A VICTORIAN INKSTAND. of lobed and gadrooned oval shape and foliate engraved, centred by a wafer box, the domed lid with kneeling cherub finial flanked by sliver capped, frosted glass inkwells, 28cm w, by James & Josiah Williams, Exeter 1863, the associated inkwells by another, Birmingham 1863, 20ozs weighablE. The engraved inscription reads: Henry J Hollier to Captain Crawshay Bailey on his Marriage 29th Septr 1863.. ++ In good condition with slight wear, the marks good
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A GEORGE III OBLONG MUSTARD POT. with domed lid and bud finial, the handle chased with husks, the gadrooned rim with shells at intervals, having basketwork girdle, crested, 9cm h, maker WS, probably William Stroud, London 1811, 9ozs. ++ Some polish residue and very light wear, the maker`s and duty marks slightly rubbed some slight play in the hinge with an associated blue glass liner, no repairs
A WILLIAM IV TEA SERVICE. of compressed and lobed circular form chased with panels of flowers and foliage, the teapot with oak leaf and acorn finial, 16cm h, by Thomas Cox Savory, the teapot by another, London 1830 and stuck with the number 36, 37 or 38, 53ozs (3). ++ The marks on the cream jug and sugar bowl somewhat rubbed; minor dents and polished residue but free from damage or repairs
A SHELLEY VOGUE TEA SERVICE. Blocks pattern, the service including a teapot, cover and stand, 13cm h, printed mark, painted P11787, c1930 (17). ++ Teapot - tiny spot of wear to the silver lustre on the apex of the finial of the cover. One cup with fine hairline crack, another with minute pinhead sized rim nick near the handle, another with extremely tiny flat nick on the outside of the rim. No restoration
A FINE VICTORIAN IVORY CHESS SET BY WILLIAM LUND. of `Barleycorn` type with turned stems, the kings` and queens` openwork crowns with pierced Maltese cross or pointed finial, stained red or natural, kings 9cm h, the underside of the white king marked LUND MAKER 57 CORNHILL LONDON. The various `Barelycorn` or `Old English` designs of Chessmen were supplanted by that patented by Howard Staunton in 1849. It is possible that the present set was produced in India to European order, perhaps on lathes set up by British lathe fitters or British traders; see Keats (V) , Chessmen for Collectors, 1985, p129. . ++ A fine quality set in excellent condition
AN VICTORIAN BRASS REPLICA LANTERN CLOCK. the engraved dial-plate signed John Watts Jn Stamford fecit between entwined tulips and with steel hands in posted case with dolphin frets, bell and finial, the twin fusee movement with plain rectangular plates, the door to the back engraved with arms and motto ARTE ET MARTE JM WM, 39cm h, c1900. ++ A well made example in good original condition and complete, bell repaired coated in an old and now rather darkened lacquer
A GEORGE II JAPANNED LONGCASE CLOCK. the brass break arched dial signed on a silvered tablet James Scholefield LONDON with subsidiary seconds dial, matted centre, date aperture and STRIKE/SILENT ring to the arch, having rococo spandrels and eight day movement, the hood with swept pediment, turned pillars and brass finials, the trunk enclosed by a break arched door decorated with birds, buildings and foliage, 232cm h excluding finial . ++ In good restored condition, the dial original to the movement and with what could be the original rough oak seatboard. Recently striped and cleaned with a pair of brass cased weights and pendulum. The case restored and attractive
An early 19th century inlaid mahogany eight day longcase clock, the arched painted enamel face with rolling moon, subsidiary seconds (lacking hand) and date aperture, by Joseph Wilde of Macclesfield, the dial and door flanked by fluted columns, on bracket feet, height approx 240cm to top of brass eagle finial. GH Baillie lists Joseph Wilde of Macclesfield as 1782-1814 in Watchmakers & Clockmakers Of The World.
AN INDIAN SHAMSHIR FOR A CHILD, LATE 18TH CENTURY. with curved single-edged blade retaining traces of watered pattern, copper hilt including a pair of langets, short quillons, knuckle-guard with recurved bud-shaped finial, faceted grip, the pommel fitted with a hinged loop for suspension, and retaining much original gilding, in its fabric-covered wooden scabbard (losses). 51.5cm; 20 1/4in blade.
THREE INDIAN DAGGERS, BICHWA, 18TH AND 19TH CENTURIES. with characteristic recurved double-edged blades, one with brass moulded hilt with pierced border and bud-shaped finial, in its scabbard; the second with steel hilt with moulded border; and the third with brass hilt involving stylised monsterheads. the first: 34cm; 13 1/2in. (3)
A VERY FINE AND RARE TURKISH GOLD, ENAMELLED AND GEM-SET DAGGER WITH LAPIS LAZULI HILT, EARLY 18TH CENTURY. with tapering single-edged blade of watered steel, decorated on one side with a gold-encrusted scroll and a spray of tulip flowers, gold ferrule (incomplete), faceted hilt of gold-flecked lapis lazuli (one small chip at the base), rising to a beaked pommel set with a ruby in a raised floral gold setting, in its original gold scabbard, the inner face enamelled in polychrome with a vertical arrangement of conventional flowers with sprays of foliage highlighted with green enamelled leaves (the enamel with small losses), all against a finely punched matted ground, the outer face decorated with a large panel top and bottom filled with floral patterns formed of raised gold settings and twenty four and twenty six rubies respectively, all enriched with black and white enamel and each with a single diamond, the middle portion with a further flower formed of six diamonds centring on a ruby surrounded by enamelled polychrome flowers and foliage against a finely punched ground en suite with the inner face, the chape set with a single emerald, the back-edge of the scabbard with a running pattern of enamelled green foliage (losses), the inner face with characteristic locket and retaining its original plaited silver wire suspension cord with fluted bulbous finial. 17.5cm; 6 7/8in. The floral mount for the pommel stone and the outer face of the scabbard are closely related to another gold, enamelled and gem-set dagger of earlier form, taken as part of the booty gathered by the Margraves of Baden-Baden and Baden-Durlach now preserved in the Badisches Landesmuseum, Karlsruhe. See E. Petrasch, R. Sänger, E. Zimmermann and H. G. Majer 1991, p. 197, no. 143. Lapis Lazuli is most commonly found in the valley of Kokcha, a tributary of the Oxus, south of Firgamu in Afghanistan. It was visited by Marco Polo in 1271 and has been prized both before and since that date for its rich blue colour characteristically flecked with gold specks of pyrite.
A SAXON HORSEMAN`S HAMMER, EARLY 17TH CENTURY. with moulded hammer head formed with a circular face, long beak-shaped fluke of stiff diamond section, compressed spherical central finial, tapering belt hook, tubular haft, small circular hand-guard, moulded basal cap, and the grip retaining its original binding of plaited wire and `Turk`s heads`. 54.5cm; 21 3/8in . Provenance. Dr B. Giesker, Zurich. Schloss Vaduz, Liechtenstein. Christie`s 16th June 1993, lot 31.
A FINE MACE FORMED ENTIRELY OF STEEL, SECOND QUARTER OF THE 16TH CENTURY, GERMAN OR ITALIAN . with head formed of seven wedge-shaped flanges each incorporating a reinforced tip of cruciform section, moulded central finial, tapering tubular haft pierced for a thong, chiselled over the upper portion with a running pattern of foliage against a punched ground within four long rectangular frames, the grip chiselled with a trellis pattern against a punched ground, basal cap decorated with matching leafy ornament, and in fine condition throughout. 64.5cm; 25 3/8in . Provenance. Christie, Manson & Woods, 23rd May 1979, lot 29. The present mace belongs to a small group decorated in this manner of which other examples are preserved in the Germanisches Nationalmuseum, Berlin; the former Town Arsenal, Vienna;The Hermitage, St Petersburg;The Armoury of KonopiÅ¡tì Castle,The Czech Republic; and the Kretzschmar von Kienbusch Collection in the Philadelphia Museum of Art. Another, formerly in the Warwick Castle Collections was sold Thomas Del Mar Ltd in association with Sotheby`s 12th December 2007, lot 286 (£3,840 including premium). For a discussion of this group see W. Rose in ZHWK 1909-02, pp. 359-366.
A RARE ITALIAN HAND-AND-A-HALF SWORD, PROBABLY VENETIAN, 17TH CENTURY. with sharply tapering blade of flattened-diamond section, cut with a short fuller on each face, rectangular ricasso formed with blunted edges for grip, cut with a fuller on each side continuing from the blade and incised with a decorative line along the borders, steel hilt comprising a pair of drooping quillons each terminating in a pair of volutes enclosing a bud-shaped finial, swollen quillon-block chiselled with further pairs of volutes, flattened pear-shaped pommel decorated on each side en suite with the guard and enriched with incised lines, and original moulded wooden grip retaining its tooled leather covering. 105cm; 41 1/4in blade. Provenance. Christie, Manson & Woods, 20th December 1978, lot 105. Literature. Leslie Southwick, The Price Guide to Antique Edged Weapons, 1982, p.22 no. 25. The hilt of this sword belongs to a distinctive group of which others are preserved in the armoury of the Palazzo Ducale, Venice (inv. no. A651) and The Royal Armouries, Leeds (inv. no. IX763). Another, formerly in the Baron de Cosson sale was sold Sotheby & Co. 23 May 1946, lot 151. A sword with a pommel of similar form and decoration and related quillons is attributed to the ownership of Doge Alvise I Mocenigo (reigned 1570-77), and is now preserved in the Metropolitan Museum of Art, New York.
A PAPPENHEIMER RAPIER, CIRCA 1630 AND LATER. with tapering blade of flattened-hexagonal section, stamped with a series of decorative marks within a pair of short fullers on each side at the forte, symmetrical steel hilt formed of flattened rounded bars each interrupted by a central moulding, comprising a pair of quillons with flattened bud-shaped terminals, outer ring-guard (one terminal detached at the rear), lower ring-guard fitted with a sprung-in plate pierced with a series of stars, quatrefoils and circles, a pair of arms joined to the upper ring-guard by a pair of arms, knuckle-guard with recurved finial en suite with the quillons, decorated throughout with a later chiselled scale pattern enriched with silver pellets (small losses), ovoid pommel decorated en suite with the bars, and the later wire-bound grip with `Turk`s heads`. 100.3cm; 39 1/2in blade. Provenance. Sotheby Parke Bernet, 22nd April 1980, lot 126.
A CUP HILT RAPIER, POSSIBLY ITALIAN CIRCA 1630. with tapering blade of flattened-diamond section, stamped `Tengo Lpo` within a short fuller on each side, steel hilt comprising deep cup-guard formed as a flower with six petals each formed of a sprung-in plate finely pierced with trellis (one replaced), a pair of vertically recurved quillons with flattened fluted bud-shaped finials, knuckle-guard with recurved finial en suite with the quillons, joined to the cup-guard by an additional arm, associated fluted ovoid pommel (acid cleaned throughout), and wooden grip reinforced with steel bands. 117.2cm; 46 1/8in blade. Provenance . Sotheby & Co. 16th April 1957, lot 186. Eric Valentine sold Christie, Manson & Woods 29th October 1986, lot 54. Robin Wigington, Poet`s Arbour, Stratford-upon-Avon. Literature. Eric Valentine, Rapiers, Arms & Armour Press 1968, no. 25
A FLINTLOCK BLUNDERBUSS BY PRUDDEN, BIRMINGHAM PRIVATE PROOF MARKS CIRCA 1800. with three-stage brass barrel engraved with rococo ornament over the breech and fitted with spring bayonet above, border-engraved tang incorporating a catch for the bayonet, signed stepped border-engraved lock, figured walnut full stock, engraved brass mounts comprising solid side-plate decorated en suite with the breech, trigger-guard with early acorn finial, butt-plate, vacant oval escutcheon and a pair of moulded ramrod-pipes, and associated brass-tipped wooden ramrod. 75.5cm; 29 3/4in. Provenance. Mrs John Orton, Sotheby Parke Bernet, 12th October 1976, lot 140
A PAIR OF PISTOL HOLSTERS OF REGULATION TYPE, LATE 18TH/EARLY 19TH CENTURY. each with leather body (patches of crazing), domed wooden basal finial bound by a copper band, bearskin-covered flap, retained by a leather strap with a buckle to a piece of backing leather fitted with a pair of loops for suspension. 33cm; 13in . (2)
A COMPOSITE NORTH EUROPEAN ARMOUR, FIRST HALF OF THE 17TH CENTURY AND LATER. comprising cuirassier helmet with two-piece fluted skull pierced by a ring finial on a star-shaped washer (incomplete), pivoting peak fitted with later visor and a single neck lame front and rear, gorget formed of a single deep plate front and rear, breastplate decorated with pairs of incised lines and carrying a pair of tassets of seven lames, backplate fitted with a culet of five lames, a pair of full arm-defences including large pauldrons and a pair of fingered gauntlets, a pair of full leg-defences including articulated cuisses with winged poleyns and articulated sabatons, on a wooden stand
A GROUP OF THREE EUROPEAN SPURS, 14TH, 15TH, 17TH CENTURIES AND TWO HORSE PICKS, 18TH AND 19TH CENTURIES. the first in excavated condition, with arched slotted heel band with pierced figure-of-eight-shaped terminals, tapering neck, and star-shaped rowel of six spikes; the second in excavated condition, with arched heel band with figure-of-eight-shaped terminals (one chipped), long neck, and star shaped rowel of eight spikes, the third of brass, with arched heel band retaining an original buckle on one side, short neck, star-shaped rowel of five points, and chiselled throughout with scale ornament. The first pick of brass fitted with near rectangular steel tip, and brass grip formed with large pierced spherical terminals; and the second of iron, the finial formed of a foot with a robust iron pick beneath, and turned wooden handle. the first: 13cm; 5 1/8in. (5)
A HIGHLAND DRESS POWDER HORN, 19TH CENTURY. of flattened cowhorn, with German silver fittings cast in low relief, comprising thistle-shaped finial, bulbous basal cap decorated with elaborate patterns of thistle flowers and foliage (loose), set with a foil-backed piece of glass in the base, and an additional foil-backed piece of glass in a scrollwork setting on the front, and retaining its German silver suspension chain. 33.5cm; 13 1/4in
A FINE PAIR OF CASED 38 BORE FRENCH PERCUSSION RIFLED TARGET PISTOLS BY LEPAGE, ARQUEBUSIER DU ROY, PARIS, NUMBER 2023, DATED 1818. with browned twist swamped octagonal sighted barrels cut with micro-groove rifling, decorated with a band of gold foliage around the muzzles (refreshed), signed in gold `Le Page Arqer Du Roi` and `et de Mgr Le Duc D`Orleans`, inlaid with a gold arrow and numbered `1` and `2` in gold respectively, case-hardened breeches inlaid with gold lines, stamped with the date and number beneath, engraved case-hardened breech tangs incorporating the back-sights and numbered in gold, border-engraved bevelled locks signed in full and decorated with foliage, set triggers, figured walnut half-stocks carved with shell ornament at the fore-ends, chequered grips, the butts fitted with carved ebony pommels, engraved case-hardened steel mounts comprising two-piece flush-fitting side-plates formed as a leaf and a pair of addorsed water dragons respectively, spurred trigger-guards with neo-classical urn finial and decorated with a monster matching the side-plate, butt-caps, a pair of barrel bolt escutcheons, with no provision for a ramrod, and retaining much early finish throughout: in their original brass-bound rosewood veneered fitted case lined in tooled and gilt green and red leather (small areas of wear), complete with a full complement of accessories including signed case-hardened main-spring clamp, signed and numbered case-hardened bullet mould, signed carved ebony and ivory charge flask, and horn powder-flask bound with gilt-brass. 35.5cm; 14in . It is likely that these pistols were converted in their early working life from fulminate lock to percussion, and possibly refinished in part at this time. Jean Lepage (1792-1854) continued his father`s business with his brothers André, Prosper and Henry. He was gunmaker to Louis XVIII and Charles X, was a member of the Conseil des Manufactures in 1825 and won medals at the Paris exhibitions of 1823, 1827, 1834 and 1839.
A 20 BORE SPANISH MIQUELET-LOCK D.B. SPORTING GUN BY JOSEPH AGUIRE, EIBAR, DATED 1811. with reblued two-stage barrels fitted with silver fore-sight on a bed of silver-inlaid foliage, chiselled and gilt with foliage over the girdle, octagonal breeches inlaid with silver foliage and exotic birds, inscribed `Fabricados en Eibar` and `Ano d 1811 d Erraduras` and stamped with the gold-lined barrelsmith`s marks, gold-lined vents, reblued grooved breech tang decorated with foliage en suite, border-engraved bevelled locks stamped with the gold-lined maker`s marks and engraved with scrolls, gold-lined pans, figured walnut half-stock carved with linear mouldings over the fore-end, acanthus foliage behind the ramrod-pipe, an exotic bird ahead of the trigger-guard, and a green man mask behind the barrel tang, chequered grip, cheek-piece carved with vine foliage and grapes, burnished steel mounts including broad trigger-guard stamped with the gold-lined maker`s mark and gold-lined decorative marks, engraved butt-plate with acanthus tang matching the trigger-guard finial (forward ramrod-pipe removed), and associated bone-tipped ramrod. 83.2cm; 32 3/4in barrels.
A FLINTLOCK BLUNDERBUSS, THE LOCK SIGNED PEAKE, LONDON, CIRCA 1800. reconverted from percussion, with earlier brass barrel formed in four stages, belled at the muzzle, stamped with the barrelsmith`s mark of Daniel 2 Moore and inscribed `London` over the breech, iron tang grooved for sighting (cracked), signed rounded lock (associated, pitted, worn), figured walnut full stock (repairs), full brass mounts engraved with rococo ornament including solid side-plate, trigger-guard with acorn finial, vacant escutcheon, and later ramrod. 84cm; 33 1/8in
A FLINTLOCK BLUNDERBUSS BY BLANCH, CIRCA 1800. with two-stage steel barrel swelling towards the muzzle, (pitted), engraved tang, signed engraved stepped lock previously fitted with bolt safety-catch (now missing), figured walnut full stock (fore-end split), chequered grip, engraved brass mounts including trigger-guard with trophies on the bow and pineapple finial and butt-plate, vacant silver escutcheon, and brass ramrod, probably the original. 76cm; 30in
A 32 BORE FRENCH PERCUSSION TARGET PISTOL BY LE PAGE, ARQUEBUSIER DU ROI, PARIS, NO. 2837, CIRCA 1825-30. with rebrowned octagonal swamped twist sighted barrel cut with polygroove rifling, decorated with a band of gold foliage about the muzzle, signed in a gold oval over the breech and numbered `2` (the gold with losses), stamped with the serial number beneath and the barrelsmith`s mark, foliate-engraved tang numbered in gold en suite with the barrel and fitted with standing back-sight, flush-fitting detented lock signed in a gold oval and engraved with trophies, set trigger, highly figured walnut half-stock carved with shell ornament at the fore-end, chequered butt fitted with a wooden pommel projecting to the right for assisting aim (probably an early working addition), engraved steel mounts comprising spurred steel trigger-guard with urn-shaped finial engraved with foliage, bat-wing side-plate, and a pair of barrel bolt escutcheons, and with no provision for a ramrod. 35.2cm; 13 7/8in
A 32 BORE FRENCH FLINTLOCK TRAVELLING PISTOL BY ALEGRE A PARIS CIRCA 1750. with tapering barrels retaining some gold decoration, engraved grooved tang, border-engraved stepped locks decorated with scrolls and trophies, signed on the right and inscribed `a Paris` on the left, figured walnut full stock carved with rococo ornament in low relief, engraved steel mounts including spurred pommel decorated with trophies and with a gilt classical profile on the cap, and trigger-guard with acanthus finial (the steel parts rusted, triggers missing, lock inoperative, stock with cracks and small chips). 28cm; 11in
IRISH CUT GLASS HONEY JAR AND COVER CIRCA 1830 with faceted knop above leaf cut and reeded bands, 13.5cm high; an Irish cut glass preserve jar and cover, with step cut finial, cover and sides, with matched star cut stand, dish 12cm diameter, stand, 20cm diameter; and a circular Irish preserve dish and domed cover, with a star cut base, 13.5cm diameter (7)
WHEEL ENGRAVED WINE GLASS CIRCA 1780 the tapered bowl engraved with a figure on horseback playing side drums above flute cuts, above a hollow Silesian stem on solid plain foot, 14.5cm high; an English facet cut toddy lifter, 18cm long; and a plain glass ladle with impressed moulded finial to the handle, 21cm long (3)
Rare and unusual George I clock by Richard Glynne, London, circa 1720-1725, a fruitwood cased table clock (probably previously ebonised), surmounted by a revolving celestial globe showing phases of the moon on brass S supports with a flower and foliage engraved front bracket above the inverted bell top. The brass 7.5" dial has a very rare trefoil shaped chapter ring (see below) with Roman numerals, and the spandrels are engraved with figures emblematic of the seasons. The centre of the dial has a matt finish. The arch has a subsidiary dial with twin rings one showing minutes and the other lunar dates for the phases of the moon with Arabic numerals (hands missing). On brass ball feet. There are glazed sides and doors enclosing the eight day single train fusee movement. The brass back plate is engraved with scrolling foliage and "Richard Glynne Londini fecit", 25.25" high There are several unusual features in this clock 1 The case is surmounted by a revolving moon phase globe driven by a vertical pillar and a series of cogs from the movement. Knowing the correct moon phase was important because trips on horseback or by coach were much less safe on a dark night and crops could be harvested by the light of the moon. This however is an unusual way of depicting phases of the moon. 2 The trefoil shaped chapter ring is extremely rare although there are a few examples by Glynne`s contemporary Richard Street (See below) On 28th May 1982 Sothebys sold a wall clock by Richard Street of Shoe Lane just off Fleet Street. (Lot five in the sale described as a "sale of nine English clocks"). The clock had previously been sold by them in 1953. The similarities of the two dials are striking not only because of the shape of the chapter ring which was described as pear shaped but because of the style of the engraving of the foliage and numerals and the matt finish to the centre of the dial. Street and Glynne worked close to one another; Street is recorded in Fleet Street until he is thought to have died in 1722 and Glynne was in Fleet Street from 1718-1729 when he retired. 3 The single hour hand mechanism. The shape of the chapter ring means that there must be special arrangements for the single hour hand the shape of which again very closely resembles the hand in the Street clock. The whole of the inner dial revolves and the hand is fixed but has to follow the contours of the inner border of the chapter ring. This is achieved by a spring loading which seems to be the same in both clocks. Street was a distinguished but little known clockmaker whereas Glynne although also described as a clockmaker was much better known for his finely engraved scientific instruments. It is reasonable to suggest that the eccentric dial may well have provided by Street although it is conversely equally possible that the dials were made by Glynne and used by Street in his clocks! There may also have been a contribution from Glynne`s business partner in the 1720s Anne Lea, whose father and mother Philli and Anne Lea were noted ma and globe sellers.(See below) HISTORICAL NOTES RICHARD GLYNNE Richard Glynne (1681-1755), was apprenticed to Henry Wynne in 1696 in the Clockmakers` Company of which he became a freeman in 1705: he became Steward of the Company in 1725. He worked first at the sign of the Atlas and Hercules (1712-16) in Cheapside and subsequently (1718-29) opposite Salisbury Court in Fleet Street, London. On obtaining his freedom in 1705, he married Anne Lea, the daughter of the noted ma and globe-sellers Phili and Anne Lea (see below). From at least 1712 he was working in association if not in formal partnership, with his mother-in-law, advertising a new pair of globes in 1712, and publishing and marketing maps. In parallel with this activity, he made and sold `all sorts of Mathematical instruments, either for Land or Sea, according to the newest improvements` as he stated in an advertisement in 1726. There is another reference to advertising `all Kinds of Dials, Spheres and Globes of all Sizes.` A variety of scientific instruments by Glynne are indeed known. All are of high quality, with clean, well executed engraving uncluttered by unnecessary decoration. Glynne`s fine instruments recommended themselves to a fashionable clientèle, and he was sufficiently successful to be able to retire at the relatively early age of 49 in 1729, his stock being auctioned at the sho of the optician Edward Scarlett in 1730. There is an impressive armillary orrery in the Science Museum in Oxford, dating from around 1720 and standing just over a metre in height. The Museum state on their website that it must have been at the to of his range: an impressive and expensive purchase by one of his most wealthy customers. RICHARD STREET Richard Street was apprenticed to Thomas Tompion; he became a freeman of the Clockmakers Company in 1687 and was elected Junior Warden in 1713. He worked in Shoe Lane just off Fleet Street and there is evidence that he was responsible for some of Tompion`s repeating watch movements. He was undoubtedly well connected and probably his most famous commission is the important Degree Clock which is now at the Old Observatory at Greenwich. This may have been "The black clock on the back stairs" described in Sir Isaac Newton`s personal papers after his death. Sir Isaac had also commissioned from Street a fine and highly unusual clock as a gift for Doctor Bentley who was Master of Trinity College Cambridge in 1708, it apparently had an eccentric chapter ring and an expanding and contracting hand. There is no record of him after 1722 when it is presumed he died.. The dial of the wall clock sold by Sothebys and mentioned above has striking similarities to the dial of this clock by Richard Glynne ANNE LEA Anne Lea was mother in law of Richard Glynne and inherited from her husband Philli who died in 1700. He had been apprenticed to Robert Morden in 1675 and by 1683 was in business as a globe maker with Robert Morden and William Berry. He was one of the leading English map-makers and publishers of his day and described himself as a globe maker in advertisements and in a catalogue of "Globes, spheres, maps, mathematical projections, books, and instruments" in the 1790s. On his death he left a third of all his maps, plates and globes to his wife with the remainder to his children. She also inherited one third of his globe plates. Their daughter, also Anne, married Richard Glynne. Mother and daughter therefore would have inherited a large part of Philli Lea`s stock in trade, which would have been available to Richard Glynne. CONDITION Multiple images of this clock are available. Buyers will be able to assess the condition from these images. The following comments may be of further assistance. There is a screw thread at the to of the globe and obviously a finial is missing from here The glass on the globe is badly cracked The hands from the subsidiary dial are lost. We have removed the globe and to plate and have found no other screw holes in the case indicating that the globe is an original feature and was not added later in place of a handle. Several cogs in the mechanism for driving the globe are replacements The escapement and pendulum are replacements for an original verge escapement. The two large brass brackets holding the clock in the case are not original. There is a hole drilled in the base of the case where it is assumed that some support for the movement was housed but is no longer there. The brass feet are thought to be replacements PROVENANCE This clock is has been sent in for sale by executors from an estate in Winchester. Family tradition indicates that this clock was inherited through the Bohn family of Hull and through earlier connections from the Boleyns.
18th century style mahogany urn stand, the shaped to edge with ivory dot inlay, with cross banded and carved beaded decoration, with pull-out slide, on slender tapering supports and castors united by four scrolling stretchers with a central finial, 28 x 12.50 x 12.50in. (71.12 x 31.75 x 31.75cm)

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116061 item(s)/page