A very rare German Renaissance gilt brass astronomical monstrance table clock case originally fitted with a Universal Astrolabe, In the manner of Jeremiah Metzger, Augsburg, circa 1570, the movement and dial centre later, The high grade English single fusee movement dating to around 1830 with deadbeat escapement, five-spoke wheel crossings, concealed clicks to the fusee and twenty-four hour motionwork to the large diameter frontplate, the dial with later centre engraved with foliate scrolls on a matted ground and incorporating tripartite banner bearing spurious inscription Reighs, Dresden, 1536, set within original narrow twenty-four hour chapter ring with asterisk half-hour markers, button touch pieces and outer track engraved for every minute, the case with ovoid urn finial to the disc-shaped upstand engraved with vestigial subsidiary day-of-the-week dial annotated with respective planets to rear opposing fine foliate scroll cast and pierced rosette within moulded surround to front and with delicate chased open strapwork fret to the circumference, the rear of the principal section with centre cut-out to accommodate the later movement leaving border engraved with lines for stereographic projection around the celestial equator stamped POLUS, MITNECHTLICH to upper margin opposing MITLEGLICH, POLUS at the base, the left and right hand margins with a series of horizontal lines annotated with symbols for the signs of the Zodiac, the outer edge of the ring divided for degrees annotated in five degree intervals for every quadrant set within conforming outer scale to the moulded surround, the edge of the shallow drum casing with continuous border etched in low relief with stylised Arabesque strapwork within tightly moulded bands, the whole raised on a patinated bronze figure cast as Atlas seated on a fine pieced and chased strapwork dome with moulded collar over shallow ogee-shaped foot decorated with conforming continuous Arabesque strapwork, 34.5ins (13.5ins) high; now mounted on a circular turned ebonised wood base, 39.5cm (15.5ins) high overall. The current lot can be closely compared with an example signed by Jeremias Metzger and dated 1564 residing in the collection of the Victoria and Albert Museum (Museum Number 4273-1857). Another similar example is in the Kunsthistoriches Museum, Vienna, and is illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 146 (Fig. 118); whilst a third (which is presumably lost) features in a full height portrait of Anna, Duchess of Bavaria painted by Hans Mielich of Munich in 1556. The presence of a twenty-four hour chapter ring to the main dial of the current lot differs to that of the example by Metzger in the V. & A. which has a relatively simple and fairly conventional twelve-hour dial layout incorporating an alarm disc to the centre. The surviving elements of the dial also indicate that it would have had at least two-hands (hours and minutes) whilst the relatively narrow proportions of the hour and minute rings suggests that space was required in the centre for a reasonably complex feature. The most obvious candidate to occupy this space would be a form of standard astrolabic dial (similar to that fitted to the example in the Kunsthistoriches Museum, Vienna) however the presence of a Universal Astrolabe to the rear of the clock would perhaps render this unnecessary. It is therefore more probable that the dial centre was possibly fitted with a wide concentric band of self-adjusting overlaid sectors giving the lengths of the day and night which, when used, were often positioned within a ring annotated for the signs of the Zodiac with the relative positions of the sun and moon indicated by a pair of hands issuing from a disc engraved with a diagram of aspects to the centre. Close examination of the monstrance clock that features in the portrait of Anna, Duchess of Bavaria by Hans Mielich seems to support the possibility of such a dial layout (which would have been essential for providing the correct time under the system of unequal hours in use during the 16th century). The rear of the case of the current lot is fitted with the remnants of a Universal Astrolabe with enough of the engraving surviving to establish that it was laid-out to a design described and published by the Spaniard Juan de Rojas y Sarmiento in 1551 (although he was describing a design which was already known to exist). The Universal Astrolabe differs from a standard astrolabe in that it projects the celestial sphere from pole to pole (hence ‘from the side’) rather than across the equator as with a normal astrolabe. The inherent advantage of this type of projection is that the relative position of celestial bodies can be plotted for different latitudes whilst standard astrolabes require the position of the stars to be determined and recorded on a template (rete) before their positions for a given time and date can be observed. The Universal Astrolabe is particularly useful for calculating the length of the day for any given time of the year which is particularly relevant when considering the system of unequal hours in use at this time. The Universal Astrolabe originally fitted to the current lot was probably not connected or ‘driven’ by the movement in any way - it was most likely to have bee supplied as a form of accessory to allow independent calculations to be made. The disc-shaped surmount incorporates a dial for days-of-the-week to one side, this would have probably been fitted with a central disc (applied with a pointer to the circumference) as the centre is currently plain with little gilding. The other side is finely cast and pierced with foliate strapwork which resembles the decoration sometimes seen to the exterior of German ‘tambour’ clock watches of the period (see Basserman-Jordan, Hans von THE BOOK OF OLD CLOCKS AND WATCHES page 65, fig. 41a). The fact that this panel is pierced (coupled with the delicate fretwork to the outside edge of the surmount) suggests that it may have also housed a bell - perhaps for an alarm (in addition to the day-of-the-week calendar mechanism). This possibility is supported by evidence in a form of a slot in the case beneath indicating that their was a mechanical connection between the movement and whatever was originally housed within the surmount. The base of the clock would have been fitted with a bell (probably for sounding just the hours). The Atlas figural support appears to be a relatively standard casting as the same basic model appears to have been used on two of the other examples noted above. The unusual low relief ‘Arabesque’ decoration to the ogee-shaped bottom moulding and to the edge of the shallow cylinder of the case can be compared to that on a drum-shaped table clock by Jakob Marquart, Augsburg dating to around 1560 illustrated in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 203 (exhibit 39). This decoration reflects the influence of Middle Eastern design borne out of a strong trading relationship with the Ottoman Empire. The current lot is an extremely rare survivor (albeit in partial-form) from the ‘golden’ period of early German Renaissance clockmaking with strong stylistic similarities to an example from arguably the most important workshop of the period - that of Jeremias Metzger of Augsburg. The original fitment of a Universal Astrolabe to the rear of the case appears to be an extremely rare, if not unique feature of possibly documentary importance.
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A fine and rare Charles II brass lantern clock of impressive large proportions, Thomas Knifton, London, circa 1665, The posted countwheel bell striking movement with remote hour hammer pivoted between lugs riveted to the upper surface of the gallery top plate above verge escapement set within the gallery and short bob pendulum now swinging within the frame of the case at the rear, the dial signed Thomas Knifton at the (crossed keys) in Lothbury, London towards the upper margin of the dial centre and with engraved stylised flowering tulip scrolling infill beneath, the centre with alarm disc and distinctive sculpted iron ‘arrowhead’ hand within applied 7.25 inch circular silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and leafy infill to spandrel areas, the large ‘Lothbury’ type frame with column-turned corner posts beneath open-work gallery and foliate pierced and engraved frets set between multi-knop vase-shaped finials with domed bell bearer incorporating decorative pierced lobes and fitted with further central finial above, the sides with brass doors, the rear with iron hanging hoop and short spurs, on turned ball feet, 50cm (19.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist, purchased at Sotheby’s, Bond Street, London, 11th June 1998 (lot 343). Thomas Knifton is recorded in Loomes, Brian LANTERN CLOCKS and Their Makers as born in Nottingham 1614 and apprenticed to William Sellwood in 1632 gaining his freedom of the Clockmakers’ Company in 1640. He worked at the Cross Keys, Lothbury in St. Margarets Parish and at one time at the Draper’s Arms. He died in January 1667 in the parish of St. Botolph’s, Bishopsgate from a sudden illness. He was a prolific maker of lantern clocks who was probably succeeded by John Ebsworth who invariably signed his early clocks with the same ‘crossed keys’ device. The current lot was clearly made to impress with the frame being of particularly large proportions. The incorporation of a pierced gallery above the movement top plate is perhaps first seen on a clock originally made with balance wheel (probably dating to the 1640’s) by David Bouquet illustrated in White, George, English Lantern Clocks on page 110 (Figure II/141). Bouquet was a French Huguenot immigrant whose clocks tended to exhibit strong a Continental influence. For balance wheel clocks the gallery naturally provides a convenient enclosed space for the balance to oscillate. Relatively few lantern clocks with true enclosed galleries appear to have been made, however during the 1640’s a pattern of fret was developed which incorporated a pierced gallery to the lower edge in order to give a similar visual impression, this type of fret was often used by Knifton. The scale of the frame is impressive and of a size normally reserved for quarter chiming clocks with the additional space being necessary for the third train. The gallery also provides an additional platform onto which the hour and quarter hammers can be fitted without conflicting with the balance wheel. The development and relative standardisation of this type of chiming lantern clock (contained within a frame of large proportions incorporating a gallery for the balance wheel) is principally associated by George White (English Lantern Clocks page 155) to the workshop of Peter Closon during the 1640/50’s, although other examples are known by various makers including Knifton, Henry Child and Ahasuerus Fromanteel. Technical developments, which included invention of the pendulum in 1658, resulted in a gradual overhaul of lantern clock design during the early 1660’s, with balance wheel escapements being superseded by verge escapements and short bob pendulums and trains wound via Huygen’s endless rope system (rather than by separate lines and weights) which required the striking trains to be ‘reversed’. The provision of a short pendulum required some inventive thinking with regards to the positioning of the alarm mechanism which had traditionally been planted to the rear of the frame on balance wheel clocks. One solution was to place the pendulum within the frame - either between the trains (thus creating the ‘winged’ lantern clock) or at the rear tucked-in behind the countwheel. The other method was to move the alarm inside the frame (a system popular with West Country makers) thus allowing the pendulum to be fitted to the rear of the clock. The current lot was originally made with alarm set within the frame at the rear to allow the pendulum to oscillate unhindered to the exterior. At some point the alarm has been removed and the pendulum moved so that it swings within the area originally occupied by the alarm mechanism. This relatively minor modification allows the clock to hang much closer to the wall. As Thomas Knifton died in 1667 the current lot would have been amongst one of the first lantern clocks made with verge escapement regulated by short bob pendulum. A similar large lantern clock with gallery and short bob pendulum by Ahasuerus Fromanteel is illustrated and described as ‘an important early pendulum clock’ in White, George English Lantern Clocks on page 189 (Figures IV/59-61). The deeply hatched engraving to the dial centre of the current lot is noteworthy as is the unusual ‘arrowhead’ iron hand, both of these features are indicative of Knifton’s bold approach to detail and also arguably date the clock to the first few years of the 1660’s on stylistic grounds
A Victorian walnut and ebonised wall clock, the two weight eight day gong striking movement on a white enamel two piece dial, Roman numerals subsidiary seconds dial at 12, finial top broken arch cornice flanked by a pair of finials, arch top glazed door with applied mask/foliate mouldings, shaped base with turned pendants, 128cm high
VICTORIAN SILVER PLATED CENTREPIECE with central finial of Summer holding grapes above two strawberry cut glass dishes and flanked by two Grecian comports, raised above a classical frieze and standing on a mirrored stand with lobbed foliate apron and gadrooned circular feet, pattern number 9227, makers Elkington & Co, the whole measuring 38cm high, 80cm long, 38cm deep Note: This was originally modelled for Glasgow City Chambers and subsequently made in silver for the City Chambers.
Collection Of Paperwork And Other Items Relating To The Darlington-Stockton Railway Centenary In 1925 including Railway Centenary medal in card case, The Railway Centenary - A Retrospect book signed on the frontispiece by numerous dignitaries including Nigel Gresley (Chief Mechanical Engineer), Arthur Cowie Stamer (Chief Assistant Mechanical Engineer), George Davidson (General Manager of the North East Area) J B Harper (Assistant Superintendent of the NER) Alex Wilson (Divisional Manager Southern Area) and E M Bywell (Curator of the NRM); LNER Programme of Ceremonies dated Wednesday 1st July 1925, Menu for 3rd July 1925, two invitations to H Oxtoby a copy of the Railway Gazette with extensive coverage of the celebrations, Cased spoon with Locomotion No.1 as a finial and George Stephenson on the bowl; also included are an enamel NER Railway Service badge and a LNER Railway Service badge, an interesting historical lot
A Victorian brass three-piece clock garniture, the dome-top clock case with acorn finial, the circular dial with enamel markers and Arabic numerals, two-train movement striking a bell; the pair of vases pierced and cast with scrolling foliage and raised upon square bases with bracket feet, with key and pendulum. Clock 32cm
A substantial collection of silver plated wares to include an unusual hot water/coffee pot of squat bulbous form with spherical finial to hinged lid with embossed detail to handle, a toast rack in the Art Deco style of simplistic disc construction, a three piece drink set comprising teapot, hot water pot and milk jug, all with vertical moulded detail raised on four swept supports, various other goblets, vases, hip flask, napkin rings, large oval drinks tray with pierced gallery sides etc
A small tray of Hornby accessories including 1935-9 No. 2 signal cabin with yellow steps and added name to front and crease to roof (G-BF), 1933-8 No. 2E Home Signal with lighter blue base, ladder and finial missing lamp top (G-BF) with a 1933-8 No. 1E lamp standard - post detached from base (P-B base only)
A plated egg coddler and cover of ovoid form with swan finial, raised on acanthus leaf shouldered bird legs and feet (lacking burner), a pair of plated entrée dishes and covers, and a collection of plated items, including a two handled sugar bowl and matching cream jug, a three bottle cruet set, and a condiment set.
A Chinese white jade ornamental vase and cover, probably late Qing dynasty, of flattened pear form, carved in high relief with a long-necked chimera and a long tailed fabulous bird above partially pierced lingzhi rising from the oval foot, a branch of four peaches forming the finial, height approx 15.8cm (minor chip to rim of cover).
A Chinese black silk robe, early 20th Century, the front and back with embroidered civil rank badges, each worked in gilt and red threads with a pheasant flying toward a red sun, length approx 138cm (later press stud and some unstitching), together with two Mandarins black silk hats (one missing glass finial).
A Meissen porcelain white glazed vase and pierced cover with flower encrusted finial, late 19th/early 20th Century, the two scroll handled flower encrusted ogee baluster shaped body applied with two putti, on a circular base, crossed swords in underglaze blue and incised `1219` to base, height approx 28cm (restoration).
A collection of silver items, to include: an octagonal baluster caster by... A collection of silver items, to include: an octagonal baluster caster by Williams (Birmingham) Ltd., Birmingham 1914, with a spiral finial to the pierced cover and on an octagonal moulded foot, 21cm high; an Edwardian spill vase by James Dixon & Son, Sheffield 1907, with a shaped border, a tapering stem and on a circular spreading foot, 25cm high, loaded, an Edwardian slightly tapering mug by Levesley Brothers, Sheffield 1902, with a scroll handle, two reeded bands and engraved with a presentation inscription, 8.6cm high; a Victorian shaped circular bowl by George Nathan & Ridley Hayes, Chester 1897, on three trefoil feet, 10.5cm diameter; and two other silver items, 450g (14.5 oz) gross weighable View on dreweatts.com
A silver matched three piece oval tea service by William Aitken A silver matched three piece oval tea service by William Aitken, Birmingham 1904, the tea pot by Barker Brothers, Birmingham 1905, with a composition finial and scroll handle and a half gadrooned body, 22cm long; an Edwardian tea caddy by Marples & Co., Birmingham 1903, with a gadrooned band and on four lion paw feet, 9cm high; and an Edwardian cream jug by Jones & Crompton, Birmingham 1904, with a double scroll handle and on a circular moulded foot, 8.7cm high, 610g 19.65 oz) gross View on dreweatts.com
A silver circular tea pot by Marson & Jones, Birmingham 1932 A silver circular tea pot by Marson & Jones, Birmingham 1932, with a composition finial to the domed cover and a loop handle, beaded borders and on a circular foot, 26cm long; a cased three piece cruet set by William Neale & Son Ltd., Birmingham 1924, the mustard with a baluster finial and loop handle, a facetted circular body and on three pad feet, 7.5cm long, with two blue glass liners; together with four electro-plated items, to include: a baluster jug; a vase; a milk jug and a sugar basin, 491g (15.8 oz) gross weighable View on dreweatts.com
A George III silver straight-sided oval tea pot, maker`s mark `SW`, London 1784 A George III silver straight-sided oval tea pot, maker`s mark `SW`, London 1784, with a composition finial and loop handle, beaded borders and engraved with a crest (worn), 27.5cm long, 431g (13.85 oz) gross View on dreweatts.com
A 19th century Italian silver sugar caster, Rome or Papal States A 19th century Italian silver sugar caster, Rome or Papal States, with a bud finial to the domed pierced cover with fluting below and a bayonet fitting, open work sides with floral swags in panels between beaded borders, on a pedestal circular base with a stiff leaf band, 15.3cm (6in) high, 155g (4.95 oz), with a blue glass liner View on dreweatts.com
A matched silver oblong baluster three piece tea service by Barker Brothers A matched silver oblong baluster three piece tea service by Barker Brothers, Birmingham 1903 and Chester 1910, the tea pot with a composition finial and angular handle, a gadrooned and shell border, a half gadrooned body and on four shell and scroll foliate feet, 22cm long, 768g (24.7 oz) View on dreweatts.com
A silver oblong baluster three piece tea service by S. Blanckensee & Sons Ltd A silver oblong baluster three piece tea service by S. Blanckensee & Sons Ltd., Chester 1930 and 1935, the tea pot with a composition finial and angular handle, a gadrooned border and on four compressed feet, 31cm long, 1136g (36.55 oz) gross View on dreweatts.com
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