorporating 2.5 inch floral engraved brass mask with half-round moulded border beneath conforming Ho-Ho bird decoration to upper quadrants, the sides with further foliate panels and decorative brass hinges opposing conforming button clasp above moulded apron, the whole rising via tongues to the backboard engaging with channels to the sides over elaborate stepped ogee-moulded bracket, 24cm (9.5ins) high.
Lot 344
A Viennese mahogany month-going Lanterndlur wall timepiece Andreas Alzinger, Vienna, circa 1825 The four pillar movement with slightly tapered plates engraved A A to rear, the train with deadbeat escapement regulated by brass lenticular bob pendulum with steel shaft and knife-edge suspension, the 7 inch circular silvered Roman numeral dial signed Andreas Alzinger, IN WEIN to centre, with delicate blued steel hands and gilt milled bezel, in a typical boxwood edged nine-light case of slener proportions with triangular pediment over slender-framed square glazed front door and conforming side glasses to the forward-sliding hood over arch-glazed trunk with cavetto throat mouldings above rectangular windows to sides, the square box base enclosing the pendulum bob with glazed front panel and side windows over cavetto shaped base, 115cm (45.25ins) high.
Lot 296
A Regency brass mounted mahogany mercury cistern tube stick barometer Bate, London, circa 1815 The ebony line strung case with swan neck pediment applied with cavetto projections to sides over circular slivered hydrometer engraved Moist Air/Dry Air to centre behind glazed cast brass bezel and rectangular glazed silvered brass Vernier scale calibrated in barometric inches and with the usual observations beneath engraved signature Bate, London to upper margin set behind hinged brass-framed glazed door, the caddy moulded trunk inset with large Fahrenheit scale mercury tube thermometer behind conforming brass-framed arch glazed door, the rounded base with moulded circular cistern and level adjustment screw to underside, 111cm (43.75ins) high excluding finial. The current lot is almost certainly by Robert Brettell Bate who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from Poultry, London 1808-42 and then 33 Royal Exchange 1846-47. Bate was known as a maker of all types of instrument however was celebrated for his nautical instruments including marine barometers and latterly was appointed Instrument-maker to Her Majesty s Honourable Boards if Excise and Customs .
Lot 297
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 base with domed cistern cover applied to circular section, 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 372
A George II walnut eight-day longcase clock Thomas Hill, London, circa 1730 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 14 inch brass break-arch dial with foliate border engraved calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and five minutes to outer track, with pierced steel hands and unusual male mask and scroll cast spandrels to angles beneath arch centred with a silvered boss inscribed Tempus Fugit within circular border signed THOMAS HILL, LONDON flanked by conforming mounts, In a case with ogee cornice over break-arch glazed door flanked by fluted Corinthian columns to hood, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with break-arch door centred within a circular lenticle over ogee moulded crossbanded plinth base, 204cm (80.5ins) high. Several makers with the name Thomas Hill are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first half of the 18th century.
Lot 352
A Regency mahogany fusee dial wall timepiece Handley and Moore, London, early 19th century and later The four knopped pillar single fusee movement with bottle-shaped plates stamped HANDLEY & MOORE over stamped serial number 2522 to frontplate and anchor escapement regulated by lenticular bob pendulum, the 12 inch circular white painted Roman numeral dial bearing repeat signature Handley & Moore, LONDON to centre, with Arabic five minutes to outer track and fine pierced steel hands, within a cast brass bezel and turned wooden surround secured via side pegs into a saltbox type case with door to right hand side and canted lower angles, the backboard incorporating shaped-arch projections drilled for wall mounting both above and below the dial, (dial refinished, case with restoration), 48.5cm (19ins) high. The partnership between George Handley and John Moore succeeded their former Master, John Thwaites, who died in 1800. The business traded from 39 Clerkenwell Close and was continued as John Moore and Sons after the death of George Handley in 1824. The workshop was particularly well known for producing public clocks and supplying movements to other makers. The last of the Moore dynasty of clockmakers, Henry James, died aged 60 in 1899, however the firm is thought to have continued into the early years of the 20th century.
Lot 223
A George II brass mounted ebonised table clock Stephen Asselin, London, mid 18th century The five pillar twin fusee movement with Ho-Ho bird inhabited symmetrical foliate scroll backplate and 7 inch brass break-arch dial with false bob and calendar apertures 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 STEP N ASSELIN, LONDON to lower edge, the angles with gilt Indian mask and scroll cast spandrels beneath subsidiary STRIKE/SILENT selection dial flanked by conforming mounts to arch, in a break-arch top with hinged brass carrying handle and brass fillet edged pad over complex top mouldings and brass fillet inset glazed break-arch front door applied with cast ropetwist mounts to angles, the sides with rectangular windows, the rear with break-arch glazed door, on cavetto moulded base with brass ogee bracket feet, (lacking all under dial motion and strike work, repeat mechanism, escapement and hands; case distressed and with some worm damage), 40.5cm (16ins) high excluding handle. Provenance: The estate of Michael Hurst. A Stephen Asselin is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as working in London from circa 1700.
Lot 327
A fine French gilt brass carriage clock Japy Freres, Beaucourt and Paris, circa 1860 The eight-day two train bell striking movement with gilt platform lever escapement regulated by unusual three-arm sprung monometallic balance applied with three axe-head shaped blued steel projections to rim, the backplate with small bell over stamped central oval trademark JAPY FRERES & CIE, EXPOSITION 1855, GRANDE MED. D HONNEUR and serial number 1055 to lower left corner, the rectangular white enamel Roman numeral dial inscribed BREVET D INVENTION S.G.D.G. to centre and with delicate blued steel moon hands, the bevel glazed gilt brass case with hinged handle modelled as entwined mermaids and strapwork panel bordered escapement aperture over decorated cavetto and ogee top mouldings, the canted angle uprights with elaborate foliate scroll cast upper and lower panels interrupted by niches containing standing silvered female figures emblematic of the four seasons, the front and sides with conforming glazed apertures and the rear with opening door, on cavetto moulded skirt base cast with further elaborate scroll tendrils and fruiting vines incorporating integral bracket feet feet, 18.5cm (7.25ins) high excluding handle. The firm of Japy Freres et Cie was founded by Frederick Japy in 1774 who set-up a modest workshop in Montbeliard as a watch and machine tool maker. Japy expanded his business rapidly and by 1804, the year he was awarded the Legion d Honneur by Napoleon (in recognition for his Brevets in horological machinery), he employed 300 people at his manufactory in Beaucourt. From 1806, he took five of his sons into partnership and the firm expanded adding buildings at Badevel and La Feschotte amongst others to become one of the largest makers of clocks in Europe. The business continued into the Twentieth century but during the inter-war period went into decline and is thought to have finally wound-up in around 1840. A detailed history of Japy Freres et Cie is provided in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development chapter VI pages 133-48.
Lot 356
A late Victorian gilt brass mounted ebonised quarter chiming bracket clock Retailed by E. White, London, late 19th century The four pillar triple chain fusee movement with unusual foliate engraved backplate and anchor escapement regulated by lenticular bob pendulum, chiming a choice of two melodies for the quarters on a nest of eight graduated bells and striking the hour on a gong, the 8 inch brass break-arch dial with matted centre incorporating retailer s signature plate E. WHITE, 20 Cockspur Street, LONDON within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with foliate scroll cast spandrels beneath arch applied with subsidiary CHIME/SILENT and WESTMINSTER/CHIME ON EIGHT BELLS selection dials within conforming cast mounts, the break-arch case with gilt brass vase finials over moulded cornice and break-arch glazed rectangular front door inset with brass fillet moulding to dial aperture and flanked by gilt Corinthian columns, the sides with arched brass grill sound frets beneath substancial cast brass handles, the rear with brass grille inset break-arch door, on cavetto moulded skirt with brass ogee bracket feet, 47cm (18.5ins) high. An Edward White is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Volume 2 as working in London 1863-81.
Lot 337
A gilt brass and rhodium plated Atmos timepiece Jaeger-LeCoultre, Switzerland, late 20th century The gilt fifteen jewel 526 calibre single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended beneath, signed JAEGER - LECOULTRE, SWITZERLAND to frontplate and numbered 548124 to suspension platform, the dial with rhodium plated baton numeral chapter ring applied with Arabic quarters the rectangular five glass rhodium plated case with hinged front door flanked by canted angles, on plinth base with adjustable feet and incorporating bubble level to inside surface, 22.5cm (8.75ins) high; with original packing carton and instruction pamphlet.
Lot 392
A fine George III brass mounted mahogany quarter chiming table clock with enamel dials James McCabe, London, circa 1800 The substantial six pillar triple chain fusee bell striking movement with verge escapement regulated by short bob pendulum and chiming the quarters on a nest of eight bells with eight hammers, the backplate signed James McCabe, LONDON to an oval cartouche within geometric borders incorporating panels with floral sprays to corners , the 7 inch brass full-arch dial applied with circular Roman numeral enamel centre with Arabic five minutes to outer track and pierced brass hands, the angles with applied foliate cast spandrels beneath subsidiary STRIKE/SILENT selection dial flanked by conforming cast mounts to arch, the case with brass ball finial to the gadroon-edged concave sided upstand with foliate scroll brass inlaid frieze above moulded break-arch top applied with four further ball finials and brass-fillet inset glazed front door flanked by brass stop-fluted quarter columns to front angles, the sides with hinged brass handles over fishscale sound frets, the rear with arch-glazed door, on brass faced cavetto moulded skirt base with ogee bracket feet, 61cm (24ins) 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 and Robert Jeremy until 1883. The current lot has remnants of a label inscribed with Arabic text to the inside of the lower rail of the front door suggesting that at some point it was in a Middle-Eastern collection.
Lot 249
A quantity of longcase clock spandrels, case fittings, pulley wheels and bells Anonymous, mainly 18th century Including a set of four rare winged cherub head and lambrequin pattern spandrels amongst numerous others, a pair of fine cast brass trunk door hinges, hood column caps and bases, a group of eight-day longcase clock pulley wheels and a Knibb type pork pie hour bell, (qty).
Lot 397
An extremely rare hour-striking night-and-day spring table clock The movement attributed to the workshop of Joseph Knibb, London, circa 1675 and later The eight fully latched tulip baluster turned twin fusee movement with gable-shaped plates measuring 7.25 by 8.125 inches applied with slide-on dust cover to upper edges, the going train with verge escapement regulated by short bob pendulum driving motionwork for both traditional two-handed twelve-hour notation and revolving night hour disc set on a pivot at the apex of the plates, the strike train with outside countwheel and sounding on a bell set behind a circular aperture in the frontplate between the mainspring barrels, now with 10.75 by 8 inch rectangular matted brass dial applied with narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with pierced and sculpted blued steel hands, the upper section with pierced arched sector to reveal the revolving chapter hour disc painted with gilt stars on a deep blue and ground incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band, the upper margin applied with arched silvered plate pierced with Roman numerals I, II and III for the quarters around a scalloped inner edge with each division denoting the minutes, the margins of the sector aperture and the edge of the dial plate with precise line-scribed polished borders, the purpose made ebonised case with moulded box upstand enclosing tin chimney with flue exiting at the rear over simple moulded cornice and rectangular glazed door incorporating small lozenge pierced sound fret to lower rail and enclosing mask around the dial incorporating strike/silent lever at nine o clock, the sides with rectangular windows set within the lower half beneath aperture for slide-out lamp carrier to right hand side only, the rear with plain rectangular door, on cavetto moulded base incorporating key drawer to right hand side and bun feet, 41.5cm (16.25ins) high. Provenance: From the estate of Michael Hurst. Details in the construction of the current lot, in particular the baluster tulip turned pillars latched to the frontplate, relatively thin/delicate plates and use of the twin-disc system for the night dial would indicate that the movement was made in the workshop of Joseph Knibb. Indeed the general feel of the movement can be compared to that of a contemporary architectural table clock by Knibb illustrated in Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces form The Tom Scott COLLECTION on page 337 and 348-49. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. Currently there are four documented spring night clocks by Joseph Knibb, one was sold in these rooms on Tuesday 15th September 2015 (lot 197) with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was possibly developed by the Fromanteels prior to Joseph's arrival in London in 1671. In addition to this twin disc system English makers also utilised two differing mechanisms to denote the hours at night. The first, which seems to be preferred for use in longcase night clocks, is very similar to the twin disc system but substitutes the secondary discs for a linked chain of pierced numeral tabs which are driven by a ten-sided sprocket wheel (an explanation of this system is provided in Robinson, Tom THE LONGCASE CLOCK on page 154). The second alternative system can be seen on three hour-striking night-and-day clocks of the East School including an example by John Hilderson described in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5 (plates 759-63).
Lot 323
A Swiss brass inlaid ebonised carriage clock with push-button repeat and alarm The dial signed for Barevise, mid 19th century The two train eight-day bell striking movement with platform lever escapement regulated by sprung split bimetallic balance and visible strikework planted on the backplate along with standing barrel for the alarm both sounding on a bell mounted within the base of the case, the rectangular white enamel Roman numeral dial with blued steel moon hands over script BAREVISE and subsidiary alarm setting dial to lower margin, the ebonised case with shaped hinged brass carrying handle over small bevel glazed aperture within brass line strung borders to the cavetto moulded top edged in brass over bevel glazed dial aperture with conforming brass lines to surround, the sides with further brass stringing to margins, the rear with plain rectangular door, on brass capped ogee-outline skirt base, 18cm (7ins) high excluding handle.
Lot 358
A small Victorian gilt brass mounted mahogany bracket clock in the George III style Unsigned, last quarter of the 19th century The four pillar twin chain fusee gong striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with holdfast to backplate, the 5 inch ogee-arch top gilt brass dial with fine rosette and foliate scroll engraved centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with blued steel hands and fine scroll pierced and engraved fretted infill to spandrel areas and continuing up into the arch to envelop the subsidiary STRIKE/SILENT selection dial, the bell top case with gilt brass carrying handle and moulded collar to superstructure over ball finials and complex upper mouldings, the front door with gilt fillet bordered glazed dial aperture and engraved scroll pierced upper rail and quadrant frets flanked by brass stop-fluted canted angles, the sides with further fine scroll pieced and engraved ogee-arch topped fretwork panels set within gilt brass fillet surrounds, the rear matching the front, on brass bound cavetto moulded skirt base with slender out swept bracket feet, 37cm (14.5ins) high excluding handle.
Lot 324
A fine French engraved gilt brass gorge cased petit sonnerie striking small carriage clock with push-button repeat and alarm Unsigned but possibly by Drocourt, third quarter of the 19th century The eight-day two train movement striking the hour on the larger of two bells and ting-tang notation for the relevant quarter every fifteen minutes, with silvered platform lever escapement regulated by sprung split bimetallic balance and alarm sounding on the larger bell, the backplate with stamped serial number 563 to lower left corner, the circular white enamel Roman numeral dial with blued steel moon hands set within rectangular gilt brass mask finely engraved with rococo scrolls on a matted ground and incorporating conforming subsidiary alarm setting dial to lower margin, the bevel-glazed gilt gorge case with typical Drocourt type hinged carrying handle over rectangular escapement aperture within fine scroll border to top over complex upper mouldings and channelled uprights further engraved with rococo scrollwork, the sides decorated with conforming bird and floral festoon inhabited panels and the rear with door similarly decorated incorporating shuttered winding and hand/alarm setting apertures, on ogee moulded base with shallow pad feet, 11.5cm (4.5ins) high excluding handle. Although the current lot is unsigned it appears fairly typical of the high-end examples made by Drocourt during the third quarter of the 19th century (albeit a little smaller than normal). Indeed the design of the carrying handle is generally considered as one of their trademark details. Pierre and Alfred Drocourt are recorded in Allix, Charles CARRIAGE CLOCKS, Their history and development as working from Rue Debelleyne 28 and Rue de Limoges, Paris as well as Saint-Nicholas-d' Aliermont from circa 1860. Allix describes them as makers of 'Superb' carriage clocks who were awarded numerous medals for entries submitted to various international exhibitions throughout the second half of the 19th century, including a gold medal at the1889 Paris 'Exhibition Universelle'.
Lot 317
A fine Regency Gothic Revival ormolu carriage timepiece Dwerrihouse and Fletcher, London, circa 1830 The four pillar eight-day single chain fusee movement with vertical English lever escapement regulated by sprung monometallic balance mounted on the arched backplate over engraved signature Dwerrihouse & Fletcher, LONDON, the 2.5 inch circular silvered Roman numeral dial with engine-turned centre and delicate blued steel moon hands set within convex glazed milled bezel and engine-turned gilt mask, the ogee-top case with leaf cast carrying handle repeating lancet-shaped panel chased decoration fronted by shallow gothic arch with leafy crest and quatrefoil panel to apex over cluster columns with acanthus capitals flanking dial, the sides with bevel-glazed windows, the rear matching the front but with engine-turned gilt break-arch door, the base with shallow skirt slightly projecting at the angles and leaf cast bun feet, 18cm, (7ins) high including handle. The operational dates for the partnership between Dwerrihouse and John John Fletcher appear not to be recorded in the usual sources however John Fletcher was a chronometer maker and a maker to the Admiralty He was a finisher and a springer which meant that he was highly skilled in his work. Later Fletcher bought out Dwerrihouse of 27 Davies St, Berkeley Square hence timepieces signed Fletcher, late Dwerrihouse & Carter are also known.
Lot 393
A fine George III ebonised table clock with pull-quarter repeat Benjamin Vulliamy, London, number 272, circa 1796 The five pillar twin fusee rack and bell striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with pivoted beam rise-fall regulation and pull-quarter repeat on two bells, the backplate signed Vulliamy, LONDON and numbered 272 within foliate spray bordered cartouche and fitted with hinged pendulum locking bracket, the 7 inch brass break-arch dial with small calendar aperture to the finely matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with fine pierced blued steel hands and applied rococo scroll cast spandrels to angles beneath relatively shallow-profile arch applied with subsidiary silvered pendulum regulation and STRIKE/SILENT selection rings flanking a fan-shaped silvered nameplate engraved VULLIAMY, LONDON, No. 272 to upper margin, the inverted bell-top case with hinged brass carrying handle and crisp top-mouldings above brass fillet inset glazed dial aperture and foliate pierced upper quadrant frets to the front door, the sides with typical Vulliamy pattern symmetrical foliate scroll pierced arched sound frets, the rear with rectangular door incorporating break-arch glazed dial aperture and raised edge mouldings, on conforming moulded skirt base with generous cast brass squab feet, 39cm (15ins) high excluding handle; with a contemporary ebonised wall bracket with caddy moulded table supported by three fan-shaped scroll supports decorated with pierced Gothic tracery, 26cm (10.26ins) high; the clocks and wall bracket 65cm (25.5ins) high overall excluding handle. Provenance: The property of a private collector. Benjamin Vulliamy was born in 1747 and was presumably trained by his father, Justin. He was granted the Royal Appointment as the King's Clockmaker in 1773 before joined his father in around 1780 and was admitted as an Honoury Freeman to the Clockmakers Company in 1781. It was at this time he built a regulator for the King's Observatory at Kew which served as the Prime Meridian until Greenwich Royal Observatory took over in 1884. Benjamin Vulliamy is perhaps best known for his highly decorative sculptural timepieces in the executed in the Neo-Classical taste created from white marble and Derby biscuit porcelain with the finest cast and chased ormolu mounts. As Royal clockmaker Vulliamy supplied several timepieces of this type to the Royal family many of which still reside reside in the Royal collection (see Jagger, Cedric ROYAL CLOCKS page 117, figure 161). Benjamin Vulliamy was succeeded by his son, Benjamin Lewis, who worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. 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, which means that the current lot, number 272, remains unidentified. The confident and distinctive design of the current lot with dial incorporating twin subsidiaries to the shallow arch and case with squat proportions to the caddy surmount, crisp mouldings and design of side frets is highly typical of those produced by Vulliamy family. The movement is finely executed with crisp wheelwork, superbly finished fittings such as the two-part backcock and plates measuring around 4mm thick. The overall general appearance/proportions of the present clock remains essentially unchanged from those first made by Justin Vulliamy during the third quarter of the 18th century and similar examples continued to be made by the Vulliamy family into the second quarter of the 19th century. Indeed a related clock dating to around 1835 (number 1260) was sold in these rooms on 15th September 2015 (lot 192) for £22,000 hammer.
Lot 388
A mahogany table clock with pull quarter repeat on six bells The movement and dial by Christopher Goddard, London, circa 1760, the case later The six pillar twin fusee bell striking movement now with anchor escapement regulated by lenticular bob pendulum with original rise/fall regulation to suspension, pull-quarter repeat on a nest of six graduated bells and fine foliate scroll and strapwork engraved backplate, the 7 inch gilt brass break-arch dial with calendar and false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch with twin Strike/Silent and regulation dials flanking fan-shaped recessed signature plate engraved Chrs:pr Goddard, LONDON within foliate engraved infill, now in a mahogany break-arch case with hinged brass carrying handle applied to a shallow pad over cavetto top mouldings and glazed dial aperture bordered by raised mouldings to the front door, the sides with rectangular scroll-pieced sound frets within conforming surrounds, the rear with break-arch glazed door set within the frame of the case, on moulded skirt base with brass ogee bracket feet, 44cm (17.25ins) high excluding handle. Christopher Goddard is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in 1729 and gaining his freedom of the Clockmakers Company in 1756. He worked in Little Britain, London and was declared bankrupt in 1761.
Lot 298
Ω A fine and rare George III mahogany wheel barometer with pendulum timepiece and twelve inch dial James Gatty and George Jamison, London, circa 1800 With Swan neck pediment and silvered hydrometer inscribed Dry/Damp set behind glazed brass bezel to the upper section of the fine triple-strung rosewood crossbanded case, the baluster outline upright applied with arch-glazed Fahrenheit scale mercury thermometer over balloon-shaped timepiece with eight-day circular four pillar single fusee movement incorporating upside-down wheel train terminating with tic-tac escapement with offset pallets regulated by short silvered disc-shaped bob pendulum, the 4 inch circular silvered brass dial with engraved signature Jamison, Charing Cross over large subsidiary seconds dial interrupting the VI numeral to centre and gilt spade hands, set behind hinged balloon-shaped door with triple-line edged surround, the 12 inch elaborate foliate medallion-centred circular silvered register annotated in barometric inches and with the usual observations to circumference within generous cast brass bezel, the rounded base with disc for setting the recording pointer over glazed spirit level signed Ja s Gatty, high Holb n, LONDON, 117cm (46ins) high excluding finial. James Gatty is recorded in Goodison, Nicholas English Barometers 1680-1860 working from 130 and 132 High Holborn. His exact dates or whether he started as an optician or immigrant glassblower are unknown however a barometer by him was included in the sale of Sir William Chambers s furniture in 1796; a James Gattey is also recorded as working from 64 Tooley Street in 1802. Gatty is considered to be probably the most sought-after maker of early wheel barometers which tend to be of the finest quality. George Jamison is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from London (Charing Cross) and Portsmouth (Queen Street) 1786-1810. Jamison was a highly skilled watchmaker who no doubt supplied watches to many Naval officers passing through Portsmouth and later worked in partnership with William Howells and Paul Phillip Barraud to produce marine chronometers to William Mudge s design (after the arrangement between Pennington Mudge and Howells broke down in 1796). In addition to chronometers Jamison is also known for his complex spherical skeleton clocks often incorporating astronomical features (see Roberts, Derek BRITISH SKELETON CLOCKS pages 18-19). The timepiece movement of the current lot is of fine quality with generous column-turned pilasters and delicate wheelwork and was clearly purpose-made with the trains configured with the escapement at six o clock to allow the short pendulum to swing beneath the movement (rather than behind). The incorporation of this into a fine instrument by Gatty compliments his high quality approach and adds to the importance of the current lot which can probably be fairly described as one of the finest mercury wheel barometers to come onto the market in recent years.Cites RegulationsPlease note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Lot 237
A group of early English pattern cast brass clock case mounts Anonymous, late 17th century and later To include two pairs of differing twin cherub and Baroque scroll architectural tympanum mounts, a winged cherub pediment mount, a pair of foliate festoon frieze swag mounts, two differing miniature table clock spandrel mounts, a pair of copper laurel cast table clock door escutcheon mounts, two differing vase finials, two further escutcheon plates, a small figure of a dancing putto and four claw cast lobed bun feet, (20). The majority of patterns present in the current lot are of a type used on some of the most important early English clocks. For example the architectural tympanum mounts can be seen on architectural longcase and table clocks by the Fromanteels and Edward East and the pair of copper door escutcheon mounts are of a type often used by Tompion. The miniature spandrels are particularly rare and very finely finished.
Lot 399
A fine George III mahogany musical longcase clock with automaton Samuel Deacon, Barton-in-the-Beans for Robotham, Leicester, dated 1788 The substantial eight-day triple train movement with decoratively shaped thick plates united by four generous baluster-turned pillars enclosing large barrels with concealed winding clicks, the going train with anchor escapement regulated by seconds pendulum with distinctive heavy ring-turned bob mounted on decorative brass slider, the hour striking train with counting via pins set into the rim of the great wheel and sounding on a bell vertically planted above the plates, the music train released every three hours via additional pins in the strike train great wheel to play one from a selection of seven lively tunes automatically selected on a daily basis via a 5 inch pinned cylinder and graduated nest of twelve bells with twelve hammers transversely planted to the upper right hand corner of the movement within Y shaped rear sub plate extension incorporating conforming pair of fine baluster and single long columnar pillar, the frontplate engraved with decorative scroll initials S. D. B. incorporating date 1788, the 14 inch white painted Roman numeral break-arch dial inscribed ROBOTHAM and with day-of-the week tune indication dial to centre, fine engraved and pierced gilt brass hands, Arabic five minutes to outer track and floral spray polychrome decorated spandrels beneath arch finely painted with figural automaton scene of a quintet with six separate movements operated via linkages connected to the musical work behind, in a swan neck pedimented case with fretwork leafy tendril infill over hinged break-arch glazed and crossbanded hood door flanked by Corinthian columns, the sides with rosette-pierced sound frets and shaped bargeboards to the rear, the trunk with concave throat moulding and swollen frieze over shaped-top caddy moulded door flanked by fluted quarter columns, on shaped raised panel fronted plinth base with moulded skirt incorporating shaped apron, 249cm (98ins) high. Samuel Deacon is recorded in Hewitt, P.A. THE DEACON FAMILY OF LEICESTERSHIRE CLOCKMAKERS as born in Ratby, Leicestershire on 6th February 1746 and, after initially going in to farm service, he was offered an apprenticeship with the clockmaker Joseph Donisthorpe (as a result of a chance recognition of his practical abilities). In 1769 Deacon was employed as a journeyman to the Leicester clockmaker Thomas Lindley before setting up on his own as a clockmaker in the small hamlet Barton-in-the-Beans in 1771. Whilst in Leicester Deacon became acquainted with the Rev. William Ludlam who went on to tutor Deacon on the theoretical aspects of clockmaking as well as hone his skills on the practical side with particular attention to musical clocks. These skills enabled him to set-up business on his own in a highly cost-effective manner as he was able to make most of his workshop tools rather than buy them. In 1803 his wife, Elizabeth, died after a short illness; Samuel died after a stroke in 1816 leaving the business in the hands of his cousin, also named Samuel. The workshop passed down through successive generations until 1951 when the last of the Deacon clockmakers, Thomas William retired. Leicester Museums acquired the contents of the workshop and archive preserving it as one of the only 18th century clockmaking workshops to remain intact. Samuel Deacon s work is highly distinctive with many features such as baluster pillars, use pin countwheel, distinctive design of pendulum and hammer shapes making his work unmistakeable. In addition to making work for clients Deacon also supplied parts, movements or complete clocks to other local makers. Indeed his records indicate that he first started supplying the maker Robotham of Leicester in 1778. In 1774 Samuel Deacon advertised the fact that he was able to make musical clocks with the first being a four train quarter-chiming musical clock built under the direction of Ludlam for Lindley to supply to Samuel Darker of Tugby. This clock is described and extensively illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 186-191. In 1790 Samuel Deacon made his masterpiece - a four train quarter chiming musical clock with interchangeable cylinders and automaton for the Rev. Severn of Hinckley. Both of these complex musical clocks share strong similarities with the current lot, the first most noticeably in its basic layout incorporating transverse music barrel, the second with the inclusion of an automaton depicting musicians, whilst all three share a wealth of details typical of Deacon s finest work. The current lot presents as a fine example of this highly regarded regional maker s work and is in fine original condition.
Lot 394
A fine Victorian carved oak longcase regulator timepiece James McCabe, London, third quarter of the century The massive eight-day six double-screwed baluster pillar movement with thick chamfer-top plates measuring 10 by 7.75 inches enclosing wheel train with high pinion count, six-spoke wheel crossings, jewelled endstones for the pallet and escapewheel arbors and screw depth adjustment for all other pivots terminating at the plates, with Harrison s maintaining power and deadbeat escapement incorporating jewelled pallets regulated by mercury jar compensated pendulum with fine beat adjustment to crutch, the 11.75 inch circular silvered brass dial with subsidiary seconds over Roman numeral hour dial and signed James McCabe, Royal Exchange, London over number 3330 to centre within outer minute track and canted silvered bezel, the movement and dial supported on a substantial steel bracket screwed to the case backboard and incorporating wide-jaw pendulum suspension, the carved case with waisted drum-shaped hood applied with raised half-round moulding to front interrupted by floral motifs to the lower angles, the throat with elaborate leafy scroll carved decoration over concave-topped rectangular glazed trunk door enclosing pendulum beat scale to the backboard and flanked by tiered scroll applied canted angles, the base with complex top mouldings incorporating leafy apron to front over panel infill flanked by projecting canted angles, on stepped moulded skirt base applied with further foliate decoration to front, 195cm (76.5ins) high. Provenance: From the estate of Michael Hurst. 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. The movement of the current lot is of the finest quality with very heavy gauge plates and massively engineered cocks for the motionwork. Refinements such as high pinion count, six spoke wheel crossings, jewelled pallets and pivots for the escape wheel and pallet arbor as well as screw end-float adjustment for other pivots are indicative of a movement built to observatory standards.
Lot 345
A Viennese inlaid mahogany grande sonnerie striking Biedermeier wall clock Unsigned, circa 1840 The four pillar triple train movement with shallow arched plates and deadbeat escapement regulated by large diameter brass lenticular bob pendulum with ebonised wooden shaft, the quarter train sounding on the smaller of the pair of graduated gongs positioned behind the movement followed by the hour train sounding the last hour on the larger of the two, the 6.5 inch circular white enamel Roman numeral dial with delicate blued steel hands within repeating bud motif cast brass bezel, the boxwood edged three-light case with two-tier canted and cavetto moulded cornice over arch glazed front door with rounded angles inlaid with vertical repeating diamond lozenge decorated parquetry bands, the interior with conforming bands forming a rectangular panel behind the pendulum, the sides with slender glasses over cavetto shaped base moulding and line-bordered inverted ogee caddy with pendant finial to underside, 110cm (43.25ins) high.
Lot 391
A George III gilt brass mounted mahogany musical table clock The dial signed for William Bull, Stratford, last quarter of the 18th century The substantial six pillar triple chain fusee movement with verge escapement regulated by short bob pendulum and sounding the hours on a single bell followed by one from a choice of seven lively melodies played on a nest of thirteen bells with thirteen hammers, the backplate engraved with Ho-Ho bird inhabited rococo scrolls, the 7 inch serpentine-outline arched brass dial applied with circular silvered centre engraved WILLIAM BULL, STRATFORD within Roman numeral chapter ring with Arabic five minutes to outer track, with pierced blued steel hands and small subsidiary Chime/Not Chime and tune selection dials to upper spandrel areas set within a polychrome and gilt floral painted green field incorporating tiled floor and draped curtain bordered aperture to arch enclosing a curtain which rises to reveal a later applied printed 18th century festival scene with fireworks whilst the music is in play, In a gilt brass mounted mahogany case with flambeau urn finials to the bell-top superstructure incorporating repeating rosette-centred oval aperture pierced gilt sound fret frieze over brass fillet bordered serpentine outline arched glazed dial aperture to the front door incorporating foliate cast upper quadrant frets and flanked by female caryatid mounts to the canted angles, the sides applied with elaborate rococo scroll cast gilt brass sound fret panels, the rear with rectangular glazed door, on cavetto moulded skirt base with generous scroll cast gilt brass feet, (with restoration, probably originally with automaton and case possibly rebuilt), 64cm (25.25ins) high overall. Provenance: The estate of Michael Hurst. A William Bull is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Stratford (London/Essex) 1770-1804. A related musical automata table clock by William Bull is illustrated in Cescinsky, Herbert and Webster, Malcolm R. English Domestic Clocks on page 293 (Fig. 322). A table clock with similar arrangement of rising curtain to the arch of the dial (revealing automata of two fiddlers, Harlequin and a Columbine) is illustrated in Barder, Richard C.R. The GEORGIAN BRACKET CLOCK 1714-1830 on page 128 (Plate IV/65).
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