A QUANTITY OF GOLD JEWELLERY INCLUDING AN ANTIQUE DIAMOND BAR BROOCH IN GOLD, UNMARKED, A FOX MASK STICK PIN IN GOLD MARKED 9CT, AN ANTIQUE AMETHYST AND SEED PEARL BROOCH MARKED 9CT, A TURQUOISE CABOCHON BAR BROOCH MARKED 9CT, A 9CT GOLD ENGRAVED RIBBON BROOCH, AN ANTIQUE AMETHYST AND GARNET BROOCH MARKED 9CT, A SHELL CAMEO MOUNTED BROOCH/PENDANT AND A LADIES ENGRAVED AND ENAMELLED POCKET WATCH, MARKED 14K, TOTAL WEIGHT APPROX 48G++POCKET WATCH MISSING SOME ENAMEL FROM THE CASE, ITEMS IN GENERALLY GOOD CONDITION WITH MINOR SCRATCHES AND WEAR CONSISTENT WITH AGE
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A rare Swiss electroplated aneroid pocket barometer compendium with altimeter, thermometer and compass, the register inscribed for E. Benzoni, Geneva, late 19th century The circular fired white enamel register with outer scale calibrated 34 to 80 for barometric pressure divided into tenths, the inner scale calibrated in reverse to 0-5,000 for altitude in feet and the centre signed E. BENZONI, GENEVE, in cylindrical plated brass case incorporating gilt on oxidised brass dial engraved with central compass rose with steel needle within raised silvered ring engraved in degrees calibrated 0 to 360 with every degree annotated, the outer margin with curved mercury tube CENTIGRADE thermometer set behing shallow convex glass with compass needle locking lever to circumference, the case with suspension ring to top and measuring 5cm (2ins) approx.; in original blue velvet and silk lined leather covered case. E. Benzoni of Geneva does not appear to be recorded in the usual sources however the inscription may well be that of the retailer of the current lot rather than the actual maker. The calibration for altitude being in reverse is highly unusual as is the barometric scale which to the best of the cataloguers knowledge does not appear to conform to any of the multitude of conventional units used for barometric pressure.
A fine French engraved gilt brass carriage clock with push-button repeat and chronometer escapement, Gontard and Bolviller, Paris, circa 1840-50 The eight-day bell striking movement with platform lever chronometer escapement incorporating helical sprung balance beneath yoke-shaped bridge, the backplate stamped with oval BOLLVILLER, A PARIS trademark and numbered W, 414, the rectangular white enamel Roman numeral dial with signature GONTARD ET BOLVILLER A PARIS beneath VI and fine blued steel Breguet style moon hands, the bevel glazed one-piece caddy moulded case with hinged faceted baton and baluster turned engraved carrying handle above large top glass and foliate scroll engraved trails to angles and edges, the rear with intensely engraved door decorated with hatched foliate strapwork and incorporating shutters for the winding and adjustment squares, on conforming cavetto moulded skirt base with recessed sections to angles, 13.5cm (5.25ins) high excluding handle. Bolviller is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development (page 432) as working from several addresses in Paris from 1830 until after 1870. Bollviller are known for being relatively early and inventive makers of fine French carriage clocks. Bolviller appears to have entered into partnership with C.P. Gontard in the 1840’s as a Brevet was granted to both makers for a lever chronometer escapement in 1848. Gontard went on to show carriage clocks in London 1851 and patent two further related escapements and produce carriage clocks under his name alone.
A French brass carriage clock with push-button repeat and alarm, retailed by Asprey, London, late 20th century The eight-day gong striking movement with platform lever escapement and stamped with l’Epee trademark to backplate, the rectangular white enamel Roman numeral dial inscribed Asprey to centre, with Arabic five minutes beyond the minute track and blued steel spade hands, the Corinthian pillars case with hinged reeded baton carrying handle and tall skirt base, 16.5cm (6.5ins) high.
ϒAn unusual French Louis Philippe rosewood wall clock, Henry Marc, Paris, circa 1840 The circular eight-day countwheel bell striking movement with anchor escapement and stamped with oval H'Y MARC, PARIS over serial number 15180 to backplate, the circular white enamel Roman numeral dial signed H'ry Marc, a Paris to centre and with trefoil pierced blued steel hands, the unusual waisted arch-top case with lift-off cover incorporating integral fixed brass bezel and thick bevelled glass over swollen sides and shaped glazed front panel enclosing 'gridiron' pendulum with rosette cast bob, the base with bracket of inverted ogee form formerly terminating with a pendant a finial which when pulled releases the cover securing catch (lacking), 40cm (15.75ins) high. An identical clock to the current lot (numbered 13525) was sold in these rooms on 20th September 2016 (lot 42) for £950 hammer. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A French gilt and lacquered brass ‘Capuchine’ alarm timepiece, unsigned, circa 1830 The four pillar single train movement with five-wheel train incorporating tic-tac escapement regulated by short pendulum with silk suspension contained within the case at the rear, the top left hand corner of the plates with alarm mechanism powered by a spring box wound via a pull-cord exiting the top plate above, the 2.5 inch circular convex white enamel Roman numeral dial with blued steel moon hands and arrow alarm setting pointer within a repeating lotus leaf milled gilt bezel, the rectangular box case with pivoted handle issuing from vase finial to the domed bell superstructure flanked by further brass finials to each corner and with R/A small regulation dial above dial to front, the sides and rear with hinged doors, on slender toupe feet, 21.5cm (8.5ins) high; with a purpose-made red velvet plinth and ebonised ogee moulded stand, 28cm (11ins) high overall.
A French gilt brass carriage clock with push-button repeat, unsigned, circa 1900 The eight-day bell striking movement with silvered platform lever escapement and stamped with serial number 654 to the lower right hand corner of the backplate opposing engraved initials Pq, the circular white enamel Roman numeral dial with blued steel moon hands set within a fine foliate scroll strapwork engraved gilt brass mask, the frosted gilt brass bevel-glazed case with hinged faceted carrying handle over canted angles to top mouldings and fine fluted pilaster corner uprights, on cavetto moulded plinth base with conforming canted angles and compressed bun feet, 14cm (5.5ins) high excluding handle.
A French tole peinte mural wall timepiece, Paul Garnier, Paris, mid 19th century The circular eight-day single train movement with anchor escapement for regulation by pendulum incorporating Brocot type regulation to suspension, the backplate signed PAUL GARNIER, PARIS and numbered 3369, the circular white enamel Roman numeral dial with repeat signature PAUL GARNIER, H’GER M’CIEN DE LA MARINE over indistinct address RUE …OUT 16 to centre, with blued steel moon hands set behind convex glazed hinged egg-and-dart cast brass bezel, the scarlet and gilt painted octagonal case in the form of a large sedan timepiece with vine leaf trail painted ogee moulded surround within gilt outer border beneath oversized brass suspension post, 37cm (14.5ins) wide. Paul Garnier is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS their history and development as born 1801 and receiving Silver Medals in the Paris Exhibitions of 1827, 34, and 39; and gold medals in 1844 and 49. He worked from various addresses at Rue Taitbout, Paris and died in 1869 leaving the business to his son of the same name who was still exhibiting carriage clocks in the Paris Exhibition of 1889. Paul Garnier is generally credited for being the first maker to essentially standardise the 'petit pendule portative' which was in effect to become the prototype for the archetypal French carriage clock.
A Victorian silver cased miniature carriage timepiece, probably by Douglas Clock Company, Birmingham 1900 The French eight-day movement with replaced platform lever escapement and circular white enamel Roman numeral dial with blued steel spade hands set behind a convex glass with moulded bezel, the plain rectangular case with looped scroll hinged handle, compressed bun feet and engraved with monogram E.B. to the hinged back panel, Hallmarks for Birmingham 1900, (maker's mark D.C. & Co.), 7cm (2.75ins) high excluding handle.
A German 400-day torsion timepiece in mahogany four-glass case, Gustave Becker, Freiburg, early 20th century The movement with five-wheel train and deadbeat escapement regulated by rotating balance incorporating cylindrical adjustable timing weights and decorative baluster gallery suspended beneath the movement on a long torsion suspension spring, the backplate with pallet viewing apertures over stamped GUSTAVE BECKER, FREIBURG, IN SCHL and MEDAILLE D’OR roundels and serial number 1887781, the circular cream Arabic numeral enamel dial inscribed EX’D BY, BENETFINK & Co. LTD, LONDON to centre and with blued steel spade hands set within a brass bezel, the whole raised on twin column uprights over rectangular mahogany cavetto moulded base cut with a channel to take the four-glass cover incorporating moulded cornice over bevel-glazed shallow-arch panels, on squab feet, 30.5cm (12ins) high.
A fine and potentially historically important George III mahogany striking table regulator, Thomas Mudge and William Dutton, London circa 1770 The nine-pillar twin fusee rack and bell striking movement with plates measuring 9.75 by 6 inches, massive spring barrels, Harrison’s maintaining power to the going train and now with half-deadbeat escapement regulated by half seconds pendulum with cylindrical brass bob, the foliate rococo scroll engraved backplate with arched recess to lower margin and applied with unusual twin scroll-shaped uprights attached via four knopped pillars and connected at the top via a complex bracket with slots cut to take a wide T bar pendulum suspension, the front plate of conforming dimensions inscribed William Dutton & Sons,London over the arched recess to lower margin, the 7.5 inch single sheet silvered brass Roman numeral dial with vacant calendar aperture and signed Tho’s Mudge, Will’m Dutton to centre, with Arabic five minutes to outer track and scroll-pierced blued steel hands, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over glazed circular dial aperture over concave-topped recessed panel to front door, the sides with arched brass trellis sound frets, the rear with further glazed break-arch door set within the frame of the case, on cavetto moulded skirt base with brass squab feet, 38cm (15ins) high excluding handle. Provenance: The property of a private collector; purchased Sotheby’s, London sale of Good Clocks, Watches, Wristwatches, Barometers and Scientific Instruments, Thursday 5th March 1992 (lot 69). Thomas Mudge was born in Exeter, Devon in 1717 and was apprenticed to George Graham before setting himself up in business at 151 Fleet Street, London in 1748. At around the time of the death of his former Master in 1751, Mudge was joined in partnership by a fellow former apprentice of Graham, William Dutton, who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1738 and gaining his freedom of the Clockmakers' Company in 1746.The business subsequently traded from 148 Fleet Street and Mudge, whilst in partnership with Dutton, rapidly acquired a reputation as one of England’s outstanding watchmakers. In around 1755, if not earlier, Mudge invented the detached lever escapement, which he first applied to a clock, but when incorporated into a watch became the greatest single improvement ever applied to them.In 1765 Mudge published the book, Thoughts on the Means of Improving Watches, Particularly those for Use at Sea, and the following year, alongside Dutton, was elevated to Liveryman. In around 1771 Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. The first of these went on trial in 1774 where it performed superbly leading to an award of 500 guineas. Mudge went on to complete two others in 1779 in the continuing attempt to satisfy the increasingly difficult requirements set by the Board of Longitude. They were tested by the Astronomer Royal, Nevil Maskelyne, and declared as being unsatisfactory. There followed a controversy in which it was claimed that Maskelyne had not given them a fair trial. A similar controversy had arisen when John Harrison had been denied the full amount of the 1714 prize by the Board of Longitude. Eventually, in 1792, two years before his death, Mudge was awarded £2,500 by a Committee of the House of Commons who decided for Mudge and against the Board of Longitude, then headed by Sir Joseph Banks.In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew. The work of William Dutton can be characterised by its distinctive originality, high quality and attention to detail which one would come to expect from a clockmaker who, alongside Thomas Mudge, succeeded George Graham who in turn had succeeded Thomas Tompion. The movement of the current lot appears to be a unique product of the Mudge and Dutton partnership. The provision of noticeably large diameter spring barrels coupled with a relatively shallow range of gearing to each of the fusees indicates that constant power delivery throughout the duration of the timepiece was off significant importance. This, together with the incorporation of maintaining power to the going train and delicate wheelwork, suggests that the movement was built with accuracy in mind. The highly unusual frame applied to the rear of the backplate indicates that a heavy pendulum (most likely compensated) was probably employed. In addition to this it has been suggested (by the late Charles Allix and Christopher Greenwood from evidence in the form of spare holes, slots etc. within the armature assembly) that, when first made, the current movement may well have employed a form of detached escapement. This possibility is further supported by the relatively low position of the original pallet arbor (in relation to the current escapewheel) which implies that the escapement itself was of highly unusual design and may well been positioned partly above the plates and connected to the pendulum suspended within the top frame of the armature to the rear of the backplate.The possibility of the current lot being originally made with a form of experimental detached escapement warrants further investigation and, if found to be the case, would identify the present timepiece as an example of significant historical importance. Indeed in the in the context of Mudge’s development of his detached escapement the current lot would sit between his famous balance lever table clock of circa 1760-65 (formerly in the possession of Isambard Kingdom Brunel now in the British Museum no. 1958,1006.2118) and his marine chronometers (the first of which was made in 1774). Furthermore, to the best of the cataloguer’s knowledge, this example would have also been the only clock from the Mudge and Dutton workshops to have been made with a detached escapement for regulation by pendulum. It is perhaps appropriate to mention that the late Charles Allix considered this timepiece to be of substantial historic importance and provided his views in a letter written to the vendor many years ago; regrettably this correspondence has been mislaid. When considering other details it is most probable that the current clock remained in the workshops of William Dutton and his successors for a significant time before essentially being ‘re-purposed’ and sold-on. Later work undertaken in the workshop included creating an arched profile to the lower margin of the plates - to allow the swing of the pendulum bob to be visible through apertures cut to the front of the case (including a fretwork overlaid glazed panel beneath the dial). The front upper margin of this arched cut-out was subsequently signed by William Dutton and Sons so this modification post-dates Mudges partnership in the business. In addition to this the original dial was overlaid with a white enamel dial which required the original dial feet to be shortened (and holes drilled to allow clearance the under dial pivot posts) and finally a relatively standard escapement was fitted. Subsequent to the clocks purchase in 1992 the later enamel dial has been removed and is no longer with the clock and the panel beneath the dial has expertly reinstated with fine figured veneer matching the rest of the case. Without a great deal of further work (mainly to the dial) the current lot could become a very attractive useable clock which, through further investigation, also has the potential to be identified (and subsequently restored) as an important example in the development of precision timekeeping.
A French gilt brass carriage clock, unsigned, circa 1900 The eight-day gong striking movement with silvered platform lever escapement and stamped with serial number 15137 to the lower left hand corner of the backplate, the rectangular white enamel Roman numeral dial with blued steel moon hands and canted fillet moulded surround, the frosted gilt brass bevel-glazed corniche case with hinged faceted carrying handle, 14cm (5.5ins) high excluding handle.
A Viennese walnut small regulator wall timepiece, unsigned, mid 19th century The four pillar single weight movement with Harrison's maintaining power, deadbeat escapement regulated by wood-rod pendulum incorporating fine beat adjustment to crutch and tapered plates stamped with serial number 3313 to rear, the two-piece circular white enamel Roman numeral dial with decoratively pierced blued steel hands and ogee moulded brass bezel, the movement mounted via key-hole latched pillar supports into the arch glazed case with ebonised vase finial to the button-adorned pierced arched crest over break-arch cavetto cornice and slender arched door applied with crisply-turned opposing ebonised finials to upper and lower margins of the uprights, the sides with slender rectangular glazed panels over fluted frieze front apron and inverted ogee shaped base, 85cm (33.5ins) high.
A French gilt brass brass gorge cased carriage clock with push-button repeat, retailed by Mappin and Webb, London, late 19th century The eight-day gong striking movement with silvered platform lever escapement and stamped with serial number 1557 to backplate, the rectangular white enamel Roman numeral dial inscribed EXAM’D BY MAPPIN & WEBB, LONDON to lower margin and with blued steel spade hands, the gilt brass bevel-glazed gorge case with hinged faceted carrying handle, 14cm (5.5ins) high excluding handle.
ϒAn Edwardian silver mounted tortoiseshell small desk timepiece, the case stamped for Hardy Brothers, Chester 1907 The French eight-day movement with replaced platform lever escapement and circular white enamel Roman numeral dial with blued steel spade hands set behind a bevelled convex glass with moulded bezel, the arched case with inlaid and engraved Neo-Classical ribbon festoon and basket of flowers motifs beneath the dial within cast tied reed-moulded border incorporating shallow arch reveal at the base and stamped HARDY BRO’S to left hand upright, the rear with circular push-on cover for the movement, Hallmarks for Chester 1907 (makers mark indistinct), 13.5cm (5.25ins) high. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A Victorian silver cased miniature carriage timepiece, probably by Douglas Clock Company, Birmingham 1900 The French eight-day movement with replaced platform lever escapement and circular white enamel Roman numeral dial with blued steel spade hands set behind a bevelled glass with moulded bezel, the rectangular cushion-shaped case with fixed scroll top handle, ring side handles and winged paw feet, the rear with circular push-on cover for the movement, Hallmarks for Birmingham 1900, (maker's mark D.C. & Co.), 12cm (4.75ins) high including to handle.
A fine and rare Queen Anne verge pocket watch movement, Thomas Tompion and George Graham, London, number 4650, circa 1713 The full plate gilt verge movement with four Egyptian pillars pinned through the frontplate and three-arm sprung steel balance, the backplate with fine leaf-bordered symmetrical foliate scroll pierced and engraved balance cock with female mask decoration at the base and conforming pierced broad foot flanked by silvered regulation disc with adjacent applied foliate scroll infill opposing signature Tho: Tompion, Geo: Graham, LONDON and engraved serial number 4560, the frontplate stamped with repeat serial number,the pillar plate 41mm (1.625ins) diameter, now fitted to a late 18th century circular white enamel Roman numeral sedan timepiece dial with blued steel spade hands, the case contemporary to the dial with hinged cast brass bezel fitted with convex glass within moulded cavetto surround, the rear with circular hinged brass cover and brass suspension ring fitted to upper margin, 14.5cm (5.75ins) diameter. Thomas Tompion has often been referred to as the 'Father of English clock and wachmaking'. When considering the legacy of his work and influence on subsequent generations, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and was working in the clock and watchmaking trade. Although there is no record of his apprenticeship or whether he received any formal training prior to moving to London, he quickly became established and obtained his freedom of the Clockmaker's Company in late 1671. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with eminent mathemeticians and scientists such as Robert Hooke and Jonas Moore - perhaps the most progressive and inventive minds of the day. Such associations lead to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676 and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his watches and clocks from around 1681/2. This, as well as maintaining a high degree of refinement in both the design and construction of his clocks and watches, ensured the highest level of exclusivity for clients purchasing from him. In around 1700 Thomas Tompion took a former apprentice, Edward Banger, into partnership however this arrangement came to an abrupt end in 1707-8 for reasons unknown. On Banger's departure Tompion reverted to working alone until he found confidence in George Graham who had been engaged as a journeyman for Tompion since 1696. Graham's character had already been given the seal of approval by Tompion who allowed him to marry his niece, Elizabeth, in 1704; however it still would be a few years before Tompion would take Graham into partnership which he eventually did in 1711.Thomas Tompion died in November 1713 leaving the business to George Graham who maintained the same exacting standards and became famous in his own right with notable achievements including the development of the deadbeat escapement for pendulum clocks and the cylinder escapement for watches. He continued Tompion's sequential numbering for his clocks and watches and assisted John Harrison with his development of the marine timekeeper. George Graham died in 1751 and was buried next to Thomas Tompion at Westminster Abbey.The current lot belongs to a group of less than twenty examples signed by both Tompion and Graham from around four hundred known surviving watches from Tompion's first numbered series as recorded by Jeremy Evans in Evans, Carter & Wright THOMAS TOMPION, 300 YEARS. The movement can be closely compared with number 4540 which is illustrated together with a view of the dial (providing a good indication of the how the original dial for the current lot would have appeared) on page 292. It is also perhaps interesting to note that the current lot is the last example recorded on the list to be signed with Tompion's name (albeit in partnership with Graham) suggesting that it is probably the last surviving watch made in Tompion's workshop before his death in November 1713.
A French small lacquered brass carriage clock with push-button repeat, indistinctly signed, circa 1900 The eight-day gong striking movement with silvered platform lever escapement and stamped with serial number 2796 to backplate, the rectangular cream enamel Roman numeral dial with concentric repeating floral garland decorated centre, blue numerals and blued steel spade hands, the lower margin with indistinct retailers signature, the Petit Zero sized bevel glazed cannelee case with hinged carrying handle, thick top glass and brad decorated mouldings, 11.5cm (4.5ins) high excluding handle.
A French lacquered brass carriage clock with push-button repeat and alarm, L’Epee, Sainte-Suzanne, late 20th century The eight-day two train gong striking movement with platform lever escapement and alarm sounding on the same gong, the backplate stamped with l’Epee 1839 crossed swords trademark, the rectangular white enamel Roman numeral dial inscribed l’Epee, Fondee 1839, Sainte Suzanne, France to centre and with blued steel moon hands over alarm setting dial to lower margin, the bevel-glazed obis case with hinged carrying handle, 14.5cm (5.75ins) high excluding handle.
A rare Solari Dator model 5 electric calendar flip/ticket wall timepiece, designed by Gino Valle for Solari di Udine, supplied by Gensign, London, 1960’s The interior with cast alloy dial frame forming the chassis fitted with electrically driven motionwork including complex arrangement of shunts, ratchets, locking levers and drive gears to control the various flip ticket carousels, the principal movement plate with SRC radial flip stamped trademark beneath serial number 50839, the dial composed of three panels with visible white-on black flip ticket digital displays for hours and minutes next to small trade label GENSIGN to top over day of the week to centre and date of the month to the lower panel, the whole behind cushion-shaped plexiglass cover set into a conforming white enamel painted cushion-shaped case with removable back panel incorporating power connector, start/stop switch and applied metal trade label GENSIGN, PROPERTY OF, GENERAL SIGNAL & TIME SYSTEMS LTD., 7 GT. PETER ST., LONDON S.W.1., ABBEY 5588/89, the right hand side also with repeat trade label for Solari, (day of month motionwork and set-up dial lacking), 34.5 (13.5ins) high; 28cm (11ins) wide. Solari di Udine, an offshoot of Ditta Fratelli Solari (Solari Brothers Company), was established by brothers, Fermo and Remigio Solari in Udine, Italy in 1948. It was there that Remigio Solari invented what would come to be called the Solari Board - a mechanical digital display that showed numbers and letters on a rotating flap system. For this innovation the company received the Italian ‘Compasso d'Oro’ (Golden Compass) award for industrial design. These information display systems have become the mainstay of arrival and departure boards displaying arrival and departure times in train and airports world over since the 1950s and 60s, with the first being installed at the Liège-Guillemins Railway Station, Liège, Belgium in 1956. The Solari di Udine range of wall and table timepieces were designed by the highly respected Italian Modernist architect Gino Valle and were most often used in semi-public environments such as banks.
A French Napoleon III Sevres style porcelain inset ormolu figural mantel clock, the movement by Miroy Freres, Paris, third quarter of the 19th Century The eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to the suspension, the backplate stamped with ETABLISSMENT, MIROY FRERES, A PARIS trademark over serial number 950 and further number 41 to lower margin, the circular blue on white enamel Roman numeral dial with Arabic five minutes to outer track and fine pierced and engraved gilt hands set behind a hinged convex glazed bead-cast bezel, the case with surmount cast as a pair of seated cherubs each holding aloft a laurel wreath over an oval polychrome painted porcelain panel of a 17th century gentleman within a bead cast foliate draped easel frame, resting on naturalistic cast surface over ropetwist moulding arched over the dial flanked by recessed shaped panels painted with cherubs within gilt scroll and cobalt blue borders, the skirt base with repeating leaf cast top moulding and guilloche cast fascia applied with acanthus mount to apron and flanked by projecting rounded angles supporting flowering foliage, on egg-and-dart cast squat toupe feet, 34cm (13.25ins approx.) high.
A French gilt brass brass gorge cased carriage clock with push-button repeat, unsigned, circa 1900 The eight-day gong striking movement with silvered platform lever escapement and rectangular white enamel Roman numeral dial with blued steel spade hands, the gilt brass bevel-glazed gorge case with hinged faceted carrying handle, 15cm (6ins) high excluding handle.
A small Regency brass inlaid bracket clock with fired enamel dial, Benjamin Lautier, Bath, circa 1825 The five pillar twin fusee bell-striking movement with anchor escapement regulated by lenticular bob pendulum, trip-hour repeat and stylised repeating leaf border-engraved shallow-arch backplate, the 4.5 inch circular convex white enamel Roman numeral dial signed B. LAUTIER, BATH to centre and with Breguet moon hands set behind hinged convex glazed cast brass bezel concealing a S/N strike selection lever at twelve o’clock, the arched case with foliate acorn finial to the cushion moulded upstand over brass-edged fascia incorporating shaped brass line decorated recessed panel within brass quarter-round fillet mouldings beneath dial, the sides with ring handles over arched brass fish scale sound frets, the rear with arch glazed door, the brass rosette and line decorated stepped skirt base fitted with brass ball feet, 33cm (13ins) high. Benjamin Lautier is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working in Bath from 1818-46. He was based at 2 Bridge Street until 1846 when he relocated to number 6. In 1847 his wife appears as proprietor, later moving to Orange Grove in 1849.
A duplex pocket watch movement, George Allen, London, early 19th century The gilt full-plate fusee movement with column pillars and duplex escapement incorporating jewelled pivots for the escape wheel arbor and three arm gilt balance with screw timing weights and faceted diamond endstone, the backplate with removable mainspring bridge, balance cock incorporating regulation sector and signed George Allen, Red Lion Pafsage, HOLBORN and numbered No. 2166, the circular white enamel Roman numeral dial with subsidiary seconds dial and spade hands, the dial plate 4cm diameter. George Allen is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working from Red Lion Passage, London 1805-24. The single-wheel duplex watch escapement employed in the current lot is to a design developed in its final form by Thomas Tyrer, who patented it in 1782. The duplex escapement is a form of frictional rest escapement which when properly set-up can achieve a very good rate, however it can be temperamental due to its tight tolerances and susceptibility to shock. The duplex escapement was subsequently generally superseded by the more reliable lever escapement which was further developed and refined during the first decades of the 19th century.
A French gilt brass miniature carriage timepiece, Margaine, Paris, circa 1900 The eight-day single train movement with silvered platform lever escapement and stamped with serial number 654 beneath AM beehive-shaped timepiece stamped trade mark for Margaine to the lower left hand corner of the backplate, the circular white enamel Roman numeral dial with blued steel spade hands set within a frosted silvered brass mask, the Mignonnette No.1 sized bevel glazed case with hinged reeded carrying handle over reeded pilaster corner uprights, on complex moulded plinth incorporating squab feet, 8cm (3.25ins) approx. high excluding handle. The firm of Francois-Arsene Margaine are recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as 'very famous' makers of carriage clocks working from Rue Beranger 22 and Rue Bondy 54, Paris from before 1869 until around 1914. They were awarded a Silver medal at the Paris Exhibition of 1889 and a Gold medal in 1900.
A fine and potentially important George III quarter chiming table or mantel clock movement, Justin Vulliamy, London, circa 1770 The substantial but compact circular six pillar triple fusee movement chiming the quarters on six bells configured as two nests of three set behind the plates and sounding the hours on an additional larger bell, the going train now with jewelled English lever escapement set on a gilt platform incorporating rack-arm for regulation, the backplate boldly signed Just: Vulliamy, London towards the lower margin, the 6 inch circular fired white enamel Roman numeral dial with Arabic five minutes beyond the outer minute track, small regulation square above the XII numeral and fine scroll-pierced steel hands set behind crisply moulded hinged gilt brass bezel with convex glass, with original brass cylindrical sleeve dust cover incorporating radial pierced hinged cover to rear, (escapement lacking balance), the movement plates 15cm (6 ins) diameter; the dust cover 12.5cm (5ins) deep. Justin Vulliamy was born in Pay de Vaud, the watchmaking heartland of Switzerland, in 1712. He initially trained and moved to Paris to make watches there, but when George Graham invented the cylinder escapement he came to London (in around 1730), to familiarise himself with it. At this time he met Benjamin Gray, watchmaker to King George II, with whom he was later to form a partnership with at “Ye sign of Ye Sun Diall. In 1746 Vulliamy married Mary Gray, daughter of Benjamin; they subsequently had four children, Jane, Benjamin, Lewis and Mary.Justin Vulliamy was proud of his roots, and took the lead in permanently establishing the Swiss Church in London in 1762. He was President of the Committee of the Church from its foundation till his death. He presented a clock to the original church and this clock is now in the vestibule of the present church in Endell Street, London, where there is also a plaque to the “Memory of its Founder, Francois Justin Vulliamy”.Whilst Vulliamy was in partnership with Gray their work was signed with both names. After the death of Gray in 1764 Vulliamy signed with either his full name or the shortened version ‘Just. Vulliamy’. In around 1780 Justin’s son, Benjamin, joined the his fatrher in partnership and the workshop subsequentlt adopted the practice of signing their work with the family surname ‘Vulliamy’ alone. Justin Vulliamy died in 1797 leaving the business in the hands of his son, Benjamin, who in turn passed it on to his son, Benjamin Lewis, who worked from 52 Pall Mall, served as Warden of the Clockmakers’ Company 1821-5 and was appointed Master five times.All three generations of the Vulliamy clockmaking family benefitted from Royal patronage. Of Justin Vulliamy’s work there are three fine table clocks and a very unusual barometer described in Jagger, Cedric ROYAL CLOCKS pages 88-91. Benjamin’s work in particular is very heavily represented in the Royal collection and include highly decorative sculptural timepieces executed in the Neo-Classical taste created from white marble and Derby biscuit porcelain with the finest cast and chased ormolu mounts by Matthew Boulton (see Jagger, page 117); and importantly in the context of the current lot numerous movements fitted into earlier French cases, (see Jagger, chapter 5). Indeed Benjamin Vulliamy, together with his son Benjamin Lewis, appeared to adopt the practice of replacing the original movements of earlier clocks in the Royal collection with their own; the most famous of which being that of the ‘Castlemaine Tompion’ (see Jagger page 269). The current lot is intriguing in that it is clearly designed to fit compactly within its 6 inch diameter brass sleeve. The most logical reason for this was to allow the clock to be inserted into the aperture of a decorative sculptural clock case (perhaps in a similar manner as a movement installed by Benjamin Vulliamy into a French Louis XV ormolu and bronze case by Osmond illustrated in Jagger, Cedric ROYAL CLOCKS on page 140). When originally made the current movement was almost certainly fitted with a verge pendulum escapement, indeed a filled slot in the base of the sleeve indicates where a pendulum would have passed through to swing within the body of the case below. The current platform escapement is very well executed and could well be of later Vulliamy workmanship. If this is the case then it would suggest that the current lot resided in a household who continually employed the Vulliamy family through subsequent generations. When considering this possibility alongside the overall quality and specification of the current movement, coupled with the probable calibre of the case it was made for, then it would be entirely reasonable to speculate that it may well be the product of Royal patronage.
A French ebonised cased carriage clock, probably by Jules for Henry Marc, Paris, circa 1840 The eight-day two train outside countwheel bell striking movement with Jules-type gilt divided lift sub-frame platform lever escapement with helical sprung split bimetallic balance incorporating wedge-shaped timing weights, the backplate with vertically planted bell over visible winding clicks, stamped oval trademark H’Y MARC, PARIS and serial number 18910, the lower left hand corner with additional number 136, the rectangular white enamel Roman numeral dial incorporating repeat signature H’Y MARC, A PARIS to lower margin, with blued steel moon hands and canted repeating triangle motif engraved gilt brass surround, The rectangular bevel-glazed case with slender baton-turned hinged gilt brass carrying handle over inset rectangular top glass and side panels, the rear with glazed door, on cavetto moulded skirt base 14.5cm (5.75ins) high excluding handle. Henry Marc is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development as probably a retailer of various mantel and other small clocks and refers to a relatively early carriage clock(number 26886) supplied to Marc by Japy Freres. A group of clocks incorporating very similar escapements to that used in the current lot are also discussed and illustrated by Allix on pages 72 to 74. Amongst these is a clock by Jules (illustrated on page 73, II/47-48) whose movement can be closely compared to that of the present clock. Allix/Bonnert do not list working dates for Jules however a working date of around 1840 is assumed.
A rare French gilt brass large four-glass mantel timepiece of one year duration, retailed by Mason & Son, Canterbury, late 19th century The substantial circular four pillar movement fitted with large diameter spring barrel and greatwheel to backplate driving via cocked pinion the four wheel train set between the plates regulated by visible Brocot escapement mounted within the dial and Ellicott type compensated pendulum, the backplate stamped 4165, 16.2, the two-piece white enamel dial with visible escapement and inscribed MASON & SON, CANTERBURY to the recessed centre within Roman numeral chapter ring with regulation square at twelve o'clock, with blued steel moon hands and moulded gilt brass bezel, the substantial frosted gilt brass case with caddy-moulded top and cavetto cornice above heavy bevel glazed panels and caddy moulded uprights to angles, on conforming cavetto moulded skirt base incorporating bracket feet to the curved angles, 35.5cm (14ins) high.
A French lacquered brass brass carriage clock, unsigned, late 19th century The eight-day gong striking movement with silvered platform lever escapement and stamped with serial number 74834 to the lower left hand corner of the backplate, the rectangular white enamel Roman numeral dial with Arabic five minutes beyond the minute track, blued steel moon hands and canted gilt fillet moulded surround, the gilt brass bevel-glazed case with hinged reeded carrying handle over canted angles including the cornice and the cavetto moulded skirt base, 14cm (5.5ins) high excluding handle.
A German 400-day torsion timepiece with rare mercury compensated balance, unsigned, early 20th century The movement with five-wheel train and deadbeat escapement regulated by rotating balance incorporating opposing angled mercury capsules flanking a lyre-shaped upright over cylindrical adjustable timing weights suspended beneath the movement on a long torsion suspension spring, the backplate with pallet viewing apertures and stamped with serial number 133513 to lower right hand corner, the circular cream Arabic numeral enamel dial with blued steel spade hands set within a bead cast bezel beneath shaped crest incorporating three turned finials to the movement frontplate, the whole raised on twin column uprights over a moulded circular brass base incorporating a channel to take the glass dome cover, 28cm (11ins) high overall.
ϒFrench Louis XV style gilt brass mounted tortoiseshell mantel clock, the movement by Japy Freres, Paris, circa 1900 The circular eight-day gong striking movement with anchor escapement regulated by disc-bob pendulum with Brocot type regulation to suspension, the backplate stamped with central JAPY FRERES & CIE, G'DE MED. D'HONNEUR and stamped 3246 6 to lower margin, the simulated thirteen piece circular white enamel Roman numeral dial with Arabic five minutes to outer track and steel trident shaped hands within cast brass bevel glazed hinged bezel, the waisted case veneered in mottled red shell and applied with naturalistic rococo scroll cast openwork surmount to the ogee upstand over conforming crest and asymmetric foliate borders to fascia and rear angles, the rear with hinged door within an ebonised surround, on generous scroll feet with applied apron mount between, 47cm (18.5ins) high. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A French ebonised cased carriage clock, probably by Jules for Henry Marc, Paris, circa 1845 The eight-day two train bell striking movement with Jules-type gilt divided lift sub-frame platform lever escapement with helical sprung split bimetallic balance incorporating wedge-shaped timing weights, the backplate with vertically planted bell over visible winding clicks, stamped oval trademark H’Y MARC, PARIS and serial number 19525, the lower left hand corner with additional number 621, the rectangular white enamel Roman numeral dial incorporating repeat signature H’Y MARC, A PARIS to lower margin, with blued steel moon hands and scroll motif engraved gilt brass surround, The rectangular bevel-glazed case with scroll outline double baluster turned hinged brass carrying handle over inset rectangular top glass and side panels, the rear with plain door, on cavetto moulded skirt base, 16cm (6.25ins) high excluding handle. Henry Marc is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development as probably a retailer of various mantel and other small clocks and refers to a relatively early carriage clock (number 26886) supplied to Marc by Japy Freres. A group of clocks incorporating very similar escapements to that used in the current lot are also discussed and illustrated by Allix on pages 72 to 74. Amongst these is a clock by Jules (illustrated on page 73, II/47-48) whose movement can be compared to that of the present clock. Allix/Bonnert do not list working dates for Jules however a working date of around 1840 is assumed.
A French gilt brass brass gorge cased carriage clock, unsigned, late 19th century The eight-day gong striking movement with silvered platform lever escapement and stamped with serial number 28694 to the lower left hand corner of the backplate and to the inside of the frontplate, the rectangular white enamel Roman numeral dial with Arabic five minutes beyond the minute track, blued steel spade hands and canted gilt fillet moulded surround, the gilt brass bevel-glazed gorge case with hinged faceted carrying handle, 13cm (5.25ins) high excluding handle.
A French gilt brass grande sonnerie striking carriage clock with push-button repeat and alarm, unsigned, late 19th century.The eight-day two train movement with silvered platform lever escapement and striking the full hour followed by ting-tang notation for the quarters on a pair of graduated gongs every quarter-hour, the backplate with stamped C.J diamond lozenge trademark above BEST and number 5239 to lower left hand corner, the rectangular white enamel Roman numeral dial with Arabic five minutes beyond the minute track, blued steel moon hands and alarm setting dial to lower margin, the bevel glazed gilt brass obis case with hinged carrying handle and full Hours and Quarters/Quarters/Silent selection lever to underside, 14.5cm (5.75ins) high excluding handle.
ϒ A French marquetry inlaid rosewood mantel clock, Henry Marc, Paris, mid 19th century The eight-day countwheel bell striking movement with anchor escapement regulated by disc-bob pendulum with silk suspension and stamped with oval H’Y MARC, PARIS trademark over serial number 17799 to backplate, the circular white enamel Roman numeral dial with decorative blued steel hands and repeat signature to centre set within hinged bead cast bevel glazed bezel, the rectangular case with hinged scroll cast brass handle to the rectangular panel glazed double-line bordered foliate spray inlaid top above conforming infill incorporating central urn motif to fascia, the sides further inlaid with oval foliate scroll oval motifs within line borders, the rear with lift-out panel, on moulded skirt base with further marquetry spray decoration to front, 22cm (8.75ins approx.) high excluding handle. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
An English lacquered brass carriage clock with push-button repeat, Retailed by Charles Frodsham, London, late 20th century The six pillar twin fusee rack and bell striking movement with platform lever escapement regulated by split bimetallic balance, the backplate inscribed ELEVEN (11) JEWELS over Charles Frodsham, London, MADE IN ENGLAND, the circular white enamel Roman numeral dial with repeat signature Charles Frodsham, London to centre and blued steel moon hands set within a rectangular foliate scroll engraved gilt mask, the case with hinged reeded baton handle over moulded cornice and reeded column uprights, on moulded skirt base with slender block feet, the underside stamped No. 00059, 17cm (6.75ins) high.
A French miniature lacquered brass carriage timepiece with unusual plush carrying case, retailed by Wedgwood and Sons, London, third quarter of the 19th century The eight-day single train movement with silvered platform lever escapement and stamped with serial number 311 to backplate, the rectangular white enamel Roman numeral dial inscribed WEDGWOOD & SONS, Cornhill, LONDON PARIS to lower margin and with fine blued steel spade hands, the Mignonnette No.1 sized bevel glazed obis case with hinged carrying handle, 8cm (3.125ins) high; with original blue plush velvet covered travelling case with gilt brass fittings and strap handle.
An unusual Swiss paste jewel and enamel inset gilt and electroplated miniature boudoir timepiece, unsigned, circa 1900 The eight-day watch-type back-winding movement with 0.75 inch blue on white enamel Roman numeral dial incorporating gilt star half hour markers and with blued steel moon hands set behind a convex glass with moulded bezel, the case with gilt cast and chased figural surmount modelled as a reclining Classical female emblematic of the performing arts holding a Jester’s head staff over projecting silvered cavetto cornice and frosted gilt front panel inset with the dial over oval enamel cabochon panel polychrome painted with Cupid and Psyche within repeating paste set borders with fine rococo foliate scroll engraved detail, the sides with delicate engraved borders, the rear with integral winder and hand setting screw, on complex moulded skirt base with generous scroll swept cast feet, 13.5cm (5.25ins) high. Please Note that the current timepiece is of thirty-hour duration rather than eight-days as indicated in the catalogue.'
A QUANTITY OF GOLD JEWELLERY INCLUDING AN AMETHYST BAR BROOCH IN 9CT GOLD, A DIAMOND AND GEMSET RING IN GOLD, MARKS INDISTINCT, WITH MATCHING EARRINGS, A GARNET CLUSTER RING IN 9CT GOLD, A SAPPHIRE AND DIAMOND DOUBLE FLORAL CLUSTER RING IN 9CT GOLD, A TURQUOISE CABOCHON STICKPIN IN GOLD, UNMARKED AND A SEED PEARL AND ENAMEL BUCKLE BROOCH IN GOLD, UNMARKED, 16.5G++GEMSET RING ONE STONE DEFICIENT, SAPPHIRE AND DIAMOND RING ONE DIAMOND DEFICIENT, GENERAL WEAR CONSISTENT WITH AGE

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