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Lot 2524
1930s four piece silver tea set comprising teapot of compressed baluster form, with fluted panels, composite loop handle, domed hinged cover with similar fluting and composite flat finial, matching sugar, cream and tall coffee pot (Birmingham 1930), maker - W. A. All at approximately 62ozs, coffee pot 23.5cm overall height
Lot 2538
George II silver caster of baluster form, with detachable pierced and engraved cover with tall finial ( London 1753), Samuel Wood. All at approximately 4ozs, 14cm overall height CONDITION REPORT One very small dent in body of caster. Cover has several dents around the circumference in the pierced panels, marks clear, caster sits fine with no movement
Lot 2543
1920s silver three piece tea set comprising teapot of compressed cauldron form, with egg and rod border, stained wood scroll handle, domed hinged cover with turned finial on stepped circular foot, matching sugar, cream (Birmingham 1925), maker - W. N. Ltd., together with an associated silver coffee pot (Sheffield 1940). All at approximately 30ozs, teapot 27cm across (4)
Lot 1039
A Royal Worcester blush ivory urn shaped pot pourri vase and cover, painted with thistles and mixed wild summer flowers, with inner lid and reticulated cover with beaded button and crown finial, transfer marks and model number 1314, dated 1908, 14cm high, and an unassociated Oriental carved hardwood stand. (2)
Lot 557
A pair of ormolu mounted Sevres style cobalt blue ground porcelain vases Each domed top with a pine cone finial above the main bulbous body with acanthus and trailing floral garland adornments, standing on an ormolu mounted stepped spreading plinth base. 52.5 cms high. (2) CONDITION REPORTS: Generally in good condition, some wear to gilding, general wear.
Lot 184
A 19th century ivory handled Masonic sword The crown finial mounted handle engraved with initials and Masonic emblems, the etched blade inscribed Jos M Bower, Made by MC Lilly & Co, Columbus, Ohio, the scabbard cast and mounted with various Masonic emblems. 93 cms long. CONDITION REPORTS: Some fading, scuffing, scratching, wear to gilding on scabbard, blade pitted, general wear.
Lot 258
A 19th century Oriental cloisonne decorated bronze koro The removable pierced domed lid surmounted with a mythical beast, the main twin handled body decorated with panels of cloisonne decoration. 16 cms high. CONDITION REPORTS: Finial loose, some denting, scuffing, scratching and chipping, general wear.
Lot 368
A 19th century gilt metal mounted alabaster mantel clock The white enamelled dial with Roman numerals and bell striking barrel movement, the portico case surmounted with an urn finial and musical trophies, standing on a plinth base with pointed feet. 43 cms high overall. CONDITION REPORTS: Generally in good condition, expected wear, chips to dial, some chips to alabaster, some mounts loose.
Lot 370
A 19th century Sevres type porcelain inset ormolu cased mantel clock The painted dial with Roman numerals and signed Russell, Malvern, the case surmounted with an ormolu mounted porcelain urn finial and inset with further porcelain panels with floral decoration, standing on pointed bun feet, the bell striking barrel movement unsigned. 45.5 cms high overall. CONDITION REPORTS: Generally in good condition, expected wear, some slight rubbing to gilding, some slight rubbing to porcelain panels and gilding.
Lot 377
A George III oak carved and mahogany banded gilt metal mounted eight day bell striking longcase clock The finial mounted scrolling pediment above a white painted 13" arched dial with Roman and Arabic numerals, seconds dial, date aperture and signed Jno. Scandrett, Worcester, the arch with portrait vignette within gilt painted spandrels, the arched glazed door and long trunk door flanked with fluted columns, standing on a plinth base. 249 cms high overall.
Lot 388
A George III silver gilt vase and cover, hallmarked London 1809, maker's mark of Benjamin Smith I and James Smith The cover with horse finial, the body serpent cast twin handles, standing on an acanthus cast fluted foot, with presentation inscription from the Hampshire Agricultural Society. 40 cms high. CONDITION REPORTS: Generally good, some slight surface wear, minor gilt loss. Weight - approximately 135 troy ounces.
Lot 288
A George III oval silver tea caddy, engraved a crest and a motto, having an acorn finial, an engraved border and bead edging, William Vincent, London 1774, approx. 13.950 ozt, 11 cm high See front cover colour illustration Condition report Report by NG Measurements approx. 12.5 cm wide, 9.5 cm deep, 11 cm high, including finial. Caddy currently locked. Some wear and knocks around beaded edge, one hole at about 8 o'clock on the rim as you look down on it. Slight dent to base edge to back right. Engraved decoration around edge of cover and crest below key hole to front, no indication that any other engraving has been removed. No visible repairs. Hallmarks to base clear. Base also with scratches as though has been tested.
Lot 262
Chinese 20th Century Green and White Jade Suspended Vase, the vase of baluster form having green and white inclusions with the centre carved in shallow relief with dragons entwined. Taotie carved extension to base with scroll handles and domed cover with floral carving either side of a lotus bud finial. The vase supported by a solid chain carved with scroll and double dragon bridge. The whole suspended from a natural carved, wooden base, 23 cms(9""). The Jade hanging 27 cms (10.5""), the stand carved with Kylin to the top on an ornate scroll base 45 cms (17.5"").
Lot 265
Chinese 20th Century Pale Celadon Jade Vase and Cover. The vase features white inclusions and grey speckling to the body, carved with Taotie in shallow relief to either side, having carved acanthus leaves to the cover and continuing into the neck. Fret work handles in the form of birds with loose rings. The cover features a Foo Dog finial. The vase supported on a carved wooden stand, 15 cms (6"") high.
Lot 270
An Impressive Chinese 20th Century Jade Pagoda, the octagonal shaped pagoda comprises nine hand carved graduated segments and roof balconies ending with carved domed roof and mogul style finial. The pagoda flanked by four flights of carved jade steps. The base with four pierced fret work windows with carved character marks in low relief. The wall segments detailed with arched windows. The roof sections carved with dragons below a traditional Chinese roof line from which hang carved bells on loose rings. Carved fret work balconies below the roof lines. The whole presented on a carved wooden base with stylised panels to each staircase depicting dragons, Jade Pagoda 133 cms (53""), fitted base 15 cms high and 84 cms (33"") diameter. Complete height 148 cms (55""). WAF.
Lot 45
A French Louis XVI style porcelain mounted ormolu mantel clock, Le Roy et Fils, late 19th century. The circular eight-day bell striking movement stamped LEROY & FILS, A PARIS, 434 to backplate and with rectangular porcelain dial painted with cherubs in flight to centre within cobalt blue ground and ‘jewelled’ gilt scroll bordered Roman cartouche numeral chapter ring with elaborate leafy scroll infill to upper quadrants and shaped panel painted with a courting couple in 18th century dress within a naturalistic garden setting to lower margin, the rectangular case with elaborate multi-knop gilt artichoke finial and generous acanthus cast ogee moulded top above female mask capped tapered monopodia uprights with hoof feet to the canted angles and rectangular porcelain panels painted with figures in 18th century dress within ‘jewelled’ gilt and cobalt blue borders and leaf chased surround to sides, on laurel bordered skirt base with projecting canted angles and toupe feet, 32.5cm (12.75ins) high
Lot 46
A French Sevres style porcelain inset ormolu mantel clock, Jean-Baptiste Delettrez, Paris, circa 1875, The circular eight-day bell striking movement with Brocot type pendulum regulation and stamped with oval J.B.D trademark above serial number 26737, 16-2 to backplate, the circular white enamel Roman numeral dial with blued steel moon hands set within a repeating lotus leaf bezel.The case with polychrome floral spray painted pink ground oval porcelain finial with flame terminal and lotus carved collar over cavetto moulded panel upstand flanked by artichoke finials, the front with egg-and-dart cast cornice above acanthus cast upper spandrel mounts and shaped inset porcelain panel decorated with cherubs in flight beneath dial, the sides with projecting D section panels painted with ribbon tied trophy to one side opposing conforming lovebird and nest decoration within burnished gilt borders and pink ground to the other, on elaborate deeply chased acanthus moulded skirt base incorporating applied foliate scroll cast mounts and toupe feet, 35.5cm (14ins) high; on giltwood stand and oval ebonised wood base supporting the glass dome cover, 48cm (19ins) high overall
Lot 66
A French gilt brass mounted marble portico mantel clock garniture, Unsigned, early 20th century, The circular eight-day countwheel bell striking movement with Brocot type pendulum regulation and stamped with circular JUST trademark above 648, 5 8 to backplate, the circular cream enamel Arabic numeral dial with concentric double stylised swag painted centre and fine scroll pierced brass hands within hinged convex bevel glazed cast brass bezel, the drum-shaped case with finial cast with a lyre flanked by open scrolls to the marble block upstand above a pair of columns surmounted with openwork finials flanking tied laurel spray apron and pendulum with cast sunburst mask bob, on rectangular base with gilt toupe feet, 38cm (15ins) high; with a pair of garniture side pieces en-suite, each formed as an ovoid vase with waisted brass neck and tapered body applied with scroll cast cartouche above flared foot and square base with conforming brass feet, each 18cm (11ins) high
Lot 67
A French gilt brass mounted marble portico mantel clock garniture, Unsigned, early 20th century, The circular eight-day countwheel bell striking movement with Brocot type pendulum regulation and stamped with indistinct circular JAPY FRERES trademark and numbered 7690, 5 4 to backplate, the circular cream enamel Roman numeral dial with concentric double stylised swag painted centre and fine scroll pierced brass hands within Arabic five minute outer track and hinged convex bevel glazed cast brass bezel, the drum-shaped case with finial modelled as an oval urn above a pair of columns surmounted with further urns issuing gilt floral sprays flanking tied musical trophy and laurel spray cast apron and pendulum with bob modelled as a basket of flowers, on rectangular base with gilt toupe feet, 41cm (16.25ins) high; with a pair of twin branch candelabra en-suite, each with central column terminating with a nozzle and drip pan flanked by scroll cast branches and on stepped square marble base with cast brass feet, 28cm (11ins) high
Lot 90
An Italian brass chamber clock, Lorenzo Riviera, late 17th century, The two train weight-driven posted countwheel bell striking movement configured with verge escapement mounted above the top plate and short bob pendulum swinging to the rear, the countwheel cut for Italian six hour striking with each count cut twice in order for the previous hour to be automatically repeated when activated by a second lifting pin positioned soon after the first, the frame with square brass plates united by slender square section column uprights with moulded caps and bases with unusual herringbone engraved and lozenge faceted strike detent arbors pivoted between, the front with rectangular single-sheet brass dial engraved with 4.25 inch Roman numeral chapter ring with quarter divisions to inner track and stylised foliate engraved half hour markers, the centre decorated with a romantic mountain landscape, the upper and lower margins engraved with fine symmetrical foliate scroll strapwork centred with a grotesque mask to top and rococo scroll bordered cartouche signed LORENZO, RIVIERA, FECE at the base, the exterior with domed bell and generous ovoid vase finials above open sides and rear, on turned bun feet, (one finial, hand, escapement and elements of movement lacking, no pendulum or weights), 30cm (11.75ins) high. The current lot appears to be a fairly typical example of an Italian ‘lantern’ clock dating to the end of the 17th century. The movement is particularly well finished with highly decorative collets and engraved steel strike detent arbors pivoted between the frame posts. The dial is finely engraved with the foliate strapwork being very similar to that found on the backplates of English table clocks of the period. Despite such sophistication in the decorative detail, the movement possesses many relatively ‘archaic’ features - most notably the hand arbor being fixed securely to the hour wheel, and strike lifting via a nag’s head engaging with pairs of pins fitted to the going train greatwheel. These details are more typical of 16th century Gothic practice (and require the trains to be ‘run through’ to set the time and synchronise the strike) than 17th century Renaissance work, as strike activation had already been greatly improved by the introduction of a starwheel for lifting fitted (along with the hand) via a friction clutch to the hour wheel behind the dial. This refinement allowed the time to be set and adjustment of strike lifting without having to ‘run through’ the going train, and had been a standard feature on English lantern clocks since the beginning of the 17th century.
Lot 113
A George III gilt brass mounted mahogany musical table clock, The dial signed for Edward Ellicott, London, circa 1790, The substantial five pillar back-wound movement playing a choice of five tunes via a pinned cylinder on a nest of eight graduated bells after striking the hour on an additional larger bell, the backplate incorporating projecting feet to the lower corners and engraved with fine open rococo scrolls around a central basket of flowers within decorative line borders, the convex white Roman numeral dial inscribed EDÂ’WD ELLICOTT to centre and with pierced blued steel hands within outer minute track and slender brass bezel fitted to the 8 inch full-arch white painted dial plate polychrome decorated with dancing musicians beneath applied curved tune selection sector inscribed SONG, JIGG, MINUETT, AIR and COTILLION to arch, the break-arch case with concave sided plinth for the central brass vase finial flanked by four further finials and applied symmetrical rococo scroll cast mounts to the sides of the arch, the front with heavy acanthus cast brass arched door flanked by female caryatids applied to the canted angles, the sides with hinged carrying handles above sunburst mask centred scroll cast arched brass sound frets, the rear with arch glazed door, on cavetto moulded skirt base with scroll feet, 54.5cm (21.5ins) high. Two generations of the celebrated Ellicott family with forename Edward are recorded working in London in around 1790. Edward (I) is listed in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as son of John (II) working from Royal Exchange, London 1753-91, he was appointed watchmaker to the King. His son, Edward (II) is listed as free of the ClockmakersÂ’ Company in 1795 and was appointed Master in 1835 but did not live to see out his term. The current lot is an attractive model clearly made in a workshop used to producing clocks for the Export market. The back-winding is typical of examples made for export to China as the Chinese prefer clock dials to be free of winding holes, and the heavy foliate cast gilt brass front door is of a type more often seen on examples exported to the Middle-East (see Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 pages 160-1 colour plates 22-4).
Lot 116
A Regency brass mounted mahogany bracket clock in the manner of Thomas Hope, The movement by Joseph Mason for retail by William Alexander, the case attributed to Banting and France, London, circa 1825, The five pillar twin fusee bell striking movement with anchor escapement, trip hour repeat and signed WllÂ’m Alexander, London within a foliate cartouche to the border-engraved shouldered backplate, the pendulum with calibrated slider for regulation and conforming concentric engraved decoration to the lenticular bob, the 7 inch circular convex white painted Roman numeral dial with repeat signature WILLÂ’M ALEXANDER, LONDON to centre within cast brass bevel glazed bezel milled with continuous scroll design, the case in the Romano-Egyptian taste with brass pineapple finial to the gadroon-carved upstand incorporating brass mounted cavetto moulded collar and flanked by honeysucle carved ‘acrotoriaÂ’ finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply cut horizontal fluted infill to angles and shaped brass fillet inset panel beneath dial, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets on fluted panel inset base with stylised fan carved feet, 51cm (20ins) high. Provenance: The property of a private collector, purchased from these rooms Wednesday 16th February 2011 (lot 119) for £3,200 hammer. Previously (in 1926) with George Boniface Souter the grandson of a major tenant farmer on the Goodwood Estate who died in 1952. Behind the dial of the current lot is the scratched inscription JosÂ’h Mason, London, Manufacturer who is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working from 2 Walbrook Place, London 1832-9. William Alexander is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Newington Causeway, London in 1825 and in Loomes as working 1828-44. The movement and bell bear detailed service inscriptions indicating that regular work was undertaken by the Hunter family, clockmakers of 136 High Street, Clapham from 1828-74, with two further dates up to 1896 by different makers based in Brixton. The case of the current lot belongs to a group of around fifteen known examples which share the same basic form and dimensions differing only in detail. Perhaps the earliest from this series is an example by Atkins and Son formerly in the possession of the Marquesses of Bristol sold by ChristieÂ’s, King Street, London at their ‘Ellerslie HouseÂ’ sale, 24th May 2001 (lot 65). The first Marquis of Bristol employed the firm of Banting, France and Company to supply furniture for Ickworth, Suffolk including the state bed which shares similar details such as the ‘acrotoriaÂ’ finials with the ‘Atkins & SonÂ’ clock and the current lot. This coupled with the stamped B.F. initials to the interior of the case of the current lot suggests that this particular form of case was made by Banting and France possibly to special order. The case design with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrated the strong influence of Thomas Hope who, in his 1807 book Household Furniture published designs considered to be the height of fashion at the time. When considering his designs for smaller pieces of furniture such as for ‘Recesses in the shape of ancient hypogeaÂ’ (see Hope, Thomas Household Furniture plate XXVII no. I) the inspiration for the current lot can clearly be seen.
Lot 119
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.
Lot 123
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
Lot 88
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
Lot 20A
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.
Lot 62
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
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116099 item(s)/page