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Lot 235
TWO JAPANESE WOODBLOCK TRIPTYCH PRINTS, UTAGAWA KUNIAKI, KUNIYOSHI, FUSATANA & KUNISADA, EDO PERIODA triptych of figures under cherry-blossom trees by Kuniaki, a copy of the left-hand work seen in at the Austrian Museum of Applied Arts – to the reverse of this triptych are two further prints attached. One first part of triptych from Otsu-e Paintings Coming Alive, a Yakusha-e, or actor picture by Kuniyoshi – copy held by the Minneapolis Institute of Art. Together with pictorial information about measles, or ‘Hashika kokoroe no zue’ by Utagawa Fusatana active 1854-1888, published by Kiya Sojiro in 1862 – a copy of the original held by the Museum of Fine Arts, Boston.Together with one other triptych possibly by or in the style of Utagawa Kunisada. Sizes approx. 33cm length x 23.5cm wide. (6 pages)Provenance: English private collection of Eve Walber (née MacMilan-Scott) former partner in Waterstones, and thence by descent.
Lot 113
Ian Fleming, 'For Your Eyes Only' 1960 first edition / first impression original unclipped dust jacket, Very Good Condition with Good DJ together with Ian Fleming, 'You Only Live Twice' 1964 first edition / first impression original unclipped dust jacket, Very Good Condition with Good DJ (2).
Lot 100
A French gilt brass mantel clock garniture in the Chinese taste with fine multi-coloured relief cast panelsAchille Brocot, Paris, circa 1880The circular two train eight-day gong striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with oval star-centred trademark AB over serial number 6002 14, the dial with raised relief cast centre decorated in burnished gilt, copper and grey/brown patination with Chinese scholars within silvered Roman numeral chapter ring with stylised star half hour markers and unusual asymmetric trellis pierced gilt hands within circular gilt bezel, the frosted gilt case with large grey/brown patinated and silver highlighted canopy-shaped finial to the stepped caddy pagoda superstructure applied with further disc and spire finials to angles, the front finely relief decorated in gilt, copper, silver and grey/brown patina with scene of courtiers within a trellis garden beneath the dial and with further figural infill to upper quadrants, flanked by stylised grotesque mask centred strip pilasters decorated with silvered strapwork, the sides inset with further panels of figures at leisure within conforming garden settings, on skirt base with generous cavetto top moulding over pad feet with shaped apron between, 39cm (15.25ins) high; the garniture side pieces each modelled as a slender ovoid twin-handled vase with pierced flared rim over applied shaped figural panel matching those of the clock to front and on conforming square platform base, 27.5cm (10.75ins) high. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Achille Brocot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1817 and died in 1878. The Museums Victoria (Australia) website notes that Achille patented several improvements in clock mechanism escapements, and invented the 'Brocot Suspension', an adjustable pendulum spring which enabled time keeping to be regulated by altering the length of the pendulum suspension spring by a key turned in the dial. He also introduced a jewelled deadbeat escapement, sometimes called a visible escapement as it was often mounted in the middle of the dial. Achille was awarded a first class medal at the Paris Exhibition in 1855, and in 1856 was appointed Treasurer to La Société des Horlogers in Paris. He published a 'Calculation of the Wheels by Approximation' in 1862. His sons Achille and Paul continued the business following Achille senior's death 1878. The firm was taken over by rival clock maker Gustave Gibaudet in 1889. The highly decorative panels of the current lot employs a series of differing techniques to gild, silver, copper and chemically patinate the finely finished relief cast and engraved scenes to provide depth and contrast. This rare form of decoration is normally only seen on a select few high-end carriage clock cases with an example incorporating comparable decoration to all parts of the case also included in the present sale (lot XX). Another is also illustrated in Roberts, Derek CARRIAGE and other Travelling CLOCKS on page 160 (Fig. 9.38) where the decoration is described as 'quite outstanding' and 'must have been one of the most time consuming methods of decorating a carriage clock'.Condition Report: Movement is in working condition with no visible evidence of alteration or significant replacements with the exception of the hammer for the gong; the mechanism is very dirty hence a clean and overhaul is required. The chapter ring of the dial is a little rubbed with some light patchy oxidation. The case is generally in good original unrestored condition with only very light wear to the original finishes however there is overall light/moderate discolouration and tarnishing predominantly to the gilding. The rear panel is missing two of its four securing screws. The urn side pieces are in sound original condition (commensurate with the case) with faults limited to one or two very slight dents.Clock is complete with pendulum and winding key. Condition Report Disclaimer
Lot 121
An Austrian ormolu cased grande-sonnerie striking 'Pendule d'Officier' with alarmUnsigned, early 19th century The circular three train short duration movement with verge escapement regulated by vertical sprung monometallic balance with faceted endstone and sounding the quarters on one gong followed by the hours on a second every quarter-hour, the alarm mechanism with rear winding square and sounding on the first gong, the 2.75 inch circular silvered Roman numeral dial with fine pierced and engraved gilt hands and steel alarm setting pointer set within a deep lattice milled surround fitted with a hinged glazed bezel, the circular cushion-shaped engine-milled case with fixed foliate scroll cast handle incorporating repeat plunger over fine tight concentric repeating scroll decoration to the body of the case, the rear with circular glazed door, on cast dolphin supports with pad feet, 17cm (6.75ins) high. Three related travelling clocks, including one by the renowned early 19th century Viennese clockmaker Philip Happacher, are illustrated in Fritsch, Peter Wiener Reiseuhren pages 270 -71.
Lot 123
A fine small early Victorian engraved gilt brass small calendar carriage timepiece with twin thermometers and compassSigned for Storr and Mortimer, London, circa 1835-38The four columnar pillar eight-day single chain fusee movement with Harrison's maintaining power and underslung English lever platform escapement regulated by three-arm monometallic balance incorporating cabochon endstone, the backplate with winding and setting squares labelled For the hands and To set day of month respectively and signed Storr & Mortimer, London to centre, the 1.625 inch circular silvered Roman numeral dial with fine foliate scroll engraved centre and blued steel moon hands set within a rectangular rococo scroll engraved gilt mask incorporating subsidiary silvered day-of-the week and date-of-the-month dials to lower margin behind a bevelled glass panel, the case with hinged foliate scroll and baton cast carrying handle over shallow raised rococo scroll engraved shaped top panel centred with a silvered compass engraved with the cardinal points and divided into sixteenths set beneath a bevelled glass, the angles with lobed button finials over plain frieze with twin crossover projections at each corner, the front with foliate scroll engraved surround to the glazed aperture flanked by projecting fluted columns, the sides with mercury tube thermometers with silvered scales annotated for FAHRENHEIT to the left and REAUMUR to the right set behind bevelled glasses within scroll engraved surrounds flanked by additional pairs of fluted columns, the rear with hinged rectangular door, on plain skirt base matching the frieze and generous stepped block feet 11.5cm (4.5ins) high excluding handle. The firm of Storr and Mortimer can trace its roots back to the celebrated silversmith Paul Storr who was joined in partnership by John Mortimer in 1822. The business traded from 13 New Bond Street and specialised in the retail of silverwares, jewellery, watches and clocks. In 1839 Storr and Mortimer relocated 156 New Bond Street with Paul Storr retiring very shortly afterwards. The firm continued under the management of John Mortimer and Samuel John Hunt (who joined the business in 1826) trading under the name Mortimer and Hunt; which was then in-turn subsequently succeeded by the partnership of Hunt and Roskell (with Robert Roskell probably joining the business around the time of John Mortimer's retirement in 1843). Hunt and Roskell exhibited at the 1851 Great Exhibition with their wares including a selection of small engraved gilt timepieces by Thomas Cole whose work they were known to have retailed. Hunt and Roskell continued as one of the leading retail jewellers and silversmiths throughout the Victorian era becoming a Limited Company in 1898. They relocated to 25 Old Bond Street in 1912 from where they traded until being bought-out by J.W. Benson in 1965. The strong architectural form of the current lot coupled with the lavish use of fine engraved decoration is typical of the best quality clocks made during the High Victorian period. Although small clock executed in this style were made particularly popular by Thomas Cole many of the other leading horological workshops such as Dent, Frodsham and McCabe produced small highly decorative timepieces from around 1830. The present timepiece benefits from having a well specified high quality movement incorporating a chain fusee with Harrison's maintaining power which would suggest that it was made in one of the leading workshops on behalf of Storr and Mortimer. Similar examples are illustrated in Roberts, Derek CARRIAGE and Other Travelling CLOCKS with the first on page 278 (Fig. 18-15) being of closely related case design but lacking the compass and thermometers; and the second being of broadly similar but plainer design but also signed for Storr and Mortimer is illustrated on page 346 (Fig. 24-1). Condition Report: Movement is in relatively clean condition with no visible alterations or replacements. The mechanism will run but only for around 3-4 seconds before stopping which suggests that the movement is in sound condition but requires a gentle clean/service. The calendar work is intact and appears to be in working order however we are unable to fully test it as do not have a key small enough for the setting square. The dial is in good condition, the calendar subsidiaries have very slight discolouration (when compared with the principal dial). The case is in good original condition with relatively minor gilt wear to edges. The right hand front foot has rubbing to the side and the base is lacking two of the eight nuts that hold the case together and two others are modern replacements. The silvered scales to both of the thermometers are heavily discoloured but are undamaged; the compass is also discoloured but to a lesser extent. The gilding to the back door is a little rubbed and the upper pin hinge has had a new pin. Faults to the timepiece are otherwise limited to very minor age related blemishes and the glasses appear free from visible damage.Timepiece does not have a winding key. Condition Report Disclaimer
Lot 134
Y A fine rare George IV brass mounted mahogany table regulatorBarwise, London, circa 1825The four swollen columnar pillar single chain fusee movement with inverted pear-shaped plates, Harrison's maintaining power and delicate pin-wheel escapement incorporating adjustable pallets regulated by heavy disc bob half-seconds pendulum with fine beat adjustment to crutch and suspension bar bridging the movement plates, the frontplate stamped with serial number 738 to the lower margin and the rear signed Barwise, London over the pendulum holdfast screw bracket, the 6 inch circular silvered dial with subsidiary seconds over Roman numeral hour dials and inscribed Barwise, London to centre within outer minute track incorporating Arabic five minutes, with blued steel hands and milled surround set behind a hinged convex-glazed cast brass bezel, the arch-top case with five generous canted brass-fillet edged glazed panels evenly positioned within the curvature of the top and sides of the upper section and fine ebony strung borders around the dial to the front, the tall plinth base section with crisply cut ebonised upper mouldings over brass-fillet edged glazed panel incorporating concealed spring catch and pin hinges to allow access to the pendulum behind and with cockbeaded surround, the sides with fine flame figured veneers and the rear with arched door set within the frame of the case incorporating glazed aperture positioned behind the movement, on moulded skirt with brass bell-shaped feet, 41cm (16.25ins) high.The life of John Barwise and his family are outlined by A.D. Stewart in his article Barwise & Sons: Watchmakers to the King. A brief history of family and firm published in the March 2014 issue of ANTIQUARIAN HOROLOGY (Vol IIIV No. 1 pages 621-34). Stewart notes that John Barwise was born into a clockmaking family in Cockermouth, Cumberland in around 1756. By 1780 he had moved to London where he opened a watch retailing business. Ten years later he married Elizabeth Weston with his address being recorded as 29 St. Martin's Lane where he remained until his death in 1820. Of their eleven children two (possibly three) died in infancy and two, John II (born 1795) and Weston (born 1793), subsequently joined their father in the family business. In 1800, such was his success, John Barwise I purchased a second house in Dulwich.In 1805 John Barwise I was one of the fifteen watchmakers appointed by The Board of Longitude to adjudicate in the dispute between John Arnold and Thomas Earnshaw regarding 'the respective merits of their chronometers'. On the 14th February 1811 Barwise was the victim of five highwayman who relieved him of a 'gold watch, greatcoat, and a guinea-and-a-half in cash' whilst en-route from Camberwell to Dulwich. This unfortunate occurrence may well have tempered Barwise's enthusiasm for his house in Dulwich as records indicate it was rented out to tenants by 1813. In around 1816 his sons, John II (who had just turned 21) and Weston, joined him in partnership with the business then becoming 'Barwise & Sons'. Shortly afterwards (probably in 1820) the firm obtained the Royal Warrant as watchmakers to King George IV.John Barwise senior died in 1820; by this time he was a wealthy man leaving two properties and substantial investments to his widow and children. The business was continued by Weston and John II in partnership, however this only lasted six years as Weston died in 1826 leaving the business in the hands of John II alone. It was at this time that John II married and moved from the family home at St. Martin's Lane to nearby 42 Craven Street; and then in 1840 to a spacious residence called East Lodge, near Acton which at that time was in open countryside. At around the same time John Barwise II entered into an alliance with the highly inventive Scottish Clockmaker Alexander Bain who was in the process of developing the first electric timepiece. Barwise and Bain subsequently filed a patent (No. 8743) for an 'Electro-Magnetic Clock' which was granted in January 1841; an example of which was then subsequently exhibited at the Royal Polytechnic Institution shortly afterwards.In 1842 John Barwise II was approached by Pierre Frederic Ingold (1787-1878) to assist in the creation of a watch factory which, by employing newly invented machinery, would be able to mass produce high quality watches at a much smaller cost than the prevalent hand-built movements available at the time. Barwise, along with Thomas Earnshaw junior, subsequently became managing directors of the newly established 'British Watch and Clockmaking Company'. The factory was established at 75 Dean Street but only lasted two years before closing due to financial difficulties mostly brought-about by poor reputation fuelled by pressure from rival watch component makers to whose livelihoods the factory posed a great risk. It would appear that John Barwise II had invested most of his personal wealth in the venture as he was declared bankrupt in 1846. With this he lost his house, East Lodge near Acton, but still managed to keep the business afloat - perhaps mainly due to the generosity of his father-in-law, Charles Baumer, who provided the family with a house at 7 Queen's Row, Camberwell rent free presumably until Barwise was back on his feet.In 1853 another former business Barwise partner the Calcutta retail Jeweller Robert John Lattey returned to London and became founder and auditor of the 'London & Eastern Banking Corporation'. With the resources of the Bank behind him Lattey (trading as Lattey and Company) took-on Barwise's debt and became owner of the business. It was at this point that John Barwise II stepped back from the firm with the overall management passing to the to the Swiss watchmaker, Jules Rochat who had joined the business in 1847. Unfortunately the situation did not improve under Rochat's tenureship as it subsequently transpired that the funds used to purchase the business were illicitly acquired, and in 1857 the London & Eastern Banking Corporation collapsed.After the 1857 liqudation of Lattey and Company the firm was acquired by the jeweller and Goldsmith Douglas Guillaume Cave and continued, again under Jules Rochat's management, until 1869 when bankruptcy again forced the company to change hands. The firm was subsequently continued under the Barwise name in the hands of several different owners up until 1988 with their last known address being 153 Fenchurch Street. Of John Barwise II, he is recorded in the 1861 census as being a 'chronometer maker out of business' and presumably still resided at 7 Queen's Row, Camberwell until his death in 1869.To read more, please refer to the full lot description in the page turning catalogue via the link here. Condition Report: Condition reports for this lot are available from the Clocks Department upon request (clocks@dreweatts.com). Condition Report Disclaimer
Lot 137
An inlaid mahogany mantel timepieceThe movement and dial by Barraud and Lunds, London, mid 19th centuryThe circular four pillar single chain fusee movement with Harrison's maintaining power and anchor escapement regulated by lenticular bob pendulum incorporating pivoted beam rise/fall regulation to suspension, the backplate with pendulum holdfast and signed Barraud & Lund, 49 Cornhill, London to centre, the 4.5inch circular silvered Roman numeral dial with thistle engraved centre repeat signed BARRAUD & LUND over LONDON to margins and with regulation square at twelve o'clock, with blued steel fleur-de-lys hands set within engine-turned surround behind hinged bevel-glazed bezel, now in a rectangular mahogany veneered case with thick rectangular bevel-glazed top panel set within line strung borders over dial to front and conforming side panels, the rear with lift out panel, on tall line-bordered skirt base incorporating ogee top moulding and gilt brass ball feet, 32.5cm (12.75ins) high. Paul Phillip Barraud (born 1752) worked with his father at first until his death in 1795 after which Barraud turned his attention more towards chronometers. Using the valuable experience gained whilst working on Mudge's timekeepers with W. Howells and G. Jamieson to good effect, he became very successful. After his death in 1820 the business was continued by his sons taking John Richard Lund, a former apprentice of John Pennington (who developed the auxiliary compensation balance weight to correct for middle temperature changes), into partnership in 1838. The firm of Barraud and Lunds became particularly well known for their marine chronometers, fine quality watches, carriage and mantel/bracket clocks and were based at 49 Cornhill, London until 1863.Condition Report: Movement is in clean working condition with no visible evidence of alteration or significant replacements. The dial is in fine condition with no visible faults. The movement securing brackets appear to be replacements (different colour brass) and the design of the case suggests that it is Continental rather than English hence is almost certainly not original to the movement and dial however the movement sits well in the case and overall it is an attractive combination.The case is generally in fine condition with faults limited to veneer patch repairs to the upper left hand margin of the front, the leading edge of the base to the left hand side and the frame surrounding the rear lift-out panel. The front right hand corner of the base top moulding has also been repaired. Timepiece has a winding key. Condition Report Disclaimer
Lot 141
A Victorian cast iron and brass turret timepiece formerly installed at 'The Clock House' 8 Chelsea Embankment, LondonGillett, Bland and Company, Croydon, 1880The pierced iron ogee-outline triangular frame with plates united by pair of double-screwed pillars and a top beam enclosing brass four-wheel train with five-spoke wheel crossings, high pinion count, maintaining power and deadbeat escapement regulated by substantial wood-rod seconds pendulum with heavy cast iron cylindrical bob swinging outside the frame to the rear, the front with silvered Arabic five-minute setting dial inscribed GILLET, BLAND & Co., CROYDON numbered 7915 to verso and maintaining power lever, the rear with bevel-gear assembly and yoke for the dial take-off work, the whole mounted on original cast iron stand formed with two tall concave tapered pierced end panels joined by batons and incorporating integral movement support brackets at the rear, complete with full compliment of accessories including winding handle, line and weights (including one for the maintaining power), key for the setting hand, pulleys, motion work, lead-off rod, and an 18 inch skeletonised dial backed by translucent acrylic with hands, the movement 49cm (19.25ins) high; the movement and stand 144cm (56.75ins) high overall. The firm of Gillet, Bland and Company of Croydon can trace its roots back to the clockmaker William Gillett who moved from Hadlow, Kent, to Clerkenwell in 1837. In 1844 he relocated again, this time to Union Road, Thornton Heath, Croydon. Charles Bland became a partner in 1854, and the company subsequently traded as Gillett & Bland. In 1877, Arthur A. Johnston (c.1851-1916) bought a partnership, and shortly afterwards extended the company's output by establishing a bell foundry. The business became known as Gillett, Bland & Co until Bland's death in c.1884, when the name was changed to Gillett & Co. The name Gillett & Johnston seems to have been used from around 1887. Arthur Johnston's son, Cyril Frederick Johnston (1884-1950), joined the company in 1902, became a partner in 1907, and took over the firm following his father's death in 1916. He developed an interest in the theory of bell tuning, and greatly expanded the bellfounding side of the business. During the First World War, the factory suspended its regular business and became involved in the manufacture of munitions, employing over 1,250 men and women. The firm became a limited liability company in 1925, initially trading as the Croydon Bell Foundry Ltd (although the name Gillett and Johnston still appeared on bells). It reverted to the name Gillett & Johnston Ltd in 1930. After going into receivership in 1857 the company was subsequently re-established and still trades today as clockmakers specialising in the maintenance and restoration of turret clocks. The Gillet Bland and Company day ledger records the installation of the current lot at the Clock House, 8 Chelsea Embankment on the 10th March 1880. These records indicate timepiece was supplied with two 3ft. 6in. diameter copper dials with Arabic numerals at a cost of £55. The house was designed by the celebrated Victorian architect Norman Shaw and the clock was positioned inside the house driving a pair of dials set on a large projecting iron bracket attached to the façade. The current mechanism was removed and substituted for an electric movement whilst the building was being converted into flats during the 1980's.
Lot 142
A Victorian cast iron and brass hour-striking turret clock movementW.J. Thompson, Ashford, circa 1870The decorative pierced break-arch frame incorporating fan-light design to upper section and decorative turned brass bushes to the pivot holes united by four double-screwed columnar pillars and a brass top beam enclosing four-wheel trains with six-spoke wheel crossings, internal rack striking mechanism now sounding on a small bell set above the train, maintaining power, and deadbeat escapement with adjustable pallets and fine beat crutch adjustment for regulation by long pendulum, the front with winding squares, twin vane fly and brass Arabic five-minute setting dial inscribed W.J THOMPSON, ASHFORD, the rear with wide-jaw pendulum suspension bracket, bevel-gear assembly, yoke and short dial take-off work now driving a six inch white enamel Roman numeral dial inscribed G. KENT LTD, LONDON & LUTON to centre set on a post, along with motionwork, to the apex of the frame, with two sets of weights and lines and mounted on a later green painted wood display stand, the frame 51cm (20ins) high; total height (including stand, frame and dial), 204cm (85.75ins approx.) overall. William James Thompson is recorded in Loomes, Brian Clockmakers & Watchmakers of the World, Volume 2, as working in Ashford, Kent in 1874. George Kent Limited were manufacturers of specialist metering equipment who were first established at 199-201, High Holborn, London by George Kent. Initially traded as manufacturers and retailers of domestic equipment but expanded to produce early refrigerators and machinery such as knife sharpeners. In 1907 the business became a limited Company and set-up a factory in Luton the following year adding the manufacturing of specialist metering equipment to their diverse range of operations. During WWI the factory was re-purposed for the war effort and in 1921 the business merged with J. Blakeborough and Sons to form 'George Kent Ltd and J. Blakeborough and Sons Ltd'. The firm subsequently went on to acquire other related businesses (including Cambridge Instrument Co. in 1968) to become the largest British manufacturer of industrial Instruments. George Kent Limited were finally acquired by the Swiss conglomerate, Brown Boveri & Co., in 1974 with their various divisions subsequently re-organised and combined to create a series of leading specialist manufacturers in industrial, scientific and medical instrumentation.
Lot 145
A rare George III forged iron and steel weight-driven spit roasting jackAnonymous, southern England, third quarter of the 18th centuryThe two wheel train with concealed winding clicks to the greatwheel arbor beneath fine baluster turned first wheel arbor driving a vertical worm gear for the fly, the frame with elaborate C-scroll forged iron frontplate incorporating stylised hogs mask motif applied with the worm gear lower potance behind, fixed via two ogee-moulded nuts to the top and lower bars riveted to conforming vertical bar and pair of hoops terminated with drilled pads for wall mounting at the rear, with later four-spoke fly wheel, (no winding key or weight), the frontplate 30cm (11.75ins) high. Comparable jacks to the current lot are discussed in Gentle, Rupert and Feild, Belinda DOMESTIC METALWORK 1640-1820 pages 247-49.
Lot 146
A George III forged iron and steel weight-driven spit roasting jackAnonymous, southern England, third quarter of the 18th centuryThe three wheel train with concealed winding clicks to the greatwheel arbor beneath fine baluster turned first and second wheel arbors with the latter driving a vertical worm gear for the fly, the frame with elaborate C-scroll forged iron frontplate incorporating stylised hogs mask motif applied with the worm gear lower potance behind, fixed via two ogee-moulded nuts to the top and lower bars riveted to conforming vertical bar and pair of hoops terminated with drilled pads for wall mounting at the rear, with later fly forged with three serpentine-shaped arms and a winding key (no weight), now mounted on an shaped oak wall panel, the frontplate 35cm (13.75ins) high. Comparable jacks to the current lot are discussed in Gentle, Rupert and Feild, Belinda DOMESTIC METALWORK 1640-1820 pages 247-49.The gearing of the current lot is around four times higher than that of the previous lot (a comparable two-wheel jack) hence the mechanism would run for a much longer period between winds. However in order to maintain comparable output torque a much heavier weight would be required.I would like to thank Tony Weston for his assistance with the cataloguing of the current and previous lots.
Lot 147
A rare and potentially important early English wooden-framed turret clock movementAnonymous, believed to have been supplied to Greystoke Castle, Penrith, early 16th century or laterThe single-plane wooden frame enclosing three-wheel trains with both the wooden-cored capstan-wound barrels set within the centre section, the upper for the strike train fitted with ring-braced pins for the pivoted hour hammer lever to rim and pinion for driving the internal-toothed countwheel positioned within the adjacent compartment, the locking wheel separately driven by the greatwheel below with locking enabled by pair of pivoted levers (formerly interconnected) applied to the vertical frame member between, the lower barrel for the going train (formerly with verge escapement regulated by foliate balance) now driving a brass second wheel (probably mounted onto the original verge escape wheel arbor) and anchor escapement with external crutch for regulation by long pendulum, the opposite end of the going greatwheel arbor fitted with a flag for releasing the strike train, (lacking fly, strikework release detents, pendulum, lines and weights), the frame 147cm (58ins) by 128cm (50.5ins).Provenance: Hand-written correspondences included with the current lot anecdotally account the clock having been moved from Greystoke Castle to the village church (St. Andrews) for safe keeping after a fire, where it remained for a substantial period of time before being disposed-of (most likely during the 1980's) by a subsequent vicar (for scrap!). The mechanism was fortunately saved (apparently from the tip) and offered by the locally-based owner through Peter Shirley of Chatham in 1996. The clock was acquired by the late John Hooper at around this time and was subsequently inherited by the current owner.GREYSTOKE CASTLEThe History of Greystoke Castle can be traced back to the 1120's with the building of a house by Llyulph (de Greystoke) on lands re-granted to him after the Norman Conquest. In 1244 the manor received Royal Charter to hold a weekly market and yearly fair, and by 1300 was in the hands of John the first Baron of Greystoke who had been summoned to parliament by writ. The house subsequently went through at least two phases of enlargement including castellation after permission was granted in 1346 by Edward III. The succession continued unbroken until 1506 when the property passed to Elizabeth de Greystoke who, being a minor and ward of the King in the custody of the Earl of Cumberland, was not able to take the manor until her subsequent marriage to Lord Dacre of Gisland. It was at this time that the House went through a third phase of building.In the 1520's the Greystoke estate passed into the ownership the Howard family through the marriage of widowed Lady Anne Dacre to Thomas Howard, Duke of Norfolk. To ensure that the Greystoke estate remained in the hands of the Howard family, the Duke took in as minors Anne's three daughters who were later to marry three of his sons.During the Civil War Greystoke Castle was defended in the name of the King only to fall to a detachment of General Lambert's Army who subsequently placed a battery in the park above the castle. It has been traditionally suggested that the castle was then burnt down on the orders of Cromwell. However, The Lady Mabel Howard in her 1924 article published in the Cumberland and Westmorland Antiquarian and Archeological Society's Transactions (Vol. XXIV) firmly asserted that this was not the case. Notwithstanding this the fortunes of the Castle and estate took time recover however, by the mid 18th century, wealth and prosperity had returned to the extent that renovations and enlargements were able to take place in 1789. The castle was again remodelled in 1838-48 by Anthony Salvin however, in 1868, a maid left a lighted candle in a cupboard full of linen and the consequent fire gutted significant parts of the castle. The damage was subsequently repaired and restored in the 1880's by Henry Charles Howard apparently mainly using materials salvaged from the building or in and around the estate.During WWII the castle was requisitioned with the estate used for battle tank training, and the building for the detention of prisoners of war (mainly Polish Nazi sympathisers). After the war the castle was found to be in a bad state hence significant restoration work was undertaken in the 1950's; it is still maintained today still under the ownership of the Howard family.THE PRESENT CLOCK MOVEMENTPlacing the current lot within the context of the history of the Greystoke estate it would seem that it would have most likely been made during the first few decades of the 16th century when the Castle was going through its third phase of building under Lady Elizabeth Dacre. The clock would then have remained in-situ until the fire in 1868 when it would have been removed to the village Church for safe keeping. These possibilities appear entirely plausible on the assumption that the castle was not comprehensively destroyed during the Civil War. It is also interesting to note that the Lady Mabel Howard infers that the fire of 1868 mainly affected the areas which had been subject to the 1838-48 rebuilding. This would suggest that some of the older parts of the structure may have escaped damage hence why the clock would have survived this particular event.When considering the current movement as an object there are many features which would suggest an early date.The first is the decoration seen on original forged wheels with the finely finished crossings incorporating chamfered edges with the countwheel also having three bands of perpendicular 'collars' filed to each spoke. This degree of finishing is highly unusual in a large turret clock movement and the 'Gothic' nature if the decoration is indicative of an early date.Secondly the strike mechanism appears to have been made with no provision for 'overlift' (in respect to the operation of the strike locking detents) despite having a locking wheel, and the train may also not have had any form of warning. From the surviving mechanism it would seem that the strike train would have released via a lever engaging with an arm positioned on the end of the going great wheel arbor. This lever would have in-turn tilted the pivoted locking flag (attached to the wooden frame behind the locking wheel) and released the train. At the same time a second flag, via a connecting rod with the first, would have been pivoted away from its resting position in one of the slots in the countwheel. As the strike train runs the second flag would prevent the first from relocking the train due to being held in raised position by the rim of the rotating countwheel. Only once the countwheel has rotated enough for the next slot to appear, thus allowing the second flag to drop-in, would the strike train be arrested fully by the first flag also engaging with a pin on the warning wheel. Whether the mechanism has warning or not would seem to depend on whether there would be enough tolerance to allow the countwheel flag to be raised clear of its slot whilst the locking wheel flag has still yet to clear the pin on the locking wheel. The only way to establish whether this system of warning is possible would be by experimentation once the rod that connects the two flags has been reinstated.Read more in the page turning catalogue via the link here. Condition Report: Condition reports for this lot are available from the Clocks Department upon request (clocks@dreweatts.com). Condition Report Disclaimer
Lot 148
A very rare German Renaissance four-train double-hour and quarter-striking table clock movementUnsigned, probably Augsburg or Nuremburg, circa 1575The iron, steel and brass posted quadruple-chain fusee movement with square section corner uprights enclosing going train with verge escapement now regulated by a foliot oscillating above the top plate, set to the right beside the quarter-striking train which in-turn is positioned in front of the two side-by-side hour-striking trains behind, each originally with locking plates to the rear pivot plates (now lacking) and vertically pivoted hammer arbors, the wheelwork entirely of iron except for the spring barrel walls and fusee and each of the trains set between individual pairs of vertical pivot plates, the quarter train with nag's head release via a starwheel to the going centre arbor and countwheel set behind the dial incorporating trip for the first hour striking train, the second hour train originally tripped by the first via detents set to the rear of the movement (now lacking), the front with rectangular gilt brass dial applied with later vestigial alarm disc and Roman numeral chapter ring incorporating cruciform hour markers, with sculpted steel hands formed as a sword and halberd within applied original outer minute track set within fruit inhabited foliate scroll engraved surround incorporating inverted cupola pendant apron panel, the rear with twin side-by-side hour striking dials (one lacking annotated countwheel dial insert) applied to a conforming foliate strapwork engraved panel, distance between top and bottom plates 20cm (7.875ins); 38cm (15ins) high overall including the two-tier bell stand. Provenance: Property of a private collector; purchased at Bonhams and Goodman sale of the The Melbourne Clock Museum, 29th April 2008. When considering the potential date of the current lot a cursory survey of dated German Renaissance table clock movements made during the second half of the 16th century reveals that the use of brass within the mechanism became more widespread as the century progressed. Initially brass was employed just for the fusees and spring barrel walls, then also for the movement pivot plates, and finally (by around 1600-20) for the wheelwork as well. With this in mind the current movement (using brass only for the fusees and spring barrel walls) can be dated to around 1575. This approximate date is also supported by the lack of warning to the striking mechanism as this was not generally adopted until around 1600. In addition to this the engraved decoration to the dial panels exhibits a mixture of naturalistic leafy foliate scrolls and formal strapwork into a matted ground which can be compared to the background decoration seen on a complex astrolabe-dialled table clock dated 1568 attributed to Jeremias Metzger for Casper Bohemus of Vienna in the collection of the Metropolitan Museum of Art, New York (illustrated in Maurice, Klaus and Myer, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 185).The unusual specification of the striking mechanism, where the full-hour is repeated shortly after the initial sounding, is believed to have been adopted to confirm the hour in the event that the strike was misheard the first time around. This repeat-hour striking system is most often associated with Italian clocks using the six-hour system where it is given the term 'Ribotta'. In German Renaissance work however re-striking hours are particularly rare although not unheard of; indeed a clock utilising this system, albeit in a two train configuration, was sold at Patrizzi and Company's sale of Pre-pendulum European Renaissance Clocks held in Milan on the 24th May 2009, lot 56. The present mechanism is very unusual, perhaps unique, in that the repeat-hour employs and entirely separate second hour train complete with additional fusee. This results in the movement being 'quadruple' fusee and it is believed to be the only one of its type.Condition Report: The going train has at one time been converted to verge escapement regulated by short pendulum and has subsequently been converted back to verge with balance although regulation is now erroneously by foliot rather than balance. The second wheel is also brass (most likely left over from the pendulum conversion). The brass spring barrel wall has now been soldered to the iron/steel end plate and there is also a solder angle patch repair near the spring anchor rivet. The quarter train survives complete and appears all-original except possibly for the brass fusee which may be a replacement (colour has a copper hue). The star wheel release to the strike train is present as are the detents and countwheel.The first hour striking train (rear left) appears complete and original except for the release detent and the countwheel which are both missing; the starwheel/release pin to the under-dial motionwork id also missing. The second striking train also appears complete and original except for the release detent and the countwheel which are both missing; the hammer is also missing (vertical arbor is present) and the brass fusee may be a replacement (colour has a slightly copper hue).All four trains will turn and it seems that some careful conservation such as cleaning of pivots etc has taken place within the relatively recent past. The alarm mechanism is entirely missing leaving holes in the movement top plate, there are a few other vacant holes present relating to the previous balance and pendulum escapements as well as the case which is no longer present.The dial plate has replaced alarm disc (now fixed tight with rivets) and chapter ring - these would appear to date to somewhere between 1670 and 1740 hence are probably contemporary with the earlier pendulum conversion of the going train. The rest of the plate is original however has some small spare holes including one beyond the minute track between the IX and X numerals and another to the centre just above the apron; the purpose of these holes in not clear. The hands are probably late 19th century. The rear plate is missing one of its hour counting dials, the other appears to be a fairly early replacement made from copper. Otherwise plate is original but is missing a small length of the raised border around the left hand dial has a spare hole above each dial and a third to the centre just above the apron. Both dials are secured by modern screws.The movement has a forged two-tier bel stand but no bells or winding key. Condition Report Disclaimer
Lot 151
A fine and rare James I or Charles I 'first period' lantern clockInitialled W.S. perhaps for William Selwood, London, circa 1625The going train now with later anchor escapement for regulation by seconds pendulum swinging outside the frame of the clock to the rear and the strike train incorporating double-cut hoop wheel and iron countweel for sounding the hours on the bell mounted within the superstructure, the dial with unusual rose within radial sunburst engraved centre and applied narrow silvered Roman numeral chapter ring with cruciform half hour markers with a pierced iron hand and intense scroll engraved cross-hatched infill to angles, the frame with one-piece column turned corner posts and finials incorporating rounded elements at the junctions between the top and bottom plates with the lower front pair each engraved with the initials W*S and the finials flanking shaped cartouche centred foliate scroll pieced and engraved frets, the sides with hinged brass doors and the top with iron-framed bell-bearer unusually decorated with applied strips of pewter-type alloy incorporating serrated edges and secured by repeating finial rivets enclosing a bell cast with the initials WS to interior, on integral ring-decorated ball feet (formerly with verge escapement regulated by horizontal balance wheel), 39cm (15.25ins) high.Provenance: Purchased by the vendors father in Henley-on-Thames circa 1946.The current lantern clock is highly distinctive and has numerous unusual details many of which, in combination, are generally only seen on examples made during the 'first period' of English lantern clock manufacture (ie. clocks made before the Civil War). Firstly with regards to the movement, the strike train utilises a double-cut hoop wheel for locking, the countwheel is also forged from iron and is driven by a separate six-leaf pinion of report applied to the main wheel arbor (rather than being pins filed integral to the end of the arbor). The forged bell spring, check and hammer are also particularly heavy in their construction with the check being of early straight heavily-tapered form (rather than 'L'-shaped). The going train has been largely rebuilt (at the time of conversion to long pendulum regulation) to facilitate longer-duration however the original starwheel survives and is unusual being made from iron. In addition to these details it is worth noting that the pulleys are constructed with the centre and one cheek being of brass and the other cheek being of iron, and the arbors (where original) are heavily tapered with slightly stepped integral collets. When these details are considered within the descriptive list of features found on 'first period' clocks outlined in White, George English Lantern Clocks (pages 98-108) it becomes clear that the current movement originates from within this early timeframe.With regards to the frame and dial, the latter is unusual in that the upper and lower edges lap against the top and bottom plate edges (rather than the plate sitting within the space between), and is secured to the upper margin of the front movement pivot plate via a pinned iron tenon. This method of fixing again originated during the 'first period' of lantern clock manufacture (although was also a popular amongst later West Country makers). The design of the centre engraving to the dial falls into the category described in Loomes, Brian LANTERN CLOCKS & Their Makers in Chapter 2 entitled Engraved Dial Patterns - Starburst, Compass Rose, egg & Dart (pages 10-27). Indeed the 'starburst' motif seen on the current dial has its roots in Continental Renaissance work and is generally only seen on the earliest English lantern clocks. Of notable comparative interest is a clock illustrated by Loomes on page 27 (Figs. 2.43-.45) which, in addition to having related (but simpler) engraving to the dial centre, also has similar frame castings and is signed W, S. In addition to this two further clocks exhibiting the same essential composition to the dial engraving are illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 on pages 25 (Plate 1/12) and 30 (Plate I/18). These examples are both dated to around 1635 with the first being signed for William Bowyer and the second for William Selwood. Interestingly the chapter ring of the current lot also shares the same design of half-hour markers seen on both these examples.An addition to the starburst engraved centre a further detail within the dial that supports an early date is the engraved infill to each corner. Although this decoration is relatively naive in its execution it has an intensity and 'feel' to the scrollwork and hatching that is more akin to early first period work and can perhaps be compared to the infill seen on the dial of a very early clock by Robert Harvey illustrated in Loomes on page 20 (Fig. 2.24). This generally differs from infill seen on later examples which tends to be more 'formulaic' in composition and based on naturalistic leafy motifs either taking the form of a cluster of broad leaves or, as often seen in mid-century West Country work, a single sweeping leafy scroll.Incidentally the front fret of the present clock is notable in that it is a pattern exclusively found of 'first period' clocks and was in particular favoured by William Bowyer (see White, George, English Lantern Clocks page 75). The fret itself is comprehensively engraved apparently by the same hand as the dial; the side and rear frets are later replacements cast from the front fret.The frame of the present clock is notable in that the dimensions exactly conform with that of a first period clock attributed to the workshop of Richard Milbourne which was sold in these rooms on Thursday 15th March 2018 (lot 112). This coupled with the fact that both of these frames share the same basic design of one-piece castings for the columns, feet and finials (as well as having rounded blocks and the junctions with the plates) would suggest that they are from the same foundry. On closer examination however a couple of detail differences between these two frames can be seen. The first observation is that the shape of the 'body' of each of the finials of the current lot differs from those of the 'Milbourne' clock in that they are more ovoid in shape (i.e. are not of tapered shouldered form). This fatter ovoid shape of finial is closer in form to those seen on the very earliest lantern clocks such as those by Robert Harvey, William Bowyer and Henry Stevens as illustrated in White, George English Lantern Clocks on page 49 (Figure II/13), 82 (Figure II/92) and 83 (Figures II/96). The second difference is in the spacing of the ring collar to the capital of each of the columns with those of the present clock being higher-up the column shaft (ie. closer to the capital) than those on the 'Milbourne' clock. From these observations it would be reasonable to suggest that the present frame castings are perhaps an earlier variant of those used for the 'Milbourne' clock.To read more, please refer to the full lot description in the page turning catalogue via the link here. Condition Report: Condition reports for this lot are available from the Clocks Department upon request (clocks@dreweatts.com). Condition Report Disclaimer
Lot 158
A George II parquetry inlaid oak eight-day longcase clockJohn Seddon, Frodsham, circa 1740The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12.5 inch square brass dial with ringed winding holes, calendar aperture and subsidiary seconds dial to the matted centre decorated with an engraved concentric herringbone band and signed John Seddon, Frodsham to a decorative panel above the calendar, within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers and arcaded minute ring with Arabic five minutes to outer track, with scroll pierced steel hands and mask and scroll cast spandrels to angles, the case with ogee caddy over generous double-ogee cornice, fretwork frieze and hinged glazed dial aperture applied with three-quarter columns to angles, the sides with break-arch windows over concave throat moulding and shaped 'Dutch gable' shaped top crossbanded trunk door centred with a parquetry star and flanked by chevron banded uprights to surround, on conforming star decorated plinth base with parquetry border, ogee top mouldings and caddy moulded skirt, 216cm (85ins) high. Records relating to the Seddon family of clockmakers from Frodsham, Cheshire first appear in the Parish baptismal entries for the children of Mary Cook and John Seddon (described as a clockmaker by trade) in 1676, followed by the supposed supplying of a turret clock by John Seddon to Poole Hall in 1704. Frodsham Parish records apparently further record a John Seddon complaining of an Edward Cook in 1713. Finally Daniel Seddon, Clockmaker from Frodsham, is recorded as working 1754-85. John and Daniel Seddon were makers of very fine clocks some of which incorporated spherical globe moons in the arch and invariably displayed fine engraved detail. The current lot is typical of Seddon's work with fine decorative detailing to the movement and lively engraving to the dial. The case also exhibits parquetry star motifs which again is often seen on those housing movements by the Seddon family.Condition Report: The movement is complete and in clean working condition with no evidence of alteration or noticeable replacements. The dial is also in clean condition and free from visible defects other than a few light spots of discolouration.The movement has a replacement seatboard which rests on sections separately applied to thin the side uprights of the case. The presence of a replacement seatboard and sections applied to case uprights means that we cannot offer any assurances that the movement and dial are original to the case however we are generally of the opinion that they probably are (on stylistic grounds) and that the replacements to the seatboard and cheek uprights were most likely done for purely practical reasons. The case generally is in good condition having fairly recently had cosmetic work by the previous owner (an elderly lady now deceased) done to make it eminently presentable. Consequently the base has been rebuilt with a new skirt. Faults are therefore otherwise generally limited to some historic bumps, scuffs, shrinkage and other age related blemishes.Clock is complete with two weights, pendulum, case key and winder. Condition Report Disclaimer
Lot 162
A mahogany fusee dial wall timepiece with 9 inch dialThe dial signed for Benjamin Ward, late 18th century and laterfour pillar single fusee movement now with anchor escapement regulated by lenticular bob pendulum and tapered plates, the 9 inch circular silvered brass Roman numeral dial inscribed Benj'n Ward, LONDON beneath blanked-off false-bob aperture to centre, with Arabic five minutes to outer track and blued steel hands set behind hinged ogee-profile glazed wooden bezel, in a case with moulded surround fronting dovetail jointed mahogany box incorporating door to right hand side and pendulum access flap to underside, and with shaped extensions to the upper and lower edges of the backboard behind, (case probably of 20th century construction), 30.5cm (12ins); 39cm (15.25ins approx.) high. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Two makers with the name Benjamin Ward are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the latter part of the 18th century. The first is noted as working from Norton Folgate circa 1765-90 and the second from St. Georges Fields 1799-1808.The case of the current lot, although faithfully constructed, is most likely of 20th century manufacture. From this it is perhaps appropriate to speculate that the movement and dial may have started life housed in a carved giltwood 'cartel' type case, which, as with so many of that type, may have been become worn and damaged beyond economic repair.
Lot 166
An impressive George III eight-day musical longcase clock with moonphaseRichard Bullock, Ellesmere, circa 1775The substantial seven pillar triple-train bell striking movement with T-shaped plates, anchor escapement regulated by seconds pendulum and playing a choice of seven tunes every three hours on a graduated nest of ten bells with twenty hammers via a 11.25 inch pinned cylinder mounted transversely across the upper edge of the backplate, the 13 inch brass break-arch dial with subsidiary tune selection dial annotated EASTER HYMN/MARCH IN PTOLOMY/BANK OF FLOWERS/BEILLISLE MARCH/ROAST BEEF/NANCY DAWSON/HARVEST HOME to the symmetrical foliate scroll engraved dial centre incorporating oval reserve signed Rich'd Bullock, Elles mere, No. 539 around the calendar aperture to lower margin, within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced blued steel hands and crested female mask and scroll cast spandrels to lower angles opposing subsidiary STRIKE/NOT STRIKE and CHIME/NOT selection dials to the upper, beneath arch with rolling moonphase incorporating conforming mask-centred mounts to lunettes and unusual Classical capriccio landscape painted decoration opposing starry sky with a comet to the concentric age-of-the-moon annotated lunar disc, in a case possibly by Gillows of Lancaster with carved lobed finials over dentil cavetto moulded swan-neck pediment incorporating leafy pendant scroll and blind-fretwork infill over ogee bolection moulded break-arch glazed hinged dial aperture enclosing gilt leaf carved mask around the dial, flanked by free-standing Gothic cluster columns and the sides with rectangular sound frets and conforming columns set against bargeboards at the rear, the trunk with dentil cavetto throat and blind fretwork frieze over ogee lancet triple arch-topped flame-figured door flanked by cluster columns to angles, the plinth base with stepped ogee top mouldings over shaped chevron-line panel bordered fascia flanked by moulded canted angles over ogee bracket feet, 241cm (95ins) high excluding top finial; 254cm (100ins) high overall. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Research undertaken by Brian Loomes places the earliest record of the Bullock family of clockmakers in Ellesmere, Shropshire through the Baptism of Sarah Bullock daughter of Edmund Bullock, clockmaker on 8th July 1708. Loomes further notes a baptism of an Edmund Bullock at nearby Wrockwardine in 1686, which most likely records the year of his birth. Of Edmunds work several turret clocks are known (including an example made for Chirk in 1712), numerous longcase clocks many of which are numbered, a sundial dated 1726 and at least one table clock. Edmund Bullock's son, Richard, was born in 1718/19 along with his twin sister, Hannah. Richard followed his father in becoming a clockmaker, although his exact dates appear to be unrecorded it can be safely assumed that he was working, probably alongside his father, by around 1740. Richard also numbered his clocks and maybe continued the series first established by his Edmund although there are no records to confirm this. The current lot is a particularly impressive example and would have been a very expensive commission most likely placed by a very wealthy local land owner. The mechanism is rare in that it has survived unaltered, which is unusual for a musical clock of this complexity. The quality of the case certainly befits that of the movement and exhibits details which may support an attribution to Gillows of Lancaster; namely the ogee-moulded frame to the hood door, fine quality carving to the pediment and sparing/restrained use of parquetry stringing. Condition Report: Movement is complete and appears all original with no visible alterations or missing items and replacement limited to some historic re-pinioning (undertaken at time of past servicing to counter wear in the relevant pinions). The hammers and bells generally sound cleanly on the bells and testing through manual operation of the mechanism suggests that the pin/hammer tail engagement is generally very good. The tune selection feature is present and functional however the return spring that holds the lateral position to the barrel is a bit weak for its purpose. Although the trains will run/operate the mechanism is generally in dirty/neglected condition so will need a gentle clean/service before putting to use.The dial is generally in good original condition albeit with some discolouration, tarnishing and wear to the finishes. All functions (calendar, strike/time selection, moonphase, tune selection and seconds) are operational. The moon disc has some slight flaking to the painted decoration otherwise is in very good original condition.The movement retains its original seatboard. The seatboard however does not stretch to the full width of the cheeks hence much of the support is reliant on blocks applied to the inside of the cheek uprights; such blocks are present but appear fairly recent. The upper surface of the cheeks however appear undisturbed. Due to the seatboard appearing a little narrow for the case we cannot offer any assurances that the movement and dial are original to the case.The case is generally in good condition with faults mainly limited to age related bumps, scuffs, wear, a few very small repairs and slight shrinkage. The finish is a little flat hence case would benefit from a good polish. The hood has carved gilded wood dial surround applied to the inside edge of the mask. This is an unusual (and visually striking) detail may not be original which adds weight to the probability that the movement and dial are not original to the case (as this detail serves to 'adjust' the dimensions of the mask to accommodate the current movement and dial). Notable other faults to the case include a length of slender dentil moulding missing from the throat to the left hand side, a vertical shrinkage crack to the left hand side of the trunk. The moulded skirt and ogee bracket feet are replacements probably dating to the early 20th century.Clock is complete with pendulum, three weights, case key and winder. Condition Report Disclaimer
Lot 170
An oak cased thirty-hour longcase clockThe movement and dial by Charles Gretton, London, circa 1697, the case early to mid 18th centuryThe four finned pillar outside countwheel bell striking two-handed movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with 'triple crown' motif engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring fleur-de-lys half markers minute outer track and signed Charles Gretton, London fecit to lower margin, with fine scroll pierced steel hands and winged cherub mask and scroll cast spandrels to angles, now in a case with ogee moulded cornice and scroll pieced frieze over glazed dial aperture flanked by three quarter columns, the sides with quarter columns set against bargeboards at the rear, the trunk with concave throat over moulded rectangular door, on plinth base with moulded two-tier skirt, 201cm (79ins) high. The life and work of Charles Gretton is thoroughly documented in Radage, Dennis; Warner, Meinen and Radage, Laila CHARLES GRETTON, THROUGH THE GOLDEN AGE in which the current lot is recorded and comprehensively illustrated as 'LC32' 0n pages 178-81. Charles Gretton was born in Clayplole, Lincolnshire in 1648 and by 1662 he had moved to London entering into an eight year apprenticeship under Humphrey Downing on the 30th June of that year (turned over from Lionell Wythe). Humphrey Downing died in 1666 but it is thought that Gretton continued his apprenticeship under his widow, Cordelia, gaining his freedom of the Clockmakers Company in 1672 and se-up business in Fleet Street. In 1677 Gretton married Mary Phillips and established himself at the sign of the 'The Ship' in Fleet Street (either number 174 or 175 next to Fetter Lane). Gretton was appointed an Assistant of the Clockmaker's Company in 1889 and then Warden in 1697; the same year he signed the 'oath of allegiance'. In 1700 Charles Gretton served as Master as well marrying his second wife Lucy Uffman (his first wife Mary died in 1694). In 1701 he put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members and was nominated to serve again as Master in 1705/06. Lucy, his second wife died before 1711 as this is the year that Charles Gretton married his third wife, Dorethea Wilson shortly after which he moved to his newly acquired second premises at two Chancery Lane. At this time his premises at 'The Ship', Fleet Street was passed onto the management of his nephew, Thomas Moore who paid taxes on the building until 1723. In 1716 Charles and Dorothea moved again to Chancery Lane where they remained until Dorothea's death in 1727. By this time Charles Gretton had retired from active clockmaking and went to go and live with his daughter, Ann, in Milk Street where he remained until his death in 1731.During his carreer Charles Gretton He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. By the time of his death and internment at St. Dunstan's in the West Gretton had become a wealthy and highly respected figure within the City of London as well as the clockmaking community. His Will mentions no less than nine properties as well as £1,300 deposited in the Bank of England contributing the £2,600 monetary component of his legacy.
Lot 174
A fine Charles II eight-day longcase clock movement Edward East, London circa 1675-80The six finned and latched pillar movement with plates measuring approximately 7.75 by 5 inches enclosing fine delicate wheel-work, the going train with bolt-and-shutter maintaining power and anchor escapement for regulation by seconds pendulum and the strike train with external countwheel striking on a domed bell mounted above the plates, with a 9.5 inch square gilt brass dial with slender subsidiary seconds dial and calendar aperture to the matted centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with fine pierced and sculpted steel hands and winged cherub head cast spandrels to angles and engraved Edwardus East Londini to lower margin. Edward East was born in Southill Bedfordshire in 1602 and was apprenticed in 1618 to Richard Rogers until 1626, gaining his freedom of the Goldsmith's Company the following year. He was appointed as one of the first Assistants of the Clockmakers Company (a year after the charter was granted by Charles I in 1631) later becoming Master twice in 1645 and 1653. He worked first from Pall Mall, London subsequently moving to the Fleet Street/Temple Bar area by the 1640's, in November 1660 he was appointed chief clockmaker to King Charles II. Edward East certainly had the longest and perhaps one of the most distinguished careers in English clockmaking during the 'Golden Period' taking on eight apprentices between 1643 and 1676 (including Henry Jones from 1654 to 1663). East was the only original Assistant surviving when the Grant of Arms was awarded to the Clockmakers' Company in 1671. Edward East drafted his Will in 1688 and on his death in 1696 he was clearly a wealthy man leaving property to his four children including a residence in Hampton, Middlesex and a coaching Inn called 'The Swan with Two Necks' which was bequeathed to his daughter, Anne Saunders. The current movement can be compared to an example offered at Bonhams in their sale of Fine Clocks held on 10th December 2014 (lot 85) which sold for £116,500. In particular the positioning of the movement pillars and layout of the wheel trains is very similar to that of the current lot as is the script of the signature to the lower edge of the dial. The backcock follows East's unusual practice in having the pendulum suspension block cast separate and sliding into a tapered dovetail slot. This detail is noteworthy as it facilitates the end-float of the pallet arbor to be checked hence allowing the pivot to run more efficiently.Condition Report: The movement has survived in fine original condition with no visible evidence of alteration and with minimal replacements for a mechanism of this age. The third wheel of the going train has probably been re-set/re-mounted on its arbor probably to allow the wheel to engage with a less worn part of the escape wheel pinion. The escapement pallets appear to be 19th century replacements, the escapewheel itself appears original. The strike train appears entirely original with the exception of the warning wheel which has been re-pinioned. The trains generally exhibit evidence of historic moderate pinion wear to the upper wheels of the train with some very slight careful adjustments to ensure that wheels are meshing with lesser worm parts of the pinions. The under-dial work appears complete and all-original with the possible exception of the strike lift detent which being noticeably cleaner than the remaining steelwork may be a replacement. There is one small vacant threaded hole next to the seconds arbor, the purpose of this is not obvious but it is not considered indicative of an alteration having taken place. The movement overall exhibits light pitting to the steelwork and the brass now has medium brown oxidised patination and although is essentially in working condition a very sentitive precautionary service is advised before putting into long-term service.The dial is finely proportioned and well finished but would appear to have had relatively recent work undertaken to restore the gilding and silvered surfaces. The gilding to the plate appears to have either been cleaned or most likely re-done to a high standard hence is now in fine condition exhibiting only a few very light blemishes. The un-gilded section beneath the chapter ring exhibits what appears to be old surface, this coupled with the quality of the signature and the general overall general feel and 'softness' to the angles to the front of the plate would suggest that the dial has age and, as there is no evidence to suggest otherwise, is original to the movement. The rear of the plate has a very slight 'purple' hue to the colour - this would appear to be from a coloured wax applied most likely in an attempt to darken the colour of the plate a little which may have looked a little light in colour compared to the movement after work had been done to the gilding.The spandrels appear are in fine condition; the hands are well made and show old surface to rear however they could be well executed replacements.There is no pendulum, lines or weights present with the clock although there is a crank winding key. Condition Report Disclaimer
Lot 179
A rare William III ebonised table timepiece with alarmJohn Bushman, London, circa 1695The five finned baluster pillar single fusee movement with verge escapement regulated by disc-bob pendulum and pull-wind alarm mechanism incorporating vertical verge crown wheel and pallets to the cranked hammer arbor for sounding on the bell mounted above the plates, the backplate applied with pierced leafy backcock apron and alarm winding pulley over symmetrical scrolling foliate engraved decoration enveloping a central oval herringbone-bordered cartouche enclosing signature John Bushman, LONDON, the 7 inch square brass dial with ringed winding hole, herringbone border engraved shaped false bob aperture and scroll decorated calendar to the finely matted centre within silvered Roman numeral chapter ring with stylised sword-hilt half hour markers and Arabic five minutes to outer track, with fine sculpted pierced steel hands including another for alarm setting and silvered cast winged cherub head spandrels to angles, the case with foliate bud cast hinged brass carrying handle to the domed caddy superstructure and pair of brass vase finials over complex top mouldings and glazed front door applied with scroll-pierced brass repousse mounts to frame, the sides with rectangular windows and the rear with rectangular glazed door applied with further repousse mounts set within the frame of the case, the base with further complex mouldings to the shallow skirt over block feet, 35cm (13.75ins) high excluding handle. John Bushman (Buschmann) is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as a `High German` watchmaker born in Hagen (Augsburg) circa 1661 and was made brother of the Clockmakers` Company in September 1692. He first married Mary Wyatt in the Parish of St. Margaret, Westminster in December 1690 with whom he had four children; and then Elizabeth Hill at All Hallows, Staining in 1695 with whom he had eight children (most dying in infancy). In 1697 John Buschmann signed the Clockmakers' Company the oath of allegiance; he was subsequently made an Assistant in 1720 and died in 1722. John Buschmann was descended from a celebrated dynasty of clockmakers who worked from Augsburg throughout the 16th and 17th centuries. These roots allowed relatively easy access to the lucrative German market, consequently many of his clocks were made for export. His work tends to be of fine quality and fairly diverse in specification with miniature and month duration table clocks known. Indeed the relatively diverse nature of his output probably reflected the need for him to be flexible in order to satisfy the individual requirements of his wealthy European clients. The backplate of the current lot exhibits particularly fine engraving which closely conforms to that executed on many clocks by Thomas Tompion by engraver G195 as discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 in Appendix 1 (pages 379-95). In particular, on page 385, Dzik illustrates (Figure 5) the backplates of Tompion numbers 410 and 417 with self-crossing vines and 'fluffy flowers' highlighted; when these are compared to the decoration seen on the present backplate the match is almost exact hence, from this evidence, it would be appropriate to surmise that it was also engraved by Tompion's engraver G195. The current lot is unusual in that it is an alarm timepiece only, this would suggest that it was made exclusively for use in the bedchamber. From this it would be appropriate to speculate the original owner was probably a particularly wealthy individual who could afford a timepiece for this purpose alone rather than having a clock which was designed to also be taken 'downstairs' for use during the day. On closer examination the pendulum of the current lot has been converted from a fixed bob with rod applied directly to the pallet arbor to a disc-bob pendulum with suspension and driven by a crutch (the verge escapement survives in its original configuration). The presence of a silk suspended pendulum would indicate that the present timepiece has spent time on the Continent as this feature is typical of clocks made in near Continental Europe rather than the fixed-bob arrangement favoured by English makers. With this in mind it is likely that the current timepiece was probably made by Buschmann for a client based in Continental Europe, perhaps Germany, hence may well have spent most of its life residing in a bedchamber of a German Schloss.Condition Report: The movement appears to be in fine original condition with no evidence of alteration or noticeable replacements other than the pendulum which has been converted from a fixed bob arrangement to a lenticular bob with silk suspension driven by a crutch. There is no evidence of the clock ever being converted to anchor escapement. The movement is fully operational and reasonably clean however a gentle clean/service is advisable before putting it into service. Overall the mechanism shows little wear indicative of an 'easy life'.The dial is also in good original condition with no visible evidence of alterations or significant replacements with the possible exception of the alarm setting hand which may be non-original. The spandrels are silvered with some wear to high spots and the chapter ring has overall patchy tarnishing to the finish. The dial plate has a good overall slightly mellow colour and appearance.The case is generally in structurally sound condition with faults mainly limited to external bumps, scuffs, bruising, shrinkage, veneer chipping and wear. The repousse mounts to the front door are heavily discoloured with a loss to the right-hand vertical mount and break to lower rail mount. The two rear finials are missing and the front right hand is repaired, both finials and the handle are heavily discoloured. The case retains its original locks and hinges and the internal dial mask is free from losses only having slight cracking/lifting to the veneer overlap to the top right hand corner. The centre of the upper rail above the dial has a hole almost certainly for a turn-tab (to hold the dial tight against the mask in the case) which is no longer present. The rear door has small repousse mounts - the upper and right hand examples are incomplete, the left hand (forming the key escutcheon) is lacking. The block feet are replacements.The surface has an old fairly heavy poorly-applied uneven polish and the interior has old thick wash of black gadding to the overall neglected feel to the case. There is no winder or case key present - the front door is now held with an external pivoted hook catch. Condition Report Disclaimer
Lot 26
Lee Ronald A. THE FIRST TWELVE YEARS OF THE ENGLISH PENDULUM CLOCK or the Fromanteel Family and their Contemporaries, 1658-1670 Exhibition catalogue printed by the author, London 1969, soft bound, inscribed in ink with signature John Hooper. Provenance: Purchased in these rooms at the sale of ...the Library & Workshop of John Hooper Tuesday 10th February 1999 (lot 2).
Lot 27
Derham, William THE ARTIFICIAL Clock-maker. A Treatise of Watch, and Clock-work... First edition printed for James Knapton 'at the Crown in St Pauls Church-yard', London 1696, with folding woodcut plate of musical notation and chimes (loss to edge margin), woodcut diagrams and Addenda leaf at end, 8vo in 4s, contemporary tooled calf, (title with ink signature Jacob Mefsing, some soiling and staining). A rare first edition of the first comprehensive and scientific treatment of the art of horology, with far greater detail on clock and watch movement and construction than given by John Smith in his Horological Dialogues of 1675. Derham also produced the earliest, reasonably accurate estimate of the speed of sound. In his preface to the present work he admits to having had help 'in the History of the Modern Inventions' from Hooke and Tompion. See Baillie, G.H. CLOCKS AND WATCHES, An Historical Bibliography page 123.
Lot 48
A William and Mary eight-day longcase clock movement with 10 inch dialUnsigned, circa 1690 and laterThe outside countwheel bell striking movement with four (formerly six) finned pillars pinned through the backplate and anchor escapement for regulation by seconds pendulum, the 10 inch square brass dial with subsidiary seconds dial, calendar aperture and ringed winding holes to the matted centre within applied narrow Roman numeral chapter ring now reversed with the rear engraved with feathered cruciform half hour markers and small Arabic fine minutes within the slender minute ring, now with rococo scroll cast spandrels to angles, (the trains with significant historic reworking and replacements, no pendulum or weights). Although the current movement has seen a significant degree of reworking and replacements to the trains several interesting details survive. Perhaps the most notable are the movement pillars which are unusually pinned through the backplate. This detail is very rarely seen on London made examples but appears in the work of John London of Bristol in particular a movement illustrated in Darken, Jeff (ed.) TIME & PLACE English Country Clocks 1600-1840. In addition to being pinned through the backplate the present mechanism was also originally made with six (perhaps even seven) pillars which again mirrors the example by John London. The dial is also noteworthy in the plate is particularly thick at the centre (in excess of one eighth of an inch) but thins down to less than half of this thickness at the edges. This feature has been observed on early examples from the workshop of Joseph Knibb in particular during his time in Oxford and is suggestive of a high quality approach by a regional maker. The chapter ring has been reversed but retains its original engraving to the reverse side. This engraving is fairly distinctive with very tight and heavily 'feathered' cruciform half hour markers which at first glance can be mistaken for asterisk markers - a design favoured by early West Country makers. The chapter ring is also fairly narrow measuring only 1.375 inches which is suggestive of an early date.The movement has clearly seen alterations mostly to the strike train. Evidence in the plates indicates that the pivots were positioned further towards the centre and form an inwards arc. This allowed for a seventh pillar to be positioned towards the right hand margin to match the one on the left. It would also appear that original escape wheel was of smaller diameter and the pallets were positioned lower down. From this it is maybe appropriate to speculate that the subsequent provision of a larger diameter escape wheel required the repositioning of the strike train due to lack of space. In all the current lot is very much an interesting relic which could either serve as a study-piece or be restored as a functioning relatively early movement with a 10 inch dial.
Lot 51
The remnants of a Charles II month-duration longcase clock movement Firmly attributed to the workshop of Joseph Knibb, circa 1685 and laterThe five finned and latched pillar two-train movement with plates measuring 7.5 inches by 5 inches enclosing five-wheel going train with enlarged centre wheel pinion to reduce the duration to eight-days and anchor escapement for regulation by a seconds pendulum, the strike train now adapted to sound the hours via a later low position external countwheel advanced via an unusual arrangement of single pallet engaging with a ratchet wheel checked by a leaf spring (lacking bell, pendulum, dial and weights; escapewheel incomplete and generally in neglected condition); with a thirty hour longcase clock movement, unsigned, late 17th century with four finned pillars, external countwheel and anchor escapement for regulation by seconds pendulum, (lacking pendulum, weights, dial, bell, minute wheel, pipe and pivot post), height of plates 15.5cm (16.125ins approx.), (2). Joseph Knibb was born in Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. The first movement in the current lot exhibits many features which allow a firm attribution to the workshop of Joseph Knibb. These include lack of bridge for the under dial motionwork, evidence of single-foot pendulum suspension coupled with separately cocked rear pallet arbor pivot, distinctive latch profile and relative thin/delicate plates. The going train appears to have survived largely in its original layout with duration reduced to eight-days by increasing the size/count of the pinion to the centre wheel which has required the first wheel to be repositioned. The strike train has been adapted for a low position countwheel which, due to the gearing involved, is advanced/driven by a flag to the second wheel arbor engaging a spring-checked ratchet applied to the rear of the countwheel. Evidence in the form of spare holes and other witness marks indicate that a smaller countwheel (positioned higher up the plates) was driven direct by a pinion applied to the second wheel with a locking detent positioned near the top right hand corner. Although altered and in very neglected condition this rare movement presents as an interesting study piece from which knowledge can potentially be imparted through the process of restoration.
Lot 61
A lacquered brass descending ball timepieceDent, London, circa 1970The circular three-pillar gilt brass movement with inverted platform lever escapement driven by the weight of the timepiece causing flat high-tensile steel line to unwind from an internal pulley wheel as the timepiece descends, the backplate engraved SER. No. 030, the exterior with rotating annular silver Roman numeral chapter ring reading against a hand cast in the form of a mermaid holding a staff, the base with short inverted pendant spire finial and the top with pierced crown surmount issuing the suspension line terminating with a hook to allow hanging from a shaped brass bracket fitted to a mahogany panel applied with plaque engraved Dent, London to lower margin, the ball 11.8cm (4.625ins) diameter; the wall panel 80cm (31.5ins) high. The highly renowned clock and watch making business Dent was established by the talented horologist Edward John Dent, who at the age of 17, transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1817 he had become well known as a watch and clockmaker receiving commissions from the Admiralty for a 'Standard Astronomical Clock' and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks. In 1843 the firm expanded taking on a second premises at 33 Cockspur Street, with the Strand premises moving down the road to number 61 by 1851. In 1852 Edward Dent successfully tendered to make the 'great clock' to be housed in Stephen's tower at the New Palace of Westminster. The clock was completed by 1859, apparently at a financial loss to the firm, however it ensured that Dent became a household name synonymous with fine clockmaking. Unfortunately Edward John Dent did not live to see the installation of the 'great clock' as he died in 1853. He was succeeded by his stepson Frederick Rippon Dent, who, in partnership with his brother Richard, continued to expand the business. By 1862 the firm had added 34 Cockspur Street and 34 & 35 Royal Exchange to their list of addresses and, although having seen natural passage of ownership over the intervening years, the business still continues to trade today as Dent & Co. Descending ball timepieces were first devised during the Renaissance period with surviving examples being extremely rare, however a relatively late model by J. Schlemmer of Schleswig was offered at Sotheby's New York MASTERPIECES FROM THE TIME MUSEUM, PART TWO June 19th 2002 (lot 103). The current example was devised by Dent in the early 1970's as a 'revival' piece, and was produced as a limited edition (of probably 500 examples) alongside Dent's other revival of a Renaissance timepiece, the' incline plane clock'.
Lot 25
A mixed lot comprising an early 20th century ebonized occasional chair with rattan seat, together with two bolts of 20th century fabric, a modern Linda Fey Powell print, a brass framed wall mirror, a Nelson First Farewell print, a modern mahogany stained wall display cabinet, a vintage Phillips record player A/F and three pairs of curtains
Lot 29
A quantity of 20th century books, plays and musical sheets to include the following first editions; P.D James An Unsuitable Job for a Woman 1972 (contains foxing and browning stains to the dust cover), Edward Hyams The Astrologer 1950 (dust stains to the edges of the paper and browning stains to the dust cover as well as a few tears) and Ernest Thompson Seton Two Little Savages 1913 (damage to the binding)Location: RAF
Lot 330
A Victorian mahogany box and a metal cash tin containing mainly British coinage from first half of the 20th century to include some George VI half-crowns, a florin, shilling and a sixpence, along with a Cartwheel penny and a Jetons Rechenpfennig token, weight of silver coins only 88.9g Location: Porters
Lot 159
Autographed Mel Sterland 8 X 6 Photo - Col, Depicting The Leeds United Full-Back Holding Aloft The First Division Trophy At Elland Road Prior To The Final Game Of The 1991/92 Season, A 1-0 Victory Over Norwich City, Signed Using A Black Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 165
Autographed Tony Book 8 X 6 Photo - B/W, Depicting Manchester City Manager Joe Mercer Holding Aloft The First Division Trophy As He Is Surrounded By Players Prior To An Exhibition Game Against Bury At Maine Road In 1968, Signed (By Book Only) Using A Fine Blue Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 166
Autographed Colin Bell 8 X 6 Photo - Col, Depicting The Manchester City Midfielder Gliding Over The Loftus Road Pitch With The Ball At His Feet During A First Division Encounter With Queens Park Rangers In 1968, Signed Using A Black Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 210
Autographed Steve Perryman First Day Cover, Dated 14th May 1981 Issued To Commemorate The 1981 Fa Cup Final Replay, Signed By Tottenham's Winning Captain Steve Perryman In Black Biro Pen. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 222
Autographed Leeds United Cutting, Depicting The 1973/74 First Division Winning Squad Posing For Photographers At Elland Road, Measuring 24 X 17 Cms It Has Been Signed By Eddie Gray, David Harvey And Mick Bates In Fine Black Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 227
Autographed Jermaine Beckford 12 X 8 Photo - Col, Depicting The Leeds United Striker Running Away In Celebration After Scoring His First Of Two Goals In A 2-2 Draw With Tottenham In An Fa Cup 4th Round Tie At White Hart Lane In 2010, Signed In Black Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 229
Autographed Eddie Kelly Limited Edition 16 X 12 - Colourized, Depicting Kelly Scoring Arsenal's First Goal In A 2-1 Victory Over Liverpool In The 1971 Fa Cup Final, Signed To The Lower Border In Fine Black Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 230
Autographed Burnley Limited Edition 16 X 12 - Col, Depicting A Wonderful Image Showing The 1959/60 First Division Champions Posing With Their Trophy During A Photo-Shoot At Turf Moor, Signed To The Lower Border In Fine Black Marker By Jimmy Mcilroy And Trevor Meredith Who Scored The Goals In A 2-1 Victory Over Manchester City To Secure The League Title. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 334
Boxing Roberto Duran signed 10x8 colour photo. Roberto Durán Samaniego (born June 16, 1951) is a Panamanian former professional boxer who competed from 1968 to 2001. He held world championships in four weight classes: lightweight, welterweight, light middleweight and middleweight, as well as reigns as the undisputed and lineal lightweight champion, and the lineal welterweight champion. He is also the second boxer to have competed over a span of five decades, the first being Jack Johnson. Durán was known as a versatile, technical brawler and pressure fighter, which earned him the nickname of "Manos de Piedra" ("Hands of Stone") for his formidable punching power and excellent defence. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 364
Boxing Roberto Duran framed signed 20x16 print with photo proof of Roberto signing this item. Roberto Durán Samaniego (born June 16, 1951) is a Panamanian former professional boxer who competed from 1968 to 2001. He held world championships in four weight classes: lightweight, welterweight, light middleweight and middleweight, as well as reigns as the undisputed and lineal lightweight champion, and the lineal welterweight champion. [1] He is also the second boxer to have competed over a span of five decades, the first being Jack Johnson. Durán was known as a versatile, technical brawler and pressure fighter, which earned him the nickname of "Manos de Piedra" ("Hands of Stone") for his formidable punching power and excellent defence. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 461
George Hardwick 12x8 mounted signature piece includes signed album page and two black and white photos. George Francis Moutry Hardwick (2 February 1920 - 19 April 2004) was an English footballer, manager and coach. During his time as an active player, he was a left-sided defender for Middlesbrough. He was also a member of the England national football team, playing in 13 international matches and serving as the team s first post-World War II captain. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 467
Steve Perryman signed 12x10 mounted colour magazine page. Stephen John Perryman MBE (born 21 December 1951) is an English former professional footballer who is most famous for his successes with Tottenham Hotspur during the 1970s and early 1980s. Perryman was voted Football Writers Association Footballer of the Year in 1982 and made a club record 854 first team appearances for Tottenham. He was the director of football at Exeter City from 2003 until his temporary retirement in March 2018. He is currently an associate director at MK Dons, having come out of retirement to join former Exeter City manager Paul Tisdale at the club. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 570
Eddie Edwards signed 12x8 colour photo. Michael Edwards, known as "Eddie the Eagle", is an English ski-jumper and Olympian who in 1988 became the first competitor since 1928 to represent Great Britain in Olympic ski jumping, finishing last in the 70 m and 90 m events. He held the British ski jumping record from 1988 to 2001. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
Lot 571
Eddie Edwards signed 12x8 colour photo. Michael Edwards, known as "Eddie the Eagle", is an English ski-jumper and Olympian who in 1988 became the first competitor since 1928 to represent Great Britain in Olympic ski jumping, finishing last in the 70 m and 90 m events. He held the British ski jumping record from 1988 to 2001. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.9
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