A French Louis XV style boulle bracket clock. Unsigned, mid 19th century. The eight-day two train bell striking movement stamped 6401 ME to backplate, the twenty-four piece blue on white enamel cartouche dial with foliate cast centre incorporating a profile bust of a gentleman and Arabic five minutes to outer track, the contra-parti brass pewter and coloured shell foliate veneered waisted case with cast seated putto and griffin applied angles to surmount above foliate scroll crest and shaped glazed front door incorporating relief cherub decoration to apron, the sides with arched lattice grille sound frets above swollen sides applied with further griffin mounts and scrolls to knees, on generous rococo cast feet with pendant apron between, 52cm (20.5ins) high; with original wall bracket of ogee outline and applied with scroll cast mounts to angles around further brass-ground naturalistic floral marquetry infill, 19cm (7.5ins) high, the clock and wall bracket 71cm (28ins) high overall.
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A monumental oak eight-day quarter chiming longcase regulator with moonphase. Unsigned, circa 1900. The substantial four pillar triple train movement with Harrison’s maintaining power, deadbeat escapement and mercury jar compensated pendulum, chiming a choice of three melodies on either eight bells or four gongs and striking the hour on a further larger gong, the 14 inch silvered brass break-arch dial with subsidiary seconds dial within applied chapter ring with raised gilt Arabic numerals, the angles with cast brass bird and urn pattern spandrels incorporating subsidiary CHIME/SILENT and WHITTINGTON/CAMBRIDGE/ WESTMINSTER selection dials to the upper pair, the arch with rolling moonphase calibrated for the age of the moon to upper edge and with pair of globe lunettes beneath the upper border with scroll engraved infill, the Art Nouveau influence break-arch case with leafy scroll carved crest above moulded cornice and line-incised border to the glazed dial aperture flanked by foliate carved baluster pillars to hood, the trunk with inverted breakfront ogee moulded throat above rectangular glazed door flanked by triform half-pilasters with globular capitals and foliate bases, the plinth centred with an inverted break-arch panel flanked by swollen acanthus carved uprights to front and sides terminating with a shaped skirt, 259cm (99ins) high.
A Victorian mahogany domestic wall regulator. Unsigned, late 19th century. The four pillar movement with deadbeat escapement, Harrison’s maintaining power and invar rod pendulum with cylindrical tall alloy bob incorporating brass compensation tube, the 14 inch circular cream painted Roman numeral dial with subsidiary seconds dial and bearing inscription QUEENS COLLEGE, CAMBRIDGE to centre, with steel spade hands and cast brass bevel-glazed bezel with canted inner edge, the case with circular moulded dial surround to hood above concave moulding with plain frieze to throat and bevel-glazed rectangular caddy moulded door flanked by canted angles to trunk, the chisel-shaped foot with applied rectangular panel decoration, 173cm (68ins) high.
A Scottish Regency mahogany eight-day longcase clock. G. Lumsden, Edinburgh, circa 1825. The four pillar rack and bell striking movement with 13 inch circular white painted Roman numeral dial with subsidiary seconds and calendar dials and signed G. LUMSDEN, EDINBURGH to centre, the drum-head case with giltwood canted fillet to the glazed hinged dial surround above waisted section and raised throat mouldings, the trunk with shallow-arch top caddy moulded door flanked by canted angles, on shaped panel outline fronted plinth base with moulded skirt, 201cm (79ins) high. A George Lumsden is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Pittenweem, 1818-49.
An early Victorian mahogany bracket clock. Vulliamy, London, circa 1850. The five pillar twin chain fusee bell striking movement with deadbeat escapement, wide T bar suspension for the heavy bob pendulum and signed VULLIAMY, LONDON, 1770 to backplate, the 8 inch circular single sheet silvered brass Roman numeral dial with repeat signature to centre, STRIKE/SILENT switch at twelve o’clock and heavy cavetto moulded silvered bezel fitted to the glazed aperture of the full-height front door, in a case with triangular pediment above raised line outline upper quadrant panels and concave topped rectangular apron panel to front, the sides with rectangular glazed apertures, on ogee moulded skirt base with squab feet, 53cm (21ins) 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, was appointed Master five times and died 1824. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II’s clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions, however his legacy is slightly blighted by his tendency to undertake significant alterations to earlier important clocks by makers such as Tompion, including many in the Royal Collection.
A rare George I oak eight-day musical longcase clock. Benjamin Rodgers, Chesterfield, circa 1730. The substantial five-pillar triple train inside countwheel bell striking movement playing a choice of two tunes via eight bells with fifteen hammers every four hours, with original anchor escapement and outside fly with adjustable vanes for the music train, the 12 inch square brass dial with subsidiary second dial and foliate engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with foliate half hour markers, Arabic five minutes to outer track and signed Benjamin Rodgers to lower edge, the angles with applied female mask and scroll spandrels, with tune selection lever at 9 o’clock and pierced steel hands, the case with elaborate stepped and moulded caddy surmount above ogee cornice, plain frieze and three quarter columns to the glazed hood door, the trunk with complex mouldings to throat above rectangular door with canted upper angles, decorative brass hinges and centred with a gilt lenticle, on plain plinth base with moulded skirt, 242cm (95.5ins) high. Benjamin Rodgers is recorded in Hughes, Roy G. and Craven, Maxwell Clockmakers & Watchmakers of DERBYSHIRE as working in Chesterfield circa 1729-40. The current lot formerly belonged to the collection of the late John Hooper and was purchased by the current owner in these rooms from the sale of the Library & Workshop of John Hooper 10th February 2009 lot 99 for £3,800 hammer.
A rare George III gilt brass miniature bracket clock case and dial. Moore, London, second half of the 18th century, the movement later. The current French eight-day backwound movement with silvered platform lever escapement and numbered 13602 to backplate, the original 2.5 inch brass break-arch dial painted with blossoming foliage and applied with white enamel Roman numeral disc signed MOORE, LONDON to centre and with Arabic five minutes to outer track, with gilt beetle-and-poker hands and conforming enamel STRIKE/SILENT roundel to arch, the gilt brass break-arch case with hinged carrying handle and vase turned finials above decorative applied moulding to edges and conforming glazed door to front, on moulded base with splayed bracket supports with pointed pad feet, 15cm (6ins) high excluding handle. The current lot can probably be best described as a particularly rare early carriage clock due to the use of brass in the case and its small portable nature. The painted floral decoration which forms the background infill to the dial is often seen on clocks destined for the export market, the brass case also is more usual for a clock made for an overseas client (particularly Chinese); however the English annotations to the dial confirm that this particular clock was supplied for domestic consumption. Unfortunately the lack of forename makes attribution to a specific maker problematic as there were many with the surname ‘Moore’ working in London during the latter half of the 18th century.
A George III brass mounted ebonised table clock. John Ellicott, London, mid 18th century and later. The twin chain fusee movement with five substantial disc-knopped pillars and thick plates, now with deadbeat escapement, chiming the quarters on the original nest of six graduated bells and with passing strike on a single larger bell, the backplate retaining original backcock apron and engraved with symmetrical foliate scrolls around a central cartouche signed John Ellicott, London, the 7 inch brass break arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and repeat signature to lower edge, with fine pierced blued steel hands and rococo scroll cast spandrels to angles, the arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell-top case with recessed brass fillet inserts to the front door aperture and upper quadrant sound frets flanked by caddy moulded angles, the sides with conforming circular over concave topped rectangular windows, on shallow cavetto moulded skirt base with cast brass squab feet (movement with alterations), 47cm (18.5cm) high excluding handle. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers’ Company in 1696 and died 1733. John junior worked from Swithin’s Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772. The current lot was originally made as an hour-striking clock with verge escapement and pull quarter repeat on six bells. The movement was modified in the mid to late 19th century to chime the quarters every hour (using the bells and part of the mechanism for the original pull-quarter repeat facility) and to strike a single blow on the larger bell every hour. At this time the escapement was also converted from verge to deadbeat. These modifications were very well executed hence the clock presents as a good decorative example. Conversely the movement perhaps has the potential to be converted back to original specification as much of the original mechanism remains.
A George III ebonised table clock. Dowson and Peene, London, circa 1760. The five pillar twin fusee bell striking movement with verge escapement and symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and false bob apertures and silvered arched nameplate Dowson & Peene, LONDON to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell top case with brass carrying handle above cast brass upper quadrant frets and raised mouldings flanked by caddy moulded angles to the front door, the sides with circular over concave-topped rectangular brass fishscale sound frets, on shallow cavetto moulded skirt base with squab feet, 47cm (18.5ins) high excluding handle. The partnership Dowson and Peene is recorded in Baillie, G.H. Old Clocks and Watches and their Makers as working from Gray’s Inn circa 1800, however as the current lot can be stylistically dated to around 1760 the partnership must have been working earlier than the record suggests.
A mahogany domestic longcase regulator. Barraud, London, early 19th century and later, the case circa 1760. The five pillar movement now with deadbeat escapement, Harrison’s maintaining power, wood-rod pendulum and striking the hours on a gong, the 12 inch cream painted Roman numeral break-arch dial with subsidiary seconds dial to centre, STRIKE/ONE/SILENT selection lever at 12 o’clock and with gilt floral spray painted decoration to spandrels beneath arch signed BARRAUD, London, now in a break-arch case with foliate scroll pierced blind fret to frieze and brass stop-fluted Corinthian pilasters to hood above break-arch door to trunk, on plinth base with moulded double skirt, 230cm (90.5ins) high. Paul Philip Barraud is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as becoming a Liveryman of the Clockmakers’ Company in 1796 and appointed Master in 1810. He is listed as a fine watch and chronometer maker who worked in partnership with W. Howells and G. Jamisen for making Mudge’s timepkeepers. He had two sons; Frederick Joseph (worked 1806-25) and John (worked from 1813), with whom he formed a partnership in 1811 which lasted until his death in 1820. The firm was continued by his son taking John Richard Lund into partnership in 1838. The business was finally wound up in 1925. The going train of the current lot was upgraded from a relatively standard eight-day longcase movement to regulator specification and the strike train converted from bell striking to gong striking during the mid to late 19th century. The dial has been expertly re-touched however images of the dial prior to restoration are included with the clock, and serve to suggest that the Barraud name is original to the dial. The case is a good early George III London-made mahogany example in sound condition.
A George III mahogany eight-day longcase clock. Thomas Ogden, Halifax, circa 1760. The five finned pillar rack and bell striking movement with 13 inch brass break-arch dial with recessed subsidiary seconds dial, ringed winding holes and calendar aperture to the foliate scroll engraved matted centre within applied silvered Roman numeral chapter ring with foliate half hour markers, Arabic five minutes to outer track and signed Thos. Ogden, Halifax to lower edge, the angles applied with female mask and scroll cast spandrels beneath arch with circular aperture with rocking Chronos figure within silvered ring engraved TEMPUS FUGIT flanked by dolphin cast mounts, in a pagoda top case with break-arch cavetto cornice and foliate carved fret to frieze above brass stop-fluted columns flanking door to hood, the trunk with geometric break-arch door flanked by conforming quarter columns to angles, on shaped raised-panel fronted plinth base with shallow moulded skirt, 249cm (98ins) high. Thomas Ogden is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Halifax as born in 1692 and dying in 1769. As with many leading makers of the period Ogden was a Quaker and is thought to have also supplied other makers; his work tended to be distinctive, of high quality and often incorporating complications such as spherical moons or astronomical features.
A fine George III brass mounted ebonised quarter chiming musical table clock. Paul Rimbault, London, late 18th century. The substantial six pillar triple fusee movement with verge escapement and chiming the quarters on eight bells and playing a choice of two tunes including ‘Oh Worship the King!’ on the same eight bells with fifteen hammers on the hour, the symmetrical foliate scroll and strapwork engraved backplate with external fly with adjustable vanes for regulating the speed of the music and conforming decorative backcock apron, the 7 inch wavy-outline arched Roman numeral painted dial signed PAUL RIMBAULT, LONDON to centre and with scroll pierced blued steel hands within spandrels decorated with delicate floral sprays on a dark ground, beneath arch finely painted with a landscape view of a church beside a river with a sailing boat and bridge beyond, the inverted bell top case with figural surmount cast as ‘Britannia’ set on a pedestal applied with side scrolls over foliate festoon mount to the concave section of the superstructure flanked by cast vase finials to corners, with pierced and engraved foliate brass frets to upper quadrants of the brass fillet inset front door flanked by ribbon bow and entwined husk drapery cast mounts incorporating relief portrait medallions to front angles, the sides with hinged handles above arched fishscale frets and with conforming mounts to rear canted angles, on brass-bound shallow cavetto moulded skirt base with brass bracket feet, 48cm (19ins) high excluding figural surmount, 60cm (23.5ins) high overall. Paul Rimbault is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Denmark Street, London 1770-85. He was related to John Stephen Rimbault who is recorded working from Great St. Andrew’s Street, London 1744-85. Both makers probably had Huguenot roots and appear to have specialised in the production of complex musical clocks which often incorporated automata within the arch of the dial. The current lot can be traced back within the vendor’s family until at least mid 19th century and it is possible that the clock has remained in the same family since it was made; this is perhaps supported by the fact that it survives in good, relatively unrestored original condition. With a dial width of seven inches the current lot is also perhaps of a more manageable size than many musical clocks from this period which tended to be of larger proportions, however it still remains a highly decorative thus impressive object.
An unusual padouk wood musical alarm table clock. Berguer London, probably early 19th century. The five pillar twin chain fusee movement with verge escapement and alarm playing a choice of two peels or a lively melodic tune on eight bells, the backplate engraved with an urn within a rococo scroll cartouche and decorative border incorporating leafy sprays to angles, with a 7 inch brass break-arch dial with alarm disc to the matted centre and blued steel hands within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track and signed Berguer, London to lower edge the angles with female mask and scroll pattern spandrels beneath arch with CHIME/SILENT dial flanked by conforming scroll cast mounts, in a case with brass carrying handle to a moulded panel following the profile of the break-arch top with brass pineapple finials, the front door with ebonised fillet mouldings to the glazed aperture and brass inset angles, the sides with circular foliate scroll engraved brass sound frets above concave-topped windows, on moulded base with brass bracket feet, 39.5cm (15.5ins) high. Four makers with the surname Berguer (probably brothers) are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first quarter of the 19th century; Frederick 1805-24, John 1809-24, Francis (Holborn) 1820 and Joseph 1820. Two generations of makers with the same surname are also recorded working in Chaux-de-Fonds, Switzerland during the 18th century hence it is probable that the London-based makers at the start of the 19th century were first generation immigrants. The fact that the signature to the chapter ring suggests that the maker of the current lot was probably an immigrant may account for the unusual specification of the movement (which plays music as an alarm only) as well as the individual nature of the detail design of the case. These variations perhaps echo those seen on clocks made in London by an earlier generation of Huguenot immigrant makers working during the early years of the 18th century.
A walnut and floral marquetry eight-day longcase clock. The dial bearing signature for David Lestourgeon, London, early 18th century and later. The later century four pillar rack and bell striking movement fitted to the original 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and herringbone border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers Arabic five minutes to outer track and bearing signature D. Lestourgeon, London to lower edge, the angles applied with twin cherub and crown cast spandrels, in a case with later inlaid ogee shaped caddy upstand above moulded cornice with plain frieze and three-quarter columns applied to the foliate trail decorated hood door, the trunk with conforming concave throat above elaborate brass lenticle centred door decorated with intense bird inhabited foliage on an ebonised ground and with decorative repeating border to surround, the sides with twin triple-line bordered crossbanded panels, on later line panel inlaid plinth base with moulded skirt (with alterations), 250cm (98.5ins) high.
A William III walnut and floral marquetry eight-day longcase clock. Thomas Baley, London, circa 1695. The six finned and latched pillar inside countwheel bell striking movement with 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture with scroll engraved detail to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to narrow outer track and signed Tho. Baley, London to lower edge, the angles with gilt winged cherub head and foliate cast spandrels within a scribed line border, the case with moulded cornice and plain frieze over foliate trail inlaid hood door applied with ebonised three quarter columns to front angles, above convex throat moulding and 42 inch door centred with an oval lenticle and inlaid with three shaped marquetry panels decorated with bird inhabited foliage on an ebonised ground within a walnut field, the sides with twin line edged panels with crossbanded surrounds, on conforming marquetry panel fronted plinth base with later applied moulded shallow skirt (case requires mainly cosmetic attention), 201cm (79ins) high. Although several makers with the surname Baley are recorded working in London during the latter years of the 17th century, none of them appear to have had the forename name ‘Thomas’. The current lot is noteworthy in that the movement is of fine quality and original to the case which has survived largely intact and unrestored.
A rare William III ebonised thirty-hour longcase clock. William Kenyon, Liverpool circa 1690-95. The four finned pillar countwheel bell striking two-handed movement with anchor escapement and 9.75inch square brass dial with circular calendar aperture to the symmetrical tulip decorated foliate engraved centre incorporating unusual ‘basket of bread’ motif to upper margin and with ring turned centre aperture, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed W’m Kenyon, Leverpoole to lower edge, with pierced steel hands and applied winged cherub head and scroll cast spandrels to angles, the case with ogee cornice and swollen frieze above three-quarter pilasters to the glazed hood door above convex throat and slender trunk with rectangular door, on conforming plinth base with moulded skirt, 203cm (80ins) 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. The delicate light symmetrical arrangement of engraved foliate scrolls with large tulip blooms issuing from a central element towards the lower margin of the dial centre of the current lot is very similar in style and feel to the engraving to the dial centre of a lantern clock by John Barton of Aughton/Ormskirk illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 303. As Loomes suggests that the lantern clock by Barton dates to the 1690’s it would, on stylistic grounds, be reasonable to suggest that the current lot would date to the same decade. This date for the clock is perhaps further supported by the fact that Kenyon would have been of active working age at the start of the decade. As the cataloguer does not know of any other Liverpool-made clocks dating to before 1700 it would perhaps be reasonable to suggest that the current lot is possibly the earliest surviving clock to have been made in the city.
A fine Charles II ebony table clock. John Knibb, Oxford, of ‘phase III’ design circa 1685-90. The fully latched twin fusee movement with typical Knibb pattern baluster turned pillars, verge escapement and striking the hours on a bell via a crossed-out numbered countwheel mounted to the rear of the movement, the backplate engraved with tulips and symmetrical scrolling foliage incorporating signature John Knibb, Oxon Fecit in a downward curve toward the lower margin, the 7 inch square gilt brass dial with calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with trident half hour markers and Arabic five minutes within the narrow outer track, with fine sculpted blued steel hands and angles applied with gilt winged cherub head spandrels with engraved repeat signature to lower margin, the ebony veneered case with typical Knibb pattern foliate-bud tied hinged gilt brass carrying handle to the domed caddy surmount above moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the uprights with cherub head and scroll cast gilt mounts (the left hand pivoted to reveal keyhole), the sides with rectangular side windows, on moulded shallow skirt base, 33cm (15ins) high excluding handle; with a foliate engraved and pierced brass winding key. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph’s larger concern in London. The strong similarities between John’s best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The current lot is an quintessential example of a Knibb ‘phase III’ table clock with the movement possessing many typical features including distinctive baluster-turned movement pillars, crossed-out countwheel, signature in a downward curve to the foliate engraved backplate and finely sculpted blued steel hands. The case with its shouldered tied foliate-bud gilt brass handle, cornice with mouldings to underside only and winged cherub head mounts to the front door is also unmistakably Knibb in its design and detailing. All these details can be directly compared with an example by John Knibb of Oxford which sold at Christie’s King Street Magnificent Clocks 15th September 2004, Lot 38 for £44,212
A fine and rare small William III ebony table timepiece with silent pull quarter repeat. Samuel Watson, London, circa 1695. The five finned pillar single fusee movement with verge escapement and silent pull quarter repeat on two bells, the symmetrical foliate scroll engraved backplate signed Samuel Watson, LONDON to a central shaped cartouche beneath elaborate pierced backcock apron, the 5.25 inch square brass dial with single winding hole and curved false bob aperture backed with scroll engraved infill to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and outer track divided to thirty second intervals and unusually numbered 0 to 60 twice, the lower edge with repeat signature, the angles applied with small winged cherub head spandrels within fine foliate scroll engraved border, the case with hinged cast gilt brass ‘Quare’ pattern double scroll carrying handle and vase centred foliate decorated repousse mount to the caddy surmount above moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door the uprights with scroll decorated gilt repousse escutcheon mounts, the sides with short over long rectangular sound frets, on moulded shallow skirt base with block feet, (movement and case with old repair and restoration), 28cm (11ins) high excluding handle. Samuel Watson was an important clockmaker and mathematician who is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as initially working in Coventry from around 1680 where he was Sheriff in 1686 before moving to London in around 1691; he was admitted to the Clockmakers’ Company as a free Brother in 1692. He was supposedly ‘Mathematician ordinary’ to Charles II for whom he made an astronomical clock in 1682 followed by another clock which he did not finish until after the King’s death. This clock was eventually sold to Queen Mary on its completion in 1690 and is preserved at Windsor Castle albeit in a later case. He also made two further complex astronomical clocks for Isaac Newton and invented five minute repeating for watches. In November 1712 Samuel Watson approached the Clockmakers’ Company with an instrument to ‘discover the houre of the day at sea and several other useful mathematical matters’ but to no avail. 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 bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised 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 reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is very closely related to the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON’S CHOICE pages 36-7. The reasoning behind the division of the outer track to thirty second intervals and the more confusing double 0-60 annotation is unknown, however the overall compact proportions and fine detailing such as the engraved border to the dial suggests that the current lot was supplied to a particularly discerning client from one of the best connected and enigmatic makers of the period.
A rare Queen Anne fruitwood table timepiece with silent-pull quarter repeat. Daniel Robinson, Nottingham, circa 1700. The five finned pillar single fusee movement with silent-pull quarter repeat on two bells and fine asymmetric foliate scroll engraved decoration incorporating a cornucopia to backplate, the 7 x 6.5 inch rectangular brass dial with herringbone border engraved calendar aperture and applied silvered oval name cartouche Dan Robinson, Nottingham to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes to outer track, the angles applied with generous winged cherub head cast spandrels with foliate engraved detail between the upper two, the case with floral bud cast brass hinged carrying handle to the caddy upstand above foliate scroll sound fret to the upper rail of the front door and rectangular glazed side apertures, on moulded base, 36cm (14ins high) excluding handle. Although there appears to be no record of a Daniel Robinson working in Nottingham during this period there is a maker of this name recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born in London 1667, apprenticed to William Arthur 1681-8 but not freed. A few clocks are known to exist signed ‘Dan Robinson, London’ and it would be reasonable to suggest that this is the same maker who may have subsequently moved to Nottingham, perhaps in order to ensure he is beyond the jurisdiction of the Clockmakers’ Company. 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 bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised 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 reserved 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 is very similar in layout to an example by Rooksby (probably John of York) illustrated in Allix, Charles and Harvey, Laurence HOBSON’S CHOICE page 68.
A fine and rare Charles II key-wound thirty hour longcase clock. Unsigned, circa 1675-80. The two train outside countwheel bell striking single-handed movement with five finned pillars latched to the backplate and with visible motionwork below the countwheel, the early form of anchor escapement with offset pallets pivoted at the rear via a separate single footed cock beneath pendulum suspended from a forged steel arm, the 9.25 inch square brass dial with winding holes to the fine boldly engraved foliate decorated centre incorporating tulip blooms, with heavy gauge blued-steel hand within applied narrow silvered Roman numeral chapter ring with stylised wheatear half hour markers and quarter hour inner track, the spandrels decorated with further flowerheads within a line engraved border, with brass wire rod pendulum with effective length of 43 inches and fat lenticular bob, the 4.5 lb going driving weight with relief lettering IOSEPH IACKEMAN to upper surface, in an oak case of later date with ogee cornice and foliate scroll carved and pierced frieze above glazed door to hood and projecting concave mouldings to throat, the trunk with slender twin geometric panel fronted door, on plinth base with shallow moulded skirt, 212cm (83.5ins) high. The current lot is illustrated and discussed in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 pages 63-6. The movement has many unusual features including the placing of the movement pillar latches and the motionwork on the backplate (rather than the frontplate). This inventive approach to construction and layout perhaps served to assist in the disassembly of the movement. The engraving to the dial is also of particularly fine quality and can be directly compared to a keywound clock (originally made with verge escapement) by Thomas Tompion illustrated in Robinson, Tom THE LONGCASE CLOCK pages 62-3. It is perhaps surprising that this relatively sophisticated, high quality clock is not signed, however a clue to this apparent lack of signature may lie in the inscription IOSEPH IACKEMAN cast in relief to the upper surface of the driving weight. Joseph Jackman is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as promising the Clockmakers’ Company in September 1682 that he would join at the next quarter court, but did not. This suggests that he working as a clockmaker outside the control of the Clockmakers’ Company, hence would be liable to a fine/prosecution if he was seen to be trading. With this in mind it is also interesting to note that Loomes also records a maker with the surname Jackson of Newington in Surrey having a watch confiscated by the Clockmakers’ Company in 1677. The fact that this 4.5lb driving weight would be of little use for any other clock made at this time (either eight-day or thirty hour with Huygens endless rope drive) adds to the possibility that it is original to the movement hence the probability that the movement and dial were made by Joseph Jackman.
A William III ebony table clock. Nicholas Massey, London, circa 1700 and later. The five finned pillar twin fusee bell striking movement now with anchor escapement incorporating rise/fall regulation, the fine symmetrical foliate engraved backplate incorporating two female terms holding aloft a laurel wreath and supporting a drapery cartouche signed Nicholas Mafsy, London, with wheatear border and visible spring barrel set-up clicks, the 8.25 inch square brass dial with matted centre now within applied white Roman numeral chapter ring with Arabic five minutes to outer track, the lower angles with shaped enamel panels decorated with finely drawn puce rococo scrolls issuing floral sprays, the upper angles now with conforming subsidiary enamel STRIKE/SILENT and regulation rings applied to the original foliate scroll engraved infill and interrupting the wheatear decorated border, with pierced steel hands, the case with particularly fine heavy cast and chased hinged gilt handle incorporating figural putto terms, a snake and architectural elements to the domed caddy surmount above shouldered urn finials with foliate knops, moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the sides with short over long rectangular apertures, on conforming moulded shallow skirt base with gadroon cast disc feet (movement and dial with older alterations), 40cm (15.75ins) high excluding handle. Nicholas Massey senior is recorded in Loomes Brian The Early CLOCKMAKERS of Great Britain as admitted as free Brother of the Clockmakers’ Company in 1682. He was a French Huguenot immigrant who is believed to have been the eldest son of Nicholas Massey of Blois who died before 1658. He worked at Cranborn Street with the business presumably passing to his sons (one of which was also called Nicholas) on his death in 1698. Nicholas junior, who was also admitted as a free Brother of the Clockmakers’ Company in 1693 is thought to have worked up to 1723. The current lot could have been made by either Nicholas Massey senior or his son of the same name. Detailing such as the fine engraved backplate with unusual signature within a drapery cartouche, and the exceptional mounts to the case suggest a strong French Huguenot influence and can be compared to the work of other immigrant makers such as Claude DuChesne. The enamel fittings to the dial appear to date to the third quarter of the 18th century and are very well detailed; they were probably fitted to the clock to give it a more ‘modern’ appearance at that time. The dial centre also has a matted circular plate carefully placed over the original in order to disguise the redundant calendar and false bob apertures, the presence of this plate (to hide the false bob aperture) suggests that the escapement was also converted at the time the new dial fittings were added.
A George II brass mounted ebonised small table clock. James Snelling, London circa 1730. The five (formerly six) pillar bell striking movement with foliate engraved backplate centred with a figural representation of Britannia and inhabited by ho-ho birds, the 6 inch brass break-arch dial with recessed shaped silvered nameplate engraved James Snelling, LONDON and blanked-off false bob aperture inscribed Green Castle 1776 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 lower angles with female mask and scroll cast spandrels, the upper angles with star-centred silvered subsidiary Strike/Silent opposing regulation dials flanking a central calendar dial within applied foliate cast infill to the arch and with cherub mask and scroll decoration to panel beneath, the inverted bell top case with brass carrying handle and pierced gilt frets to the upper quadrants of the brass-fillet inset front door, the sides with concave bottomed rectangular above break-arch glass apertures with conforming brass fillet inserts, the rear door with further break-arch window, on moulded base with block feet, (movement with losses and other faults), 39cm (15.5ins) high. James Snelling is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as being admitted as an apprentice in 1703, gaining his freedom of the Clockmakers’ Company in 1712. He was appointed master in 1736 and died 1751. Baillie notes him as an ‘Eminent’ maker. The placing of three subsidiary dials in the arch of the dial of the current lot was perhaps made popular during the 1720’s by makers such as DuChesne, DeCharmes and Quare. The relatively complex dial, combined with neat proportions of the case results in an particularly attractive clock which perhaps deserves restoration of the movement.
An Edwardian mahogany musical longcase clock, silvered dial, signed - Stevenson & Sons, Manchester, with engraved fretted gilt foliate fascia, subsidiary second dial and chime dials to the lunette, three chain movement, striking Whittington, Westminster and St Michael`s chimes on eight gongs, the case with pagoda hood, gadrooning, volute scrolls and blind fretwork, glazed door flanked by Corinthian quadrants, resting in blind fretwork piers, panelled base section with applied moulding, ball and claw feet, 246cms, (97"),
A Victorian inlaid mahogany longcase clock, arched brass dial, signed Wm Gordon, Edinburgh, subsidiary second dial and date aperture, silvered chapter rings, cast brass spandrels, signed to the lunette, eight-day movement, striking on a bell, the case with broken swan-neck pediment, triple finials, parquetry stringing and banding, with shell marquetry oval to the arched door, height 114cms,(84")
A George III style mahogany bow front sideboard, 19th century, of small proportions, with crossbanding and ebony stringing, fitted with three drawers and a cupboard with a double drawer dummy fascia, with a slightly recessed and arched door, square tapering legs, spade feet, width 122cms, (48"), depth 53cms, (21"), height 89cms, (35").
An Edwardian inlaid mahogany demi-lune display cabinet, projecting cornice, the frieze with diaper stringing, multi-pane glazed door, flanked by glazed panels, cotton brocade lined interior, the base section with central drawer, flanked by cupboards, each with narrow parquetry banding, open arch, shelf under, width 102cms, (40"), depth 52cms, (20½"), height 190cms, (75").
Nineteen LP vinyl records by a variety of artists and bands, records comprising Eric Burdon & the Animals 'Wind of Change' MGM label (8052) with sold in UK label text, and 'Love is' 2-LP MGM label (LP's individually numbered 2354 006/007), Mott The Hoople's 'Brian Capers' (ILPS 9178) and 'Mott' (die-cut sleeve), Scott Walker 'Scott2' (SBL 7840), Tom Waits 'Closing Time' (reissue), 'The Heart of Saturday Night' (Door label), plus three others, Bert Jansch Sampler (Trasam 10), The Monkees 'The Birds The Bees & The Monkees' Black Label (SF 7948) and 'More of the Monkees' stereo (SF 7868), 'The Walker Brothers Story' 2-LP (DBL 002) David Williams 'Volume III' Major Minor label (MMLP11), 'The Wonderous World of Sonny & Cher' Atlantic (587 006) and Sonny & Cher's 'In Case Youre in Love' Atlantic (587/588 052), Bee Gee's 'Idea' Polydor (582/583 036) and 'Horizontal' Polydor (582/583 020), overall condition good to very good
An early 20th century Aeolian Vocalion gramophone in mahogany case, raised on four legs with horn enclosed by Drop down Door, complete with winding handle and Aeolian sound box, height 36in, also included is a small quantity of gramophone needle tins by Edison Bell, HMV, Songster, Columbia and Embassy, some of which have contents (illustrated)
An early 19th century feathered mahogany cased striking eight day longcase clock, the painted arched dial featuring a moonphase to the arch, the dial painted with foxes, goats and dogs, and featuring painted subsidiary dial and date aperture, the Gothic trunk door flanked by bobbin turned pilasters, terminating on outswept bracket feet, with pendulum, two weights and winder, approx height 7ft 8in (234cm) (illustrated)
An 18th century chinoiserie decorated black lacquered eight day longcase clock by Anthony Harrison of London, the trunk door featuring a lentical, the square brass dial applied with mask and scrolling foliate spandrels, decorated with central engraving, featuring a silvered chapter ring, silvered subsidiary dial ring, date aperture and twin winding holes, with twin weights, pendulum and winder, height approx. 222cm (illustrated)
A William & Mary period crossbanded and inlaid walnut veneered cabinet on later stand, c.1690, featuring a cushion moulded secret frieze drawer above an array of drawers and a cupboard door enclosed by two doors, the later stand with single shallow frieze drawer and five turned columnar supports and bun feet united by a shaped flat stretcher, width 107cm (illustrated)
A walnut framed American wall clock by the Ansonia brass company - Ansonia Conneticutt. The white painted square dial with black Roman numerals and floral painted spandrels; the movement striking on a gong. The part glazed door with panel decorated with transfer print of bird amongst flowers and foliage. (AF)
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