A George III mahogany eight-day longcase clock William Creak, London, circa 1760 The eight-day five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced blued steel hands and applied with twin bird and urn cast spandrels to angles, the arch centred with a circular silvered boss signed W’m Creak, London flanked by dolphin cast mounts, in a case with break-arch dentil cavetto cornice over brass stop-fluted columns flanking the glazed hinged dial aperture, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with break-arch flame-figured door flanked by brass stop-fluted rounded angles, on raised shaped panel fronted plinth base with moulded double skirt incorporating shaped apron to lower edge, 222cm (87.5ins) high. William Creak is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a ‘fine maker’ who worked in London from 1754-63. Other sources indicate that he was working from 1740-75 and his workshop was located in the Royal exchange from 1754. Creak supplied musical and automaton clocks for export to the Middle East and China and often incorporated similar complications into examples made for the domestic market.
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A Scottish Victorian mahogany longcase clock with two-in-one quarter striking Peter Penman, Dunfermline, circa 1840 The eight day two train four pillar movement with anchor escapement regulated by seconds pendulum to the going train and the strike train both ting-tang striking the quarters on a graduated pair of bells and sounding the hour on the larger of the two, the 13 inch white painted Roman numeral dial with subsidiary seconds over calendar dials and signed PETER PENMAN, Dunfermline to centre, with engraved brass hands and spandrels polychrome painted with figural representations of the four members of the United Kingdom beneath scene of a courting couple to arch, the swan neck pediment with free-standing columns flanking hinged glazed dial aperture to hood over ogee throat and swollen frieze above bowed ogee cupola capped trunk door flanked by split pilasters with further swollen apron panel beneath, 2178cm (85.5ins) high. Peter Penman is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Dunfermline circa 1820-40.
A pierced brass table clock winding key Probably 20th century in the late 17th century style The loop pierced and engraved with asymmetric tulip stems; with four cast silver coloured metal winged cherub head spandrels in the late 17th century style for a 9.5 to 10 inch longcase clock dial, and a sculpted steel hour hand in the manner of John Knibb, late 17th century, measuring 3 inches from centre to tip, (6).
A rare George III scarlet japanned eight-day longcase clock with alarm Robert Higgs and Diego Evans, London, circa 1775 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and transverse alarm mechanism positioned to the right hand side of the movement with verge hammer sounding in the hour bell, the 12 inch brass break-arch dial with alarm setting disc, recessed subsidiary seconds dial, calendar aperture and shaped silvered signature plate engraved Higgs y, DIEGO EVANS, LONDRES to the finely matted centre within slender silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath TOCAR/SILENCIO subsidiary strike selection ring flanked by conforming mounts to arch, in a scarlet red japanned case with gilt painted shaped upstand over break-arch cavetto cornice and conforming scroll pierced fretwork frieze, the hood door with alternating gilt floral trail and trellis band decoration and applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with grotesque mask centred floral trail painted throat over ‘block-top’ break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with abstract foliate scroll painted upper quadrants and geometric banded borders flanked by reeded quarter columns to the front angles, the sides with large leafy sprays, the plinth base with raised shaped panel decorated with equestrian scene of hunters trapping a tiger, on shallow skirt with block feet, 236cm (93ins) high. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom of the Clockmaker's Company in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770. James Evans is recorded by Baillie as also working from Sweetings Alley from 1773. In 1775 he went into partnership with Robert and Peter Higgs; the firm subsequently moved to Exchange Alley and continued in business until around 1825. The partnership of Higgs and James Evans specialised in producing clocks for the export market - particularly to Spain hence a significant proportion of surviving examples (including the current lot) being annotated and signed in Spanish.
Horological reference - approximately thirty titles: Mercer, Vaudrey THE FRODSHAMS, THE STORY OF A FAMILY OF Chronometer Makers The Antiquarian Horological Society, Ramsgate 1981, dj; Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS Paris 1971, softbound; Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks Antique Collectors’ Club, Woodbridge 1982, dj; Barder, Richard C.R. The GEORGIAN BRACKET CLOCK, 1714-1830 Antique Collectors’ Club, Woodbridge 1993, dj; Rose, Ronald E. English DIAL CLOCKS Antique Collectors’ Club, Woodbridge 1978, dj; Roberts, Derek SKELETON CLOCKS, BRITAIN 1800-1914 Antique Collectors’ Club, Woodbridge 1987, dj; Robinson, Tom THE LONGCASE CLOCK Antique Collectors’ Club, Woodbridge 1989, dj; Shenton, Alan and Rita COLLECTABLE CLOCKS, 1840-1940, Reference and Price Guide Antique Collectors’ Club, Woodbridge 1994, dj; Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their History and development Antique Collectors’ Club, Woodbridge 1974, dj; Britten, F.J. The Antique Collectors’ Club edition of Old Clocks and watches & Their Makers Antique Collectors’ Club, Woodbridge 1994, dj; Hana, w.F.J. English Lantern Clocks Blandford Press, Poole 1979, dj; Banfield, Edwin BAROMETERS Aneroid and Barographs Baros Books, Trowbridge 1985, dj; Banfield, Edwin BAROMETERS Stick or Cistern Tube Baros Books, Trowbridge 1985, dj, and a further selection of general standard reference works, (qty).
A figured mahogany small eight-day longcase clock Geoffrey Bell, Arlesford, dated 1974 The four knopped pillar rack and bell striking movement with anchor escapement regulated by cylindrical bob seconds pendulum, the 9 inch brass break-arch dial with subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the narrow outer track, with pierced steel hands and festoon cast foliate spandrels to angles, beneath arch with silvered Signature boss Geoffrey Bell, Arlesford Fecit, 1974 flanked by conforming mounts, the break-arch case with small concave sided upstand over generous cavetto cornice and hinged caddy-moulded glazed dial aperture flanked by canted angles to hood, the sides with rectangular windows, over concave throat mouldings and slender break-arch line edged caddy-moulded flame figured trunk door on conforming raised panel fronted plinth base with double skirt, 196cm (6ft 5ins) high. Provenance: The family of Alf Godsell, former Managing Director of Geoffrey Bell Ltd. An identical clock to the current lot was sold in these rooms on 17th February 2010 (lot 49) for £1,500 hammer.
A quantity of longcase clock case elements For use in the restoration of late 17th century and later clock cases Including a walnut and floral panel marquetry door with panel measuring 41.5 by 8.25 inches, a conforming marquetry plinth panel, throat moulding, a pine and oak trunk carcass, a hood carcass with fixed 10.5inch dial aperture, a part-restored grotesque figure inhabited floral marquetry veneered trunk door panel measuring 42.5 by 9 inches, a hood carcass with similar marquetry to the 11 inch dial aperture and a selection of hood side and front panels etc., (qty).
Two carved walnut longcase clock pediment crest ornaments For use in the restoration of longcase clock cases dating from 1680 to 1695 The first of winged cherub mask and floral festoon swag centred swan neck design measuring 21 inches across, the second similar but lighter in its feel and centred with a woven basket of flowers, 18.25ins wide; with another carved crest of winged cherub head centred swan neck pattern most likely cut in poplar to take an ebonised finished and measuring 16 inches across, (3).
An impressive George III mahogany eight-day quarter chiming Longcase clock with automata and moonphase Edward Mann, London, circa 1775 The substantial seven pillar triple train rack and bell striking movement with T-shaped plates measuring 9.25 by 11.875 inches, the going train with anchor escapement regulated by seconds pendulum and the quarter train sounding a melodious peel on a graduated nest of eight bells with eight hammers before unlocking the hour strike on a larger separate bell at the hour, the 12 inch silvered brass Roman numeral break-arch dial with subsidiary seconds dial, curved pierced sector aperture for the calendar and signed Edward Mann London to centre, with pierced blued steel hands and spandrels polychrome painted with individual automata scenes of 18th century musicians incorporating actions motioned whilst the quarter chiming train is running, the arch with rolling moonphase incorporating engraved terrestrial globe lunettes to lower margin and age of the moon to the outer track of the disc beneath margin now applied with arched plate engraved with HIGH WATER AT LONDON BRIDGE, in a brass mounted mahogany case with pagoda shaped superstructure fronted by shaped grille fret over cavetto break-arch cornice incorporating foliate scroll pierced frieze fret and glazed arched dial aperture flanked by brass stop-fluted columns, the sides with rectangular grilles and quarter columns applied against bargeboards at the rear, the trunk with concave throat moulding over break-arch door flanked by brass stop-fluted quarter columns to angles, on shaped raised panel fronted plinth base with moulded skirt, the whole now with polychrome painted decoration in the Sheraton taste with musical trophy to trunk door, grisaille oval panel of a Classical female to plinth and floral trail borders throughout, (movement originally with tune selection), 245cm (86.5ins) high excluding top finial. An Edward Mann is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working before 1722. However, as the current lot can be dated to around 1775 on stylistic grounds it must have been made by maker of the same name but of the next generation. The most likely candidate is a maker who Baillie records as working in Coventry circa 1787 who could have previously worked in London.
The remnants of a rare spring verge timepiece movement and a fine pierced and engraved verge backcock apron Both unsigned, probably London, circa 1675-80 and 1690-95 respectively The movement with tall narrow bottle-shaped plates measuring 8.25 by 3.125 inches united by four finned and knopped pillars enclosing narrow fusee and stopwork only; the backcock apron pierced and engraved with symmetrical scrolling foliage, 9cm (3ins) wide, (2). The proportions and original specification of the movement in the current lot can be compared to a timepiece by Edward East illustrated in Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 309 (Plate 441); whilst the bottle-shaped plates are reminiscent of an eight-day longcase clock movement, also by East, illustrated on page 124 (Plate 155). The pierced and engraved backcock apron can be directly compared to an example signed John Clowes, London illustrated in Early English Clocks on page 402 (Plate 571).
A selection of brass longcase clock case mounts, hinges, locks, spandrels, bells and related items For use in the restoration of 17th century and later longcase clocks Including four cast brass Corinthian column capitals and group of other hood column castings, numerous 17th century pattern winged cherub and scroll cast spandrels, trunk door locks, wrought iron and brass trunk door strap door hinges, four cast brass lenticle surrounds nine longcase and other clock bells and other items, (qty).
A Queen Anne eight-day longcase clock movement and dial Brounker Watts, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement for regulation by a seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and twin bird and basket of fruit border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Brounker Watts, London to lower margin, with pierced steel hands and female mask and scroll cast spandrels to angles within a herringbone engraved border (lacking pendulum and weights).Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmaker’s Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company’s Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmaker’s Company in 1711 due to being ‘out of town’. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West.
A William III walnut and floral marquetry eight-day longcase clock of one month duration Paul Dupen, London, circa 1700 The six finned pillar rack striking movement with anchor escapement regulated by seconds pendulum, the 10.75 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Paul Dupen, London to lower margin, with scroll pierced blued steel hands and winged cherub head and scroll cast spandrels to angles with foliate scroll engraved decoration between, in a case with raised platform surmounted floral marquetry decorated dome superstructure above crossgrain ogee moulded repeating motif inlaid cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with walnut three-quarter columns with fine cast gilt caps and bases to front angles, the sides with rectangular windows and quarter columns set against bargeboards rising up to the underside of the cornice projection at the rear, the trunk with concave floral marquetry veneered throat moulding over 42 inch rectangular door centred with a circular brass lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays on an ebonised ground within a figured walnut field and Arabesque scroll surround, the sides veneered with twin slender panels within triple-line strung crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel within Arabesque border, 228cm (89.75ins) high to top edge of domed caddy. Provenance : Queens Berry, Anna House, Kintmount, near Dumfries. A Paul Dupin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London and Geneva circa 1710-67. The current lot may be by this maker or by a relation (perhaps father) of the same name who may not be recorded. Indeed many French speaking immigrant makers tended to work directly for the larger Huguenot workshops, such as that of Claude DuChesne, at this time hence often did not gain the freedom of the Clockmaker’s Company.
A substantial quantity of English walnut crossgrain clock case mouldings For use in the restoration of 17th and early 18th century longcase clocks Including around twenty feet of trunk door half-round mouldings, break-arch over door hood mouldings, a length of ogee plinth top moulding, various lengths assorted crisply drawn lintel and cornice mouldings, concave throat moulding and some straight-grain lintel and door mouldings, (qty).
ϒ A George III tortoiseshell japanned eight-day longcase clock with rocking ship automaton Thomas Hackney, London, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with recessed starburst engraved silvered subsidiary seconds disc, calendar aperture and shaped nameplate engraved Tho:s Hackney., London to matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and rococo cast spandrels to angles beneath arch cut with a shaped aperture revealing polychrome painted representation of a square-rigged warship rocking back and forth with the motion of the pendulum, the scroll engraved surround incorporating a terrestrial sphere to front margin, in a mottled iron red and dark brown/black japanned case with leafy band decorated break-arch cavetto cornice and scroll bordered glazed hood door applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with scallop shell centred acanthus leaf painted throat over break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with gilt trellis painted upper quadrants and scroll banded borders, the sides with large leafy sprays, the plinth base with further naturalistic landscape over moulded skirt, 219cm (86.25ins) high. Provenance: Brocket Hall, Hertfordshire. Thomas Hackney is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1764. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A William and Mary eight-day longcase clock movement with 10 inch dial Edward Stanton, London, circa 1695 The five finned pillar countwheel bell striking movement with anchor escapement for regulation by a seconds pendulum, the 10 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes within the outer minute track and signed Edw’d Stanton, Londini Fecit to lower margin, with fine sculpted steel hands and cast winged cherub head spandrels to angles within a scribed line border (no pendulum or weights). Edward Stanton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in about 1641 and apprenticed to Francis Bowen (a journeyman for William Bowyer) in 1655 before being transferred to Nathaniel Allen by 1662. Stanton gained his freedom of the Clockmakers’ Company in January 1662/63 and is believed to have moved to Fetter Lane in the Parish of St. Dunstan in the West by 1666. He took in many apprentices most notably William Cattell (freed 1672) and Samuel Stevens (freed 1671). Many of Edward Stanton’s (particularly his lantern clocks) are signed with his address at ‘Leaden Hall Street’ probably executed in his own hand as records indicate that he was also an engraved who was accused of engraving Robert Seigniour’s name on a clock made by Henry Jones. In 1688 he witnessed the will of his former apprentice, William Cattell and was overseer to the execution of John Ebsworth’s will in 1699. Edward Stanton served made an Assistant of the Clockmakers’ Company in 1682, served as a Warden from 1693 and became Master of the Company in 1697. He was also one of the original subscribers of the Bank of England when it was founded in 1694 depositing £100, and signed the Clockmakers Company oath of Allegiance whilst serving as Master in 1697. Stanton had an illness in 1701/2 and is believed to have died in 1715.
A rare Charles II longcase clock movement of around eight-week duration Possibly attributable to the Fromanteel workshop, London, 1675-80 The substantial five finned and latched pillar movement with plates measuring 8.125 inches by 5.25 inches enclosing delicate wheelwork, the five wheel going train with large diameter sixteen-groove barrel and anchor escapement for regulation by seconds pendulum, the strike train with high position external countwheel, now with a later 12 inch square brass dial with engraved signature Jam’s Berry, PONTEFRACT to the rococo scroll engraved centre. The current lot exhibits many features which are seen on other examples signed by either Ahasuerus or Johannes Fromanteel. Firstly the barrels are formed from split-castings where each cylinder is cast in two halves along the arbor axis and soldered together. Although barrels that are constructed in this manner were used by almost all workshops at this time it is believed that the castings themselves originated from the Fromanteels. Secondly the countwheel is secured by a brass spring cut with a keyhole to engage with a groove turned into the diameter of the pivot post. It would seem that makers of the Edward East school preferred to retain high-position countwheels with screws (see Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks page 92, Plate 114 and page 111, Plate 139). Thirdly the fly to the strike train utilises a tab spring riveted to the leaf as a friction brake rather than an end leaf-spring preferred by Joseph Knibb (see Early English Clocks pages 136, Plate 175/76 and compare with Darken, Jeff (editor) HOROLOGICAL MASTERWORKS page 149). Finally the shape of the latches being simple fanned curves terminating with a distinctive thumbnail hook differs from those used by Knibb which generally have a down-sweep along the outer edge before the hook (compare Early English Clocks page 78, Plate 94 with page 107 Plate 134). Indeed the latches on the current lot are practically identical to those on a three-in-two quarter striking table clock movement by Johannes Fromanteel (formerly at Cassiobury Park) which was sold at Sotheby’s, London sale of Important Clocks, Wristwatches and Barometers 13th October 1988 (lot 178).In addition to the movement having the combination of the above details the overall feel of the mechanism , in particular the weight and proportions of the pillars and delicate nature of the wheelwork, is wholly commensurate with those made by John Fromanteel. It is also perhaps interesting to note that one of Ahasuerus Fromanteel’s sons, Abraham, worked in Newcastle upon Tyne at various points between 1674 and 1730 when he died there. The fact that a member of the family was based there well into the 18th century could possibly account for why the movement is currently fitted with a re-purposed dial made in Pontefract, Yorkshire.
A lantern clock hand Anonymous, probably provincial, late 17th century Made from forged sculpted steel with circular boss and short tapered faceted shaft terminating with twin foliate scrolls joined by a heart issuing pointed tip, the tail formed as a spike filed with ogee decoration to tip, from centre to tip 6cm (2.375ins); 9.6cm (3.75ins) long overall. The current lot is heavy in its construction and well finished with the design being typical of the late 17th century. The form appears influenced by hour hands seen on high-end eight-day longcase clocks of the period, hence it is also possible that the present hand may have fitted to a hooded wall clock or small thirty-hour longcase.
ϒA fine William III walnut and Arabesque panel marquetry eight-day longcase clock Langley Bradley, London, circa 1700 The five finned pillar outside countwheel bell-striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with ringed winding holes, elaborate scroll-border decorated calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed L. Bradley, London to lower margin, with sculpted steel hands and winged cherub head and scroll cast spandrels to angles, the case with stepped domed caddy fronted with symmetrical Arabesque marquetry over fretwork fronted upstand, moulded cornice and conforming frieze, the foliate strapwork scroll inlaid glazed hinged dial surround applied with turned three-quarter marquetry veneered columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with concave marquetry veneered throat moulding over 41.5 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited strapwork scrolling foliage on a light ground within a walnut field, the surround with ebony and box triple-line border and the sides veneered with twin line-strung crossbanded panels, the base with stepped ogee top moulding and conforming rectangular marquetry panel within further crossbanded surround over moulded double skirt, 239cm (94ins) high. Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers' Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul's Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton.Despite this embarrassment Sir Christopher Wren attempted to influence the Crown's potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as 'a very able artist, very reasonable in his prices' in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain's response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A William III style part-finished walnut longcase clock case for a movement with eleven inch dial Unsigned, recent Executed with well selected figured veneers and fine cross-grain mouldings, the hood configured to rise with ogee cornice and scroll-pierced frieze fret to entablature over Solomonic twist turned three-quarter columns flanking the fixed dial aperture and the sides incorporating rectangular openings with bargeboards at the rear, the trunk with convex throat mouldings, vacant door aperture measuring 42.25 by 9 inches and triple-line strung book-matched panels within crossbanded borders to sides, on conforming book-matched panel veneered plinth base with crossbanded borders and ogee top moulding, (hood rear quarter columns detached but present), 203cm (80ins) high. Please note: The trunk door made with the case has now turned up and will be available for the buyer to purchase for a fixed (all inclusive) price of £60.
A walnut and floral marquetry eight-day longcase clock The movement and dial by Edward Speakman, circa 1695-1700, the case later The five finned pillar internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed E. Speakman, London to lower margin, with scroll pierced blued steel hands and twin cherub and crown cast spandrels to angles within herringbone engraved border, now in a case with floral marquetry decorated shallow dome superstructure over crossgrain ogee moulded cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with solomonic three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex floral marquetry veneered throat moulding over 42 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground within a figured walnut field, the sides veneered with twin slender oyster-cut panels within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over bun feet, 213cm (84ins) high to top edge of domed caddy. Edward Speakman is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in 1668 and apprenticed to his father, William, from 1682/3 to 1689. He gained his freedom of the Clockmaker’s Company in 1691 and worked from Newgate Street. Edward Speakman was married to Sarah Brown in 1695 however it would seem that she had died within a year of the marriage. He signed the Oath of Allegiance in 1697 and worked until his death in Christ Church Parish 1713.
A William III thirty-hour longcase clock movement and dial William Martin, London, circa 1695 The four thickly turned finned pillar plated two handed outside countwheel bell striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with engraved rosette to the matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed W’m Martin, London to lower edge, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles, (lacking pendulum and weight). William Martin is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1668 and apprenticed to his father, John Martin, until 1689 but did not gain his freedom of the Clockmaker’s Company until 1702.
A William III burr walnut and floral panel marquetry eight-day longcase clock Joseph Windmills, London, circa 1695 The five finned and latched pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, external countwheel locking detent and sculpted steel hammer spring mounted on the tall backplate, the 11 inch square brass dial with ringed winding holes to the matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, small Arabic five minutes beyond the narrow outer minute track and signed Joseph Windmills, London to lower edge, with fine sculpted steel hands and with twin cherub and crown cast spandrels to angles, the case with crossgrain ogee moulded cornice and scroll pierced frieze to lintel, over leafy trail inlaid fixed glazed dial surround applied with generous solomonic three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex figured walnut veneered throat moulding over 41 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground within a figured walnut field, the sides veneered with single slender panel within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over moulded skirt, 206cm (81ins) high. Provenance: Brocket Hall, Hertfordshire. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at ‘Swan Court, Mark Lane End, next Tower Street’ by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers.
A selection of wooden longcase clock case fittings For use in the restoration of 17th century and later longcase clocks Including six giltwood ball and spire finials, a set of three flambeau urn finials, a group of hood column caps and bases, two walnut and one ebonised trunk door lenticle surrounds, and a quantity of assorted bun feet, (qty).
A George III / Regency mahogany eight-day longcase clock Unsigned, late 18th / early 19th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch white painted break-arch Roman numeral dial with subsidiary seconds and calendar dials to centre beneath STRIKE/SILENT selection to arch, in a break-arch case with concave-sided upstand over cavetto cornice and brass stop-fluted canted angles flanking the break-arch glazed hood door, the sides with rectangular windows, the trunk with flame figured break-arch door over raised panel fronted plinth base with moulded double skirt, 221cm (87ins) high.
An important Queen Anne ebonised eight-day longcase clock Michael Knight, London, circa 1705 The substantial five fully latched and crisply turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with long crutch, the backplate with apertures cut for the pallets and for viewing the countwheel locking detent, with finely detailed steelwork incorporating Tompionesque scroll terminals to bell stand and hammer spring feet, the 12 inch square brass dial with subsidiary seconds dial, ringed calendar aperture and winding holes to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed MICH KNIGHT, LONDINI FECIT to lower edge, with pierced steel hands and double-screwed gilt twin cherub and crown cast spandrels to angles with foliate scroll engraved infill to margins between, the ebonised case with gilt brass ball finials to the ogee shaped caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular sound frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 41.5 inch rectangular door, on ogee moulded plinth base applied with two-tier moulded skirt, 245cm (96.5ins) high excluding finials, 252cm (99.25ins) high overall. Michael Knight is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1659; he was apprenticed to Thomas Tompion (bound 1673/4 through Lionel Wythe) and took up his freedom of the Clockmaker’s Company after a warning to do so in 1681. Michael Knight took apprentices Thomas Day in 1682 (Freed 1691), Robert Youell (through Tompion - Freed 1697) and John Barnardiston in 1697 (Freed 1714). In 1697 Knight signed the Oath of Allegiance but little is known of him after 1699 when he stopped paying quarterage to the Clockmaker’s Company. The location of Michael Knight's workshop is indicated in an article by Evans, Jeremy MAINSPRING MAKERS OF LONDON AND LIVERPOOL - SOME OBSERVATIONS AND LISTS published in ANTIQUARIAN HOROLOGY Vol. XXVII, No. 1, Page 81 where reference under the entry for Micklewright indicates that the latter was believed to have been working in St. Sepulchres - 'in Red Cross Court next-door but one to Tompion's ex-apprentice Michael Knight'. Of Michael Knight only around ten surviving clocks are known listed in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS. Most of these examples demonstrate a very close working relationship with Tompion with at least two reflecting an aptitude for producing work equal to Tompion's finest products. The first of these is a fine half quarter-repeating ebony table clock of typical 'Tompion phase II' design illustrated in ANTIQUARIAN HOROLOGY Vol X, No. 7, on Pages 782-83. The second is an important eight-day longcase clock (in a private collection) complete with Tompion pull-quarter repeat mechanism and housed in a fine walnut case closely resembling that of the 'Drayton Tompion' (which now resides at the Fitzwilliam Museum, Cambridge and is illustrated by Evans, Carter and Wright on page 510). When considering the strong similarity of Knight's work alongside that of his former Master coupled with the fact that there are very few clocks signed by him (despite his long career) it most likely that he was primarily employed by Tompion. Indeed the complexity and accomplished nature of the two examples noted above would suggest that he assisted Tompion with his more complex commissions. The movement of the current lot is almost indistinguishable from Tompion's work exhibiting an abundance of features diagnostic of his workshop. These include the back cock casting (with distinctive chamfered feet), pallet and countwheel locking detent viewing apertures to backplate and distinctive scroll-shaped tails to the hammer spring and bell stand. As with Tompion's work the movement is fully latched with fine knopped and finned pillars and the wheelwork precisely executed with shallow domed collets. The escapement of the present clock is also particularly noteworthy as it appears to be a rare original survivor. The dial departs a little from 'standard' Tompion design having ringed winding holes and calendar aperture to the matted centre. The bold signature engraved in block capitals appears to be typical of Knight and can be compared to that of the ebony 'phase II' type table clock described above. The case again is essentially indistinguishable of those housing movements and dials by Tompion made at this time exhibiting the fine proportions and detailing for which his workshop was known. The current lot affords the prospective purchaser the opportunity to essentially acquire a clock that is essentially a 'Tompion' in all but name. Indeed from a documentary point of view it would be reasonable to suggest that this clock perhaps has more to offer than a comparable signed by Tompion.
An impressive Queen Anne black japanned longcase clock of one month duration Brounker Watts, London, circa 1710 The five finned pillar bell striking movement with five wheel going train incorporating anchor escapement regulated by seconds pendulum, and the strike train with high-position crossed-out external countwheel positioned on the backplate, the 13 inch brass break-arch dial with star decorated subsidiary seconds dial, calendar aperture and burnished rectangular herringbone-bordered signature panel inscribed Brounker Watts, LONDON to the repeating leaf trail bordered foliate scroll engraved matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles within engraved herringbone border continuing up into the arch to surround the fine applied repousse panel infill decorated with Chronos flanked by floral vases over grotesque masks within intense foliate strapwork, the black japanned case now with elaborate multi-stage concave and convex moulded superstructure above box upstand fronted with painted figural chinoiseries over break-arch cornice incorporating frieze and glazed dial aperture with conforming gilt border decoration and now applied with half columns to front angles, the sides with rectangular windows over trunk with foliate spray decorated concave throat moulding and rectangular door centred with a circular lenticle and decorated in raised polychrome and gilt with Oriental figures within an Arcadian Chinoiserie landscape, the surround gilt painted with scroll-work and leafy sprays, the sides with figures and large scale foliage over base similarly decorated and with elaborate stepped double skirt, (case with additions and partial re-painting), 290cm (114ins) excluding top finial. Provenance: Brocket Hall, Hertfordshire. Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmakers’ Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company’s Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmakers’ Company in 1711 due to being ‘out of town’. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West. The movement of the current lot is well made and finely with fine details such as beautifully sculpted clicks and springs to the great wheel winding ratchets and crossed-out countwheel reminiscent of the work of Brounker Watts’s former master, Joseph Knibb.
A stock of longcase clock case hood frieze frets For use in the restoration of late 17th century and later clock cases Comprising of nine cut from various timbers with foliate scroll design with panel heights of 1.5 inches and fret aperture width of 14.5 inches, five similar but with fret aperture measuring 13.5 inches across, eight ‘Knibb’ pattern alternating ring and scroll pierced side frets with apertures measuring 6.5 inches and four pairs of break-arch frets, (qty).
A Queen Anne olive wood and floral marquetry eight-day longcase clock James Atfield, Old Brentford, early 18th century The four (formerly five) finned pillar internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with star decorated subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Jam’s Atfield, old Brentford to lower margin, with pierced blued steel hands and twin cherub and crown cast spandrels to angles with scroll engraved infill between, in a case with moulded cornice and walnut veneered frieze to lintel, over leafy trail inlaid glazed hood door applied with ebonised three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex crossgrain veneered throat moulding over 42 inch rectangular door centred with a circular lenticle and decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground, the sides veneered with twin slender panels within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over moulded double skirt incorporating bracket feet with shaped apron between, 220cm (86.5ins) high. James Atfield of Old Brentford, Middlesex, is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being mentioned, alongside his wife Jane, in a deed in 1705-8; he is believed to have worked to at least 1725.
Kenneth Maclennan, London. A late 18thC mahogany and flame mahogany longcase clock, the shaped hood with a blind fret flanked by orb finials, above partially gilt highlighted columns and an arched long flame mahogany trunk door, above a further flame mahogany panel, on bracket feet, the 29cm W arched dial with raised spandrels, signed, 26cm Dia. silvered Roman numeric and Arabic chapter ring, subsidiary minute hand, date aperture and strike/silent feature, 8-day movement, 223cm H.
A 19thC oak and mahogany longcase clock, the swan neck pedimented hood surmounted by an urn and eagle finial, flanked by two further urn finials, above half carved columns and a shaped long trunk door, with crossbanding and shell patera, above an oval panel, on compressed bracket feet, the painted 34cm W arch dial signed Geo Williams Montgomery, with Roman numeric dial, subsidiary second hand and date aperture, 8-day movement, 234cm H.
J L Kemp Broadway. An 18thC oak longcase clock, with carved square hood, with fluted columns above a long trunk door, carved with a repeat geometric floral pattern, on a block base, the 25cm square dial signed, with raised spandrels with silvered Roman numeric and Arabic chapter ring and date aperture, fronting an 8-day movement, case later, 201cm H.
Sam Bycroft, Alford. A 19thC oak longcase clock, the swan neck pedimented hood surmounted by three orb finials, above a long arched trunk door, on a block base, the 29cm W painted arched dial signed with Roman numeric and Arabic chapter ring, subsidiary second hand and date aperture, 8-day movement, 202cm H.
John Higdon Wells. A 18thC oak Masonic longcase clock, the swan neck pedimented hood raised above a long arch trunk door, on a plain block base, with cylindrical brass headed columns, the 29cm W arched dial, signed and set with compass and set square with silvered Roman numeric and Arabic chapter ring, stencilled centre, date aperture and subsidiary second hand, with raised spandrels, 8-day movement, 215cm H.
A George III oak longcase clock with automaton by George Hewett of Marlborough, the eight day brass movement with four turned pillars, with an anchor escapement striking on a bell, the arched twelve inch dial with a silvered chapter ring and centre, with Roman and Arabic numerals, the centre with subsidiary seconds dial and date aperture and engraved with a church, figures, trees and buildings, signed 'George Hewett MARLBORO', the arch with a 'TEMPUS FUGIT' automaton figure with a painted landscape, with a gilt dolphin and shell Rococo spandrels, the arched hood with brass ball and eagle finials, on bracket feet, 227cm high. Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.
A mid 18th Century black japanned longcase clock by William Harris of London, the 12ins square brass dial with wide silvered chapter ring with Roman and Arabic numerals, the matted dial centre with subsidiary seconds dial, date aperture and turned winding holes, the spandrels cast with putti holding aloft a crown, to the eight day two train movement striking on a bell, contained in black japanned case decorated in gilt with chinoiseries, the hood with moulded cornice and blind fret frieze and plain turned pillars, the trunk door decorated with pavilions, flowering trees and birds and with brass framed circular lenticule, on moulded plinth base, 83ins high Note: Several William Harris' recorded working in London; William (St Michaels Lane, London, 1720-1731), William (son of Francis William, London, apprenticed 1721, Clockmakers Company 1776), William (Aaron - son of William, London, apprenticed 1735, Clockmakers Company 1743-1773), or William Harris, London, apprenticed 1756
An 18th Century Dutch oak longcase clock by Pieter Klock of Amsterdam, the 12.25ins square brass dial with wide silvered chapter ring with Roman and Arabic numerals, matted dial centre, subsidiary seconds dial and three apertures showing phase of the moon, day, date and month with alarum, to the eight day two train movement striking on two bells, contained in plain oak case with moulded and dentil cornice, the frieze inlaid with two birds, with plain pillars to hood, banded trunk door inlaid with oval Prince of Wales feathers, the plinth base inlaid with star motif, on bracket feet, 88ins high Note: Pieter Klock recorded as a fine maker working in Amsterdam in the second half of the 18th Century
An early 19th Century oak longcase clock by Hardeman & Son of Bridge (Canterbury, Kent), the 12ins arched brass dial with Roman numerals, subsidiary seconds dial and date aperture, the arch and spandrels painted with gold flowers, to the eight day two train movement striking on a bell, contained in oak case, probably by Goulden of Canterbury, the hood with shaped "dolphin tail" cresting and gilt finials, with turned and fluted pillars to hood, arched trunk door, on bracket feet, 86ins high (including finials) Note: Samuel Hardeman recorded working Bridge 1794-1839, and his son William Henry Hardeman recorded working 1848-1874
A late 18th/early 19th Century mahogany and satinwood longcase clock by William Jones of Usk, the 14ins arched painted dial with Arabic numerals, subsidiary seconds dial and date aperture, painted with floral spandrels and urns and flowers to arch, to the eight day two train movement striking on a gong, contained in mahogany case inlaid with stringings, with scroll pediment and fluted columns to hood, the trunk door with oval mahogany panel and inlaid with wide satinwood bandings and with cant corners, the plinth inlaid with segmented satinwood bandings, on bracket feet, 92ins high
A mahogany longcase clock, arched painted dial, indistinctly signed, the spandrels with figures emblematic of the seasons, the lunette with a named painted scene, Bannockburn, R. Bruce addressing the army before the battle, subsidiary second and date dials, eight-day two-chain movement, case with stringing, swan-neck pediment, 210cm.
Victorian mahogany longcase clock, arched painted dial distinctly signed * of Leeds, with subsidiary seconds and date dials, painted abbey ruins to the lunette, the spandrels with shells, eight-day two-chain movement striking on a bell, the case with swan-neck pediment, trunk cross banded and with a short door, bracket feet, height 240cm.
Thomas Bennet, London George III mahogany longcase clock, arched brass dial signed Thomas Bennet, London, subsidiary second dial and date aperture, cast Rococo spandrels, eight-day two-chain movement striking on a bell, the case with broken arched hood centred by a leaf motif, arched long door with moulded outline, quarter column quadrants, ogee bracket feet, height 220cm.
An 18th Century oak longcase clock by William Kipling of London, the 12ins square brass dial with wide silvered chapter ring with Roman and Arabic numerals, the matted dial centre with subsidiary seconds dial, date aperture and turned winding holes, the spandrels in the form of two putti holding aloft a crown, with engraved borders, to the eight day two train movement striking on a bell, contained in oak case banded in mahogany, the hood with moulded cornice and slender turned pillars, shaped trunk door inlaid with chequered stringings, on bracket feet, 78ins high Note: William Kipling recorded as a fine maker working in London 1705-1737
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