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Lot 63
Barend Cornelis Koekkoek (1803-1862), A herdsman with his cows near an old oak tree, oil on panel, 32,5x29 cm, Literature:-Pieter A. Scheen, ‘Lexicon Nederlandse Beeldende Kunstenaars 1750-1950', The Hague 1969, ill. no. 111.-B.C. Koekkoek, 'Herinneringen en mededelingen van eenen landschapschilder', Schiedam 1982, ill. Provenance:-With Kunsthandel Pieter A. Scheen, The Hague, 1966, cat. no. 14, where acquired by the family of the present owners. Please compare to a painting by the artist with a similar composition, sold at: Auction, Bukowskis, Stockholm, 30 November 1994, lot 277. Lots 56-83: A Distinguished Collection, signed and dated 'B.C. Koekkoek 1851' (lower right); signed, dated and authenticated 'Dit schilderijtje, voorstellende/een boschrijk landschap met een/doode eik op den voorgrond, is/geschilderd in het jaar 1851/door den ondergeteekende/B.C. Koekkoek' (on a handwritten label attached to the reverse); the artist's wax seal with initials 'BCK' (on the handwritten label), On a beautiful day in August 1840 Barend Cornelis Koekkoek, then 36 years old, left his home in Cleve, Germany, together with three other young painters: two fellow Dutchmen, and one German artist. They set off on a journey through Germany and because Koekkoek kept a travel logbook we can now read about their adventures in: “Herinneringen en Mededeelingen van eenen Landschapschilder” (“Recollections and communications of a Landscape Painter”), published the next year. Apart from being a nice collection of events, the book is most valuable for learning about Koekkoek’s artistic views, for he also describes his sketching and painting process in great detail, shares his opinions about the work of his artist friends and gives advice to would-be art students. By this time, Koekkoek’s fame takes a flight and he quickly becomes an internationally renowned landscape painter with a substantial and important clientele. During his lifetime he would receive numerous awards and decorations and would see the likes of King Willem II of the Netherlands, King Friedrich-Wilhelm IV of Prussia and Czar Alexander II amongst his patrons. Koekkoek was born in Middelburg, and started his artistic training, just like his brothers, under the wings of his father, the marine painter Johannes Hermanus Koekkoek (1778-1851). Soon though, Barend Cornelis would change his home country for Germany. He thought the Dutch countryside simply too dull: “Surely”, he wrote, “Our fatherland boasts no rocks, waterfalls, high mountains or romantic valleys. Proud, sublime nature is not to be found in our land”. In 1834 he settled with his wife in the town of Cleve, a nice place to work from, and one that worked well as base to undertake his long journeys along the Rhine and the Ruhr rivers. During his travels Koekkoek would study nature meticulously and make numerous basic paintings or sketches which would on his return be worked out in his studio. The above-mentioned book from 1841 gives a clear idea about how Koekkoek considered nature to be the one and only source of inspiration for his art. His almost lyrical written descriptions of the landscape were subsequently translated into paintings by his sublime depiction of winding paths, panoramic views and broad trees in impressive wooded environments. Some tiny figures can be seen, but only to underscore the contrast of humble humanity as opposed to the greatness of nature. Koekkoek’s artistic views and theories, along with his highly developed technical skills, appealed to many young artists who wanted to receive his tuition. And so, in the same year that he published his book, he also founded his own drawing academy (Zeichen Collegium). This would be the beginning of “The School of Cleves” with students such as Frederik Martinus Kruseman, Willem Bodeman and Johann Bernard Klombeck, all drawing in the same romantic vein, resulting in works in which realistic details are combined with an almost dreamy atmosphere.This impressive lot is dated 1851, and by that time Koekkoek is at the very height of his genius. On a forest lane, a solitary herdsman walks towards us with his cows. The path is dappled with warm sunlight that reminds us of the first golden hours of a beautiful summer day. The haziness in the background, where morning mist still lingers, tells us that the air is probably still cool and fresh. The eye is drawn to a majestic oak tree with partly broken off branches. The tree not only divides the shadowy part from the sunny segment, but is also half living, half dead. It is a frequently recurring theme in Koekkoek’s work and often seen in seventeenth century landscapes. But where the use of this Vanitas symbolism by Koekkoek’s predecessors is often dark and threatening, in his own sunny landscape it seems to be just a friendly reminder that life and death are always close companions. Koekkoek uses his trees also to give the composition an intimate, closed-in atmosphere. With the trees cut off by the edge of the canvas, the scene is narrowed in, giving it extra depth. In a perfect blend of the peaceful pastoral with the sublime reverence for nature, Koekkoek lives up to his title ‘Prins der Landschapschilders’. Barend Cornelis Koekkoek indeed shows royal grace in carefully combining his close study of Dutch seventeenth century painters with his own acute study of nature. The influence of painters like Hobbema, Cuyp, Ruisdael and Wynant, but also Pieter van Laer and Jan Both can be seen both in his technique and in his choice of subject. Yet, Koekkoek’s own pictures, are superb in their own right: his magnificent landscapes in which the greatness of nature is celebrated in every detail, have never stopped to impress. Up to this day Koekkoek is widely regarded as the most talented and skilled landscape painter of the nineteenth century. Source:-Angelika Nollert, ‘Barend Cornelis Koekkoek (1803-1862): Prins der landschapschilders’, Dordrecht 1997.
Lot 212
1960s Merseybeat: A Large Group of Club Membership Cards, Address Books and Photographs,1960s,comprising membership cards for; The Cavern Club (1963), The Iron Door Club (1964), The Blue Moon Club, The Mojo Club, Wallasey Jazz Club, Walton Lane, and The Rialto; business cards include, Northern Variety Agency, Radio Caroline, Star Palast, The Jazz Cellar, The Roger James Ice Blues, The Piccadilly Club, Liverpool Daily Post, the Daily Mail, Tridents R&B Group, Terry Gore and others; accompanied by two address books with Northern Variety Agency contacts; together with a collection of photographs of musical acts such as, The Searchers (signed by Freddie Star), King Size Taylor and the Dominoes (signed), Rory Storm and The Hurricanes, Dusty Springfield, Four Dimensions, Jerry Lee Lewis, Tony Sheridan, The Undertakers, Sonny Webb and The Cascades and many more; (Qty)Footnotes:Provenance:Acquired directly by the vendor in the 1960s when they worked for Les Ackerley, the owner of the Liverpool Northern Variety Agency that managed The Searchers and a number of other pop groups. This role saw him booking in the agency's groups and allowed him to spend some time at The Star Club in Hamburg. He later became the manager of the Iron Door Club in Liverpool.For further information on this lot please visit Bonhams.com
Lot 209
Edward William Cooke RA, British 1811-1880- A collection of 88 pencil drawings of Egyptian landscapes, river views and artefacts including: Dendera; The Gate of the Nile; Philae; Gebel El Silsilah; Gebel Aboofayeda; Keneh; Bibbeh; Views and architectural studies of Venice and figure studies and architectural studies executed in Rouen, Avignon, Capua, Rome, Ravello, Ferrara, Urbino, Florence, Trento and Capua including: The catacombs of Saint Sebastian, Rome; The Sistine Chapel, Rome; St Peter's, Rome; San Antonio, Padua; Door of Santa Maria del Orta, Venice; San Polo, Venice; San Marco, Venice; Details of Palazzo Pisani, Venice; and Capitals in the Palazzo Ducale, Venice, the majority inscribed with titles, some annotated with notes, and some dated variously 3 October 1851 to 27 February 1874, some annotated with numbers, pencil, some within a pencil border, on paper, six on tracing paper, one on blue paper, two on reverse of printed paper, four on card, 17.5 x 10.1 cm and smaller, eighty-eight (88), (mounted, unframed, many in common mounts). Provenance: Anon. sale, Sotheby's, London, 10 July 1997, lot 147 (as ‘An album of sketches.’).; The Collection of Sir Nicholas Goodison. Note: Edward William Cooke was born into an artistic family, the son of the engraver George Cooke (1781-1834). He was a talented child artist and by the age of nine was already executing wood engravings of plants for publication. At the age of fourteen he met Clarkson Stanfield, RA (1793-1867) and began a lifelong interest in sketching boats. He also began to study architecture under Augustus Pugin (1812-1852), but did not pursue this as he preferred marine subjects. He was elected an Associate of the Royal Academy in 1851 and a full member in 1864. The other great interests in his life were botany and geology, and he was elected a Fellow of the Linnaean Society in 1857, Fellow of the Geological Society in 1862 and Fellow of the Royal Society (an unusual accolade for a painter) in 1863. Cooke was an inveterate traveller, visiting Europe on many occasions between 1824 and 1879 (for further details see J. Munday, E.W. Cooke 1811-1880 A Man of his Time, Woodbridge, Suffolk, 1996, p. 364, appendix 4) and a dedicated diarist, beginning when he was 17 and continuing until a few weeks before his death. His itinerary on his many foreign trips are carefully recorded and these match up with the dates on his sketches. The drawings which are dated October are from his second Venetian tour in 1851. He left Folkestone on 11 August, travelling to Paris and then on to the Swiss Alps, journeying on to the Italian lakes and then Verona and Venice where John and Effie Ruskin were also staying. He remained there before returning home in December. Thirteen drawings are from a three-and-a-half-month trip, beginning on 1 January to Egypt, see Munday, op.cit., pp. 207 for a detailed itinerary. Cooke’s expedition to Egypt was to be a geological-cum-antiquarian excursion as well as a painting trip along the Nile. He travelled on the P & O steamer Simla, in the company of Professor Richard Owen and Mr John Fowler, engineering adviser to Khedive Ismail Pasha and encountered other British visitors such as the artist Hercules Brabazon Brabazon (1821-1906). Cooke was clearly delighted by the sites of Egypt and he planned another painting trip there at the end of the same year. The remaining sketches are figure and architectural studies, many of buildings in Venice and these show his continued interest in architecture. His obituary, published in The Gardener’s Chronicle, 10 January 1880 concluded, ‘In his pictures… the work by which he achieved fame and fortune-his mental characteristics may be traced- his love of truth, his accurate observation and fidelity in reproducing them. Many of his pictures are scientific lesson-books: the dip of the strata, the grains of the sand, the shapes of the leaves, the curvature of the trunks of the Palm trees, the form of rain clouds, the line of the waves, and hundreds of such instances betoken, not only the artist, but the man of science. There is an amount of absolute truth about them, apart from imagination, which will give his picture a permanent value beyond that of many of his contemporaries.’ The present group of sketches, carefully preserved and mounted, reveal Cooke’s skilful draughtsmanship and the discerning mind of an archetypal enquiring Victorian gentleman. Please refer to department for condition report
Lot 227
A PAIR OF CORNISH SERPENTINE DOOR STOPS FIRST HALF 20TH CENTURY Surmounted by brass ring handles each 23cm high overall TOGETHER WITH ANOTHER SIMILAR DOOR STOP 21cm high overall (3) Provenance: Christie's, Interiors, 15th May 2012, Lot 133.Condition Report: Marks, knocks, scratches, abrasions consistent with age and useSome knocks and signs of use, the leading edges with some chipping and lossesThe metal mounts with some dirt and discolouration these appear to be solidly attached at time of reportPlease refer to additional images for visual reference to condition Condition Report Disclaimer
Lot 3
A PAIR OF CORNISH SERPENTINE DOOR STOPS FIRST HALF 20TH CENTURY Of mallet form each 20cm highProvenance: Christie's, Interiors, 15th May 2012, Lot 133. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useSome minor knocks and signs of use, undersides with some scratchingPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 160
A vintage music system in a teak housing unit with smoky glazed door above a record rack, comprising a pair of large Goodmans Eleganzia MkII high fidelity loud speakers, a Denon TU-215RD stereo tuner, a Denon PMA-250SE stereo amplifier, a Sony CDP-XE270 CD player and a Goldring Lenco GL75 turntable.
Lot 730
A late 19th/early 20thC walnut and figured walnut bedroom suite, comprising triple wardrobe with scroll carved detail, two bevelled mirror plates enclosing drawers, on a shaped plinth, 212cm high, 168cm wide, a dressing table with a bevelled plate, the top with an arrangement of small trinket drawers and a recess, the stepped base with four short and two long drawers, on turned legs with castors, 120cm wide, and a marble top washstand with shaped crest, three drawers and a panelled door, on turned legs with castors, maker's name to wardrobe for Henry Barker Ltd Cabinet Maker and Upholster Nottingham.
Lot 784
A set of Scandinavian style hardwood bedroom furniture, comprising a low unit with five drawers and a door, 87cm wide, a pair of bedside cabinets and a stool with padded seat. The upholstery in this lot does not comply with the 1988 (Fire & Fire Furnishing) Regulations, unless sold to a known exporter or upholsterer it will be cut from the frame before leaving the premises.
Lot 615
An E.Leitz Wetzlar microscope in mahogany casethe case with three side drawers, one with two objectives and one with four eyepieces, plus one extra large lens, one drawer with glass slides, the base and the objective lids stamped, 'Agent C Baker E Leitz Wetzlar 244 High Holborn London', the base also stamped for Wetzlar, '58369', and stamped for C Baker, (2)case height 33cm, width 17.5cmCondition:Lower hinge to case door broken. Case in tired used condition.
Lot 633
A mid 19th century painted wooden dolls house and furnishings, 'The Grange'pale and dark brown painted, the black painted roof with gable ends, two chimneys and a window, the removable front with six large glass windows enclosing two central smaller windows and a door with cream pillars and steps, the interior with six pale green and grey painted rooms with a central hallway, staircase and landing, three bedrooms, a kitchen, sitting room and dining room, each room with a fireplace and assorted furnishings in various styles, (qty)height 73cm, width 81cm, depth 28cmCondition:Fair condition commensurate with age. Several window panes crackedBy descent
Lot 301
A late 19th century Dutch novelty miniature silver bowfronted corner cupboard, a .833 cachou box and an .800 Italian model of a two masted sailing boatfirst, pseudo marks only, c.1890 the twin hinged doors repousse decorated with cherubs in a landscape and rocaille scrolls, surmounted by a pierced crested on legs, (3)first height 12.5 cm., weight approx. 4.7 oztCondition:Right hand door appears to have an old repair on the hinge. Otherwise in good condition. Cachou box in good condition. Wire attching fron sail to ship has broken
Lot 1001
AN UNUSUAL GREEN POLYCHROME PAINTED TWO DOOR LINEN PRESSWith fitted interior, 121cm wide; 65cm deep;186cm highProvenance: The Property of a Noblewoman Condition report: Numerous inevitable scuffs, scratches, dents, many chips to paintwork, flaking and marks commensurate with wear, use and age.Some paint work has been refreshed. Some shrinkage cracks in areas, notably to the sides with some splits and flaking to the paint. Metal handles are later. The structure looks to be 19th Century. It has not been possible to identify wood worm as the backboards are obstructed, however pine is incorporated into the structure and it’s likely to have some areas of worm, although presently not obvious from the front and sides.Please see extra images.
Lot 1009
A WALNUT FIVE DOOR WARDROBE OF 17TH CENTURY ITALIAN STYLE304cm wide; 68cm deep; 210cm highCondition report: Please see extra images of the interior. Loose boards and panels. One extra shelf. Jar of screws containing two keys. Cornice also comes apart and probably the plinth base. Numerous obvious inevitable scuffs, scratches, dents, small chips and marks commensurate with wear, use and age.Central door escutcheon loose.
Lot 1214
A LATE VICTORIAN MANCHESTER EBONISED FUSÉE DIAL CLOCKThe 12in painted dial signed W. McFerran, Victoria Street, Manchester, the timepiece movement with anchor escapement and chain fusée, swing-out side door and military-style recessed lock to bottom door37cm diam.See Ian P. Lyman, Railway Clocks, Ashbourne 2004, p. 125, Fig 4.59 and p. 169, Fig 5.86, for similar clocks by McFerran. With its pendulum. The movement is dirty and will require a clean and service. The dial foot at III o’clock has moved and is now visible. Some paint scratching to the chapters. The glass is cracked. The pegs are associated. Some veneer loss around bottom door, with a broken hinge. Case with scratches and knocks commensurate with age.
Lot 1217
A VICTORIAN MAHOGANY DROP-DIAL STRIKING WALL CLOCKSigned Huband, LymingtonWith 12in circular painted dial, the twin train chain fusée movement striking on a bell, anchor escapement51cm highWith its pendulum. This clock is in unrestored condition. Overall the clock requires attention, as there are cracks to the case, the bottom door is loose. The movement is very dirty and oily. The dial is dirty and with some paint loss. A second set of three dial screw holes have been drilled. The old holes match up underneath on the bezel, so it seems original to the case.
Lot 1236
A RARE AND UNUSUAL FRENCH ENGRAVED GILT-BRASS BELL STRIKING CARRIAGE CLOCK WITH PUSH REPEAT ON A GONG AND ALARMBy Charles Oudin, 52 Palais Royal, circa 1855And incorporating an ébauche for quarter-repeating, signed Breguet à ParisThe Corniche case with engraved side panels and back door, with shuttered winding apertures, engraved all over with scrolls and foliage, enamel dial with ‘Breguet’ moon hands and alarm subsidiary, platform escapement with club tooth lever, the push repeat activating on a watch ebauche signed Breguet a Paris, with gong mounted between the dial and front plate, striking the hours on a bell mounted on the backplate and the alarm sounded on a bell in the underside of the base, together with its original leather travelling case18cm highCharles Oudin trained under the greatest watchmaker Abraham-Louis Breguet in the late 18th century in Paris. Establishing his own business at the turn of the century, he supplied clocks and watches of the highest quality. Occasionally referencing the great master, his work is sometimes found with his signature and then an homage élève de Breguet. The two firms evidently continued a close relationship, as found here, with Oudin using the push/repeat work of a Breguet watch to incorporate into this top-end engraved carriage clock.Together with a leather travelling case.The clock appears to have been recently restored and the case regilded, the movement cleaned and oiled. It ticks and the repeat and alarm function.
Lot 1243
A MONTH-GOING SEAWEED MARQUETRY WALNUT LONGCASE CLOCKThe movement by Jonathan Lowndes, London, early 18th century and laterThe stepped domed hood with pierced sound frets above three-quarter columns, glazed hinged door and glazed sides, above panel door and stepped base, the sides with chequer inlay; the 12in square brass dial, cherub and crown spandrels, signed silvered chapter ring, seconds subsidiary, calendar aperture and harboured winding holes, the twin train movement with six ringed and finned pillars, anchor escapement and inside countwheel strike on a bell, case and movement possibly associated 236cm highJonathan Lowndes, recorded by Loomes as working 'At the dial in Pall Mall', 1680 to 1710.With two gilt-painted cast-iron weights, a modern winding key, brass bob pendulum.The movement: the dial and movement are in good original condition. It will require a service as the plates are dirty and the oil sinks show old oil now darkening. Seatboard is a replacement. It is 32mm thick in oak.The case: this has been subject to restoration in the past. The backboard is 95% complete. Overall it has been repolished and little of the original patina remains. Some reveneering. Cheeks reduced slightly. Incorrect use of a polish to the internal carcass. Door hinges replaced. Long lateral carcass crack to panel door on right-hand edge. Cleat shrinkage damage at top and bottom with each area having replaced veneer panel which is decorated to match the marquetry. Unusually the original oval cut-out for the glass has been removed and an oak panel of matching grain has been inset, whilst the front side has an oval marquetry inlay which is a very close match to the rest of the door. It was well done and appears very old work. Marquetry base plinth has a lateral crack. Plinth moulding is not original nor are bun feet. Overall losses and repairs to veneers and marquetry.
Lot 1246
A WALNUT, SEAWEED MARQUETRY STRIKING LONGCASE CLOCKThe dial inscribed Robert Sly, King Street, Westminster, early 18th century and laterThe hood with later swan-neck pediment above a square glazed panel door, flanked by fluted columns and Corinthian capitals, above a panelled door inlaid with three outlined marquetry panels, on a stepped base with marquetry on moulded base; the 12in square brass dial, with crown and twin cherub spandrels, silvered chapter ring, enclosing a matted centre with seconds subsidiary, the twin train movement with four knopped and finned pillars, with anchor escapement and strike on a bell (movement and case associated, case substantially restored and with altered elements, the chapter ring associated)238 cm high overallProvenanceChristie’s, London, 6 December 2006, lot 75.Robert Sly is recorded as apprenticed in 1707 and as a member of the Clockmakers' Company in 1720. He was working in King Street, Westminster. 1 pendulum. 2 winding keys. 1 case key. The clock has been subject to ‘restoration’ in the past. This would benefit possibly from some consolidation: however, it’s very much subject to personal preference.Taking the clock from the top:The swan-neck decoration to the hood is later, as is the rectangular marquetry panel between the glazed door and pediment. The walnut fillets to the dial edge are probably replaced if one considers the movement associated. A piece of veneer from the lower right side of the hood is loose, also other veneer losses to the left side. The pillars and capitals to the door are not period. The cheeks do not seem reduced. There is a badly filled carcass crack to the marquetry above the panel door, also some associated damage to the left and right side panels. The marquetry door has a filled repair to the top and the bottom which is due to the door cleats drying. The hinges are replaced and should be iron. Both sides are likely to have been reveneered. The backboard runs complete to around 12in from the floor with another old board filling most of the remainder, with the grain running horizontally. The back of the backboard has had a wash put on it. From the rear, the construction and mouldings look period. The plinth side veneers look old. The 5/8in. slip at the base is later. The movement is rack striking with four turned pillars. It appears in good order. There are two filled holes and a vacant hole visible to the back of the dial which evidences the chapter ring being changed. The present chapter ring does not cover the dial maker’s score line. The spandrels have been changed and previous drilled holes for these are filled and re-drilled. It appears to be be clean and well cared for: however, we would suggest a service. The seatboard is oak but not the original. An interesting Camerer Cuss label fixed to it is dated 1964.
Lot 1247
A GEORGE II WALNUT LONGCASE CLOCKThe movement signed Robert Sadler, LondonThe arched hood with a deeply-moulded edge above fret panel, arched glazed door flanked to each side by a three-quarter column, the sides with a rectangular glass panel and quarter-column, the trunk enclosing an arched door, crossbanded and herringbone outlined, on a base with stepped moulding and twin plinths; the 12in. arched brass dial with convex signature roundel, above foliate mask spandrels, silvered chapter ring with chevron half-hour markers, enclosing a matted centre with seconds subsidiary and calendar aperture, the twin train movement with five ringed and knopped pillars, anchor escapement and strike on a bell (replacements and restorations, movement probably associated)242 cm high overallThe case has been subject to extensive restorations and partial reveneering. The base and hood with evidence of reconstruction. The minute hand to the dial is a replacement. The movement will require a service. with a brass bob pendulum.
Lot 1247a
A GEORGE I WALNUT STRIKING LONGCASE CLOCKThe movement by Daniel Quare, London, the case early 18th century and laterThe hood with caddy top and brass finials, above a fret panel and moulded pediment, with glazed square door, flanked by brass-capped three-quarter columns, the sides each with a glazed panel and quarter-cut column, above the trunk with rectangular panel door, on stepped plinth base; the 11 ½ in. square brass dial with crown and cherub spandrels, silvered chapter ring, enclosing the matted centre with seconds subsidiary, harboured winding and calendar apertures, the movement with five knopped, ringed and finned pillars, anchor escapement and internal countwheel strike on a bell, the case with restoration and replacement, case and movement possibly associated246cm highPROVENANCE: Bonhams, London, 9 July 2014, lot 55.Daniel Quare (d. 1724), one of England's greatest clockmakers from the 'golden era' of English Clockmaking. George I offered him the post of the King's watchmaker; however his Quaker faith made him unable to swear an oath of alligence. Nevertheless the King told him that he could visit at any time, so his nickname 'Quare of the back stairs' was coined as the Yeoman of the Guard were instructed that he could only use the back stairs.His commercial success can be measured in part from the guest list of his daughter, Anne's wedding, which included envoys from many of the Royal houses of Europe.The case has been subject to restoration. It is repolished. The upper part of the hood may have some reconstruction which is well done. The frets are replaced. The door hinges have modern screws. The hinges are likely replacements, of the correct type. Old screw holes for each butt on the inner edge of trunk. The plinth has been rebuilt. The backboard has a replacement part at this point. Possibly moulding around the trunk door is replaced. The movement is dirty and will require a full service.There are two brass bound weights and the pendulum.
Lot 1248
A REGENCY MAHOGANY, OUTLINED AND MARQUETRY INLAID DOMESTIC REGULATORBy Robert Roskell, Liverpool, No 772, circa 1820The hood with a break arch above circular glazed door, marquetry lower spandrels, flanked by canted angles and with cut brass side grille panels, the trunk inset with a rectangular glazed panel door, stamped to the bottom inner edge FROM WILLIAMSON & SONS GUILDFORD, the base with a panelled well-figured plinth, canted angles and plinth foot, the 14in circular silvered dial, signed Robt Roskell, Liverpool, No 772, with seconds subsidiary below the XII, the substantial twin train movement with four turned pillars, rack strike on the hour on four bells, deadbeat escapement with beat adjustment to the crutch and, unusually, with flat steel chains for the weight suspension lines221cm highPROVENANCE: The Waterhouse Collection Please see the scanned image of a watercolour (not included), dated 1872, from the Waterhouse family archive, depicting this clock in Alfred Waterhouse's home at Fox Hill, Reading. By repute, this came from his family who originated in Everton, Liverpool, possibly purchased by the architect's father, also Alfred Waterhouse (1798-1873) or grandfather Nicholas Waterhouse of Everton (1764-1837). Please see the following story for further details: Autumn at Bellmans | The Waterhouse Family CollectionIn unrestored condition. With a winding crank key and two brass cased weights of differing style and sizes. Lacking its original pendulum, however there is a wood rod fluted and gilt decorated pendulum rod and brass bob supplied but perhaps not original? Two pierced brass weight pulleys. The movement is unrestored and will require a service. The case is in original condition. There are three pieces of moulding to the right side loose, and here in a box, however two pieces are each missing some section. There is a lateral crack to the left side of the plinth. The trunk door lock is a modern replacement. The lower right veneer panel of the base is loose and has a small chip. Marks and knocks as expected with age.
Lot 1251
A WILLIAM AND MARY WALNUT AND MARQUETRY LONGCASE CLOCKBy John Greenhill, Maidstone, circa 1695The hood with a moulded cornice above a fret with glazed panel below, flanked to each side by turned handed columns, with a quarter-column to the back, the trunk inset with a panel door with three bordered marquetry panels cut with abundant flowers, scrolls and birds, centred with a glazed aperture, the inside of the door with an engraved silver presentation panel dated 1961, the base with conforming panel, on bun feet; the 11in square brass dial with cherub head and foliate spandrels, silvered chapter ring, signed John Greennhill, Maidston Fecit (sic), enclosing a matted centre with rose engraved centre, seconds subsidiary, harboured winding holes and calendar aperture above the six, the twin train movement with five knopped and finned pillars, anchor escapement and internal countwheel strike on a bell203cm highJohn Greenhill III, recorded 1655-1712. Pearson states Greenhill was a man of some substance in Maidstone for, in addition to being in business as a gunsmith and clockmaker, he was a member of the Corporation and had substantial land holdings.COMPARATIVE LITERATURE:Michael Pearson, Kent Clocks & Clockmakers, Ashbourne 1997, p.71.Two brass cased weights and its pendulum. The clock was running before consignment and has been carefully maintained. It is in very good condition.The case has been the subject of some sympathetic restoration, mainly to the base. The sides of the base may be reveneered and each has a slight vertical crack, due to carcass movement. Some of the banding to the marquetry base panel seems replaced. There is an old repaired crack laterally across the base marquetry. This is fairly usual and indicates originality. There is a small amount of ‘repainting’ on this area. The trunk door hinges appear original. The lock is a brass replacement. The seatboard cheeks have not been reduced. There are nail holes (square handmade nails) to the inner side of each cheek and the surface of the oak board here is not so oxidised. The seatboard is possibly replaced. The fret panel to the hood is a replacement. The backboard is 90% complete.In summary a charming clock which presents very well.
Lot 1252
A CHARLES II WALNUT, OYSTER VENEERED AND MARQUETRY LONGCASE CLOCK WITH 10” DIAL AND BOLT-AND-SHUTTER MAINTAINING POWERThe movement signed Daniel Quare, London, the case associated, circa 1680The hood with a moulded cornice above a glazed door, flanked by handed columns, above the trunk inset with a panel door, oyster veneered and with two small foliate spandrels and two larger foliate marquetry panels, the sides with oyster veneered panels, the base with a marquetry panel of a vase and flowers, on bun feet; the 10in square brass dial, signed on the dial plate Daniel Quare, London, with cherub mask and foliate spandrels, silvered chapter ring enclosing a finely matted centre, engraved with a rose, blued steel hands, narrow seconds subsidary and calendar aperture, the twin train movement with five knopped and finned pillars, bolt and shutter maintaining power, latched to the front plate, anchor escapement and external countwheel strike on a bell, case and movement associated193cm highPROVENANCE: Bonhams, London, 11 July 2018, lot 65.A marquetry clock, with virtually identical dial and movement by Quare, was sold at Bonhams, London, 13 December 2017, lot 12.Daniel Quare (d. 1724), one of England's greatest clockmakers from the 'golden era' of English Clockmaking. George I offered him the post of the King's watchmaker. However: his Quaker faith made him unable to swear an oath of alligence. Nevertheless the King told him that he could visit at any time, so his nickname 'Quare of the back stairs' was coined as the Yeoman of the Guard were instructed that he could only use the back stairs.His commercial success can be measured in part from the guest list of his daughter, Anne's wedding, which included envoys from many of the Royal houses of Europe.With two brass bound weights and its pendulum. The clock is in good condition and was running prior to consignment.The dial has two pairs of filled holes on the top edge of the dial plate (perhaps once holding an arched panel as a later addition?). The movement is clean and the steel work is clean and bright. The bolt & shutter mechanism is likely a replacement, well done.The case has been restored. The base appears to have been reconstructed, utilising the marquetry panel and re-laying it. The sides and front border are reveneered. The backboard is 90% complete and runs 173cm in length. The cheeks have been reduced by approx 10mm. There is no indication it originally had a rising hood. There is no sound fret to the hood.The clock presents very well and with the 10in dial and the proportions of the case it has a charming presence.
Lot 1254
A GEORGE III BRASS LANTERN CLOCKBy Thomas Dadswell, Burwash, circa 1790Surmounted by a strapped bell and five finials, pierced dolphin frets, above tapering slender columns, a brass door to each side, the 5 3/4in dial with silvered chapter ring, enclosing the signature to the centre above foliate scroll, pierced blued steel single hand, with weight driven movement with anchor escapement, boxwood pulley, countwheel strike on a bell 35cm highPROVENANCE: Bonhams, 11 July 2018, lot 55.Thomas Dadswell, a member of the Sussex clockmaking families of Muddle, Dadswell and Hoadley. See also lot 1257.There is no pendulum or weight for this clock. It appears to be in good condition but dusty, so may require a service. The silvering to the chapter ring is worn. The clock appears to have been extensively cleaned at some point and has a deep straw-coloured lacquer to it.
Lot 1260
A LATE REGENCY FRUITWOOD AND BRASS-MOUNTED MANTEL TIMEPIECECirca 1820The arched case with slender brass three-quarter columns between convex glazed door, above chevron mount and brass line outlining, on turned brass bun feet; the 4in circular white enamel dial with blued steel spade hands, with six pillar gut fusée movement, arched plates, and anchor escapement 28cm highWith its pendulum. The enamel dial is chipped and has been filled and painted over on these areas. The movement will require a service. The case was probably darker. The top, sides and front have been cleaned and repolished. The back retains its original colour and surface. There is a repair to the veneer below the lock escutcheon, some cracks to the front and a ripple to the veneer on the arch. The back door has cracks to the veneer.
Lot 1261
A SMALL EARLY VICTORIAN PALE ROSEWOOD MANTEL TIMEPIECEBy Birch, Fenchurch Street, LondonThe case with a swept top above glazed front door and glazed sides, the 3 /34in silvered dial, signed with blued steel ‘Breguet moon’ hands, gut fusée movement with anchor escapement and locking pendulum nut26cm highPossibly William Birch, Fenchurch Street, 1844-75. Then later Birch & Gaydon. This charming clock is in excellent working condition. The case is of a very pleasing ‘light’ colour. It has its pendulum.
Lot 1263
A MAHOGANY CHAMFER-TOP BRACKET TIMEPIECEIn the Regency style, the dial inscribed Perigal & Duterrau, 62 New Bond Street, LondonSurmounted by a finial, with 6in silvered dial, pierced blued steel hands and convex glass, a brass grille panel to each side, the gut fusée movement with anchor escapement38cm highWith its pendulum and winding key. In good order. The movement has been cleaned recently. There is a key for the door lock. There is a filling chip to the left upper corner on the front. 39cm high,16cm deep, 22cm wide
Lot 1266
A GEORGE III BRASS-MOUNTED EBONISED STRIKING VERGE TABLE CLOCKBy Samuel Jones, Bath, circa 1765The bell-top case with brass carrying handle above glazed door with grille panels, the sides each with a rectangular glazed panel, on stepped foot and block feet; the 7in arched brass dial with strike / silent in the arch, silvered chapter ring, enclosing a matted centre with false pendulum aperture, signature escutcheon and calendar aperture above the VI, the twin train movement with wire gut fusées, verge escapement, striking the hours on a bell, with trip repeat, and engraved backplate 49cm high (handle up)The clock is in good original condition. The verge is original. The movement was working prior to consignment. The oil sinks are a little dirty so a service might be advisable. Case in good order.
Lot 1267
A GILT-METAL-MOUNTED MAHOGANY QUARTER CHIMING AND STRIKING BRACKET CLOCKThe dial and movement signed James Leicester, Drury Lane, part late 18th century and laterThe bell-top case with knopped carrying handle above four urn finials and moulded pediment, with glazed panel door and inset pierced brass frets, the sides each with two glazed panels, on stepped base and brass bracket feet, the 7 ¼ in. arched brass dial with engraved outer edge, chime/silent subsidiary to the arch, above signature line, with silvered chapter ring and chime lever to the III, blued steel hands, the three train chain fusée movement with rectangular foliate engraved plates, later re-trained and fitted with a third train, chiming the quarters on eight bells and striking the hours on a larger bell, adaptions50cm highThe movement appears originally to have been a twin train with pull quarter repeat but extensively rebuilt by the Victorians. The plates appear original to Leicester’s work and have been totally re-trained and a third train added. The original fusée pivot holes, with engraved rose, are filled, together with many other original holes. The dial plate appears original and here again has been adapted; the original dial feet have been removed, but their original holes remain and correspond to filled holes on the front plate. The chime/silent ring is an obvious Victorian replacement, as is the matted centre and silvered chapter ring.
Lot 1269
A LATE GEORGE III BRASS-MOUNTED MAHOGANY QUARTER CHIMING AND STRIKING BRACKET CLOCKBy Robert Roskell, Liverpool, circa 1815Ivory Declaration THZ42QA4The break-arch case with a single pad top, above glazed panel door, flanked to each side by a stop-fluted quarter-column, above a chevron moulded panel, the sides each with a lion mask ring handle and brass grille panel, on stepped plinth and hairy claw feet, the 8in arched white-painted dial, with strike / silent above the chapters, signed, with finely pierced blued steel hands, the substantial three train gut wire fusée movement signed ROBERT ROSKELL LIVERPOOL, with engraved backplate, locking pendulum block with knurled finger nut, anchor escapement, chiming the quarters on a carillon of eight bells and striking the hour on a larger single bell, with trip repeat53cm highProvenance: The Waterhouse Collection Please see the following story for further details: Autumn at Bellmans | The Waterhouse Family CollectionThis clock (along with the longcase domestic regulator, also by Roskell in this sale) will have come from his family who originated in Liverpool (Everton). His father, also Alfred Waterhouse - 1798-1873, his grandfather Nicholas Waterhouse of Everton 1764-1837. The clock is in good original condition. It has its pendulum and a steel key. The case is in very good condition and is of a fine colour. The dial has lost some paint over the chapters and minute ring and in the arch on the strike / silent. The movement looks to have been well cared for. It functions: however the chime is a bit sluggish. The oil sinks are dirty so it would be advisable to have it serviced.
Lot 1270
A GEORGE I EBONISED SMALL STRIKING TABLE CLOCKBy Daniel Delander, London, circa 1720With an inverted bell-top case, surmounted by a knopped brass handle, above a door with arched glazed panel, the 5in arched brass dial, finely detailed, with calendar subsidiary above finely cast spandrels, enclosing a silvered chapter ring, enclosing a matted centre with false pendulum aperture, oval signature escutcheon and blued steel pierced hands, the twin train gut fusée movement with verge escapement, with engraved and signed backplate, (formerly with pull quarter repeat) striking the hours on a bell 35cm high (handle up)Daniel Delander was apprenticed to Thomas Thompion in 1692. Delander is recorded as working firstly in Essex Street, then Devereux Court, from where in 1714 he moved to a house between the two gates of Inner Temple. He died in 1733. A fine maker.The clock is in good condition. The case ebonising has been refreshed in the past. The quarter repeating work is now lost. The movement is running. The verge escapement is a reinstatement. The base has a cut out for the previous longer pendulum when likely footed with an anchor escapement.
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