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Lot 108
1974 Chevrolet Corvette C3 Stingray (RHD) Vin no. 1Z67T4S401024 Engine no. 14S401024 V0817CLD When Chevrolet unveiled the C7 early last year at the Detroit Show, people went crazy. A marque deeply bound by its heritage, it comes as a settled law what Corvette stands for: front-engine, V8-powered, rear drive, fastback roofline; and an alluring axle-to-dash length. 1973 started Corvette’s transformation from muscle to touring sports car. Radial tires became standard and this was the only year that combined the new soft body-colour front with chrome rear bumpers. Larry Shinoda was quoted expressing that the 1973 model was one of his favourites because its front and rear styling was the closest to what designers had originally hoped for in this series. Other major changes for 1973 were a new domed hood, body colour urethane plastic front bumper and a fixed rear window which created more boot space. The ‘73 also introduced a new coolant recovery system, new chassis mounts, and steel-guard beam doors. The 1974 Stingray saw the first year of the revised spoiler-less, body-coloured rear end incorporating the now mandatory energy-absorbing bumper. Being both stronger and more attractive, the new rear design was embraced by the vast majority of enthusiasts. Factory shoulder belts were introduced in the coupes, and resonators were added to the dual exhaust system to further reduce noise internally. Prior to resigning in 1974, President Richard Nixon imposed a 55 miles per hour speed limit on the nation’s highways. Considered a safety measure, it too had an economic impact limiting the supply of gasoline in order to save energy. Nevertheless, a 1974 Stingray equipped with the L48 195 hp (145 kW) small-block was capable of 0-60 in 6.8 seconds; comparable to the 6.5 second time of the 1968 small-block rated at 300 hp (224 kW); proof the 1972-74 Corvette engines had ample power regardless of reduced horsepower and net (bhp) ratings. The L-82 engine remained at 250 hp (186 kW) and the 454 cu in (7.4 L) LS4 dropped slightly to 270 hp (201 kW). Restyled and improved annually, the Corvette in this form lasted well into the 1980s. By this time the Stingray name had been replaced by in 1984 by the sixth generation of America’s classic sports car. Fletch’s Corvette passion began in the early 1980’s when he was working at his camera shop along Sydney’s Pitt St “I looked out the window and saw this car parked at the front door, “ he said. “It was a C3 Series Corvette and I fell for its magical shape and how it looked like a perfect muscle car. I eventually bought a 1974 example and it took off from there.” This 1974 Stringray, of Californian origin, was purchased in 1992 from Victoria. Being a right hand drive (RHD) automatic example, converted by Scott Girard, with hard/soft top is a matching number car fitted with a L82 350 cubic inch V8 engine. This vehicle has had an extensive overhaul to the motor, transmission, drive train, brakes, steering, suspension and body paint, since acquisition. Included with the sale, the original purchase invoice from Harry Mann Chevrolet Los Angeles, original owners manual and sales brochure, engineering certificate from 1992 and other related documentation. Odometer reading approximately 9,200 miles. This vehicle is currently registered in Queensland (S23281) the club plates illustrated are not transferable and vehicle will be sold unregistered.
Lot 807
A late 19th century Anglo-Flemish carved oak pedestal desk, with a leather inset top, 193 cm wide Condition report Very much in a market fresh condition, straight out of a house where it has seen a fair degree of use/work. The leather inset top has many scratches, and is missing a 10 cm section to its border, there are a few sections of the veneer missing to the top, and the varnish/finish is very worn and light in places, there is one central frieze drawer to one side, with two frieze drawers to the opposing side, and each pedestal has a cupboard door to the outside. Quite a few knocks, marks and abrasions
Lot 869
A 19th century inlaid mahogany chest of drawers, 123 cm wide, and an inlaid mahogany wardrobe, 127 cm wide (2) Condition report The wardrobe is good and clean, with general wear, especially where the door and the drawer makes contact, and the chest of drawers has a split top (to the back), the sides are split, it's quite large proportions, lacks some of the cock beading, lacks two locks, with general wear and tear, the top is quite a degree lighter than the rest of the body.
Lot 17
A fine George III mahogany mercury stick barometer with hygrometer, Edward Nairne, London, late 18th century, The caddy moulded arch-top case inset with circular glazed hygrometer with independent adjustment for the hygrometer beard pointer via a brass turn-screw set beneath operating a pair of visible geared wheels fitted to the rear of the instrument, over concave-topped inset silvered vernier scale calibrated in barometric inches to the right hand margin opposing weather observations to the left, the upper margin with engraved signature Nairne, London, the conforming caddy moulded figured mahogany veneered trunk with exposed tube above rounded base applied with half-sphere cistern cover with moulded cylindrical upstand and narrow band to waist, the underside with brass level adjustment screw, 104cm (41ins) high. Edward Nairne was born in 1726 and apprenticed to the celebrated instrument maker, Matthew Loft, in 1741. Latterly he worked from 20 Cornhill and published numerous booklets on navigational, pneumatic and astronomical instruments. In 1776 Nairne devised a marine barometer with a restriction in the bore of the mercury tube which served to dampen the oscillation of the mercury; he was elected to the Royal Society in the same year. In 1774 he formed a loose partnership with his former apprentice Thomas Blunt, perhaps for mutual convenience as Blunts premises were next door to Nairnes at 22 Cornhill. Edward Nairne is believed to have retired to Chelsea in 1801 and died in 1806.
Lot 18
A fine George III mahogany mercury stick barometer, John Bleuler, London, late 18th century, The arched silvered vernier scale calibrated in barometric inches to the right hand margin opposing weather observations to the left, the upper margin with engraved signature J. Bleuler, London set behind moulded arch-glazed door, the caddy moulded figured mahogany veneered trunk with exposed tube above rounded base applied with half-sphere cistern cover with moulded cylindrical upstand and narrow band to waist, the underside with brass level adjustment screw, 94cm (37ins) high. John Bleuler is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as apprenticed to Henry Shuttleworth in 1771, he took on the business of the late Thomas Whitford at 27 Ludgate Hill, London in 1791 and worked from that address until 1822. He died in 1829.
Lot 21
A mahogany mercury stick barometer with hygrometer and mercury Fahrenheit scale thermometer, The register bearing signature for James Gatty, London, late 18th century and later, The boxwood edged case with open triangular pediment above hygrometer set behind convex glazed cast brass bezel over rectangular glazed door with curved lower angles enclosing conforming silvered vernier scale calibrated in barometric inches to the right hand margin opposing weather observations to the left, the upper margin bearing engraved signature James, Gatty, London, the trunk with further long rectangular glazed door enclosing mercury tube Fahrenheit scale thermometer with brass cage protection to the bulb and wheatear engraved arched border enclosing delicate leafy scrolls to upper margin, the rounded base with ring-turned domed cistern cover and level adjustment screw to underside, 109cm (43ins) high
Lot 22
A Regency inlaid mahogany mercury stick barometer, Purchion, Leeds, early 19th century, With pierced crest above parquetry banded cavetto cornice and rectangular glazed door enclosing heavy siphon tube with simple wire recording pointer before a white painted scale calibrated in barometric inches and with the usual weather observations within husk decorated arched surround with gilt fan infill to upper corners and signed Purchion Leeds to the lower margin, the trunk with exposed tube flanked by repeating lozenge inlaid decoration to fascia and scroll pierced ears, the shaped base applied with floral marquetry decorated oval cover enclosing bulb cistern, 98cm (38.5ins) high. A George Purcheon is recorded in Banfield, Edwin, BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Glass House, Leeds circa 1820-40. Banfield notes that he made barometers with paper or enamelled (painted) plates; a related instrument by George Purcheon is illustrated by Banfield in BAROMETERS, Stick or Cistern Tube on page 116.
Lot 41
A Czechoslovakian engraved gilt brass miniature carriage timepiece incorporating earlier French verge pocket watch movement, J. Leliska, Prague, mid 19th century, the movement by Charles Le Roy, Paris, mid to late 18th century. The circular gilt single fusee full plate verge movement with four column turned pillars pinned at the rear, three-arm monometallic balance beneath fine rococo scroll pierced balance bridge, steel pointer for the silvered regulation disc and signed Chs LeRoy, A PARIS and numbered 12371 to backplate, now with 1.25 inch circular white enamel Roman numeral dial with blued steel hands set within a rectangular frosted gilt mask incorporating leaf chased bezel and spandrel infill above scroll bordered oval reserve engraved J. Leliska, in Prag, the case with engraved scroll-outline hinged handle above decorated raised panel and four conical finials to top over bevel arch-glazed front door with scallop shell decorated apron and anthemion panel infill to upper quadrants flanked by channel moulded corner uprights to front, the sides centred with double scallop shell and foliate scroll motifs, the rear with frosted gilt hinged door, on channel moulded skirt base fitted with block feet, 9cm (3.5ins) high excluding handle. Charles Le Roy was born in 1709 and became Maitre in 1733, he initailly worked from rue des Prescheurs but by 1745 he had moved to rue St. Denis. Le Roy took in his son, Etienne-Augustin, as partner in around 1758. The firms clocks and watches were however still signed Charles Le Roy (even after the death of Charles in 1771) until the business was sold to Gaspard Cachard in 1792. The firm were appointed Horloger du Roi to Louis XVI and became particularly well known for the quality of their movements and collaborations with leading ebenistes and bronziers to create the finest and most fashionable timepieces for their aristocratic clients.
Lot 59
A Victorian walnut four-glass mantel clock, Unsigned, circa 1840, The five pillar twin chain fusee bell striking movement with anchor escapement and pendulum holdfast to backplate, the 4.5 inch square silvered brass Roman numeral dial with symmetrical rococo scroll engraved decoration to spandrels and blued steel spade hands, the case with unusual scallop shell and twin dolphin cast brass hinged carrying handle and bevel-glazed rectangular panel to the tablet upstand above ogee cornice and silvered brass canted fillet bordered front door, the sides with rectangular bevel glazed panels, the rear with rectangular door inset with a brass grille sound fret, the base with ogee outline apron over moulded skirt with plain squab feet, 28cm (11ins) high excluding handle
Lot 69
A Regency brass mounted small bracket timepiece, The dial signed for Thomas Gatwood, Sevenoaks, early 19th century, The four pillar single fusee movement with arched plates, pendulum holdfast to backplate and 4.75 inch circular white painted convex Roman numeral dial bearing signature THOMAS GATWOOD, SEVENOAKS to centre within engine-turned brass convex glazed hinged bezel, the arched case with hinged brass carrying handle to top above ebony edged front with brass fillet inset recessed concave-topped panel inlaid with lozenge motif beneath dial, the rear with arch glazed door, on gadroon-moulded skirt base with inlaid decoration to front and brass ball feet, 30cm (12ins) high excluding handle
Lot 70
* A Regency brass inlaid mahogany bracket clock, Viner, London, early 19th century, The five pillar twin fusee bell striking movement with anchor escapement and signed Viner, London to the decorative border engraved shouldered backplate, the 8 inch circular cream painted Roman numeral convex dial with repeat signature VINER, LONDON to centre, strike/silent lever at twelve oclock and pierced steel hands set behind convex glazed cast brass bezel, the break-arch case with brass carrying handle and cavetto moulded cornice above stylised double tulip shaped motif centred shaped panel beneath dial flanked by repeating lozenge decorated ebony canted angles, the sides with arched brass fishscale sound frets, the rear with arch-glazed door, on cavetto moulded skirt base with open lozenge centred motif to front and brass ball feet, 42cm (16.5ins) high excluding handle. Charles Edward Viner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1802 and gaining his freedom of the Clockmakers Company in 1813. He was elevated to Liveryman in 1819 and is thought to have died in 1840. He was a fine maker who worked from Regent Street and is best known for producing fine complex giant carriage clocks and small mantel clocks.
Lot 71
A William IV brass inlaid mahogany bracket clock, Unsigned, circa 1830, The five pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the 8 inch circular cream painted Roman numeral convex dial with steel moon hands set within cast brass bezel, the shallow-arch top case with square gadroon moulded domed surmount above crest carved with leafy trails terminating with scrolls above shaped brass fillet inset panel decorated with brass symmetrical scroll inlay beneath dial, the front angles with applied rosette and line inlaid slender pilasters incorporating scroll profiles to lower section, the sides with foliate brass ring handles above rectangular brass fishscale sound frets, the rear with rectangular glazed door, on shallow moulded skirt base incorporating brass rosette and baton inlay to front moulding and brass ball feet, 46cm (18ins) high
Lot 72
A William IV brass inlaid mahogany bracket clock, Gray, London, early 19th century, The five pillar twin fusee bell striking movement with anchor escapement and signed Gray, Billiter Square, LONDON to the decorative scroll border engraved backplate, the 8 inch circular cream painted Roman numeral convex dial with pierced steel hands set within cast brass bezel, the shaped-top case with crest comprising central ebony ground brass inlaid panel flanked by leafy trails terminating with carved rosettes above dial bordered with downswept line decorated ebony band to lower edge over swollen rectangular panel inlaid with symmetrical brass scrolls flanked by leafy trail decorated applied slender pilasters to front angles, the sides with brass cornucopia ring handles above rectangular brass fishscale sound frets, the rear with rectangular glazed door, on shallow moulded skirt base incorporating brass rosette and baton inlay to front moulding and brass ball feet, 44cm (17.25ins) high. Although several clockmakers with the surname Gray are recorded as working in London during the early 19th century, there appears to be no mention in the usual reference sources of a maker with this name working from Billiter Square.
Lot 73
A Regency mahogany fusee dial wall timepiece, Quick, Bristol, circa 1825. The four pillar single fusee movement with anchor escapement and tapered plates, the 12 inch convex cream painted Roman numeral dial signed QUICK, BRISTOL to centre and with steel spade hour hand set behind hinged convex glazed cast brass bezel fitted to narrow moulded mahogany surround, the rear box case with door to right hand side and pendulum adjustment flap to the curved underside, diameter 36cm (14ins). A William Quick is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as born circa 1782 and apprenticed to William Read in 1795. He worked from 13 St. John Street 1822-42 then 27 Clare Street to 1855, his son Francis joined the firm in 1832 before setting up on his own at 2 Lower Portland Place in 1855.
Lot 74
An early Victorian brass inlaid mahogany fusee drop dial wall timepiece. The dial signed for John Alker, Wigan, circa 1840. The four pillar single fusee movement with anchor escapement, shouldered plates and 12 inch circular white painted Roman numeral convex dial inscribed JOHN ALKER, Wigan to centre and with steel hands within hinged convex glazed cast brass bezel, the box case with brass baton and button inlaid octagonal dial surround above leafy scroll carved fan-shaped ears flanking brass fillet inset concave sided glazed lenticle within conforming borders over quarter-round base incorporating pendulum adjustment flap, the right hand side with movement access door, 71cm (28ins) high
Lot 77
A Victorian carved oak fusee dial wall timepiece, Lund and Blockley, London, circa 1875, The substantial four pillar single chain fusee movement with anchor escapement and pivoted beam rise/fall pendulum regulation, the backplate signed LUND & BLOCKLEY, (TO THE QUEEN), 42 PALL MALL, LONDON, 2/852, the 12 inch circular silvered brass Roman numeral dial with repeat signature Lund & Blockley, TO THE QUEEN, 42 Pall Mall, LONDON to centre, with regulation square at twelve oclock and blued steel hands set behind deep convex glazed hinged cast brass bezel within concentric deep repeating foliate scroll carved cushion surround fronting the cylindrical case with curved access flaps to right hand side and base, the rear with rectangular door, diameter 44.5cm (17.5ins). The partnership of Lund and Blockley are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1875-81. They were perhaps best known for supplying explorers watches and other timepieces to the Royal Geographical Society and The Admiralty.
Lot 80
A Biedermeier Vienna mahogany dachluhr wall regulator timepiece of month duration, Frans Mosslinger, Vienna, circa 1840, The single-weight movement with four-wheel train, Harrisons maintaining power, deadbeat escapement, fine beat adjustment to the crutch and wood rod pendulum with large diameter brass-faced lenticular bob, the 6.5 inch circular white enamel Roman numeral dial with blued steel beetle and poker style hands within repeating shell and floral bud cast gilt brass bezel, the rear of the dial inscribed F Mosflinger to the enamel, the movement and dial fitted to the case via four brass posts applied to the flame veneered backboard engaging with corresponding keyhole-shaped apertures to the backplate, the exterior with rounded corners to the simple cavetto moulded cornice above full-height door with square glazed dial aperture above conforming larger aperture within box-edged surrounds flanked by rounded angles, the sides with slender glazed apertures matching the front above inverted cavetto-shaped base, 96cm (37.75ins) high. Frans Mosslinger is recorded in Weijdom Claterbos, F.H. van Viennese Clockmakers and what They left Us as working in Vienna circa 1840.
Lot 86
A French Louis XV small gilt brass mounted boulle bracket timepiece with silent pull quarter repeat, Saint Martin, Paris, circa 1740, The movement with rounded lower angles to both plates united by four baluster turned pillars pinned through the backplate signed Saint Martin AParis to lower margin, the going train with large diameter mainspring barrel, tic-tac escapement with offset pallets and silk pendulum suspension, the quarter repeat mechanism sounding the hours and quarters on a nest of three bells contained within the superstructure of the case on demand only, the 5.5 inch circular thirteen-piece blue on white enamel Roman numeral cartouche dial with plain centre within chapter ring with scroll chased borders to the applied numerals and outer minute track, with sculpted blued steel hands and applied enamel plate inscribed S. MARTIN, APARIS to lower margin, the waisted cut brass, polychrome stained shell and mother-of-pearl contra-parti veneered case applied with gilt surmount cast as a cherub feeding with a straw from a scallop shell over leafy corner mounts to the cavetto-shaped superstructure above cartouche-centred scroll cast crest and shaped bead-bordered glazed door applied with apron mount cast as a child Chronos holding a sandglass, set within leafy trail surround applied with further foliate mounts to angles and with tall brass-lined recessed arch windows within conforming floral scroll decorated infill to sides, the interior with symmetrical rococo panel veneered rear door over radial parquetry tile decorated canted floor, on acanthus scroll cast feet with shaped apron fronted with cartouche mount between, (unrestored with some damage and losses mainly to case), 49cm (19.5ins) high. Saint Martin is recorded in Loomes, Brian, Watchmakers & Clockmakers of the World as working in Paris circa 1710. The current lot employs a silent pull quarter repeat mechanism which is designed to sound the hours and quarters only on demand (does not automatically strike during normal operation). This form of repeat mechanism is thought to have been devised for use in the bedchamber, hence would have been supplied to an extremely wealthy client who could afford such a luxury. English Silent pull quarter repeating table clocks are scarce but do turn up from time to time, French examples are generally rarer hence are much more difficult to find.
Lot 88
A French gilt brass mounted Boulle religieuse table clock with pull-quarter repeat, The movement signed for Louis Ourry, Paris, late 17th century and later, The two train movement with rectangular plates united by five tapered baluster pillars pinned at the rear and signed Louis Ourry AParis to the lower margin of the backplate, the going train now with Brocot type escapement, the strike train with scroll-cut sculpted steel gate and high position countwheel for sounding the hours on a bell mounted within the superstructure of the case, the pull-wound quarter repeat mechanism with separate hammer for sounding the hours on the same bell and two for sounding quarters on a further pair of bells, the 7.5 inch circular twelve-piece Roman numeral enamel cartouche dial with delicate foliate strapwork rosette decorated matted centre within chapter ring with scroll-chased infill around numerals and every minute numbered to the outer track, with mask applied to the rear of the dial plate incorporating matted infill to the square upper angles to allow secure fitting into the rectangular dial aperture of the case above decorative gilt brass mount modelled as a pair of standing angel-winged nymphs supporting the dial, now in a case with flambeau urn finials to the fine engraved brass, pewter and red shell foliate scroll contra-parti marquetry veneered domed superstructure above cast gilt brass gallery inset frieze incorporating projecting pedestals for the second tier of larger flambeau finials and complex brass bound ebony mouldings to cornice, the front with repeating leaf cast brass surround to the arch-glazed front door with marquetry scroll borders and conforming infill to upper angles flanked by full-height Corinthian strip pilasters with fine cast capitals over geometric strapwork and stylised leafy plant decorated shafts, the sides with tall rectangular windows with cast brass surrounds within foliate borders and flanked by conforming pilasters, the rear with walnut veneered panel door, on moulded base with leaf-cast gilt brass feet, (the case possibly 19th century, clock generally heavily distressed commensurate with being dropped although veneers are generally intact), 58.5cm (23ins) high. Louis Ourry is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Paris circa 1680. He is further recorded on the British Museum website as becoming a master watchmaker in 1684. The movement of the current lot is of fine quality and incorporates pull-quarter repeat which is rarely seen on French clocks of this period. The case appears to have been made for the movement and dial and is also of suitably fine quality however the pattern for the marquetry does not appear to match other period examples as analysed in Plomp, Reinier Early French Pendulum Clocks, 1658-1700. Further investigation confirms the presence of comparable Napoleon III revival examples with the same basic pattern of marquetry, this would suggest that the current case was made in the 19th century to replace the original, probably due to wear and tear.
Lot 89
A French gilt brass mounted ebony religieuse table clock, The movement signed for Charles Champion, Paris, circa 1675 century and later, The two train movement with rectangular scroll-top plates united by five tapered baluster pillars pinned at the rear and signed Charles Champion AParis to the lower margin of the backplate, the going train with verge escapement and cycloidal cheeks for the silk pendulum suspension, the strike train with scroll-cut sculpted steel gates and pointer to the numbered countwheel positioned to the top left hand corner of the backplate for sounding the hours on a bell mounted behind the pediment of the case, now with a 10.5 by 9 inch black velvet covered dial with gilt collets to the winding squares and fine foliate-pierced and engraved hands within applied Roman numeral chapter ring with tied starburst half hour markers and every minute numbered to outer track, the upper angles applied with symmetrical scroll cast spandrel mounts, the lower with larger conforming mounts flanking hinged rococo cartouche engraved Charles Champion, AParis, now in a ebony veneered case with elaborate cartouche-centred symmetrical leafy scroll cast arched crest incorporating dolphins and armorial lion terms above rectangular glazed door applied with further cast mounts to angles and rails, the sides with slender break-arch lozenge shaped windows, the rear with walnut panel-veneered door, on shallow moulded skirt base with cast lions paw feet, (case with worm damage), 46cm (18ins) high. Charles Champion in recorded in Baillie, G.H. Watchmakers & Clokmakers of the World as appointed Jure in Paris in 1691.
Lot 96
A rare William III eight-day longcase clock movement and dial, William Kenyon, Liverpool, circa 1700, The substantial four (formerly five) finned pillar rack and bell striking movement with thickly turned pillars and escapement set relatively low within the plates, the 12 inch square brass dial with fine foliate border engraved decoration to the ringed winding holes and inset subsidiary seconds ring above open scroll decorated calendar aperture to the Ho-Ho bird inhabited centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Wm Kenyon, Leverpoole to lower edge, the angles applied with female head and foliate scroll cast spandrels within a herringbone engraved outer border, now in a late 18th century oak case with cavetto cornice and pierced frieze above slender turned columns to hood and ogee throat moulding over star centred narrow caddy moulded and parquetry banded door flanked by rounded angles to trunk, on crossbanded plinth base with skirt incorporating bracket feet, 200cm (78.5ins) high. William Kenyon is recorded in Loomes, Brian LANCASHIRE CLOCKS and CLOCKMAKERS as believed born in 1667, Loomes further notes that various children, fathered by a William Kenyon, were born between the dates 1708-20. A James Kenyon is also recorded as working at Redcross Street in 1715 then Newmarket in 1725 and was declared insolvent in 1743. An ebonised thirty-hour longcase clock by Kenyon that could be stylistically dated to the 1690s was sold in these rooms on 4th September 2012 (lot 216) for £5,500 hammer. The centre of the dial of the current lot is particularly noteworthy for the quality of its decoration and appears to retain traces of gilding to the crevices. The subsidiary seconds ring is fitted as a separate item but in a ring-shaped recess so that it sits flush to the plate - presumably to allow it to be removed for silvering. The movement has survived in relatively fine original condition and is of particularly heavy construction with massive pillars. The use of rack striking also further demonstrates the confident and high-quality approach of the maker.
Lot 97
A George II oak thirty-hour longcase clock, Henry Deykin, Worcester, mid 18th century, The single handed plated countwheel bell striking movement with 10 inch square brass dial boldly signed Henr Deykin, WORCESTER n.1311 to centre and with fine pierced blued steel hand within applied silvered Roman numeral chapter ring with lozenge half hour markers and female mask and scroll cast spandrels to angles, in a case with small shaped crest to the canted caddy upstand above ogee cornice, plain frieze and slender three quarter columns to hood door, the trunk with rectangular door, on plain plinth base with canted skirt, 211cm (83ins) high. Henry Deykin is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as born in Worcester around 1715 and apprenticed to his father, Thomas, gaining his freedom in 1736. He succeeded his father in 1777 moving the business from Broad Street to Lich Street before dying in 1779 leaving his business to former workman, William Rouse. Loomes notes a miniature hooded wall timepiece by Deykin signed and numbered 891 to a boss applied to the arch of the dial.
Lot 103
A late Victorian inlaid rosewood quarter chiming bracket clock, Retailed by T. Smith and Son, Glasgow, late 19th century, The substantial four pillar triple chain fusee movement with anchor escapement and chiming a choice of two melodies on a nest of eight graduated bells every quarter and striking the hour on a gong, the 7 inch arched brass dial with applied shaped plaque engraved with retailers signature T. SMITH & SON, QUEEN STREET, GLASGOW to the matted centre 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 symmetrical scallop shell and foliate scroll cast spandrels with the upper continuing up into the arch to form decorative infill around the silvered subsidiary CHIME/SILENT and CHIME ON EIGHT BELLS/WESTMINSTER CHIME selection dials, the shaped-arch top case with fine Renaissance style bone and engraved inlaid decoration of a vase loaded with fruiting foliage flanked by stylised scrolls to tympanum above front door with inset canted silvered brass dial surround (glass lacking) and further inlay incorporating grotesque mask and drapery swags containing fruit to upper margin and symmetrical scrolls to bottom corners flanked by pendant husk decorated canted angles, the sides with rectangular foliate-pierced sound frets within scroll-inlaid fascias, the rear with brass grille inset rectangular door, on moulded skirt base with further scroll inlaid motifs to front and sides and generous ogee moulded squab feet, 53.5cm (21ins) high
Lot 104
A Victorian gilt brass mounted ebonised quarter chiming bracket clock, Retailed by J. Langelaan, Southsea, late 19th century, The four pillar twin chain fusee movement with anchor escapement and two-in-one strike train chiming the quarters on four gongs and striking the hour on a further larger gong, the backplate stamped D.R. PATENT over W&H, Sch for Winterhalter and Hoffmeyer to lower margin, the 7 inch arched brass dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with winged cherub head and foliate scroll cast spandrels beneath arch with twin silvered subsidiary rings for CHIME/SILENT and FAST SLOW set within conforming gilt relief infill centred with a cherub mask to apex,. The ebonised bell-top case with large twin handled oval section urn surmount above applied floral swag mounts and conforming smaller urn finials to superstructure, the front with silvered brass canted bezel inset arch-glazed door applied with cast female mask escutcheons to uprights and scroll cast angles to upper quadrant panels, the sides with arched sunburst mask centred brass sound frets, the rear with rectangular grille inset door, on cavetto moulded skirt base applied with grotesque mask centred apron mount flanked by conforming foliate cast claw feet, the rear with applied trade plate J. LANGELAAN, 105 PALMERSTON ROAD, SOUHSEA, 72cm (28.5ins) high overall
Lot 105
A mid Victorian mahogany striking domestic longcase regulator, Job. Davies, Penydarran, circa 1855, The four pillar rack and bell striking movement with thick shouldered plates, deadbeat escapement, Harrisons maintaining power and wood rod pendulum fitted with heavy brass-faced lenticular bob, the 13 inch circular silvered brass Roman numeral dial with subsidiary seconds dial and signed Job. Davies, PENYDARRAN to centre, with lozenge pierced blued steel hands and outer track divided for minutes, the shallow break-arch top case with cavetto cornice above silvered brass fillet inset circular glazed dial aperture to the hood door flanked by canted angles, the trunk with caddy moulded rectangular glazed door enclosing interior with flame figured backboard flanked by canted angles, on crossbanded panel veneered plinth base with skirt incorporating bracket feet with shaped apron between, 198cm (78ins) high. Job. Davies is recorded in Loomes, Brian, Watchmakers & Clockmakers of the World, Volume 2 as working in Pen-y-darren 1852-68, by 1871 he was working in Dowlais where he remained until 1875.
Lot 106
A Regency mahogany longcase regulator, Johnston, Tottenham, early 19th century, The five pillar movement with thick shouldered plates, deadbeat escapement, Harrisons maintaining power and wood rod pendulum fitted with heavy brass-faced lenticular bob suspended from a bracket fitted to the case backboard, the 12 inch circular silvered brass dial with subsidiary seconds over hour dials and signed Johnston, Tottenham to centre within outer minute track with Arabic five minutes and canted silvered brass bezel, in a shallow-break-arch case with cavetto cornice above door inset with circular convex glass and with ebony line inlaid lower quadrant panels flanked by reeded canted angles and blind circular panels to sides, the trunk now with rectangular glazed door enclosing silvered pendulum beat scale, on shaped moulded panel fronted plinth base with moulded skirt, (unrestored, pendulum shaft broken), 187cm (73.5ins) high
Lot 107
A Victorian mahogany hour striking longcase regulator, Francis Smith, Blandford, circa 1845, The four pillar two train rack and bell striking movement with Harrisons maintaining power, deadbeat escapement and wide jaw bracket fitted to the case backboard for suspending the wood-rod pendulum with heavy lenticular bob and large diameter rating screw, the upper edge of the movement plates applied with shaped extensions to accommodate the pallet assembly and strike train fly, the 12 inch square silvered brass dial with subsidiary seconds over hour dials and signed Francis, Smith to centre within outer minute track annotated with Arabic five minutes, in a case with ogee-arch cavetto moulded pediment over plain frieze and reeded canted angles to hood above conforming shaped-arch caddy moulded flame figured door flanked by quarter columns to trunk, on raised shaped panel fronted plinth base with shallow skirt, 193cm (76ins) high; with a copy of Tribe, Tom and Whatmoor, Philip Dorset Clocks and Clockmakers, Tanat Books, Oswestry 1981, dj, (2). Francis Smith is recorded in Tribe, Tom and Whatmoor, Philip Dorset Clocks and Clockmakers as born in London 1805 and working in Blandford St. Mary circa 1842-67. The slightly unconventional/experimental construction of the movement suggests that the current lot was made for practical reasons rather than for retail, hence was possibly used as the shop regulator to regulate clocks and watches made/supplied by Francis Smith.
Lot 108
A William IV figured mahogany quarter striking bracket clock, Arnold and Dent, London, circa 1835, The five pillar twin chain fusee movement with anchor escapement and ting-tang striking the quarters on a graduated pair of bells and striking the hour on the larger of the two, with shouldered plates and fitted with bells and pendulum holdfast to backplate signed Arnold & Dent, London to centre, the eight-inch circular convex cream painted Roman numeral dial with repeat signature ARNOLD & DENT, Strand, LONDON to centre and with blued steel moon hands set behind convex glazed cast brass bezel, the shallow arch top case with arch-glazed door to rear and on canted skirt base with shallow squab feet, 38cm (15ins) high. The partnership between the celebrated clock and chronometer makers John Roger Arnold and Edward Dent was formed on 30th September 1830. The partnership benefited both parties as it allowed Arnold to concentrate on development work and Dent the opportunity to raise his profile and broaden the scope of his work. Throughout the 1830s the partnership built a reputation for producing clocks, watches and marine chronometers of the highest quality. In 1837 they were granted the Royal Warrant, however by 1838 the relationship between Arnold and Dent had started to deteriorate which eventually led to the partnership being dissolved in 1840.
Lot 109
A fine early Victorian mahogany eight-day longcase clock, Vulliamy, London, circa 1840, The five pillar rack and bell striking movement with thick shouldered plates, anchor escapement and wide jaw T bar suspension for the wood rod pendulum fitted with heavy brass-faced lenticular bob, the 12 inch circular silvered brass Roman numeral dial with subsidiary seconds dial and signed VULLIAMY, LONDON to centre, with blued steel moon hands and outer track divided for minutes, the case with shallow triangular pediment above brass fillet inset circular glazed dial aperture to the square hood door flanked by canted angles, the trunk with narrow convex throat moulding above rectangular flame figured door with reeded border, on conforming flame veneered plinth base with moulded skirt, 194cm (76.25ins) high. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers Company in 1809; he served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George IIs clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. However his horological legacy is perhaps slightly blighted by his tendency to undertake significant alterations to earlier important clocks by makers such as Tompion, including many in the Royal collection.
Lot 111
A George III mahogany domestic longcase regulator, James Vigne, London, circa 1790, The five pillar rack and bell striking movement with Harrisons maintaining power, deadbeat escapement and wide jaw T bar suspension for the large lenticular bob pendulum with fine screw graduated rating nut, the 12 inch silvered brass Roman numeral ogee-arch top dial with subsidiary seconds dial and calendar aperture to centre, pierced blued steel hands and Arabic five minutes to outer track beneath N/S strike/silent lever at twelve oclock and signed James Vigne, London to arch, in a case with ogee-arch shaped cavetto cornice, brass stop-fluted canted angles and rectangular side windows to hood above conforming shaped-top caddy moulded flame figured door to trunk, on raised panel fronted plinth base with moulded double skirt and later ogee bracket feet, 195cm (77ins) high excluding later feet, 203cm (80ins) high overall. James Vigne is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Strand, London from 1770.
Lot 112
A fine George III mahogany longcase clock, Alexander Cumming, London, circa 1790, The five pillar rack and bell striking movement with deadbeat escapement and 12 inch silvered brass Roman numeral ogee-arch top dial with large subsidiary seconds dial and calendar aperture to centre, pierced steel hands and Arabic five minutes to outer track beneath N/S strike/silent lever at twelve oclock and signed Alexander Cumming, LONDON to arch, the case with ogee-arch shaped cavetto cornice over brass stop-fluted columns and rectangular foliate-pierced side frets to hood and flame figured block top door to trunk, on raised panel fronted plinth base with moulded double skirt, 195cm (77ins) high 119cm (86.25ins) high. Alexander Cumming was born in Edinburgh 1733 and initially worked as a clock and watchmaker in Inveraray. In 1757 Cumming, along with his brother James, was employed by Archibald Campbell, the third Duke of Argyll, to install the organ and supply a longcase clock for his new castle at Inveraray. Cumming subsequently moved to London (perhaps shortly after the death of his patron in 1761) and by 1763 had been appointed as a member of the commission to adjudicate Harrisons marine timekeeper. In 1765 Cumming presented his celebrated barograph clock for King George III before completing his best-known work on horology Elements of Clock and Watch Work Adapted to Practice in 1766. In 1781 he was made an Honoury Freeman of the Clockmakers Company and in the early 1790s retired to Pentonville from where he continued to write various papers including Observations on the effects which carriage wheels, with rims of different shapes, have on the roads published in 1797. Alexander Cumming died in 1814 leaving his business to his nephew, John Grant.
Lot 113
A George III gilt brass mounted mahogany musical table clock, The dial signed for Edward Ellicott, London, circa 1790, The substantial five pillar back-wound movement playing a choice of five tunes via a pinned cylinder on a nest of eight graduated bells after striking the hour on an additional larger bell, the backplate incorporating projecting feet to the lower corners and engraved with fine open rococo scrolls around a central basket of flowers within decorative line borders, the convex white Roman numeral dial inscribed EDWD ELLICOTT to centre and with pierced blued steel hands within outer minute track and slender brass bezel fitted to the 8 inch full-arch white painted dial plate polychrome decorated with dancing musicians beneath applied curved tune selection sector inscribed SONG, JIGG, MINUETT, AIR and COTILLION to arch, the break-arch case with concave sided plinth for the central brass vase finial flanked by four further finials and applied symmetrical rococo scroll cast mounts to the sides of the arch, the front with heavy acanthus cast brass arched door flanked by female caryatids applied to the canted angles, the sides with hinged carrying handles above sunburst mask centred scroll cast arched brass sound frets, the rear with arch glazed door, on cavetto moulded skirt base with scroll feet, 54.5cm (21.5ins) high. Two generations of the celebrated Ellicott family with forename Edward are recorded working in London in around 1790. Edward (I) is listed in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as son of John (II) working from Royal Exchange, London 1753-91, he was appointed watchmaker to the King. His son, Edward (II) is listed as free of the Clockmakers Company in 1795 and was appointed Master in 1835 but did not live to see out his term. The current lot is an attractive model clearly made in a workshop used to producing clocks for the Export market. The back-winding is typical of examples made for export to China as the Chinese prefer clock dials to be free of winding holes, and the heavy foliate cast gilt brass front door is of a type more often seen on examples exported to the Middle-East (see Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 pages 160-1 colour plates 22-4).
Lot 115
A fine Regency brass inlaid ebonised bracket clock with enamel dial, Grant, London, early 19th century, The five pillar twin fusee bell striking movement signed Grant, Fleet Street, LONDON and with arrow-shaped strike/silent lever to the lancet-shaped backplate, the 6.5 inch fired white enamel circular Roman numeral dial signed GRANT Fleet Street LONDON, No. 602 to centre and with blued steel hands set behind hinged convex glazed cast brass bezel, the lancet-shaped case with brass parquetry star motif within circular panel above dial and recessed brass fillet bordered shaped panel enclosing inlaid stylised tulip-form motif beneath, the front edges with cast slender Gothic column mounts continuing to form moulded lancet-arch above, the sides with brass fruiting vine leaf ring handles above lancet arch shaped brass fishscale sound frets, the rear with conforming lancet-glazed door, on brass bound stepped fillet moulded skirt base with brass ball feet, 40cm (15.75ins) high. John Grant is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as gaining his freedom of the Clockmakers Company in 1781, he later served as Warden and died in 1810. He was a fine maker who was nephew and successor to the famous clock and watchmaker Alexander Cumming. His son, John junior, was born in 1796, became Liveryman of the Clockmakers Company in 1817 and is believed to have worked until 1840.
Lot 127
A fine and rare Charles II panelled oak quarter-chiming thirty-hour longcase clock, John Williamson, London, the movement circa 1683, the case circa 1672, The four finned pillar two-handed plated movement with anchor escapement and long pendulum to the four-wheel going train, the two-in-one hour and quarter hour strike/chiming train utilising large countwheel cut for both the hours and quarters planted on the backplate and with pump-action wheel to the front plate for positioning the hammer pin-wheel set along with the quarter hammer pivots within a separate brass carriage fitted to the inside of the frontplate to either peel on a nest of four bells for the quarters or strike the hour on a further larger bell, the 9.5 inch square brass dial with applied silvered seconds ring to the fine boldly engraved symmetrical flowering tulip and foliate decorated centre incorporating drapery cartouche signed John Williamson, Near Temple Barr, Londini Fecit towards lower margin within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with sculpted blued steel hands and applied winged cherub head cast brass spandrels to angles, in a fine panelled oak case with deeply moulded triangular pediment and tall scroll-lattice pierced frieze to both front and sides above glazed dial aperture and large side windows to hood, the trunk with convex throat over 46 inch full-width single fielded panel door, the base of the same width with simple waist moulding above conforming fixed shorter fielded panel and moulded skirt, 235cm (92.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist, purchased at Sothebys, Bond Street, London, 4th April 2001 (lot 300). The movement and dial previously in a purpose-made ebony/ebonised case in a private collection in Derbyshire before passing in the 1950s to another private collector who in-turn sold it by auction in London in 1976. The current case was supplied for a short-duration movement and dial by John Wise for presentation to a London institution in 1672. The original dial by Wise was retained but the movement had been replaced (probably upgraded to eight-day duration) before being illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 494 (plate 733). The clock as it is now is illustrated in Loomes, Brian BRASS DIAL CLOCKS on page 50 (plate 37).. The life and work of John Williamson is described in Loomes, Brian BRASS DIAL CLOCKS where it is noted that he was possibly born in 1651 at Guisley near Leeds and was probably related to the Barber family who worked as blacksmiths and clockmakers in nearby Otley. John Williamson moved to London and was admitted as a free Brother to the Clockmakers Company in December 1682, however records indicate that he only paid one months subscription to the Company and by December 1683 he had returned to Leeds to be married. Williamson continued making clocks in Leeds (very much in the London style) until after 1700 when the business is thought to have passed to his former apprentice, William Tipling. The movement and dial of the current lot belongs to a small group of short duration movements made by leading London makers during the late 1670s and early 1680s. The dial engraving can be compared to that seen on a key-wound thirty hour clock by Thomas Tompion formerly in the Wetherfield Collection illustrated in Cescinsky, Herbert and Webster, Percy English Domestic Clock (Fig. 77). The two-in-one strike/quarter-chiming train is similar in concept to those originally used by makers such as Fromanteel, William Clement and Joseph Knibb as it relies on a single countwheel cut for both the hours and quarters to control the running of the train. However it differs in that the pump-action that facilitates the switching between the operation of the hour and quarter hammers is achieved by moving the hammer pin-wheel rather than the hammer pivot arbors themselves. This system is inherently simple and is neatly incorporated between the plates by providing a separate cocked pivot plate for the pin wheel and hammer arbors. The case is rare example of one made by a non-specialist maker, with the construction and much of the detail being more typical of craftsman used to making vernacular furniture. It is also notable that the case has survived in fine condition with all of the original structure apparently intact, and is of rich colour. This is entirely commensurate with an easy life probably from spending most of its time residing in a London institution. The fact that both the case and movement can be individually accurately dated is highly unusual if not unique. Despite the ten year difference in age between the two the marriage of movement and dial into the current case is particularly successful, and allows both to be preserved as a fine useable examples.
Lot 129
A walnut and floral marquetry eight-day longcase clock, The dial bearing signature for Jean Brulefer, London, circa 1695 and later, The later four pillar rack and bell striking movement fitted via sheet-iron falseplate to the 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll engraved calendar aperture to the rosette decorated matted centre within applied silvered Roman numeral chapter ring with unusual scroll engraved half hour markers, Arabic five minutes to outer track and bearing signature Jean Brulefer, London Fecit to lower margin, with fine pierced steel hands and winged cherub head and foliate scroll cast spandrels to angles, in a case with domed caddy surmount above moulded cornice, foliate fretwork frieze and floral trail inlaid hood door applied with spiral twist turned three-quarter columns to front angles, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a lenticle and decorated with three shaped marquetry bird inhabited flowering foliage panels into an ebonised ground within figured walnut field, the base with conforming marquetry panel and later moulded skirt incorporating bracket feet, 217cm (85.5ins) high
Lot 131
A George III ebonised table clock, John Neale, London, circa 1760, The five pillar twin fusee bell striking movement with Ho-Ho bird inhabited symmetrical foliate scroll engraved backplate incorporating rococo scroll bordered oval cartouche signed John Neale, Leadenhall Street, London towards the lower margin, the 8 inch brass break-arch dial with calendar aperture and shaped signature plate engraved Jno Neale, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll-pierced steel hands, the angles with rococo scroll cast spandrels beneath STRIKE/NOT,STRIKE selection dial flanked by conforming mounts to arch, the inverted bell-top case with brass carrying handle above front door with raised mouldings to glazed dial aperture, the sides with circular over concave-topped rectangular glazed apertures, the rear with break-arch glazed door set within the frame of the case, on cavetto moulded shallow skirt base with moulded squab feet, 53cm (21ins) high excluding handle. John Neale is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working from Leadenhall Street, London 1743-58. Baillie also notes that he filed a patent for a Quadrantal Planetarium watch.
Lot 132
A George III brass mounted ebonised table clock, Francis Jersey, London, circa 1760, The five pillar twin chain fusee movement with rise/fall pendulum regulation for the verge escapement and signed Frans Jersey, LONDON towards the lower margin of the delicate symmetrical rococo scroll engraved backplate, the 7 inch brass break-arch dial with curved 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, the angles applied with rococo scroll cast spandrels beneath arch with twin silvered brass subsidiary dials for rise/fall regulation and Strike/Silent selection flanking applied shaped signature plaque engraved Frans Jersey, London to apex and with foliate motif engraved infill to lower margins, the inverted bell-top case with hinged brass carrying handle and pineapple finials above front door with brass fillet inset moulding to dial aperture and scroll cast brass fret infill to upper quadrant angles, the sides with circular over concave-topped rectangular brass fishscale sound frets, the rear with rectangular break-arch glazed door set within the frame of the case, on shallow cavetto moulded skirt base with brass bracket feet, 47cm (18.5ins) high excluding handle. Francis Jersey is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1770. A mahogany table clock by Francis Jersey was sold in these rooms Wednesday 16th February 2011 (lot 87) for a hammer price of £5,000.
Lot 133
A George III stained fruitwood table clock, James Chater and Sons, London, circa 1760, The five pillar twin fusee bell striking movement with verge escapement, trip hour repeat and signed Chater And Sons, London to the fine symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with false bob and calendar apertures and shaped signature plate engraved Chater & Sons, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll-pierced steel hands, the angles with rococo scroll cast spandrels beneath STRIKE/SILENT selection dial flanked by conforming mounts to arch, in an inverted bell-top case with brass carrying handle above front door with raised mouldings to glazed dial aperture, the sides with circular over concave-topped rectangular glazed apertures, on cavetto moulded shallow skirt base incorporating decorative shaped apron, 47cm (18.5ins) high excluding handle. James Chater senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers Company 1718, gaining his freedom in 1726 and died 1762, Baillie describes him as an eminent maker. He had two sons James junior (admitted 1746, free 1753, worked until 1785) and Eliezer (free 1751, Liveryman 1766, Master 1772, died 1777). James and Eliezer are thought to have worked with their father from 1753-62, after which the firm was continued as a partnership between the two brothers.
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