A George I ebony table clock with `silent` pull quarter repeat on two bells Francis Gregg, London, circa 1725 The five finned pillar single chain fusee movement with verge escapement, rise/fall regulation via a snail shaped cam mounted to the rear of the dial and silent pull quarter repeat on two bells, the symmetrical foliate scroll and strapwork engraved backplate with central eagle motif above oval reserve signed FRA: GREGG, AT ST. JAMES`S the 5.75 inch brass break-arch dial with calendar aperture beneath XII over false bob aperture and shaped plate with repeat signature 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 female mask and drapery lambrequin cast foliate spandrels beneath arch centred with silvered regulation ring flanked by conforming spandrels, the case with generous hinged brass handle to the inverted bell top above front door with raised mouldings to the glazed dial aperture and upper quadrant frets, the sides with conforming break-arch windows, the rear with door matching the front set within the frame of the case, on cavetto moulded shallow skirt base with squab feet, 39.5cm (15.5ins) high excluding handle; with a later ebonised wall bracket with ogee mounded waist above cavetto moulded section terminating in an inverted ogee caddy, 18cm (7ins) high; the clock and wall bracket 47.5cm (22.5ins) high overall excluding handle. Francis Gregg is recorded in Loomes, Brian The Early Clockmakers of Great Britain as born circa 1677 and apprenticed to John Clowes in 1691 through to 1698, he is recorded working in Russell Street in 1711 and then in St. James`s 1714-29 when he was declared bankrupt. His work tends to be of high quality and distinctive with at least one longcase clock of month duration with annular calendar and equation of time of the type normally signed by John Topping known (illustrated in Robinson, Tom THE LONGCASE CLOCK page 232). The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bed chamber; whilst striking clocks with quarter repeat facility were generally intended to be used downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers and can be directly compared with another example by Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON`S CHOICE pages 78-9. The case is also of fine quality with generous handle, bold mouldings, break-arch side apertures and squab feet being reminiscent of those housing movements and dials by highly esteemed makers such as George Graham and Delander. An almost identical clock can be seen in the collection of the National Trust at Mompesson House, Salisbury.
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A George III brass mounted fruitwood table clock with pull-quarter repeat Thomas Smith, London, circa 1770 The six pillar twin fusee bell striking movement with pull-quarter repeat on a nest of six graduated bells, the backplate engraved with asymmetric rococo foliate scrolls, the 7 inch brass break-arch dial with calendar and false bob apertures and arched silvered signature plate Thomas Smith, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with scroll cast spandrels beneath subsidiary silvered STRIKE/SILENT selection dial flanked by conforming mounts to arch, the inverted bell-top case with hinged brass carrying handle and subsidiary mouldings to the superstructure above front door with brass fillet inset glazed dial aperture and engraved brass upper quadrant frets, the sides with conforming fillet-inset circular over concave-topped rectangular fishscale sound frets, the rear with door matching the front set within the frame of the case, on cavetto moulded brass-bound shallow skirt base with cast ogee bracket feet, 49.5cm (19.5ins) high excluding handle. Several makers with the name Thomas Smith are recorded working in London during the third quarter of the 18th century, the current lot was probably made by the maker of the this name recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1763, gaining his Freedom of the Clockmakers` Company in 1770 and worked in Princes Street, Aldgate.
A mahogany verge fusee dial wall timepiece with six-and-three-quarter inch dial John Evans, London, late 18th century and later The five knopped pillar single fusee movement with verge escapement and rise/fall regulation, the 6.75 inch circular silvered brass Roman numeral dial with recessed S/F regulation dial and signed John Evans, LONDON to centre, with Arabic five minutes to outer track and pierced steel hands now within cast brass bezel and turned wooden surround secured via side pins to a saltbox style box case with door to left hand side and canted lower angles, the backboard incorporating shaped-arch projections drilled for wall mounting both above and below the dial, 35.5cm (14ins) high.
A George III brass mounted ebonised small table clock case Unsigned, late 18th century, the movement and dial later The current French eight-day bell striking movement with Brocot type pendulum suspension and stamped 968 to backplate, the 4 inch circular convex white enamel Roman numeral dial with blued steel hands and red Arabic numeral quarter hours within outer minute track, now fitted to the earlier brass mounted ebonised bell-top case with pineapple finial above radial gadroon cast cornice moulding and front door with convex bevel glazed brass bezel over shaped cast bead bordered panel to apron flanked by inset mouldings to angles, the sides with brass fillet bordered arched glazed apertures, on skirt base with foliate trail cast moulding and leaf decorated bracket feet, 27cm (10.5ins) high excluding finial, 32cm (12.5ins) high overall.
A fine William III brass mounted ebony table clock Langley Bradley, London, circa 1700 The five finned pillar movement with verge escapement, pull-quarter repeat on a nest of six graduated bells and striking the hour on a further larger bell, the backplate signed Langley Bradley, LONDON within fine leafy scroll bordered cartouche to the symmetrical foliate scroll engraved backplate with herringbone border, the 7 inch square brass dial with canted herringbone border-engraved shaped false bob and calendar apertures to the finely matted centre within applied silvered Roman numeral chapter ring with sword hilt half hour markers, Arabic five minutes to outer track and signed L: Bradley, London to lower margin, with delicate pierced steel hands and winged cherub head cast spandrels to angles within herringbone engraved outer border incorporating S/N switch at twelve o`clock, the case with elaborate repousse double basket top surmount with fine twin cherub cast handle to the profile mask medallion scroll centred pierced upper tier flanked by small urn finials, the lower tier with relief panel of St. George slaying the dragon flanked by figural military trophies within a conforming cherub and scroll decorated field and flanked by unusual gilt urn finials with tall baluster spires, the front with unusual projecting scroll cast mounts incorporating putti holding hour-glasses and grotesque masks, the sides with rectangular glazed apertures overlaid with scroll pierced repousse panels with geometric panel bordered open centres, the rear with door matching the front set within the frame of the case flanked by conforming mounts to angles, on complex moulded shallow skirt base with fine scroll cast gilt brass feet, 44cm (17.35ins) high excluding handle. Provenance: The property of a private collector. Exhibited at The Luton Museum and Art Gallery Loan Exhibition of Art Treasures July to August 1949 (exhibit 120), subsequently with Biggs of Maidenhead and illustrated in their advert in ANTIQUARIAN HOROLOGY number 2 Volume 3, March 1960 (to rear cover). Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers` Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul`s Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton (see lot 177). Despite this embarrassment Sir Christopher Wren attempted to influence the Crown`s potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as `a very able artist, very reasonable in his prices` in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain`s response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. The current lot was clearly made to impress and was a product catering for the new fashion for elaboration made popular by the Williamite Court at the turn of the 18th century. Although double-basket top clocks do survive they are relatively scarce, perhaps due to the inherent fragility of the superstructure. The cast mounts applied to the angles of the current lot are highly unusual and depart from the usual repousse adornments often seen on basket top clocks. However these mounts do appear to be original and perhaps indicate a Continental influence, as similar configurations are sometimes seen on the last of the great German Augsberg-type table clocks dating to the third quarter of the 16th century. The incorporation of putti holding hour-glasses within the design is a horological reference which adds further credence to their originality.
A William III burr walnut eight-day longcase clock Joseph Windmills, London, circa 1695 The six finned and latched pillar rack and bell striking movement with anchor escapement and 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed J: Windmills, London to lower edge, the angles with gilt twin cherub and crown cast spandrels with foliate engraved infill between, in a case with gilt ball finials to the domed caddy upstand above moulded cornice, fine foliate pierced frets to frieze and generous three-quarter columns with gilt caps and bases flanking dial aperture, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up the underside of the cornice projection, the trunk with convex throat moulding and 41 inch book matched veneered door, the sides divided into pairs of panels with line borders, on crossbanded plinth base with bun feet (case probably with restoration) 214cm (7ft) high excluding top finial, 222cm (87.5ins) high overall. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers` Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark Lane End, next Tower Street by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph`s death in 1724. As a contemporary of Knibb, Quare and Tompion Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. The current lot is no exception as the movement is very well made with no less than six finely turned and latched pillars, the underdial lever work for the rack strike is also fully cocked (rather than pivoted on steel posts alone). The dial is typical of Windmills at this period with the winding holes, calendar aperture and centre of the seconds dial having ring-turned decoration, and the chapter ring utilises his preferred form of stylised sword hilt half marker. A slightly later clock with almost identical movement and dial is illustrated in Neale A.J. Joseph and Thomas Windmills.., page 123 (fig. 5.3). The case is also of fine quality with richly figured veneers and `Tompionesque` proportions. The current lot is in has been consigned in fine presentable working order however the case has probably had some well executed conservation work undertaken in the past.
A fine George III brass mounted mahogany quarter-chiming table clock with enamel dials Herman Diedrich Sporing, London circa 1765 The seven pillar triple fusee movement with rise/fall regulation to the verge escapement, chiming the quarters on a nest of six graduated bells and striking the hour on a further larger bell, the backplate engraved with delicate asymmetric foliate scrolls with pendulum holdfast hook to lower left hand corner, the 7 inch brass break-arch dial plate with applied circular convex white enamel dial signed HERMAN DIEDRICH SPORING, LONDON to centre and with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with two conforming subsidiary enamel dials for Strike/Silent selection and regulation within delicate foliate scroll engraved field, the bell top case with pedestal surmount capped with a pineapple finial above brass collar and four further finials to superstructure, over front with scroll cast upper quadrant frets and fillet inset glazed dial aperture to door flanked by cast female caryatid applied canted angles, the sides with generous hinged carrying handles above conforming concave topped rectangular side windows, on moulded shallow skirt base with foliate scroll cast bracket feet, 46cm (18ins) high excluding top finial and pedestal, 56cm (22ins) high overall. Herman Diedrich Sporing was Finnish by birth and was one of the `four gentlemen of the faculty` employed by Joseph Banks to accompany Captain James Cook (then Lieutenant) on his first voyage on H.M.S. Endeavour 1768-71. Born in Turko, Finland, 1733 Herman Diedrich Sporing was initially destined to follow his father (of the same name) by studying to become a physician at Turku University (where his father was Professor), before going onto Stockholm to continue his training. Whilst in Stockholm Sporing decided to go to sea (1755) which lead him to settle in London where he trained as a watch and instrument maker (although it appears that he never gained his freedom of the Clockmakers` Company). It was at this time that he befriended Dr. Daniel Solander, a Swede of the same age who also had medical training, who in turn introduced Sporing to Joseph Banks. It was through Banks that both Solander and Sporing were enlisted on H.M.S. Endeavour, with Sporing taking the position of Assistant Naturalist to Banks. The primary official purpose of Cook`s voyage was to ensure that the astronomer, Charles Green, was able to undertake observations of the transit of Venus from Tahiti which was due to take place on 3rd June 1769. The Endeavour landed at Tahiti in plenty of time allowing Lieutenant Cook to construct `Fort Venus`, an elaborate fortified structure from which the observations can be made. Unfortunately, shortly before the event was due to take place, the astronomical quadrant (supplied by Bird) was stolen by local islanders and disassembled. Fortunately all of the parts were recovered by the party of men sent out charged with the task and Sporing (as a trained watch and instrument maker) reassembled the instrument. On the day of the transit Sporing was detailed along with Dr. Jonathan Monkhouse to accompany Lieutenant Gore and Banks to proceed to nearby York Island (Moorea) where Sporing and Monkhouse were to undertake secondary observations. Lieutenant James Cook, a trained astronomer in his own right, clearly found Sporing to be useful at this time; no doubt his abilities as a watch and instrument maker were also crucial to his purpose, as the inventory of instruments was extensive and included a portable longcase regulator by John Shelton. The observation data gathered was eventually transferred to the Admiralty for dispatch to the Astronomer Royal Neville Maskelyne (during the ill-fated stop-off at Batavia on the return leg of the voyage). This data, along with other observations of the same event taken around the globe, were used by Thomas Hornsby to calculate a fairly accurate approximation of the distance of the Earth from the Sun. After the observations had taken place Lieutenant Cook opened sealed orders from the Admiralty which instructed him to seek the position of the great Southern Continent. Charged with these instructions H.M.S. Endeavour proceeded to eventually find New Zealand. During the seven month circumnavigation of the islands Sporing`s primary role was to produce drawn records of fauna and flora (most of the surviving drawings are now held in the British Museum). On the 2nd November 1769 the Endeavour was assaulted by Maori war canoes whilst off Motuhora Island (Whale Island). During this attack Sporing drew details of the canoes and the Maori`s themselves, these drawings along with those of the previous month depicting the arched rock at Tolaga Bay are the earliest images of Maori culture recorded by a Westerner. In recognition of Sporing`s efforts Lieutenant Cook named a small island after him (in Tolaga bay near present day Gisborne) which has now quite rightly reverted back to its Maori name `Pourewa`. Leaving New Zealand H.M.S Endeavour proceeded onto Australia with the `first landing` at Botany Bay taking place on 29th April 1770. During the eight-days spent at Botany Bay Sporing was extremely busy recording the overwhelming quantity of new fauna and flora. Perhaps the best known of Sporing`s drawings from Botany Bay are those of a stingray and banjo shark which were observed from fresh specimens. From Botany Bay Cook headed northwards, up the Eastern Coast of Australia, until H.M.S. Endeavour was seriously holed on the Great Barrier Reef. The vessel was skilfully beached by Cook for repairs near a small river outlet, now called The Endeavour River, near modern day Cooktown in Queensland. It was during these two months of being laid-up that the first kangaroos were seen; on the 14th July one was shot by Lieutenant Gore and examined by Sporing and his fellow Naturalists. Once the vessel had been successfully refloated Cook proceeded (beyond the Great Barrier Reef) northwards until he eventually landed at Batavia on 10th October 1770. By this time H.M.S Endeavour was somewhat worse for wear so was docked for repairs. By 7th December she was ready to depart for the home leg of the voyage and left on Christmas Day 1770 bound for the Cape of Good Hope. Unfortunately whilst at Batavia the crew had been exposed to disease, such as malaria and dysentery, which resulted in disastrous outbreaks. No less than 26 members of the crew succumbed, with Banks, Solander, Green and Sporing also falling ill. Herman Diedrich Sporing died at sea on 24th January 1771 with the astronomer Charles Green dying five days later. When H.M.S. Endeavour finally landed off Deal on 12th July 1771 she had been absent for three years and had lost 38 eight from her compliment of 100 men. The current lot can be fairly accurately dated between circa 1760 and 1768 as it would have been made during Sporing`s time in London after he had undergone training as a Watch and Instrument maker. The dial, with its applied enamel centre beneath twin subsidiaries, echoes the work of Justin Vulliamy and can be closely compared to an example by him illustrated in Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 on page 138 (colour plate 18). As the current lot is believed to have (up until recently) spent all its life in Sweden, it is probable that Herman Diedrich Sporing supplied it direct to a client in his home country of Finland - possibly his own family. This historically interesting and apparently unique clock has survived in fine unrestored condition and requires only gentle conservation to bring it back to full original working condition.
A fine George III mahogany quarter-chiming eight-day longcase clock Thomas Gardner, London, circa 1760 The six pillar movement with anchor escapement, chiming the quarters on a nest of eight-graduated bells and striking the hour on a further larger bell, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and arched nameplate engraved Thomas Gardner, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes, with pierced blued steel hands and figural cast spandrels emblematic of the four seasons to angles beneath arch with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a pagoda pedimented case with Gothic arch pierced fret to superstructure, break-arch cavetto cornice and foliate scroll blind fret frieze above generous brass stop-fluted columns flanking dial and break-arch side windows to hood, the trunk with cavetto throat above geometric `block top` figured trunk door flanked by conforming brass inset quarter columns, on raised shaped panel fronted plinth base with double skirt incorporating bracket feet with shaped apron between, 250cm (98.5ins) high. Thomas Gardner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working at the Minories, London, from circa 1740 until his death in 1770.
A George III green chinoiserie japanned eight-day longcase clock James Scholefield, London, circa 1760 The five pillar rack and bell striking movement with anchor escapement and 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and shaped signature plate Jam`s Scholefield, LONDON 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 beneath subsidiary STRIKE/SILENT dial flanked by conforming mounts to arch, in a break-arch case with cavetto moulded cornice above gilt foliate panel bordered door applied with three-quarter columns to angles, the trunk with break-arch door decorated in raised polychrome and gilt with figures within an oriental garden with pavilions above a square rigged man-o-war to lower margin, the sides painted with large gilt floral sprays, on conforming plinth base with shallow moulded skirt, 213cm (84ins) high. James Scholefield is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working at the Strand, London from before 1747 to circa 1760.
An impressive George III green chinoiserie japanned quarter-chiming table clock Thomas Eastland, London, mid 18th century The substantial six pillar triple fusee movement with verge escapement, chiming the quarters on a graduated nest of eight-bells and striking the hour on a further larger bell, the symmetrical foliate scroll and strapwork engraved backplate signed Tho:s Eastland, London to centre, the 7.5 inch brass break-arch dial with calendar and false-bob aperture signed Tho Eastland London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes and unusual fine foliate cast and pierced gilt spandrels to angles beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the elaborate case with gilt pineapple finial to the bell-top upstand decorated in raised polychrome and gilt with oriental figures conversing above gilt blind fret infill and four further finials to the break-arch cornice, the front with figural panels within trellis borders to door surround flanked by finely cast and chased bare-breasted female terms with fabric drapery and scroll terminals issuing inverted floral sprays to the canted angles, the sides with brass handles over concave-topped rectangular windows, the rear matching the front, on floral panel centred gilt trellis decorated concave moulded skirt base incorporating shaped apron and bracket feet, 58.5cm (23ins) high excluding top finial; 63.5cm (25ins) high overall. Thomas Eastland is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1744-51.
A George III blue chinoiserie japanned eight-day tavern clock William Gostling, Diss, circa 1785 The four pillar movement with anchor escapement, five-wheel train and slightly tapered plates, the 25 inch circular cream painted slightly convex circular Roman numeral dial with Arabic five minutes to outer track and pierced brass heart hands within gilt highlighted blue japanned moulded surround, the drop-trunk case signed in gilt Will`m Gostling, Diss between leafy scroll painted shaped ears to throat, above concave-topped caddy moulded door decorated in raised polychrome and gilt with oriental pavilions and exotic birds beneath sun disc issuing radial rays on a dark blue ground, within fine gilt trellis painted borders above ogee moulded canted foot decorated with stylised scallop shell in a field of foliate scrolls, the sides with pendulum access flap above large stylised floral spray decoration, 148cm (58.5ins) high. William Gostling is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Diss 1774-91. An early dial clock by William Gostling is illustrated in Rose, Ronald E. English DIAL CLOCKS on page 54.
A George III ebonised musical quarter-chiming table clock Thomas Green, Bristol Hotwell, dated 1789 The six pillar triple fusee movement with original anchor escapement, chiming phrases for the quarters on a graduated nest of eight-bells and completing `Queens` melody on the hour before striking hour on a larger bell, the delicate open foliate-scroll engraved backplate signed Thomas Green, Hotwell, BRISTOL, 1789 to centre and with holdfast for the original lenticular bob pendulum, the 8 inch convex white painted Roman numeral dial with repeat signature Tho. Green, BRISTOL HOTWELL to centre, with Arabic five minutes to outer track and fine pierced and engraved gilt brass hands, the inverted bell-top case with hinged brass handle and neoclassical urn finials above rectangular front door applied with cast brass convex-glazed bezel flanked by canted angles and enclosing STRIKE/SILENT switch above dial, the sides with break-arch brass fishscale sound frets, the rear with rectangular glazed door, on moulded shallow skirt base with cast brass bracket feet, 51cm (20ins) high excluding handle; with a contemporary ogee-outline front sliding wall bracket with applied brass detail to the complex table edge, waist and base mouldings, 18cm (11ins) high; the clock and wall bracket 69cm (31ins) high overall excluding handle. Thomas Green is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. The current lot is illustrated by Moore on page195.
A George III mahogany eight-day longcase clock Thomas Green, Bristol Hotwell, circa 1790 The four pillar rack and bell striking movement with 12 inch white painted Roman numeral break-arch dial with subsidiary seconds dial, arched calendar aperture and signed THO. GREEN, Briftol Hotwell to centre, the angles with gilt foliate scroll decoration beneath arch with central Adam style urn flanked by further Classical scrollwork, the break-arch case with dentil cornice and blind fret frieze above fluted Corinthian pilasters to hood, fine flame veneered shaped-outline rectangular caddy moulded door flanked by canted angles to trunk, on conforming raised panel fronted plinth base with moulded skirt, 225cm (88.5ins) high. Thomas Green is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. Please note: The movement and the dial are not original to the case
A George III mahogany eight-day longcase clock in architectural case Allam and Caithness, London, circa 1800 The four pillar rack and bell striking movement with 12 inch square single sheet brass Roman numeral dial with recessed subsidiary seconds dial and signed ALLAM & CAITHNESS. LONDON to centre, Arabic five minutes to outer track and with slender pierced steel hands, the case with triangular pediment above brass stop-fluted columns flanking dial and blind side panels with raised mouldings to hood, the trunk with convex throat above rectangular flame figured door flanked by conforming brass mounted quarter columns, on rectangular raised panel fronted plinth base with moulded double skirt, 218cm (93.75ins) high. The partnership of Allam and Caithness are recorded in Baillie, G.H., Clutton, C. and Ilbert, C.A. BRITTEN`S OLD CLOCKS AND WATCHES AND THEIR MAKERS as working from 119 New Bond Street, London 1800-1804. Prior to that John Allam worked in partnership with Clements (presumably Thomas) from the same address 1785-94, then alone from 1798-1800.
A 1940's oak Jacobean style single door Wardrobe, having moulded cornice over carved frieze, single door with rectangular bevel plate mirror, lower shoe drawer, applied moulding in geometric form to the front, brass drop handles and standing on bun feet. 53'' wide x 79 1/2'' high x 20 1/2'' deep
A fine old Oak and Mahogany cased eight day Longcase Clock having a painted 14'' square face with foliage floral details to the corners, Arabic numerals, inset date register dial and shaped moon phase window revealing maritime and windmill scenes, the maker ''T. Gaskill, Knutsford'' (T. Gaskell), the scroll pediment hood with a spherical finial and reeded pillars to either side, the body of the case with reeded quarter mouldings, the door having contrasting banding, standing on bracket feet, 95'' high approx.
An interesting Edwardian Mahogany Corner Shelf unit having carved galley top spindle detail rail, over three x three faced shelves with square supports, the lower fourth shelf partially enclosed with raised and fielded panels over lower false door, standing on square legs. 32'' wide x 72'' high x 26 1/2'' deep.
An unused and rarely available in this condition; original cardboard boxed ''Forde Dover'' enamelled motor car badge in the form of a life-buoy, a blue reserve to it's centre with a red flag flying having a Chromium plated Diamond shaped panel with a blue eight-spoked wheel depicted, the bar to the mount having seven individual nut and spring-washer attached national flags including France, Germany, Third Reich, British Union Flag, Austria, Netherlands and the Czech Republic. Stamped verso ''Thomas Fattorini Limited, Birmingham'', ''Pat. Applied for Reg No. 792192''. Originally a minesweeper to be named H.M.S. Fleetwood, but launched as the H.M.S. Ford (710 tons) on the 19th October 1918, she was purchased in 1928 by Captain Townsend and re-named ''Forde'' was converted to a car ferry plying between Dover and Calais with a capacity of 165 passengers and 26 cars which were craned aboard, the stern door that had been incorporated proving unusable due to local tidal conditions. She served during WW II as a salvage vessel and was subsequently refitted in Southampton returning to Dover as a ferry in April 1947 being withdrawn from duties in October 1949 and was sold and re-named ''Gibel Tarik'' finishing her days as a car ferry between Gibraltar and Tangiers in Morocco until 1954.
A kingwood and tulipwood veneered and gilt metal mounted serpentine fronted vitrine in the Louis XV style, second half 20th century, moulded frieze with central scroll and foliate cast mount, glass panelled door and shaped sides, incorporating gilt metal framed reserves of floral marquetry, square section tapering legs and sabots, 196cm high, 105cm wide, 56cm deep
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235302 item(s)/page