An Austrian ebonised miniature grande sonnerie table clock, Joseph Bauer, Debretzin, late 18th century. The short-duration triple train movement with verge escapement striking the quarters on a bell and sounding the hour every quarter on a larger bell, the 3.5 inch brass break-arch dial with false bob aperture to the foliate scroll engraved centre within applied Roman numeral chapter ring with lozenge half hour markers, arcaded minute ring and Arabic five minutes to outer track, the angles with scroll cast spandrels beneath arch centred with a domed boss signed Joseph Bauer, Debretzin within conforming engraved infill, the inverted bell-top case with cast brass putto surmount and vase finials above engraved brass foliate frets to the upper quadrants of the giltwood mounted front door, the sides with conforming lozenge shaped frets over break-arch side windows, on moulded base with brass paw feet, the clock 26cm high (10.25ins) high, 29.5cm (11.75) ins high including surmount.
We found 235302 price guide item(s) matching your search
There are 235302 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
235302 item(s)/page
A German Baroque small giltwood timepiece `prunkuhr`, Elias Weckherlin, Augsburg, late 17th century. The short duration four back-pinned pillar chain fusee movement and verge escapement elevated on an extended section of the frontplate to allow correct positioning of the front swinging pendulum, the backplate with iron motionwork to facilitate winding through the dial via the centre arbor and elaborate foliate engraved and pierced cock for mainspring set-up ratchet, the upper margin signed Elias Weckherlin, Augusta, the 9 x 6.5in gilt copper dial with arcadian landscape engraved dial centre within applied brass Roman numeral chapter ring with calendar to the inside edge, the upper and lower sections of the dial engraved with flowering blooms and with pendulum pivoted on a cock with fine foliate pierced and engraved foot to upper margin, the movement fitted via the dial into a box-form inner case with sliding rear door retained via side screws into the further outer case with glazed front door, elaborate crest and scroll carved side sections, on wide cavetto moulded base with disc feet, 39cm (15.5ins) high. Elias Weckherlin is recorded in Britten Former clock and watch makers as working in Augsburg 1646-88 where it also noted that watches by him are in the British Museum, Frankel, Ilbert and Damiano collections. The current lot demonstrates a relatively early approach to the application of the pendulum in German clockmaking with the movement bearing some similarities to the earliest pendulum clocks. The position of the pendulum itself, at the front of the clock, has a practical application by being easier to start, this coupled with the innovation of the centre arbor being a winding square makes the short duration nature of the timepiece easier to live with. Further features such as the winding motionwork and elaborate foliate pierced and engraved cock for the spring set-up ratchet on the backplate (which is reminiscent of features seen on Augsburg horizontal table clocks of this and earlier periods) identifies the current lot as an interesting, early regional variation of the spring driven table clock. A similar timepiece by Marcus Bohm, Augsburg in an ebonised case was sold at Christie`s Amsterdam sale of The P.C. Spaans Collection of Important Clocks 19th December 2007 lot 419.
A George III oak thirty hour longcase clock of small proportions, Joseph Wright, Warwick, circa 1780. The plated countwheel bell striking single-handed movement with 8.25 inch square brass dial signed WRIGHT, WARWICK to the starburst and foliate scroll engraved centre within applied Roman numeral chapter ring and rococo scroll cast spandrels to angles, the case with later swan neck crest to the cavetto moulded cornice above slender baluster turned pilasters flanking dial and narrow rectangular caddy-moulded door to trunk, on plain plinth base, 191cm (75ins) high excluding later crest, 200cm (78.75) ins high overall. Joseph Wright is recorded in Baillie G.H. Watchmakers and Clockmakers of the World as working in Warwick 1771-95.
A George III inlaid oak eight-day longcase clock. Alford, Wells, 18th century. The four pillar rack and bell striking movement with 12 inch square brass dial with subsidiary seconds dial to the foliate scroll engraved matted centre within an applied Roman numeral chapter ring with Arabic five minutes and signed Alford, Wells to lower edge, the angles applied with female mask and scroll pattern spandrels, the case with geometric parquetry fronted stepped caddy and moulded frieze above three-quarter columns to hood, rectangular trunk door centred with an elaborate parquetry star and with triple line border, on plinth base with conforming inlaid decoration and skirt base incorporating bracket feet, 216cm (85ins) high. Two makers with the surname Alford are recorded in Moore, A.J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as working in Somerset; Thomas recorded at Creech 1682/3, and James recorded at Crowcombe in 1747.
A Regency brass inlaid rosewood bracket clock, Unsigned, early 19th century. The twin fusee bell striking movement with anchor escapement and pendulum holdfast to the shouldered backplate, the 7 inch square silvered brass Roman numeral dial with unusual heart pierced blued steel hands and fine foliate scroll engraved decoration to spandrels within a canted surround, the chamfer-top case with foliate carved finial and ribs to the brass foliate spray inlaid hipped upstand above rosette-interrupted line bordered front door flanked by brass lined canted angles and brass Gothic tracery rectangular frets to sides, on scroll panel inlaid plinth base with moulded skirt and lobed bun feet, 45cm (18ins) high overall.
An Edwardian mahogany quarter chiming eight-day longcase clock, Unsigned, early 20th century. The four pillar triple train movement with Harrison`s maintaining power, deadbeat escapement and steel-rod pendulum with large lenticular brass faced bob, chiming a choice of two tunes on four tubular gongs every quarter and striking the hour on an additional gong, the 13.25 inch brass break-arch dial with subsidiary seconds dial to the fine applied gilt foliate scroll pierced and engraved centre within a silvered chapter ring with gilt Arabic cartouche numerals, the spandrels with further scroll-pierced gilt infill beneath arch with subsidiary STRIKE/SILENT and WHITTINGTON/WESTMINSTER within conforming pierced gilt mounts, the swan neck pedimented case with fluted columns to hood above bevel glazed oval panel and canted angles to the full-width rectangular trunk door, on panel fronted plinth base with moulded skirt incorporating bracket feet, 234cm (92ins) high.
An Edwardian carved walnut quarter chiming longcase clock of impressive proportions, Retailed by Kemp Brothers, Bristol, early 20th century. The substantial four pillar triple train movement with deadbeat escapement, Harrison`s maintaining power and chiming a choice of two airs on a graduated set of eight tubular gongs with hour strike on a further gong, the 13 inch brass break-arch dial with subsidiary seconds dial to the foliate scroll cast gilt centre within silvered chapter ring applied with gilt Arabic cartouche numerals and female mask and scroll cast spandrels to angles, the arch with silvered subsidiary CHIME/SILENT, STRIKE/SILENT and WHITTINGTON CHIMES/WESTMINSTER CHIMES selection dials within conforming cast infill with applied trade plaque KEMP BROS., UNION STREET, BRISTOL beneath, the case with elaborate scroll carved crest to the break arch pediment above angled Corinthian half-pilasters flanking dial and scroll pierced side frets to hood, the trunk with bevel-glazed oval panel within foliate scroll carved infill to the rectangular door flanked by conforming pilasters to the canted angles, on plinth base fronted with conforming carved raised panel flanked by canted Ionic strip pilasters above moulded skirt, 264cm (104ins) high.
An inlaid rosewood eight-day longcase clock, Edward Muddle, Chatham, mid 18th century and later. The four pillar rack and bell striking movement with 12 inch brass break-arch dial with star engraved subsidiary seconds dial and calendar aperture to the ho-ho bird and foliate scroll engraved 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 with cast bird and urn pattern spandrels beneath arch applied with circular silvered herringbone-bordered boss signed Edward Muddle, CHATHAM flanked by conforming dolphin cast mounts, the case now veneered in rosewood with later triangular pediment, moulded cornice and fan inlaid upper quadrants above door with three quarter columns to hood, break-arch door inlaid with a fan lunette above conforming central oval panel and quarter spandrels to the trunk, on husk swag and urn inlaid plinth base with moulded skirt, 238cm (93.5ins) high.
*A George III green japanned eight-day longcase clock, J. Shippard, Poole, circa 1775. The five pillar rack and bell striking movement with 11.75 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes and signed J. Shippard, Poole to lower edge, the angles with bird and urn cast spandrels beneath recessed arch panel now painted with a coastal view within a dark blue ground border (rocking ship automaton lacking), the case with foliate painted ogee caddy above gilt blind fret upper quadrants and three-quarter columns flanking gilt hatched panel bordered door to hood, break-arch trunk door applied with coloured transfer engravings of a money counter and a merchant within conforming gilt borders and with opposing panels of oriental figures to upper angles, the plinth fronted with a coloured marine view with coastal ruins and men o`war above double skirt base, 240cm (94.5ins) high.
A George III mahogany eight-day longcase clock with moonphase, Thwaites, London, circa 1770. The five pillar rack and bell striking movement with wide convex-topped plates and 12 inch brass break-arch dial with narrow subsidiary seconds ring and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Thwaites, London to lower edge, the angles with cast rococo scroll spandrels beneath rolling moonphase with terrestrial and lunar motif engraved lunettes and calibrated for the lunar month to the edge of the disc beneath foliate scroll engraved border to upper edge of arch, the case with shaped pediment and cavetto break-arch cornice above substantial brass stop-fluted pilasters to hood, caddy moulded break-arch door flanked by stop fluted quarter columns to trunk, on raised shaped-panel fronted plinth base with conforming quarter columns to angles and double skirt, (case with faults), 238cm (93.5ins) high. Ainsworth Thwaites is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1735, gaining his Freedom in 1751 and working from Rosoman Row until 1780. He had two sons, Benjamin (apprenticed 1762, Freed 1770) and John (apprenticed 1772, Freed 1782) who subsequently made the clock for St. Paul`s Chapel, New York. The current may have been made by Ainsworth Thwaites alone, or perhaps in partnership with either of his two sons hence the presence of only the surname as a signature.
A fine George II mahogany table clock with pull quarter repeat and carved mouldings. Delander, London, circa 1730. The six pillar bell striking movement with rise/fall regulation for the verge escapement and pull quarter repeat on a nest of six graduated bells, the backplate boldly signed Delander, London to centre, the 6.5 inch brass break-arch dial with false bob aperture and arched cartouche further signed Delander, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with unusual basket of flowers and scroll cast spandrels, the arch with subsidiary regulation dial flanked by Indian mask and scroll cast mounts, the inverted bell-top top case with cast brass handle above ribbon tied foliate carved raised mouldings bordering the front door aperture flanked by egg-and-dart decorated caddy-moulded angles, the sides with conforming raised mouldings to the circular over concave-topped apertures, the rear door with break-arch window and remnants of the original foliate pierced sound frets to upper quadrants, on cavetto moulded base with squab feet, (case with some losses to veneers, lacking pendulum), 42cm (16.5ins) high. Daniel Delander was apprenticed to Charles Halstead in 1692, although possibly in name only (in order to circumvent the Clockmakers` Company rules regarding number of apprentices allowed) as he was known to be working in Tompion`s workshop in 1693. Delander gained his Freedom in 1699 and continued for a few years working as journeyman with Tompion. He subsequently set up on his own working from Devereux Court before moving to `within Temple Bar`, Fleet Street from where he is thought to have worked until his death in 1733. Daniel Delander was succeeded by his son, Nathaniel who gained his Freedom of the Clockmakers` Company in 1721, he is recorded working from Fleet Street and later Royal Exchange, was appointed Master of the Clockmakers` Company in 1747 and died 1762. The working relationship between Daniel and Nathaniel Dalender appears to be unknown except for the fact that Nathaniel succeeded his father in 1733, however it is possible that they worked in partnership during the latter years of Daniel`s career, hence why many of the clocks from this period are signed with the surname only. Daniel Delander`s work often demonstrates his former Master`s influence in particular the consideration given to the proportions and detail finish as well as the workmanship and specification of the movements. Delander was never one to let fashion overtake him, always being at the cutting edge with regards to design and use of materials. He is perhaps best known for his exquisite small walnut precision longcase clocks with duplex escapements made during the 1720`s as well as the silver mounted grande sonnerie table clock formerly in the Rous Lench Collection which is illustrated in Dawson, Percy G., Drover, C.B., and Parkes, D.W. Early English Clocks on page 411. The current lot, with its carved mouldings, can be directly compared to another example by Delander sold at Phillips, New Bond Street, Clocks and Watches 17/12/1996 lot 174. These two clocks differ in that the example sold at Phillips is veneered in walnut (but is of exactly the same proportions with the same pattern of carved mouldings) and has silver spandrels of a pattern used on earlier clocks by Delander. This suggests that the current lot is marginally later in date, perhaps dating to very shortly after the import duty for mahogany was lifted in 1727. A third, perhaps marginally later again, mahogany cased clock from the Delander workshop was sold at Christie`s, London Important Clocks and Watches 4/07/1990 which shares the same proportions and specification (including a backplate with signature on a plain background) but has simpler linear raised mouldings. The restrained approach to the movement backplate, which is plain except for a finely scripted signature, demonstrates the influence of Tompion`s successor, George Graham who shared Delander`s refined confident approach.
A George III ebonised table clock, John Fladgate, London, circa 1775. The six-pillar twin fusee bell striking movement with rise/fall regulation and lenticular-bob pendulum for the verge escapement and signed Jno. Fladgate, London to the foliate scroll engraved backplate applied with pendulum holdfast clamp to centre, the 6 inch brass break-arch dial with matted centre and blued steel hands within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and with rococo scroll cast spandrels to angles, the arch with subsidiary regulation dial flanked by conforming mounts, in an inverted bell top case with brass carrying handle and pineapple finials above foliate pierced upper quadrant frets and raised mouldings flanked by caddy moulded angles to front door, the sides with circular over concave-topped rectangular side windows, on moulded base with brass bracket feet, 41cm (16ins) high. John Fladgate is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1743 and first working in partnership with Richard Wilder until the firm was dissolved in 1775. Fladgate subsequently worked alone until his death in 1781 with the business continued by his widow until 1793.
A Scottish Regency mahogany eight-day longcase clock, James Whitelaw, Edinburgh, circa 1815. The four pillar rack and bell striking movement with 13 inch circular single sheet silvered brass Roman numeral dial with subsidiary seconds dial and signed James Whitelaw, Edindurgh to centre, with blued steel Breguet type hands, the drum-head case with brass bezel to the circular hood surround above waisted section and raised throat mouldings, the trunk with rectangular caddy moulded door flanked by reeded quarter columns above short recessed panel, the plinth base with conforming recessed panel and bracket feet, 208cm (82ins) high. James Whitelaw is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in Edinburgh 1776 and dying 1846.
*An unusual George III mahogany and burr elm domestic striking regulator of one week duration with centre seconds. Alexander Cumming, Inveraray, late 18th century. The substantial five pillar rack striking movement with deadbeat escapement, bolt-and-shutter maintaining power and six wheel going train, the backplate with aperture cut for the pallets and with wood-rod pendulum with heavy brass faced lenticular bob, the 12 inch square single sheet silvered brass Roman numeral dial with blued steel hands and signed Ale:r Cumming INVERARAY to an arched cartouche to centre within chapter ring with Arabic five minutes to outer track and fine scallop shell inhabited foliate scroll engraved decoration to spandrels, in a case with moulded cornice and turned columns to hood above burr elm veneered panel inset break-arch door to trunk, on plinth base veneered with conforming rectangular panel, on bracket feet, 207cm (81.5ins) high. Alexander Cumming was born circa 1732 and was working with his brother, John, in Inveraray by 1752. He was a founder member of the Scottish Royal Society in Edinburgh and by 1761 he had moved to London. Cumming was subsequently appointed as an `expert` by Act of Parliament to assess Harrison`s marine timekeepers, and in 1763 supplied the first ever recording barometer to George III which is still in the Royal Collection at Buckingham Palace. In 1766 he published The Elements of Clock and Watch Work, he died in 1814. The current lot is an interesting early example of Cumming`s work and is perhaps a little experimental in nature. The six-wheel going train is unusual and was perhaps designed to remove errors in relation to its interaction with the strike train by delivering a high degree of power through the motionwork.
A George III inlaid mahogany eight-day longcase clock with moonphase, Samuel Collings, Thornbury, early 19th century. The four pillar rack and bell striking movement with 12 inch single-sheet brass break-arch Roman numeral dial with subsidiary seconds and calendar dials and signed Samuel Collings, Thornbury to the foliate scroll engraved centre within chapter ring with Arabic five minutes to outer track and foliate spray engraved spandrel decoration beneath arch with rolling moonphase calibrated for the age of the moon and annotated for HIGH WATER AT BRISTOL QUAY the swan neck pedimented case with fluted Corinthian columns to hood above line-bordered rectangular door flanked by canted angles to trunk, on conforming plinth base with later skirt, 225cm (88.5ins) high. Samuel Collings is recorded in Dowler, Graham GLOUCESTERSIRE CLOCK AND WATCHMAKERS as working from Chipping Sodbury and then Thornbury 1816-70. The current lot demonstrates his tendency to supply well engineered movements in nicely detailed understated cases.
A George II green japanned eight-day longcase clock with moonphase, Samuel Harris, London, mid 18th century. The five pillar rack and bell striking movement with 14 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes and signed Samuel Harris, LONDON to lower edge, the angles with twin bird and urn spandrels beneath arch with rolling moonphase calibrated with the age of the moon to the rim of the disc, with sunburst decorated lunettes and herringbone engraved band to upper border of the arch, in a break-arch case with gilt hatched panel and foliate trail decorated door flanked by columns to hood, break-arch door finely painted in raised polychrome and gilt with robed figures within an oriental garden landscape with pagodas, the surround with further alternating hatched and foliate scroll border and figures to upper quadrants, on raised panel fronted plinth base with conforming decoration and moulded skirt, 236cm (93ins) high. A Samuel Harris is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World, Volume 2 as admitted as apprentice to the Clockmakers` Company in 1695, gaining his Freedom in 1708 and working until 1730.
A George III brass mounted mahogany quarter chiming musical table clock, John Taylor, London, circa 1800. The substantial six pillar triple fusee movement chiming a choice of two phrases for the quarters on eight bells and completing the tune on the hour, the backplate signed John Taylor, London to an engraved oval cartouche, the 8 inch gilt brass break-arch dial plate applied with silvered circular Roman numeral dial with subsidiary calendar dial to centre, within finely chased wreath and foliate trail applied spandrels, the arch with subsidiary Chime/not Chime and Dance/Jig tune selection dials flanking shaped recessed silvered plate with repeat signature, the break-arch case with brass ball finials and foliate pierced frets to the concave sided upstand above conforming crescent-shaped fret to the brass fillet inset front door, flanked by stop-fluted columns to front angles and hinged handles above arched fishscale sound frets to sides, on moulded plinth base with brass bracket feet, (escapement with alteration), 66cm (28ins) high. Several makers with the name John Taylor are recorded working in London during the late 18th and early 19th centuries, however the most likely maker of the current lot is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers` Company in 1796 and may be the same maker who is subsequently listed as working from Clerkenwell 1805-24.
*A Queen Anne eight-day longcase clock movement and dial, Thomas Cartwright, London, early 18th century, in a later mahogany case. The five finned pillar inside rack and bell striking movement with 12 inch square brass dial with scroll border calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes and signed Tho. Cartwright, Royal Exchange, Londini Fecit to lower edge, the angles with twin cherub and crown cast spandrels and herringbone engraved border, now in a late 18th century mahogany case with cavetto cornice and turned pilasters to hood, break-arch trunk door and on plinth base with bracket feet, 203cm (80ins) high. Thomas Cartwright is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being born circa 1679. He was apprenticed to Christopher Gould in 1693 gaining his Freedom of the Clockmakers` Company in 1700, he reputedly died in 1741. The current lot is noteworthy in that it employs an internal rack for the striking mechanism - a feature normally reserved for use in high quality month duration movements by the better makers. This coupled with the decorative nature of the dial perhaps demonstrates the influence of Cartwright`s Master, Christopher Gould in his work.
A rare ebonised oak and pine `longcase` lantern clock case, Late 17th century. The hood with ogee moulded cornice above moulded rectangular door with external iron strap hinges, brass drop handle and moulded 9 by 7 inch aperture, the sides with simple rectangular doors with conforming hinges and handles, the trunk with ogee throat moulding above slender dual moulded panel inset door with three further external iron strap hinges (one replaced) and another brass drop handle, the structure continuing to from the base with brace applied below the trunk door and on later skirt, 193cm (76ins) high. Original `longcase` cases for lantern clocks are very rare, mainly due to the fact that lantern clocks were predominantly designed to hang from the wall. The construction of the current lot (often termed `pencil case`) with its slender trunk continuing to the floor reflects 17th century practice as early 18th century examples tended to resemble contemporary longcase clock cases more closely by incorporating a more developed hood and a wider section to form a plinth at the base. The mixed use of pine and oak in the current lot confirms that it was designed to take a painted finish (in this case ebonised). The simple hood side doors and external iron strap hinges are again perhaps 17th century features. Two related cases which are dated between 1660 and 1680 are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 370-1.
A William III brass lantern clock with ten inch square brass dial, Daniel Quare, London, circa 1695. The posted countwheel bell-striking movement with column turned corner uprights and now with anchor escapement, the 10 inch square brass dial with matted centre within an applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and signed Dan Quare, London to lower edge, with original steel hand and angles applied with winged cherub head and scroll cast spandrels, the frame with foliate pierced side frets and vase turned finials beneath domed bell bearer above, with rear hanging hoop and spurs to the turned ball feet, (lacking one side door and alarm) 40cm (16.75ins) high. Daniel Quare was admitted as Brother of the Clockmakers` Company in April 1671 and by 1683 he was working from Exchange Alley, London. He was selected as a member of the Court of Asssistants in 1698, later becoming Master in 1708. The following year he took a former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare`s death in 1724. He was a fine inventive and commercially-minded maker who supplied clocks to significant European Royal and Aristocratic clients as well the Court of William III. As a Quaker, Quare refused an invitation from George I to be appointed `Royal Clockmaker` as his beliefs would not allow him to undertake the Oath of Allegiance, however an informal arrangement was agreed where Quare had open access to the palace via the back stairs. In addition to clocks, Quare is also famous for his `portable weather glass` or pillar barometer for which he sought a patent via the Clockmakers` Company in 1695. After his death in 1724 he was buried at the Quaker`s burial ground at Bunhill Fields.
A fine Charles II walnut and oyster laburnum marquetry longcase clock case, Circa 1680. The formerly rising hood with part-ebonised cornice mouldings and swollen foliate marquetry decorated frieze above spiral twist turned three-quarter columns flanking foliate trail inlaid door with 9.5 inch square glazed aperture, the convex throat further decorated in various timbers and green-stained bone with tulips, the 42 inch rectangular trunk door with central circular and two ovoid marquetry panels, each depicting bird inhabited foliage within an oyster veneered laburnum ground with marquetry spandrels to upper and lower angles and line-edged crossbanded borders, the sides with laburnum oysters within further crossbanded borders, the plinth base with conforming marquetry oval panel and spandrels, on compressed bun feet, 193cm (76ins) high.
A Charles II eight-day longcase clock movement with ten inch dial, Unsigned, circa 1680, in a later oak case. The six finned pillar outside countwheel bell striking movement with anchor escapement and formerly with bolt-and-shutter maintaining power, the 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the matted centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles applied with winged cherub head and foliate scroll cast spandrels, now in an oak case with moulded cornice and foliate pierced fret above spiral twist turned pilasters to hood, shaped-top crossbanded door flanked by fluted quarter columns to trunk, on conforming raised panel fronted plinth base with ogee bracket feet, 208cm (82ins) high. The movement and dial of the current lot is perhaps related to a group of anomynous clocks by an unknown maker described in Robinson, Tom THE LONGCASE CLOCK pages 53-6. The example pictured by Robinson (3/9-12) displays many close similarities to the current lot including the engraving of the chapter and seconds ring, and the use of an hour wheel bridge casting as a backcock. Robinson suggests that such anonymous movements were made by either journeymen or other makers who, as they were not Freemen of the Clockmakers` Company, were not authorised to sign their work. Many such examples have now had signatures of famous makers added hence genuine unsigned examples such as the current lot are rare.
An ebonised bracket clock with moonphase, Bearing signature John Hull, Harold, late 18th century. The five pillar twin fusee movement with 6 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers, Arabic five minutes to outer track and bearing signature John Hull, HARROLD to lower edge, the angles with gilt mask and scroll pattern spandrels beneath arch with foliate engraved lunettes and herringbone decorated upper border interrupted by a sector revealing scale for the age of the moon to the rim of the moon disc, in an inverted bell top case with brass carrying handle above circular over concave-topped side windows with raised mouldings, the front door with foliate cast brass frets to upper quadrants and conforming mouldings, on cavetto moulded skirt base with later block feet (lunar disc now disconnected, movement with faults), 46cm (18ins) high excluding handle.
A Charles II style ebonised table clock, Stewart Newnham, Cuckfield, mid 20th century. The four pillar twin fusee bell striking movement with anchor escapement and 7 inch square brass dial with matted centre within an applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes within the outer track and signed Stuart Newham, CUCKFIELD to lower edge, the case with scroll cast hinged carrying handle to the domed caddy applied with foliate mounts, the front door with sound fret to upper rail and cast escutcheons, the sides and rear door with rectangular glazed panels, on moulded base with brass disc feet, 30cm (12ins) high excluding handle.
An important Charles II walnut table clock, John Wise, London 1675-80. The substantial seven double-baluster turned latched pillar twin fusee movement with bolt-and-shutter maintaining power and striking on a bell mounted above the 9 x 6 inch movement plates via an outside countwheel and vertically pivoted hammer with fine scroll engraved `S` shaped top pivot potance, the large spring barrels with substantial blued steel turned set-up wheels and clicks mounted on the backplate with engraved John Wise, Londini fecit signature between, the 9 inch square gilt brass latched dial with calendar aperture and shutters engraved with male and female profile portraits to the finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced blued steel hands and the angles applied with gilt winged cherub head cast spandrels with bolt-and-shutter lever slot between the lower two, the case of Knibb `phase I` design with foliate cast gilt hinged handle to the shallow dome above foliate scroll pierced fret to the upper rail of the front door, the sides with rectangular glazed apertures, on moulded base with later brass squab feet, (now with anchor escapement and later movement securing brackets), 37cm (14.5ins) high. Provenance: the property of a Gentleman, Oxfordshire. The current lot is a `family` piece which to the vendor`s knowledge has been in been in the family collection for as long as anyone can recall (at least three generations). John Wise senior is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1625 and apprenticed to Peter Closon through T. Dawson in 1638, gaining his Freedom in October 1646. He apparently lived in Warwick 1653-68 where he repaired the clocks at St. Nicholas and St. Mary`s churches, the latter providing the venue for the baptism of three of his children. He moved back to London in 1669 where he was re-admitted to the Clockmakers` Company by redemption. He took many apprentices including no less than six of his sons; Richard (Free 1679), John (Free 1683), Thomas (Free 1686), Joseph (Free 1687), Peter (Free 1693) and Luke (Free 1694). He is thought to have been working from `neere the popeshead in Moorfields` in the year of his death in 1693. Although several early longcase and lantern clocks by John Wise senior are known, table clocks however appear to be extremely rare. Perhaps the best known example is an unusual single-handed timepiece is illustrated in Darken, Jeff HOROLOGICAL MASTERWORKS pages 82-3. Despite obvious differences, this timepiece does share some similarities with the current lot, for example the wheel-work has the same finned-collet design and the stopwork has the same pronounced disc cam to the fusee. The case also utilises the same highly individual casting for the carrying handle albeit in a more complete form. The movement of the current lot is of notably substantial construction, which although in itself is not particularly unusual for the period is noteworthy. The detail design and layout of the movement is perhaps more interesting in the way that it does not immediately conform with the prevalent Fromanteel/Tompion/Knibb and East/Jones schools of clockmaking. The backplate layout with its external clicks, positioning of the countwheel, and the way in which the movement is signed is perhaps more similar to a movement by Matthew Crockford (with altered dial and associated architectural case) which was sold at Sotheby`s London Important Clocks.. 13/10/1988, lot 211. The Crockford movement also shares the same number of movement pillars, has maintaining power, calendar aperture and is of similar dimensions. The double baluster movement pillars used on the current lot are similar in weight and detail to the single baluster design used by Edward East (see Dawson, Percy G., Drover, C.B. & Parkes, D.W. Early English Clocks page 86, plate 106) but differ by being doubled to compensate for the greater relative distance between the plates. The vertically pivoted hammer used on the current lot is an unusual, perhaps archaic detail. The case very closely resembles those used by Joseph Knibb for his `phase I` clocks and can be directly compared to an example illustrated in Dawson, Percy G., Drover, C.B. & Parkes, D.W. Early English Clocks page 418, plate 596.
A Queen Anne ebonised basket-top table clock with pull quarter repeat on five bells, David Lestourgeon, London, circa 1705. The six finned pillar twin fusee movement rack striking the hour on a bell and repeating the quarters on five bells with separately pivoted hammers, the symmetrical foliate scroll engraved backplate signed David Lestourgeon, London within a leafy cartouche surmounted by an eagle to centre and with herringbone engraved border to edges, the 7 inch square gilt brass dial with leafy border engraved calendar and signed false bob apertures to the matted centre within an applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes, the angles applied with winged cherub head spandrels, the case with winged caryatid cast handle to the ogee shaped relief foliate scroll and fanciful castle decorated repousse basket surmount above front door applied with further repousse mounts and sides with small over large rectangular glazed apertures, on later squat bracket feet, (movement with alteration to escapement, case with some faults), 41cm (16.25ins) high excluding handle. David Lestourgeon is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1698-1731 and is described as a fine maker.
*A George I ebonised table clock with pull quarter repeat and alarm, Andrew Dunlop, London, circa 1725. The five finned pillar twin fusee bell striking movement with verge escapement, pull quarter repeat on six bells and alarm sounding via two small hammers on the hour bell, the backplate engraved with a basket of flowers flanked by ho-ho birds within foliate scrolls and a herringbone decorated border, the 7.5 inch brass break-arch dial with subsidiary calendar and false bob apertures and signed And:r Dunlop, London to a burnished oval cartouche to the matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with applied female mask and scroll pattern spandrels and N/S switch at 9 o`clock beneath arch with rosette-centred silvered Arabic numeral alarm setting dial with blued steel pointer flanked by Indian mask and scroll cast mounts, the inverted bell top case with hinged carrying handle and brass finials above scroll pierced frets to the upper quadrants of the front door and break-arch side windows, the rear door with demi-line scroll-pierced sound fret above rectangular glazed panel, on cavetto moulded base with squab feet, 45cm (17.5ins) high excluding handle. Andrew Dunlop is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1701-32.
A Queen Anne brass mounted ebony table clock with pull quarter repeat, John Bushman, London, early 18th century. The six finned pillar bell striking movement with rise/fall regulation and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a basket of flowers within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, false bob aperture and oval cartouche signed Jn:o Bushman, London to the matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels with foliate scroll engraved infill between to lower and upper margins with the latter incorporating a N/S strike switch, the arch with subsidiary regulation dial flanked by unusual leaf-cast mounts within a foliate scroll engraved field, the inverted bell-top top case with Quare pattern foliate cast carrying handle and later vase finials above brass-edged upper mouldings and gilt scroll cast frets to the upper quadrants of the front door applied with raised mouldings, the sides with lozenge over break-arch glazed apertures and the rear door with break-arch window, on moulded base with brass bracket feet, (movement with alteration to escapement), 44cm (17.25ins) high. John Bushman (Buschmann) is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as a `High German` watchmaker born circa 1661 and made brother of the Clockmakers` Company in September 1692. He married Mary Wyatt in the Parish of St. Margaret, Westminster in December 1690, was made an Assistant of the Clockmakers` Company in 1720 and was believed to be working until 1725. Baillie records that he was born in Hagen, Germany. From this is possible that he was related to the Buschmann dynasty of clockmakers who worked from Augsburg throughout the 16th and 17th centuries. The current lot was made at a time when the introduction the break-arch dial was a relatively recent innovation. The elongation of the square section of the dial to provide an engraved reserve for the strike/silent switch, coupled with the relatively small arch applied with unusual mounts and with further engraved decoration results in an individual and attractive appearance. The case with its resulting slender proportions, tight mouldings and generous `Quare` pattern handle perhaps reflects the influence Huguenot immigrant clockmakers such as Claude DuChesne.
A William III walnut and floral marquetry eight-day longcase clock, Fabian Robin, circa 1695. The five finned pillar inside countwheel bell striking movement with 11 inch rosette-centred square brass dial with subsidiary seconds dial, foliate engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to narrow outer track and signed Fab: Robin, Londini fecit to lower edge, the angles with gilt winged cherub head and foliate scroll cast spandrels, in a case with moulded cornice and fretwork frieze above foliate trail inlaid door applied with spiral twist three-quarter columns to hood, above conforming decoration to the ebonised ground convex throat, the trunk with 42 inch rectangular 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, on conforming marquetry panel fronted base with bun feet, 201cm (79ins) high. Fabian Robin(s) is recorded in Britten Former clock and watch makers as working in London circa 1695.
A Queen Anne brass mounted ebonised table clock with pull quarter repeat, Richard Peckover, London, early 18th century. The six finned pillar bell striking movement with verge escapement and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a grotesque mask and a basket of flowers above festoon swag within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, herringbone border engraved shaped false bob aperture and oval cartouche signed Rich. Peckover, London 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 scroll cast spandrels beneath arch with blued steel disc centred subsidiary calendar dial flanked by conforming mounts, in an ebonised cherub and scroll repousse mounted dome top case with foliate cast carrying handle and vase finials above further repousse panel mounted front door, the sides inset with lozenge over rectangular gilt sound frets and the rear with conforming lunette shaped fret within gilts mounts to door surround, on cavetto moulded base with brass disc feet, movement with some restoration, 43cm (17ins) high. Richard Peckover is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World, Volume 2 as working circa 1700-54. In 1735 he was working in Change Alley, later moving to Royal Exchange by 1751. Baillie further notes that Peckover probably acquired the business of Quare and Horseman in 1733.
A William III walnut and floral marquetry eight-day longcase clock with ten inch dial, Richard Baker, London, circa 1690. The four (formerly five) finned pillar inside countwheel bell striking movement with 10 inch square brass dial with calendar aperture, subsidiary seconds and later foliate scroll engraving to the dial centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles with winged cherub and foliate scroll cast spandrels, the lower edge signed Richard Baker, Londini fecit, in a case with moulded cornice and inlaid frieze above foliate marquetry bordered hood aperture, the trunk with convex throat over 42 inch rectangular door with shaped floral marquetry panel incorporating teardrop motif above two further break-arch outline panels decorated with foliate designs on a walnut ground and incorporating a glazed oval lenticle between, on a plinth base now similarly decorated and with moulded skirt, (with restoration) 204cm (80.5ins) high. Richard Baker is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being apprenticed through the Blacksmiths` Company to John Chatfield before transferring to Richard Browne in 1683. He gained his Freedom of the Clockmakers` Company by redemption by order of the Lord Mayer in 1685. He is described as a `Great Clockmaker` and took on many apprentices including Peter Garon in 1687 for which he was fined by the Clockmakers` Company as Garon (being a Huguenot immigrant) was considered an `alien`. Baker is thought to have died in around 1700 with his widow, Jane continuing his business until around 1718.
A Queen Anne walnut eight-day longcase clock, John Gavelle, near London, early 18th century. The four (formerly five) finned pillar inside countwheel bell striking movement with 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and foliate engraved 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 Jno. Gavelle, near London to lower edge, the angles with twin cherub and crown pattern spandrels, in a case with moulded cornice and scroll pierced fret to frieze above three-quarter columns to hood and rectangular bleached walnut banded trunk door, on line bordered and crossbanded plinth base with double skirt, 221cm (87ins) high. The current lot is possibly the same maker recorded a James Gavel(l)e in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as being admitted as a Free Brother to The Clockmakers` Company in 1682/3 and paid quarterage until 1691. The use of the phrase `near London` alongside the signature suggests that the maker positioned himself just beyond the reach of city boundaries and thus the jurisdiction of the Clockmakers` Company. This may have been to avoid paying `quarterage` or because the maker of the clock (ie. perhaps a relative of James Gavelle) was not a Freeman of the Clockmakers` Company.
A Tri-ang No. 61 doll`s house, the faux-tiled roof with two chimneys above a central opening front with metal-framed windows and curtains, opening to reveal two rooms, flanked by a garage, porch and steps, on a plinth base, width approx 48cm (playwear and restoration), with a collection of doll`s house accessories, etc, together with a doll`s bungalow of mainly tinplate construction, with faux-tiled hinged roof and see-through plastic front, opening to reveal two rooms, the front with Tri-ang style front door and windows, the sides and back with cream and brick printed finish, on a plinth base, width approx 56cm, with a collection of doll`s house furniture and accessories.
An early/mid-20th Century Victorian style doll`s house, `Ruby Villa`, the gable ended roof with two chimneys and attic windows above a double opening front, fitted with two bedroom windows above a front door, flanked by further windows, opening to reveal four rooms, raised on a plinth base, height approx 115cm, width approx 82cm, depth approx 45cm.
A 1932-33 Morris Minor convertible, two-door with `pram hood` folding roof, 885cc petrol engine, registration number VX 7132, recorded mileage 25165 (not warranted), lacking vehicle registration document and other paperwork. Note: This lot can be viewed at our Baynton Road saleroom, Ashton, Bristol, BS3 2EB, during the stated view times.
A 1933 Morris Minor special coupe, two-door, 885cc petrol engine, registration number ANO 741, recorded mileage 7035 (not warranted), lacking vehicle registration document and other paperwork. Note: This lot can be viewed at our Baynton Road saleroom, Ashton, Bristol, BS3 2EB, during the stated view times.
A traction engine transportation box van, with internal T1500 Superwinch fitted with a battery to assist loading, spare wheel, rear roller door with drop down ramps and side display panel, the maximum axle load 1300kg, 244cm (8 feet) x 137cm (four feet, six inches) x 198cm (six feet, six inches). Note: This lot can be viewed at our Baynton Road saleroom, Ashton, Bristol, BS3 2EB, during the stated view times.
A 19th century Gibson & Co of Belfast mahogany cased twelve setting canteen of silver-plated flatware to include soup spoons, table knives, teaspoons, knife rests, soup and sauce ladles, dessert knives and forks, bone handled knives etc, the twin door mahogany table top cabinet containing three fitted drawers, height 27cm
A Georgian boxwood strung mahogany cased striking eight day longcase clock by William Scott, the 13ins painted arched dial with moon face to the arch, painted subsidiary seconds dial and date aperture, complete with door key, winder, pendulum and twin weights, height 231cm (7ft 7ins) (illustrated)
A large and impressive Victorian mahogany sideboard decorated throughout with elaborately carved panelling, applied beading, and numerous decorative motifs, the mirrored raised upper section featuring twin cabinet doors above the central recess, flanked on either side by bowed glazed panelled doors, the base section featuring three frieze drawers applied with ornately cast brass handles, with demon mask back plates, the central arcaded recess flanked by panelled door, the whole raised on four front cast bronze feet, width 204cm
A George III mahogany tall library bookcase, inlaid with ebony stringing, having three adjustable shelves enclosed by two lancet glazed panel doors above the secretaire drawer fitment with central recess cupboard door beneath flanked on either side by further storage, raised on turned tapered supports, width 114cm (illustrated)
A late Victorian Arts & Crafts oak sideboard, the raised mirrored back incorporating galleried tiers, carved decoration and pillared supports, the base section extensively panelled and incised, fitted with two central cupboard doors above a recess, flanked on either side by a frieze drawer and cupboard door applied with stylised brass hinges, handles and back plates, width 206cm
A good late Victorian chestnut single Wardrobe with shaped pediment on cornice top, carved and raised and fielded panels flanking central single door with bevel plate mirror, the lower full width shoe drawer having brass and iron handles, standing on bracket plinth base. 48" wide x 81" high x 19" deep.
A Victorian Oak Davenport having stationary box to the back with pierced brass gallery, leather inset fall opening to reveal two drawers, the base having Gothic style tongue and groove boarding, one side having cupboard door opening to reveal four mahogany lined drawers with recessed wooden handles, standing on bun feet. 22" wide x 35" high x 22" deep
Loading...-
235302 item(s)/page