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Lot 894
A 19th Century brass "Lantern" style mantel clock, the 6.25ins narrow chapter ring with Roman numerals, the dial centre engraved "John Ebsworth in New Cheap Side, London Fecit", the dial centre with false alarm dial to the eight day chain and fusee movement striking on a bell, contained in "Lantern" style case with turned finial and fretted dolphin pattern frets, turned pillar uprights and plain brass side panels (two loose), 15.75ins high
Lot 1084
Fine quality 19th century Continental mantel clock with French eight day movement striking on a gong, bearing stamp - Vincenti & Cie 1855 Medaille d'argent, decorative gilt metal dial with separate white enamel Arabic numerals, in a heavy gilt metal case of stylised lantern form, with dolphin and coronet front panel and glass side panels and four turned finials surmounted by a white metal pseudo bell, with gilt metal straps and central carrying handle, standing on four leaf and scroll paw feet (key and pendulum present), 39.5cm overall height
Lot 2114
THOMAS MOORE, IPSWICH; a 19th century brass weight driven lantern clock, the circular dial set with Roman numerals to chapter ring, with domed top surmounted with cast finial and with pierced decoration to each side, raised on four turned supports attached to an oak bracket, height 36cm excluding bracket.
Lot 533
MID-20TH CENTURY BRASS LANTERN CLOCK reverse marked 'Edward Glasgow', the dial with engraved Royal Shield of Arms flanked by 'GR', four pediments formed of the Royal Coat of Arms around the lantern brass dome, the front coat of arms engraved 'GVIR 1937', Roman numeral chapter ring, Swiss made Buren movement, with key, 28cm high
Lot 104
A fine small George II Anglo-German gilt brass hexagonal horizontal striking table clock with alarm Signed for Cabrier, London, circa 1725 The hexagonal single fusee movement with four knopped and finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and engraved standing barrels for the alarm and rack hour striking mechanisms sounding on the same bell mounted beneath the movement, the backplate with fine asymmetric Ho-Ho bird inhabited foliate scroll pierced balance cock incorporating conforming broad foot beside silvered regulation disc within applied gilt infill opposing signature Cabrier, London, the silver champleve dial with Arabic alarm setting dial to centre and steel beetle and poker hands within a Roman numeral chapter ring with lozenge half hour markers, arcaded minute ring and Arabic lozenge five minute numerals to outer track, the angles of the hexagon engraved with delicate floral scroll and scallop shell infill, the case with serpentine outline ogee top mouldings above scroll-border decorated cartouche side glasses and grotesque male mask mounts to angles over conforming ogee moulded shaped base fitted with hinged bottom panel incorporating the bell secured by a four-legged strap, pendant finials and three fine baroque 'C' scroll feet, (unrestored with one bent foot and two damaged side glasses) 9.5cm (3.75ins) wide; 8.2cm (3.25ins) high. Charles Cabrier senior was probably a Huguenot immigrant who is recorded in Loomes Brian CLOCKMAKERS OF BRITAIN 1286-1700 as admitted by redemption into the Clockmakers' Company in 1697/8. He is thought to have worked in Lombard Street and had a son of the same name who was apprenticed to him in 1717. Charles junior gained his freedom of the Clockmakers Company in 1726 and possibly worked with his father until the latter's death in around 1736. He served as Warden of the Clockmakers' Company in 1750 and was appointed Master in 1759. Records suggest that Charles junior worked ¾hind the Royal Exchange' and had a son who he also named Charles who was made free of the Clockmakers' Company by patrimony in 1756 and is believed to have worked until his death in 1777. The Cabrier dynasty were fine makers who supplied clocks for various export markets including Russia and France. Perhaps their most famous surviving work is a magnificent pair of ormolu mounted japanned musical automaton table clocks reputedly made for the King of Nepal in around 1770 (illustrated in Barder, Richard, The Georgian Bracket Clock 1714-1830 page 161, colour plate 27). The general form of the current lot together with the use of standing barrels to drive both the alarm and hour-strike mechanisms is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance cock coupled with the script of the signature would indicate that the clock was either made or finished in London. This possibility is further supported by other details such as dial winding (rather than from beneath) and the use of distinctly English ¾etle and poker' hands. From this it is perhaps appropriate to speculate that the current lot may have been acquired in an unfinished state from a central European workshop by Cabrier, who then subsequently finished it for retail to a domestic English purchaser. Other similar horizontal table clocks signed by English makers are known including another inscribed by Cabrier that was sold at Christies THE ALBERT ODMARK COLLECTION OF IMPORTANT CLOCKS AND WATCHES 11th March 2005 (lot 424). A small series of related clocks signed either Kriedel or Ledeirk, London also survive; these were almost certainly supplied directly from Germany for retail in the English market by the German clockmaker Johann Gottfried Kriedel who worked in Bautzen during the first half of the 18th century. Given the apparent ready demand for such small portable table clocks it is surprising that English makers did not look to directly fill this gap with their own models. Perhaps demand was not deemed sufficient to warrant the need to compete with such imports or maybe English makers felt that coach clocks or small lantern alarm timepieces more than adequately satisfied this corner of the domestic market.
Lot 105
A rare German miniature brass mounted iron chamber timepiece with alarm Unsigned, late 16th or early 17th century The single train weight-driven movement constructed with the train set within a rectangular iron strip frame and now with verge escapement regulated by short bob 'cow tail' pendulum swinging in front of the dial, the alarm mechanism positioned within the frame in front of the escapement with hammer arbor passing through the top plate for sounding on a bell mounted above the case, the front with circular brass dial centred with an adjustable alarm disc with crossed-out radial star centre within Roman numeral chapter ring incorporating concentric inner band stamped with Arabic numerals 13-24, touch pieces to circumference and single iron hand, the upper and lower margins applied with integral overlaid pierced brass decoration engraved with dolphins and foliate scrollwork, the brown and stylised leafy scroll painted iron box-form case with onion-shaped crest to front panel and landscape cartouche panel painted decoration to the side doors, the rear with hanging hoop and spurs, (with restoration), 16.5cm (6.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Sotheby's Olympia, London, 19th June 2003 (lot 65). The current lot would have almost certainly been made as a travelling alarm timepiece designed to be quickly and easily set-up in the owner's overnight lodgings - very much in the same manner as English lantern alarm timepieces were used later in the century. The basic construction of the movement follows typical early German gothic practice with the frame formed essentially as a vertical rectangular loop around the train, however the brass dial and surrounding applied decoration demonstrates a degree of high-status sophistication rarely seen on an iron chamber clock. The use of touch pieces and inner concentric Arabic numeral chapters ( 13-24 ) has its roots in early 16th century South German practice as can be seen in Bassemann- Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 62 (figures 38a - c) which illustrates a drum clock attributed to Henlein of Nuremburg dated 1510 with related dial layout. The stamped numerals (in particular the '2's expressed as 'Z's) is also typical of South German (Nuremburg and Augsberg) work of the second half of the 16th century, whilst the unusual dolphin or mythical boar whale decoration was almost certainly influenced by the engravings of Conrad Gesner of Zurich which appear in his 1551-8 work Historiae Animalium.
Lot 131
A German iron and brass hour-striking turret clock Rochlitz, Berlin, circa 1897 The movement of flatbed construction with high count lantern pinions and five-spoke crossings to the brass wheelwork, the going train with Harrison's maintaining power regulated by deadbeat escapement with seconds period wood rod pendulum with large lenticular bob, with crossed-out Arabic five minute setting dial opposing dial take-off and lifting pins for the strike locking detent, the countwheel striking train with single-arbor warning and two-arm fly with adjustable flags, on original wrought-iron stand complete with weights, crank winder, take-off and motionwork for the 31 inch circular gilt on black Roman numeral dial and mushroom-shaped bell with hammer assembly (currently mounted on a wooden frame), the flatbed frame 57cm (22.5ins) wide, 20cm (8ins) deep; the clock on frame 124cm (48.5ins) high by 99cm (39ins) wide by 58.5cm (23ins) deep overall. Provenance: The property of a private collector - purchased in Cologne 1997. Originally supplied for the Schlachthof, Neubrandenburg in around 1897. A file compiled by the current owner containing details relating to provenance and other relevant notes are included with the lot. The firm of C.F. Rochlitz, Berlin was founded in 1824 and specialised in making turret clocks. They were awarded many prizes at the various international exhibitions held throughout the second half of the 19th century including Gold medals at Paris 1900 and St. Louis 1904; Silver at Antwerp 1885 and Berlin 1896, and Bronze at Berlin 1879 and Amsterdam 1883. The firm continued within the ownership of successive generations of Rochlitz family until 1984 when it was acquired by Klaus Lumbeck. The current lot was supplied to the Schlachthof (slaughterhouse) at Neubrandenburg, North Eastern Germany on completion of the building in around 1897/8. During the Second World War the town was heavily bombed by the Allies resulting in the loss of many of its historic medieval buildings; the dial of the current lot bears testament to these dark hours in the form of repaired shrapnel holes. After the War the town became part of the Eastern Germany before reunification brought about much needed investment into the area. The old slaughterhouse was duly restored and converted into a large nightclub; the clock complete with its dial, stand and mushroom-shaped bell was removed at this time. The current clock is remarkably complete and of a manageable size making it the ideal candidate for installation into a clock tower or can be set-up and enjoyed as fine display piece.
Lot 132
A fine Victorian iron and brass hour-striking turret clock with four-legged gravity escapement J.B. Joyce and Company, Whitchurch, dated 1884 The movement of flatbed construction with high count lantern pinions and six-spoke crossings to the brass wheelwork, the going train with Harrison's maintaining power and regulated by four-legged gravity escapement with one-and-a-quarter seconds period compensated pendulum incorporating massive cylindrical cast iron bob, with white painted Arabic five minute setting dial signed JOYCE, WHITCHURCH and dated 1884 to centre, overhead dial take-off and cam for lifting the strike locking detent, the countwheel striking train with single-arbor warning and three-arm fly with adjustable flags, complete with crank winder, take-off and motionwork for two dials, weights and purpose-made welded oblong section steel stand fitted with a bell to left hand side, the flatbed frame 99cm (39ins) wide, 51cm (21ins) deep, the clock on frame 195cm (77ins) high by 135cm (53ins) wide by 76cm (30ins) deep overall. Provenance: The property of a private collector. Originally supplied for the church of St Paul, Kings Norton Parish, Moseley Road, Balsall Heath, Birmingham. A file compiled by the current owner containing details relating to provenance and other relevant notes (including a rare original trade publication) are included with the lot. The former firm of J.B. Joyce and Co. can trace its roots back to Shropshire village of Cockshutt where John Joyce is recorded in Loomes, Brian Clockmakers of BRITAIN 1286-1700 as working in around 1690. His descendant, William Joyce, relocated from Cockshutt to High Street, Whitchurch in around 1790. The workshop was then passed down subsequent generations with Thomas Joyce moving into the specialist field of turret clock making from1834. In around 1849 the firm adopted Lord Grimthorpe's design of gravity escapement for their larger clocks eventually settling on a four-legged version (as used in the current lot). The business subsequently expanded to became one of the most respected maker's of turret clocks of the 19th century winning many important commissions globally including Chichester and Salisbury Cathedrals, The Sydney Post Office clock and The Customs House, Shanghai. By 1902 the firm had outgrown its High Street premises hence a new purpose-built factory in Station Road was commissioned by Arthur Joyce. The business continued trading from this site until being sold to Smith of Derby in 1964 who allowed the firm to operate as a subsidiary. The factory was eventually closed in 2012 and is now used as a fine art auction house. The current clock was commissioned as a gift to the church of St. Paul by Thomas H. Barns in 1884 as 'a memento of my late uncle Mr. Thomas Barns..'. At the time of installation the church building was already thirty years old having built by Samuel Briggs in 1852-3 to a design by James Lyndon Perry to serve the district of Kings Norton parish. The tower was supplied with a forty-inch bell cast by C. & G. Mears in 1855 and the clock was configured to drive four large dials - one on each face of the tower. Unfortunately the church and tower was demolished in the 1970's to make way for modern residential development; the bell was re-used mounted in a steel campanile outside the new church hall built on part of the site. The clock as supplied was built to the highest specification utilising Lord Grimthorpe's four-legged gravity escapement and temperature compensated pendulum made with rod composed from zinc an iron tubes configured one inside the other to counter-act expansion through heat. The pendulum bob is particularly heavy and can be very finely regulated with the addition or subtraction of small weights to obtain an accuracy of within a five seconds a month. Now mounted on a purpose built steel stand the clock has been carefully restored under instruction by the vendor with the frame repainted in its original shade of light green and strike train provided with a hammer and bell mounted to the left hand side. As such the timepiece can either be used as a fascinating display piece or restored to its original purpose in a tower utilising the original take-off and motionwork (for two dials) included with the lot.
Lot 136
A George II miniature lantern timepiece with alarm Robert Le Blond, mid 18th century The posted two-handed movement with verge escapement regulated by short bob pendulum swinging to the rear of the clock and alarm set within the frame behind the going train, the 5.125 inch brass break-arch dial with alarm disc to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track and rococo scroll cast spandrels to angles beneath circular boss signed Robert Le Blond, LONDON flanked by conforming mounts to arch, with domed bell bearer over later foliate-cast openwork frets and brass doors to sides, the rear with brass backplate, iron hanging hoop and spurs, 22cm (8.75ins) high. Robert Le Blond is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London around 1760.
Lot 137
A George II brass lantern clock Richard Reed, Chelmsford, mid 18th century The posted countwheel bell striking movement with anchor escapement and 8 inch brass break-arch dial with single pierced iron hour hand to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and signed Rich'd Reed, Chelmsford to lower edge, the angles applied with female mask and foliate scroll cast spandrels beneath arch centred with a solar mask engraved circular boss flanked by conforming mounts incorporating female sphinxes, the frame with column turned corner uprights beneath vase finials flanking foliate scroll pierced frets and supporting domed bell bearer above, the sides with pin-hinged brass doors, on ball feet, 38cm (15ins) high. Richard Reed was born in Crisall, Essex in 1727. He served his apprenticeship from 1741-8 before setting up in Chelmsford where he remained in business until his death in 1772.
Lot 138
An incomplete George II brass lantern clock made for the Middle Eastern market William Kipling, London, mid 18th century The two-handed posted countwheel bell striking movement previously with verge escapement regulated by short bob pendulum, the 8 inch brass break-arch dial with pierced steel hands and matted centre within applied 'Turkish' numeral chapter ring with conforming five minutes to outer track, the angles applied with crescent-centred foliate scroll cast spandrels beneath arch centred with a circular boss signed W'm: Kipling, London flanked by conforming mounts, the frame with column turned corner uprights beneath vase finials (one lacking) flanking foliate scroll pierced side frets and supporting domed bell bearer above, on ball feet, (distressed, lacking centre movement bar and all wheelwork except for going greatwheel and the verge crownwheel, no pendulum or weights), 39cm (15.5ins) high; with an unusual weight-driven thirty hour wall clock movement, late 18th century, with going train regulated by anchor escapement for a seconds period pendulum set between narrow plates united by four knopped pillars positioned in front of the strike train with conforming pillars and backplate fitted with external countwheel, (incomplete, lacking dial, weights and pendulum), 16cm (6.25ins) high; and a quantity of other items comprising four various thirty-hour longcase/wall clock dials, 18th century, including a 9 inch square brass example with Roman numeral chapter ring signed Sam. Aldworth, London to lower edge; a posted thirty hour longcase clock movement; another plated movement; various bells, weights and other items (qty). Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks.
Lot 150
A rare George III small English iron framed hooded wall timepiece with alarm George Wood, Nailsworth, dated 1760 The single-handed short duration movement with three-wheel train and anchor escapement regulated by seconds pendulum swinging outside the case to the rear, the alarm train set behind the going train with vertical hammer arbor fitted to the inside of the rear upright and sounding on a bell mounted on top of the case, the iron strip frame constructed with central pivot bar riveted to the wide horizontal top and narrow bottom plates each terminating with pinned tenons to take the dial plate and movement front and back bars, the rectangular single-sheet brass dial measuring 7 by 5.5 inches with alarm disc and single iron hand to centre within engraved Roman numeral chapter ring with stylised cruciform half hour markers, the lower angles signed Geo., Wood opposing stylised engraved doves to upper margin, the rear of the dial with engraved date 1760 to lower left hand corner , the simple oak and elm wall hung box case with open front, removable top panel and incorporating movement top plate locating hooks to inside of the arched backboard, the rear with protruding iron backcock and external pendulum crutch between iron hanging hoop and spurs, 28cm (11ins) high. George Wood is recorded in Dowler, Graham GLOUCESTERSHIRE CLOCK AND WATCH MAKERS as working in Nailsworth during the mid-18th century. Dowler cites two notices seeking the recovery of stolen watches bearing his name, the first dated 23rd December 1740, the second 22nd September 1766. The current lot can be closely compared to an earlier small hooded wall alarm timepiece which is also included in this sale (see previous lot). The movement of this other example is of similar construction to the present clock with significant differences confined to the truncated rear movement bar, narrow top plate and the provision of verge escapement regulated by side swinging short bob pendulum. Both timepieces also share similarly proportioned rectangular single-sheet dials and the same basic design of case. Another comparable movement and dial, dated 1707 and also with side-swinging short bob pendulum (but in later case), was sold in these rooms on Tuesday 17th March 2014 (lot 64). In addition to these an alarm timepiece featuring a similarly configured iron-framed movement by John Coates of Cirencester is also known. This example is illustrated and described in TIME & PLACE as exhibit 48, pages 164-5, however differs from the current lot in that the dial is of traditional design complete with chapter ring and spandrels. The 'saltbox' case is also more akin to the standard hooded wall clock case than that housing the current lot. Ultimately the basic design and layout of the movement of the current lot has its roots in the earliest of wall-hung alarm timepieces made by makers of the first fully developed English lantern clocks. One such timepiece, attributed to Robert Harvey, London, and dating to around 1600 is also included in the current sale (see following lot). It would seem that the presence of the current timepiece together with the example by Coates would suggest that this particularly early design of iron-framed wall timepiece movement persisted in the West Country, particularly Gloucestershire, long after other areas had adopted alternative designs.
Lot 151
An important James I weight-driven wall timepiece with alarm Unsigned but firmly attributed to Robert Harvey, London, circa 1600 The single-handed short duration movement with three-wheel train incorporating later anchor escapement and forged iron backcock for a seconds pendulum swinging behind the frame, the alarm mechanism applied to the rear of the movement with vertical hammer sounding on a bell suspended overhead from a curved stand secured at the back of the top plate via a mortice and tenon, the frame constructed with vertical iron bar at the rear fixed via forged joints to the strip top plate and conforming horizontal bottom bar each terminating with pinned tenons to take the dial plate and the going train front bar, the brass centre movement bar secured in the usual manner via integral locating pins at the base and a wedged tongue at the top, the rectangular single-sheet brass dial measuring 6.367 by 4.25 inches with five-petal rose decorated alarm disc and single iron hand within fine engraved starburst centre comprising alternating triangular and wavy-outline radial motifs, within narrow Roman numeral chapter ring with floating asterisk half hour markers, the upper and lower margins with symmetrical stylised scrolling floral sprays incorporating four-petal rose blooms within distinctive line-bordered hatched margins with simple leaf motifs at each angle, the bell surmounted by early first period lantern clock pattern turned ovoid vase finial, the base now fitted with drilled flange for fixing to a wall bracket, 30.5cm (12ins) high; with an oak wall bracket and two weights (lacking lines and pendulum). Robert Harvey is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born between 1580 and 1583 to John Harvey of St. Botolph without Aldersgate, London. A boy of his name is recorded as being in the household of the clockmaker Peter Medcalfe (to whom Robert's father John was apprenticed in around 1571) and received a bequest of £5 in Metcalfe's Will (proved in 1592). Robert Harvey was made free of the Clothworkers' Company by patrimony in 1604 and is recorded marrying Mary Bankes in 1606. He probably took-over his father's business after the latter's death in 1602 but was most likely not able to gain his freedom until 1604 on account of his young age. Loomes notes that Jeremy Evans has recorded a 'Robert Harvie' repairing the church clocks at Allhallows, Staining 1602-5; St, Giles 1606-8 and St. Benet, St. Paul's Wharf in 1614. Robert Harvey is recorded as taking only one apprentice; a John Bulbey from Beighton, Derbyshire in 1613. He died childless in the summer of 1615 naming his widow, Mary, in his Will and leaving his workshop (and responsibility of his apprentice) to his younger brother, Thomas. Robert Harvey is the earliest recorded maker of 'true' English lantern clocks. Of his clocks only three are known signed by him; A lantern clock signed Robert * Harue * Littell Brittain * London * Feecit (currently residing at Agecroft Hall, Virginia) illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 20 (figs. 2.23-25). A lantern clock signed Robert Harue London Feecit illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 21-22 (figs. 2.26-31). A weight-driven wall timepiece with alarm signed Robertus Haruie fecit illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 41 (figs. 4.2-3). The current lot can be directly compared to the weight-driven wall timepiece signed by Harvey listed above, with which it shares the following significant details: Firstly the construction of the frame. Both share the same configuration of iron rear upright applied with horizontal top and bottom strip plates enclosing brass going train pivot bars and incorporating pinned tenons for attaching the dial at the front. The use of iron for the rear bar which in turn is securely forged to the top and bottom plates creates a simple frame which is both strong and rigid. The pivot bar inserts for the going train are not structural so brass has been used to negate the need to bush the pivots. This simple but effective design demonstrates a high degree of empathy with regards to the selection and use of appropriate materials and appears unique to the current lot and the example signed by Robert Harvey listed above. Secondly the mounting of the bell. Both the current timepiece and the example signed by Harvey have the same unique method for suspending the bell above the frame (via a curved support fixed via a mortice-and-tenon joint to the rear of the frame top plate). Incidentally the finial surmounting the bell on the current lot is of the same pattern as those on the Agecroft Hall clock. Thirdly the engraving to the dial. The five-petal rose to the alarm disc of the current lot can be directly compared to that decorating the centre of the subsidiary minute dial of the other wall clock signed by Harvey. Furthermore the open foliate scrolls enveloping stylised dog-rose blooms seen within the upper and lower panels of the current lot are directly comparable to the two pairs engraved towards the upper margin of the signed example. Finally both dials have line-scribed 'boxes' around the pinned tenons securing the dial to the frame. These details, coupled with the overall þel' and heavy use of line borders, leave little doubt that both were engraved by the same individual (who was probably also responsible for the dials of both of the lantern clocks signed by Robert Harvey). The current timepiece also retains its original iron hand which is essentially identical in form to that on the Avecroft Hall clock. From the above observations it would appear that the both the current lot and the wall alarm timepiece signed by Robert Harvey were made in by the same hand at around the same time. Indeed further evidence within the frame of the present timepiece would suggest that when originally made the similarities were stronger still. For example spare holes in the centre bar and the top plate would indicate that the alarm mechanism was originally in front of the rear movement bar (as per the signed example); other evidence includes a threaded hole to the top plate (indicating the original position of a balance wheel cock) and a square hole to the lower edge of the rear bar (providing evidence for a conforming back-curved yoke with spiked terminals).
Lot 152
A fine Commonwealth period brass lantern clock Thomas Loomes, London, circa 1655 The posted countwheel bell-striking movement with separately wound trains and later anchor escapement regulated by seconds pendulum swinging outside of the frame of the clock to the rear, the dial with central alarm disc enveloped by stylised leafy floral sprays issuing from a flowerhead positioned just above six o'clock and with signature Thomas Loomes At The, Mermayd In Lothbury to upper margin, with iron hand within applied narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced front fret and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, the rear with iron backplate and spurs, on turned ball feet, 40cm (15.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist. The life and work of Thomas Loomes has been extensively researched by Brian Loomes who recounts in Clockmakers of Britain 1286-1700 that he was born in Leicestershire in around 1628, served John Selwood and was made a free Brother of the Clockmakers' Company in January 1650. Thomas Loomes initially worked as principal journeyman to the Selwood brothers (William and John) at the Mermaid in Lothbury and inherited the business after the latter of the two brothers died (John in 1651 and William in 1653). It would appear that his succession to the business did not go down well with the Clockmakers' Company - mainly due to the acquisition of apprentices previously bound to the Selwood brothers placing him in breach of the Company's rules regarding apprentice numbers. In 1654 Thomas Loomes married Mary the daughter of Ahasuerus Fromanteel - a fellow Protestant who shared Loomes's Parliamentarian views. At this time Fromanteel's workshop was located at Mosses Alley, Southwark which was just beyond the geographical jurisdiction of the Clockmakers' Company. This marriage suited both parties as it provided Loomes with a powerful Protestant clockmaking ally (bearing in mind that the court of the Company of Clockmakers' were mainly of a Catholic Royalist persuasion) and Fromanteel, who had yet to be appointed as a freeman of the Clockmakers' Company, with an unofficial outlet in Lothbury. In 1656 Fromanteel was sponsored by Oliver Cromwell for his freedom of the Clockmakers' Company; the court was wise to oblige with immediate effect. In the same year Loomes lead a rebellion (supported by around thirty other Protestant makers including Fromanteel) against the largely Catholic court of the Clockmakers' Company who they considered hostile to their interests. This conflict rumbled-on for a year or so with Loomes generally coming off worse through the enforcement of fines for having too many apprentices. In September 1658 Fromanteel posted his now famous advert in Mercurius Politicus announcing the pendulum clock, stating that (in addition to his own premises) such clocks were available at 'the sign of the Maremaid in Loathbury'. The inclusion of Loomes's address within the advert confirms that he was effectively the Lothbury-based agent for Fromanteel. At around this time (in addition to running a busy workshop) Thomas Loomes was serving as a Lieutenant in the Parliamentarian Army (probably in the White Regiment of the London Trained Bands). This proved problematic - especially during the subsequent heightened political nervousness that ensued after Cromwell's death in 1658 which ultimately lead to his arrest in 1660 and again in 1662 on suspicion of assisting the Parliamentary cause (including harbouring fugitives). In 1663 Thomas Loomes served as a Steward for the Clockmakers' Company suggesting that previous tensions had elevated a little. However this possible period of calm appears short-lived as his household first succumbed to the plague, from which Loomes almost certainly died in 1665, and then 'the Mermaid' was subsequently consumed by the Great Fire of 1666. His widow Mary survived the plague and the fire and lived till 1717; records suggest that she was supported by other members of the Fromanteel family during her latter years. Of Thomas Loomes's work around twenty clocks and at least one watch movement have been documented by Brian Loomes. All of his surviving clocks appear to be lantern clocks (with the possible exception of one 'bracket clock' - yet to be verified) and were originally made with balance wheel regulation. The current lot would seem to be one of Thomas Loomes's earlier clocks as the dial engraving can be compared to an example by his predecessor illustrated in White, George English Lantern Clocks on page 134 (figure III/14). White also illustrates two further dials by Henry Ireland and Thomas Knifton (both of whom were apprenticed to William Selwood) which exhibit closely related dial engraving (figures III/15 and III/14 respectively). The design of fret used on the present clock is of the earlier 'strapwork' type (which was generally phased-out during the 1650's in favour of the later 'foliate' pattern - see White page 144), whilst the frame castings are of typical second period 'Lothbury' pattern which were mainly in use up until around 1660 (see lot 154). These details reflect the fact that by the 1650's Lothbury had become a hub for the horological trade mainly due to the abundant supply of brass and iron from nearby foundries. The efficient supply of raw castings lead to the emergence of a degree of standardisation (assisted by many workshops having shared roots) with regards to frame patterns, dial engraving and fret design.
Lot 153
A fine Commonwealth period/Charles II Brass lantern clock Benjamin Hill, London, circa 1660 The posted countwheel bell-striking movement with separately wound trains and later anchor escapement for a seconds pendulum, the dial with central alarm disc enveloped by stylised leafy floral sprays issuing from flowerheads at three and nine o'clock towards further blooms at six and twelve o'clock, with iron hand within applied narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved leafy infill to angles, the standard London 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced dolphin pattern front fret signed Benjamin Hill in Fleete Streete to lower edge and decorated side frets, vase turned finials and domed bell bearer incorporating elaborate scroll-pierced panels between the limbs above, the sides with hinged brass doors, on turned ball feet, (no pendulum or weights), 38cm (15ins) high. Provenance: The property of a private collector. Benjamin Hill is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as born in Hatton, Warwickshire in 1617 and apprenticed through the Blacksmiths' Company to Richard Child in 1632. He was made a free Brother of the Clockmakers' Company in 1640, served as an Assistant in 1651, Warden from 1652 and was appointed Master in 1657. In 1645 Benjamin Hill married Gunnett Say (sister of fellow clockmaker Nehemiah Say) at St. Bride's, Fleet Street and by 1646 he had set up in Boar's Head Alley off Fleet Street in St. Dunstan's Parish (possibly Cock and Key Court). His property was subsequently destroyed in the Great Fire of London in 1666 causing him to relocate to Fetter Lane. Benjamin Hill died in 1670 and was buried at St. Dunstan's; his will and inventory survives with the latter published and discussed by Jeremy Evans in his article BENJAMIN HILL, SOME FURTHER NOTES in Antiquarian Horology March 2001 (vol. XXVI, no. 1) page pages 52-61. Of Benjamin Hill around half a dozen lantern clocks have been documented and at least three watches are known to survive, another slightly later lantern clock by him is also included in the sale (lot 155). The pattern of casting used for the frame of the current lot was probably introduced during the latter half of the 1650's (see White, George English Lantern Clocks page 180 figures IV/37 - IV/39) and incorporates an updated form of finial similar to those sometimes seen on miniature clocks or large clocks by makers such as Peter Closon made earlier in the decade. This type of frame appears to have quickly superseded the earlier 'Lothbury' pattern (see previous and following lots) becoming the predominant type for used for standard lantern clocks made from the start of the third period (ie. from circa 1660). The dial engraving is very typical of that seen on archetypal second period clocks and is almost certainly by the same hand who engraved the dial of the previous lot as well as a clock by Thomas Knifton illustrated in Loomes, Brian LANTERN CLOCKS and Their Makers on page 104 (fig. 8.36). It is also interesting to note that the current clock also shares the same design of half-hour marker and basic hand pattern with the previous lot and the example by Knifton. These details would strongly suggest that the present clock was made during the mid-to-late 1650's rather than early 1660's hence can be described as being a 'second period' clock, being perhaps one of the first to use frame castings that were to become typical of 'third period' London work.
Lot 154
A fine and very rare brass lantern clock with dial commemorating the accession of Charles II Thomas Wheeler, London, circa 1660 The posted countwheel bell-striking movement with separately wound trains and reinstated verge escapement with brass balance wheel regulation, the dial engraved with central flowerhead enveloped by stylised leafy floral sprays issuing from another flowerhead positioned just above six o'clock and incorporating the Royal crown and inscription C 2 R to upper margin, with an engraved iron hand within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced dolphin pattern front fret signed Thomas Wheeler Neare the French Church Fecit to lower edge and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, on turned ball feet, 40cm (15.75ins) high. Thomas Wheeler is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as apprenticed in 1648 to Nicholas Coxeter and gaining his freedom of the Clockmakers' Company in 1656. He became Assistant from 1674, Warden from 1680 and was appointed Master in 1684. His last record of attendance was in 1694 and is thought to have died between 1695 and 1701, when his widow received charity from the Company. The current lot appears to be a very rare if not unique example commemorating the Restoration of the Monarchy with the Coronation of Charles II in 1661. The richly engraved decoration to the dial centre relies on bold hatching and incorporates large motifs to fill the space beneath the crown. This decoration was almost certainly executed by the same hand responsible for many dials by various contemporary makers mainly based in and around Lothbury, London throughout the 1650's and can be directly compared to an example by Thomas Knifton which is illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 108 (figs. 8.48 and 8.49). This example by Knifton also shares the same half-hour markers to the chapter ring and interestingly can also be accurately dated to 1660 through its provenance (supplied to Sir Thomas Wendy of Cambridge). The frame castings are of typical second period 'Lothbury' pattern and can also be compared to those used for lot 152 a lantern clock by Thomas Loomes. These details indicate that when made the current lot was perhaps a little old-fashioned being more stylistically rooted in the 'second period' rather than being a pre-curser of the updated 'third period' designs seen later in the decade (see lots 155 and 156). The Coronation of Charles II was the first that saw the production of wares commemorating the event with most taking the form of tin-glazed earthenware vessels and chargers. The demand for such items probably reflected the patriotic mood at the time and allowed Royalists to openly express their support for the Monarchy, as well as provide a much needed revenue stream for those engaged in the production of ceramics amongst others. Today Charles II Commemorative ceramics are highly sought-after by collectors of both early English pottery and Royal commemoratives with prices often pushing into six-figures at auction for the best pieces. When considering the market for early Royal commemoratives the current clock would seem to be particularly good value - especially bearing in mind its rarity and the fact that it was probably more expensive than many of its commemorative pottery counterparts when first made.
Lot 155
A Charles II gilt brass lantern clock Benjamin Hill, London, circa 1665 The posted countwheel bell-striking movement with later anchor escapement regulated by seconds pendulum swinging outside of the frame of the clock to the rear, the dial with central starburst decorated alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature Benjamin Hill in fleete, Streete Londini to upper margin, with iron hand within applied narrow Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the standard London third period frame with column turned corner posts beneath dolphin inhabited foliate pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors, the rear with iron backplate, hanging hoop and spurs, on turned ball feet (in unrestored condition, top finial and alarm mechanism lacking), 34cm (13.5ins approx) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The dial of the current lot is illustrated in Antiquarian Horology September 1999 (vol. XXV, no. 1) page 47; the whole clock is also subsequently illustrated in the March 2001 issue (Vol XXVI, no. 1) on page 58. Benjamin Hill is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as born in Hatton, Warwickshire in 1617 and apprenticed through the Blacksmiths' Company to Richard Child in 1632. He was made a free Brother of the Clockmakers' Company in 1640, served as an Assistant in 1651, Warden from 1652 and was appointed Master in 1657. In 1645 Benjamin Hill married Gunnett Say (sister of fellow clockmaker Nehemiah Say) at St. Bride's, Fleet Street and by 1646 he had set up in Boar's Head Alley off Fleet Street in St. Dunstan's Parish (possibly Cock and Key Court). His property was subsequently destroyed in the Great Fire of London in 1666 causing him to relocate to Fetter Lane. Benjamin Hill died in 1670 and was buried at St. Dunstan's; his will and inventory survives with the latter published and discussed by Jeremy Evans in his article BENJAMIN HILL, SOME FURTHER NOTES in Antiquarian Horology March 2001 (vol. XXVI, no. 1) page pages 52-61. Of Benjamin Hill around half a dozen lantern clocks have been documented and at least three watches are known to survive, a slightly earlier clock by him is also included in the sale (lot ???). The frame used for the current lot is of pattern typical of London 'third period' work (as illustrated by White, George English Lantern Clocks page 180 figures IV/37 - IV/39) and superseded the earlier variant used for lot ??? and the previous lot. The design of the engraved decoration to the dial centre of the present clock is also very typical of London third period work and can be directly compared to numerous clocks by the likes of Nicholas Coxeter, Thomas Wheeler and John Ebsworth (see following lot). The form of the hand harks back to earlier second period work (see lots 152 and 153) but persisted well into the third period in the hands of makers such as Ebsworth (see the following lot and White, page 179 figure IV/35). The gilding to the dial and frame is a very rare feature which would have involved a great deal of time and expense suggesting that the current clock was supplied to order for a particularly discerning client.
Lot 156
A Charles II brass lantern clock John Ebsworth, London, circa 1670 The posted countwheel bell-striking movement with separately wound trains and later anchor escape wheel, the dial with central rose decorated alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature John Ebsworth at y (crossed keys), Lothbury Londini fecit to upper margin, with iron hand within applied narrow Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the standard London third period frame with column turned corner posts beneath dolphin inhabited foliate pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors and the rear with iron backplate (in unrestored condition, pallets, backcock, hammer stop and spring lacking, no lines, pendulum or weights), 39.5cm (15.5ins approx) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Ebsworth is recorded in Loomes, Brian, LANTERN CLOCKS & Their Makers as apprenticed in 1657 to Richard Ames and gaining his freedom of the Clockmakers' Company in 1665. He is believed to have succeeded Thomas Knifton at the Cross Keys in Lothbury but later worked at 'New Cheap Side'. He served as Assistant to the court of the Clockmakers' Company in 1682, Warden in 1694 and was appointed Master in 1697. Ebsworth died in 1699 appointing Edward Stanton to oversee his Will. John Ebsworth was clearly heavily influenced by his master, Richard Ames, who was possibly the first to embrace the introduction of the verge escapement with short bob pendulum by placing the pendulum between the trains (this layout allowed the alarm mechanism to be retained at the rear of the clock). Ebsworth also adopted this system for his pendulum lantern clocks however it seems that he continued to make balance wheel regulated clocks alongside them. This was probably due to the fact that pendulum clocks were more expensive (due to the amount of additional work to build a clock with centre swinging pendulum) hence balance wheel clocks were perhaps marketed as a less expensive model whose timekeeping was probably more than adequate for most. The current lot is a textbook example of Ebsworth's work and typifies London third period practice using frame castings developed probably just prior to 1660 (see White, George English Lantern Clocks page 180 figures IV/37 - IV/39 and lot 153). The design of the dial engraving had almost become completely standardised by this time and can be directly compared with that of the previous lot as well as numerous other examples by the likes of Nicholas Coxeter, Richard Ames and Thomas Wheeler made during the 1660's-70's.
Lot 165
A gilt brass spring-driven quarter-chiming lantern mantel clock The frame and dial signed for John Thornton, Sudbury, early 18th century; the movement by William Page, London, late 19th century The six pillar triple chain fusee movement chiming the quarters on four graduated gongs and striking the hour on a further larger gong, the going train with Harrison's maintaining power and half-deadbeat escapement regulated by short lenticular bob pendulum, the backplate signed W'M PAGE, West End Clock Manufacturer, G't Portland St't, LONDON, the posted case with dial engraved for John Thornton, Sudbury to the symmetrical foliate scroll engraved centre within applied silvered Roman numeral chapter ring with cruciform half hour markers beneath leafy scroll engraved and pierced frets flanked by vase finials with domed bell bearer above, the sides with rococo scroll engraved doors, on ball feet, 38cm (15ins) high; now mounted on a cushion-moulded ebonised stand with turned feet, 45cm (17.75ins) high overall. John Thornton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as a bellfounder and clockmaker working in Sudbury, Suffolk 1708-20. William Page is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1875-81.
Lot 180
The remains of a fine large musical lantern clock movement Unsigned but possibly attributed to James Delaunce, Frome, late 17th century The posted two-handed movement with four-wheel going train regulated by anchor escapement for a long pendulum swinging outside of the frame of the clock to the rear, the centre formerly with musical train released prior to the hour-striking train to sound a melody on two nests of four bells each set above the top plate, the rear with hour strike train incorporating large iron countwheel mounted behind, the posted frame with one-piece pillar and finial castings featuring elongated 'spires' supporting the domed bell bearer above decorated with radial cast and pierced infill between the limbs, (unrestored, lacking all musical work except warning/locking detents, strike train fly, dial, frets, side doors, feet, pendulum and weights) 42cm (16.5ins) high. The current lot was originally made with an musical train sounding on eight bells which was activated prior to the hour strike train. Rather than using a starwheel set behind the dial for strike/musical train lifting the current movement utilised two pins fitted to a disc applied to the rear of the going train greatwheel. This disc is directly connected to the underdial motionwork but engages with the greatwheel via a friction joint alone. This system allows the hands to be set without having to release the escapement and 'run through' the going train and was often employed by Italian makers where star wheels could not be used (due to the Italian preference for each hour to be sounded twice in quick succession). The design of the one-piece frame corner post and finial castings can be compared to a standard-sized lantern clock by James Delance of Frome illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 187 (fig. 11.2). The method of retaining both the strike/musical train lifting detent arbors and the individually pivoted musical hammer bell arbors between their respective movement bars is highly unusual. Each pivot hole is formed as a slot cut in from the side of the bar allowing the arbor pivot to be inserted without having to release the bar. The pivot is then prevented from falling out of its slot by a retaining pin which driven in from above through vertical holes in the movement bar adjacent to each pivot. Although highly unusual this system for retaining a single detent arbor pivot can also be seen on a posted musical longcase movement signed James Delance Froom Fecit illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks on page 87 (fig. 2/59). James Delaunce is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Dowton, Somerset in 1655. He is believed to have been apprenticed to Laurence Debnam of Frome in around 1669 (which he would have completed in around 1676) before moving to London where he was admitted to the Clockmakers' Company as a Free Brother in 1677/8. By 1686 James Delaunce had moved back to Frome - probably to succeed his former Master, Laurence Debnam, who died in 1683. From 1687 until 1703 he was employed by Lord Weymouth to work on clocks at Longleat and by 1721 was back in the Downton where he is recorded as still being alive in 1736.
Lot 181
A Queen Anne brass lantern clock John Michell, Chardstock, early 18th century The posted countwheel bell-striking movement with anchor escapement regulated by seconds pendulum swinging outside of the frame clock to the rear, the matted dial with ringed centre and iron hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and signed Jo. Michell, Chardstock to lower edge, the angles engraved with stylised poppy blooms, the frame with column turned corner posts and integral ball feet, the bell now supported on an iron stand (unrestored, lacking frets, finials, bell bearer, side doors, top finial, backplate, pendulum and weight) 35cm (13.75ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Michell is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as believed have been born in 1669 and married in 1687 to Elizabeth Marks. He lived in Chardstock at least from 1687 until his death in 1733 when he was succeeded by his son-in-law Thomas Drayton. Loomes illustrates two lantern clocks and a 'hybrid' posted frame clock by Michell (pages 202-4 figs. 12.14 to 12.24) all of which have matted dials with ringed centres and engraved decoration to angles. The first utilises the same pattern of frame casting as used by Thomas Veale of Chew Stoke for lot 184. This suggests that Michell 'bought-in' his castings from the Bristol/Chew Valley area. Indeed this possibility is further supported by the fact that the current lot appears to employ the alternative 'London style' frame castings as used by various Bristol makers from the late 1670's until around 1710 (see Loomes page 181, fig. 10.48 for a clock by John London of Bristol which employs the same pattern of frame castings). The fact that the current lot was made using a well known pattern of frame should make correct re-instatement of the missing finials etc. possible. The movement of the current lot also exhibits details sometimes seen on clocks by the Chew Valley makers. For example the movement bars are secured at the top via pins against lugs riveted to the underside of the top plate (rather than via slots cut in to the plate itself) whilst at the bottom the bars are cut with key-hole shaped apertures - presumably to allow a degree of adjustability.
Lot 182
A Queen Anne brass lantern clock John Walter, Honiton, early 18th century The posted countwheel bell-striking movement with anchor escapement regulated by seconds pendulum swinging outside of the frame clock to the rear, the dial engraved with stylised stylised leafy sprays issuing from an urn positioned just above six o'clock beneath signature John Walter of Honiton Fecit to upper margin, with iron hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, the frame with column turned corner posts beneath dolphin inhabited foliate pierced front fret, vase turned finials and domed bell bearer, on turned ball feet (unrestored, lacking side frets, side doors, top finial, backplate, pendulum and weight), 35cm (13.75ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Walter of Honiton appears to be unrecorded however the current lot can be dated on stylistic grounds to the early years of the 18th century. The movement is neatly made with wheels secured directly onto tapered steel arbors without collets and the dial is well engraved with the design reminiscent of other West Country makers of a slightly earlier period such as John London of Bristol, Arthur Davis of Westleigh, and Edward Bilbie of Chew Stoke - see Darken, Jeff (editor) TIME & PLACE English Country Clocks 1600-1840 exhibits 7 (pages 38-9), 14 (pages 56-7) and 21 (pages 80-3). This clock has been stored away for many years and has only been recently re-discovered hence is offered in unrestored condition.
Lot 183
A fine and well documented Charles II brass lantern clock George Newton, Seend, dated 1677 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear and with unusual configuration of strike lifting with the warning lifting detent arbor positioned on the opposite side of movement from the countwheel locking detent arbor, the dial engraved with a central five-petal rose enveloped by stylised floral trails issuing from a vase positioned just above six o'clock, with pierced steel hand within applied Roman numeral chapter ring with simple wheatear half hour markers, the upper angles engraved with signature George, Newton incorporating date 16, 77 the lower angles decorated with leafy sprays, the highly distinctive frame with one-piece column turned corner posts beneath foliate pieced frets incorporating arcaded galleries to lower edges and dolphin engraved decoration to front, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and on acorn-turned feet, 43cm (17ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67; and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 9 pages 42-5 (where the movement is extensively illustrated). The life of George Newton of Seend is documented by C. Thomas in his article GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE published in the winter 1980 issue of ANTIQUARIAN HOROLOGY (vol. XII no. 4) pages 420-6. Thomas notes that George Newton was born sometime between 1600 and 1610 and was the eldest son of blacksmith Richard Newton from whom inherited the family business in 1625. In 1666 the famous diarist John Aubrey (1626-97) visited George Newton to discuss local iron ore deposits writing: "I went to the Smythe, George Newton, an ingeniouse man, who from a blacksmith turned clock maker and fiddle maker, and assured me that he has melted of this oare in his forge which the oare of the Forest of Deane will not do". Other contemporary entries dating between 1664 and 1679 note his service as churchwarden at Seend and Brian Loomes in LANTERN CLOCKS & Their Makers records Newton's marriage to Susan Harris in 1670. It would seem that George Newton's clockmaking activities primarily focussed around church clocks as noted in the records of various local Parishes including Steeple Ashton (1636-9), Melksham (1652-71) and Trowbridge (1674) which refer to his attention to the maintenance of existing clocks. In 1673 George Newton was contracted by the churchwardens of St. Thomas a Becket, Salisbury, to supply a new clock at a cost of £20 10s., with an additional 5s. paid up-front (presumably for expenses already accrued). The clock was duly installed later the same year and was subsequently attended to by Newton for which he received a further payment of £1 1s. 6d. in 1680. It is perhaps testament to George Newton's skills as a blacksmith and clockmaker that he was chosen to supply a clock for St. Thomas a Becket, as this Parish church in central Salisbury was the designated place of worship for the local Salisbury guild of blacksmiths and metalworkers. George Newton died in 1681 leaving the forge to his son (also called George) who appeared not to share his father's aptitude for clockmaking as no clocks by him are recorded; he died intestate in 1699 at the age of 53. Of George Newton only four lantern clocks by him are documented with possibly a fifth residing in a private collection yet to be published. The three other well documented examples can be found in the following sources: Clock dating to around 1645 signed GEORG NEWTN MEE FESET illustrated in Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS (exhibition catalogue, Lewes 2003) exhibit 7, pages 22-3; and Darken, Jeff (editor) HOROLOGICAL MASTERWORKS English Seventeenth-Century Clocks from Private Collections exhibit 4, pages 20-1. Clock dating to around 1650 signed GEORGE NEWNTON AT SEENE illustrated by Thomas. C. GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE - ANTIQUARIAN HOROLOGY vol. XII, no. 4 pages 420-6; and White, George English Lantern Clocks page 219 figs. V/12 and V/13. Clock dated 1660 with highly unusual concentric calendar and 'penny-moon' lunar indication to dial inscribed George Newton, 1660 to front fret illustrated in Hana English Lantern Clocks pages 52-4 Plates 5-7. When considering the four well known surviving lantern clocks by George Newton the first observation is that his frame castings appear unique to him and of two differing types. The first type loosely echoes the London first period pattern often favoured by John Cattle (and later adopted by early Bristol makers such as Thomas Browne) with rounded 'bobbin' details at the junction between the pillars and the plates. This pattern of frame is used for the first two examples listed above and perhaps denotes an earlier phase of Newton's work. The second type of frame casting appears to be an evolution incorporating ¬orn' feet (as seen on first/early second period London work as well as the other type of standard frame used by Thomas Browne) and tall 'multi-knop' finials similar to those on Newton's earlier frames but more closely related to frames by later Chew Valley and Bristol makers such as John Clarke and Thomas Veale (see the following two lots). This 'later' pattern of frame is first used for the 1660 clock with calendar dial (as illustrated by Hana) and again for the current lot; the fifth unpublished clock by Newton also has this type of frame. From this it would be reasonable to suggest that George Newton 'updated' his design of frame castings at some point during the 1650's. A common feature shared by all the surviving clocks by George Newton is their generous use of brass and the fact that they are of larger heavier proportions than most lantern clocks of the period. The lack of any evidence of a hanging hook or spikes being fitted to any of his clocks suggest that they were all intended to either stand on a wall bracket or on/within a 'longcase', probably wise when considering the inherent additional weight of these clocks due to his generous use of materials in their construction. Newton's engraving is also very distinctive and evolved over the years often including delightful touches such as the naive dolphin decoration incorporated into the front fret of the current lot. The manner in which each clock is signed perhaps also illustrates the fact that even a highly skilled artisan such as George Newton was not always fully literate. Both the earlier clocks demonstrate inconsistency in spelling and problems with the 'N's which appear to be engraved as mirror images. However, by the time he engraved his name onto the fret of the 1660 clock with calendar dial he seemed to have mastered his signature. The current lot appears to have survived in remarkably original condition retaining its original escapement and side doors. The layout of the strike train is unusual in that the warning/lifting detent arbor is positioned to the left hand side of the movement (as seen on pre-pendulum clocks with separately wound trains) whilst the countwheel locking detent and arbor has been moved over to the opposite side, hence requires lifting by the warning detent via a cross-over piece. Darken and Hooper in English 30 Hour Clocks comment that Newton may have intended the current lot to have a balance escapement but changed his mind half way through building it - from this it is suggested that this may be his first verge-pendulum clock.
Lot 184
A fine and well documented William and Mary brass lantern clock Thomas Veale, Chew Magna, dated (16)95 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear, the dial with central vestigial alarm disc within symmetrical foliate tulip engraved infill and with pierced brass hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and concealing engraved initials TV and date • to the plate beneath, the angles engraved with bands of concentric brickwork, the typical 'Bristol' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer, with brass side doors, iron backplate and hanging hoop above spurs to rear, on tall disc-knopped feet, 42cm (16.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks pages 92-4 figs. 2/66 to 2/68; Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 20 pages 76-9 (where the movement is extensively illustrated) and Loomes, Brian LANTERN CLOCKS & Their Makers page 192 figs. 11.12 and 11.13. Thomas Veale's dates are collated in Loomes Brian Lantern Clocks & Their Makers page 307 where it is noted that ¾llchambers records his freedom at Bristol in 1652, Moore records him as being of Bristol in 1660 when he was a bondsman to a marriage. George White records his marriage at Chew Magna 1656 to Charity Plaister. He was working to at least 1697. He left sons John and James, but no clocks are yet recorded by them'. The current lot utilises a frame casting derived from those originally favoured by the Chew Valley school of clockmakers with the earliest surviving dated example made by Edward Webb of Chew Stoke in 1676 (private collection). Several other clocks by Webb are known with dates ranging from 1678-93, with all of the documented examples sharing the same group of frame castings. These castings were also used by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695) for his earlier lantern clocks, long after Bristol makers had tended to opt for castings more closely related to London work of the period. The on-going use of such frames suggests that they were cast locally, perhaps initially by Edward Webb at his foundry in Chew Stoke (which was just over a mile from Thomas Veale's home at Denny Farm, Chew Magna), then by the Bilbie family after Webb's death in 1694. Of Thomas Veale five lantern clocks are documented, with all but one dated and made within the time span 1692-7. All these examples share the same basic frame castings, are signed with the initials TV either behind the alarm disc or chapter ring and can be found and compared in the following sources: White, George English Lantern Clocks page 230 fig. V/36 (undated example), page 231 figs. V/37 (dated ’) and V/38 (detail of dial only dated —). Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS 1615-1700 page 50 (dated 1692). Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67 (the current lot dated ’). All of the four dated examples share similar engraving executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central flowerhead motif at the top. The angles are decorated with the same concentric brickwork infill. The undated example (White, George English Lantern Cl oc ks page 230 fig. V/35) departs a little from the above similarities by incorporating larger more abstract scroll-work towards the lower margin of the dial centre and terminates with a female mask at twelve o'clock. It is perhaps interesting to compare this example with those made by Edward Webb during the 1680's which tend exhibit the same basic design within the engraving; which was strongly influenced by the work of Thomas Brown of Bristol during the 1650's (see White, George English Lantern Clocks page 232). From this observation it would be perhaps reasonable to suggest that the undated example is probably the earliest surviving example of his work and may pre-date 1680. The current lot appears to have survived in original unaltered condition and retains its original escapement. The right hand side door also features exquisite practice engraving over half of the panel incorporating a central winged female mask flanked by foliate scrolls and grotesques.
Lot 185
A fine Charles II brass lantern clock John Clarke, Bristol, circa 1681 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear and with alarm mechanism mounted to the lower right hand corner of the backplate within the frame, the dial with central alarm disc within stylised symmetrical foliate engraved infill incorporating a winged female mask at twelve o'clock and with pierced brass hand within applied narrow Roman numeral chapter ring with floating asterisk half hour markers, the angles engraved with signature Iohn, Clarke, in Bris, toll , with indistinct date 16..1, the typical 'Bristol' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and backplate between hanging hoop above spurs to rear, on tall disc-knopped ball feet, 40cm (15.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Sotheby's London, 23rd March 1999 (lot 251). Literature: The dial of the current lot is illustrated on the back cover of THE PROCEEDINGS OF THE ANTIQUARIAN HOROLOGICAL SOCIETY, THE OXFORD 2000 CONVENTION held at Keble College, Oxford, 15th and 16th April 2000 where the clock was also exhibited. John Clarke is recorded in Moore, A.J. CLOCKMAKERS OF BRISTOL 1650-1900 as son of John Clarke, a Hooper of Bristol, who was apprenticed to Solomon Wasson in 1743 becoming a Burgess on 3rd February 1650. Clarke is recorded as residing at 6 Wine Street in 1656 and later (1675) as working at the top of Broad Street (in the Parish of Christchurch). A fine watch by Clarke resides in the British Museum's Collection (Octavius Morgan bequest). In addition to the current lot it seems that there may be only one other lantern clock by John Clarke known to have survived: Clock dated 1679 illustrated in White, George, English Lantern Clocks on page 227 (Figure V/28). Another Clock, dated 1681, is also noted (but not illustrated) by White (on page 225) and again in Loomes, Brian Clockmakers of Britain 1286-1700 (on page 120), it is probable that both these records relate to the current lot as the now indistinct date most likely originally read #22;81'. The current lot utilises frame castings that were favoured by the Bristol and Chew Valley school of clockmakers with the earliest surviving dated example made by Edward Webb of Chew Stoke in 1676 (private collection). Several other clocks by Webb are known with dates ranging from 1678-93, with all of the documented examples sharing the same frame castings. These castings were also used by John London of Bristol, Thomas Veale of Chew Magna (see previous lot) and latterly by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695). Bilbie appears to have persisted with the use of such castings long after Bristol makers had moved onto patterns more closely related to London work of the period, suggesting that such frames were probably cast locally (in the Chew Valley) - perhaps initially by Edward Webb at his foundry in Chew Stoke then by the Bilbie family after Webb's death in 1694. Another noteworthy detail is the distinctive dial engraving which is executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central winged female mask motif at the top. The design of this decoration appears to have its roots in the work of Thomas Brown of Bristol who was most active during the 1650's (see White, George English Lantern Clocks page 232) and can be very closely compared to the 1676 clock by Edward Webb of Chew Stoke - suggesting that both clocks were engraved by the same hand. The placing of the signature within the areas at each corner beyond the chapter ring is also seen in Webb's work (see Loomes, Brian LANTERN CLOCKS & Their Makers page 188). Such strong similarities between the work of Edward Webb and the current lot would suggest that these makers had a close working relationship and further supports the possibility that the frame castings were indeed produced in the Chew Valley (hence were supplied to 'Bristol' makers such as Clarke). The current lot appears to have survived in original unaltered condition with its original escapement. The position of the alarm mechanism is typical for West Country verge and short bob pendulum lantern clocks and the method of fixing the movement bars to the top plate (by pinning against lugs riveted to the underside of the top plate rather than cutting slots into the plate itself) appears also to be a method favoured by West Country makers for their better clocks.
Lot 186
A Queen Anne brass lantern clock John Smorthwait, Colchester, early 18th century The posted countwheel bell-striking movement with anchor escapement regulated by seconds pendulum swinging outside of the frame clock to the rear, the dial engraved with an asymmetric stylised leafy spray beneath signature Smorthwait In Colchester to upper margin, with iron hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, the frame with column turned corner posts beneath foliate pierced and engraved front fret, vase turned finials and domed bell bearer, on turned ball feet, 40.5cm (16ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is extensively illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 29 pages 104-7. The life and work of John Smorthwait is extensively documented in Mason, Bernard Clock and Watchmaking in Colchester where he described as 'one of the most important of the early watch and clock makers'. John Smorthwait was born at Middleton-in-Lonsdale, Westmorland the second son of William Smorthwait in 1675. According to Mason he probably moved to Colchester circa 1706-7 and is believed to have taken over the stock-in-trade, tools and goodwill of the late John Spurgin (who died in 1699) from his widow, Jane. Smorthwait went on to become a prolific maker of clocks with around eighty examples signed by him recorded by Mason. In 1722 John Smorthwait married his second wife, Susan Flanner (his first wife died prior to his move to Colchester leaving him to bring-up his daughter alone) and became actively involved in matters relating to his local Parish of All Saints which he continued until his death in 1739. The current lot is a fine 'textbook' example of Smorthwait's work which is generally very typical of the archetypal form of lantern clock made in the provinces during the first quarter of the 18th century.
Lot 43
A French gilt brass and patinated steel novelty 'quarterdeck' mantel clock Guilmet, Paris, late 19th century The eight-day gong striking movement with anchor escapement regulated by compound pendulum with upper crossed spring suspension for the figural bob and stamped GLT, BREVETTE, S.G.D.G. trademark over serial number 1313 to backplate, the circular gilt Roman numeral dial with steel spade hands and canted bezel set into the cabin elevation of the case modelled as the stern of a ship with upper poop deck applied with binnacle compass before a figure cast as a sailor at the helm rocking from side-to-side with the motion of the pendulum, with curved balustrading behind terminating with lantern posts to sides over lower deck accessed via a ladder to the left and with another figure of a mariner gathering rope from a coil to the right, on moulded gilt base applied onto black marble plinth with gilt block feet, 29cm (11.5ins) high; with green velvet lined ebonised wood stand, 34cm (13.5ins) high overall. Relatively little is known about Andre Romain Guilmet other than he specialised in producing highly fashionable mystery clocks and industrial timepieces during the last quarter of the 19th century. Another example to this design by Guilmet is illustrated in Roberts, Derek Mystery Novelty and Fantasy Clocks on page 225 (figs. 22-2 a-d).
Lot 50
A Japanese engraved brass Kake-Dokei lantern clock with double foliot regulation and alarm Unsigned, mid to late 19th century The weight-driven posted countwheel striking movement with double-crownwheel escapement regulated by one of two foliot balances at one time each applied with adjustable curser weights and with automatic switching between the two via linkages engaging with pins applied to the rear of the countwheel, the spring-driven alarm mechanism positioned behind the dial at twelve o'clock wound via a key to front and sounding on the 'pork pie' hour bell mounted on a baluster-turned post above the frame, the rectangular asymmetric floral spray engraved dial plate with upper central rotating ring-turned disc applied with the pierced steel hand and an adjustable alarm setting pin within chapter ring engraved with twelve panels with characters for the Japanese hours tokis over zodiacal symbol with inner edge divided into ten buns , over two calendar apertures for the Twelve Terrestrial Branches and the Ten Celestial Stems of the traditional Japanese calendar set beneath the chapter ring, the case with elaborate baluster-turned decorative corner posts, asymmetric foliate spray engraved side panels retained by sprung latches and conforming fixed panel to rear, 22cm (8.75ins) high including feet, now contained in a later glazed mahogany hooded case of traditional design with stepped superstructure over rectangular front window and brass grille frets above further glazed apertures to sides, the bracket with shaped apron to table and drilled for fixing to the wall at the top of the backboard, 46cm (18ins) high overall. The first mechanical clocks were introduced to Japan by Jesuit Missionaries during the second half of the 16th century, some of whom settled on the island of Amakusa and assisted Japanese craftsmen in developing their own clocks. The Japanese system of temporal hours presented a problem for these early craftsmen as each twenty-four hour period was divided into night and day with the hours for each starting or ending at dawn or dusk. With this system the hours for each varied throughout the year as the seasons changed. To compensate for this Japanese makers developed the double foliot system which allowed the effective rate of the clock to be changed automatically at dusk or dawn - to reflect the different length of the hour for each. Naturally, as the seasons developed, the beat rate for each foliot needed to be updated on a regular basis; this was usually undertaken by a local clockmaker who would adjust the position of the cursor weights on each foliot. Technologically Japanese lantern clocks generally reflect the early European models that were imported during the late 16th century, with the basic design and form remaining essentially the same throughout the Edo period (1603-1868). This apparent lack of technological development within Japanese clockmaking was due in part to the fact that the state was essentially closed-off to outsiders whilst under the control of the Shogun. Also during this time Japan was predominantly an agricultural society which meant that accuracy in timekeeping was simply not required, hence there was no need to improve the technology (which would have been extremely difficult within the system of unequal temporal hours). Ultimately during the subsequent Meiji period Japan adopted the Western system of equal hours (in 1872) which rendered the double-foliot system obsolete. The current lot is a fine example of a fully developed double-foliot Kake-Dokei complete with alarm and calendar dating probably to shortly after 1850. The movement is finely executed and the case confidently engraved. Technologically it presents as a fascinating insight into traditional Japanese clockmaking and strongly reflects the crafts 16th century European roots.
Lot 827
A late 19thC French gilt metal and porcelain three-piece Clock Garniture, the mantel clock of architectural form with painted dial, surmounted by a lantern and pineapple finial, the 8-day movement signed "A. D. Mougin deux medailles" in a circle, 14in (35.5cm) high, and a pair of corresponding vases painted with figures in landscapes and floral sprays, 9⅞in (25cm) high (3) THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME
Lot 846
A brass Lantern Clock, with adapted 30-hour single-weight movement, the frame of typical form surmounted by a bell, with silvered dial and single hand, signed Kenneth Honick, Mytchett, Fecit, 12¼in (31cm) high, with pendulum, weight and bracket, together with a 1,300 word article by the maker entitled "A Lantern Clock from a single hand 30 hour long case movement". THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME
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