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Click here to subscribeBulle: a 1930's Art Deco marble mantel clock, the silvered arabic dial signed with retailer's mark of 'Lutz, Paris', the movement signed 'Modele XA' on the arabic dial, the movement escapement visible through the centre, marble case of swept and stepped tapered form, 53 x 28.5cms high.From the Leslie Southall Collection.
Leroy, Paris: a late 19th Century French black slate and marble detail mantel clock, with circular white enamel roman dial, centred by a visible brocot escapement, eight-day signed drum movement, numbered 613, with architectural case, with pendulum, 32 x 38cms.From the Leslie Southall Collection.
An ornate late 19th Century French bronzed spelter, marble and gilt metal mantel clock, the enamelled arabic dial with two train French drum movement striking on a bell, the case modelled as a putto and marble plinth, on red marble base with swag pattern mounts, spirally fluted feet, with pendulum, 56cms high.From the Leslie Southall Collection.
A Louis XV style boulle and gilt bronze mantel clock, with enamelled roman dial, indistinct retailer's mark to centre, French drum movement striking on a gong, and numbered 31242/32, the ornate case with urn pattern finial and rococo-style ornamentation, with sunburst pendulum and winding key, 42cms high.
Maple & Co, Paris: a late 19th/early 20th Century French tortoiseshell and gilt brass mounted mantel clock. in the Louis XIV taste, the cast brass dial set with white and blue enamel roman cartouche of shaped outline, the dialled centre with winged sphynx, with two train movement striking on a gong, the backplate stamped 'Maple & Co.' and numbered 1157 and 8â‹…1, within a shaped tortoiseshell case, with swept caddy-style hood with four flame finials and leaf mounts, arched glazed door flanked by cast male caryatids, scroll leaf decoration to base, glazed sides, on urn pattern feet, with pendulum, 58cms high.
A rare third quarter of the 19th century French boulle-inlaid, gilt brass-mounted mantel clock on a green-stained tortoiseshell groundCharles Frodsham, Paris Number 11343The waisted case surmounted by a foliate mount over a series of further mounts and shaped pierced lattice sound frets on scroll feet, inlaid allover with cut and engraved brass set into a green-stained tortoiseshell ground. The 5.5inch cast and chased gilt brass dial with twenty five inlaid enamel panels, the Roman hours picked out in blue, the Arabic numerals in black, signed on the central plaque in red Chas Frodsham, Clock Maker to the Queen, Paris with fine blued steel quatrefoil hands. The eight-day spring barrel movement with Brocot's suspension and escapement, the back plate repeat signed Ches Frodsham Clock Maker To The Queen Paris. 11343 16-2, with rack striking on a long coiled blued steel gong set on an upright wooden panel set to the rear. Ticking and striking. 36 cms (14 ins) highFor further information on this lot please visit Bonhams.com
A good early 19th century ormolu-mounted marble and slate mantel timepiece with Royal provenance. First sold to the Duke of Clarence, later King William IV, on 19th January 1808.Vulliamy, London, Number 405The case surmounted by a gilt urn on a plinth over the reeded drum, set on a pair of carved scrolls set on a double stepped slate plinth with ormolu beaded border and recessed panels to the front and sides, the whole raised on turned toupie feet. The drum flanked by a pair of recumbent lions, each facing outward and holding a gilt ball. The 3.5 inch restored white enamel Roman dial with pierced and engraved gilt fancy hands, each numeral picked out in gold and with a dotted gilt minute border framing the whole. Set within a beaded concave bezel. The single wire fusee movement with four slender tapered pillars, suspension spring regulation and half deadbeat escapement, the back plate engraved Vulliamy London No 405. Protected by a turned brass push-on cover. Ticking with a winding key and matching numbered pendulum. With sincere thanks to Roger Smith for his help in researching the early history of this clock. 29 cms (11 ins) highFootnotes:Provenance:From the late Sir Ernest and Lady Caroline Oppenheimer Collection and hence by descent.The firm of Vulliamy & Son were the most fashionable clockmakers in late Georgian London. Their shop at 74 (later 68) Pall Mall was situated close to St James's Palace, and although Benjamin Vulliamy (1747-1811) did not become head of the firm until 1797, he had been Clockmaker to King George III since 1772. His grandfather Benjamin Gray had been Watchmaker to George II, while his father, the Swiss immigrant Justin Vulliamy, was clockmaker to Queen Charlotte until his death in 1797 (for an example of his work, see lot 110 in this sale). The official warrant as Royal Clockmaker later passed to Benjamin's son, Benjamin Lewis Vulliamy (1780-1854). [1] In the 1780s, Benjamin Vulliamy decided to challenge the dominance of imported Parisian clocks in the homes of wealthy Britons by making clocks that were not only of the highest quality but also in the latest taste. His first range of ornamental clocks appealed to the fashion for neo-classicism, with white marble cases, sometimes in the form of a broken column, flanked by Classical Greek figures made of Derby biscuit porcelain. [2] However, by the late 1790s Vulliamy's customers were tiring of the restrained elegance of these sculptural clocks and demanding the richer 'Empire' style that was becoming fashionable in France. This encouraged Vulliamy to produce a new range of clocks in a variety of coloured marble cases ornamented with pairs of 'Roman' lions (or sometimes sphinxes), and vase or eagle surmounts, cast in ormolu or bronze. Although inspired by French originals, the overall design of these clocks was created by Vulliamy himself, who then organised their production through a network of independent suppliers and outworkers based mainly in London. However, he also maintained some contact with Continental Europe in spite of the long years of war which followed the French Revolution and the rise of Napoleon Bonaparte. Among his foreign contacts was the leading French bronzier Jean-Baptiste-Maximilien Delafontaine (1750-1820), former syndic of the Corporation des Fondeurs-Doreurs-Graveurs in Paris, who stayed with the Vulliamy family in London during the Revolutionary summer of 1789. He subsequently returned to Paris, where he lived in the faubourg St Honoré. Delafontaine kept in touch with Vulliamy, and a few years later sent him two pairs of lions which were subsequently used as patterns for Vulliamy's first lion clocks. These lions, which were in (approximate) mirror-pairs, were described by Vulliamy as 'after the antique', and may have been inspired by the famous Medici lions in Florence, though the lions on the clocks are lying down rather than standing. While the two pairs supplied by Delafontaine were of related design, they were in two sizes, the smaller being available by 1798 while the larger model first appeared in 1801. It is the larger model that features on clock No. 405 in the current sale. [3]Thanks to the survival of the relevant Clock Book in the collection of the British Horological Institute, there is detailed information on the craftsmen and suppliers employed by Vulliamy to make this clock and what they were paid. [4] The largest individual payment was £6-18s to Mr Day for the marble case, while Jackson received £5-10s for the timepiece movement with Vulliamy's characteristic half-deadbeat escapement. Basic casts of the two lions (from Delafontaine's models) were supplied by the brassfounder Barnett for a modest £1-2s-6d, but Houle charged £5 for chasing them. Seagrave was paid a total of £3 for gilding various elements, while several other craftsmen received smaller sums. [5] The clock was finished by 19 January 1808 when it was sold to the Duke of Clarence, younger son of George III and later King William IV, for 42 guineas (£44-2s), including a stand and glass shade. However, it was soon returned by the duke and sold again (at the same price) to R. Pole Carew Esq. on 30 March 1809. [6] The buyer was presumably Reginald Pole Carew (1753-1835), then Member of Parliament for Fowey in Cornwall, who had inherited an estate at Antony in Cornwall, near Plymouth. Following the death of his first wife, he had married again in May 1808, to Caroline, daughter of Lord Lyttelton, and it is possible that the purchase of the clock was part of a refurbishment of his large country house at Antony. [7]It should be noted that the records of sale for this clock in both 1808 and 1809 describe it as having a black marble case with gilt ornaments but bronze lions, rather than black and white marble and gilt lions as now seen. That might suggest later alterations, but an earlier clock of this pattern, No. 389, is also described as having a black case, although it is black and white like No. 405. On the other hand, its lions are bronzed in conformity with the description, and there is consequently no reference to gilding in its Clock Book entry. The fact that the corresponding entry for No. 405 shows a significant payment for gilding to Seagrave confirms that any changes from the original specification for No. 405 were carried out during manufacture and not subsequently. [8] Notes1. For a brief history of the Vulliamy watch and clock makers, see entry in The Oxford Dictionary of National Biography (2004).2. A full account of the production of these sculptural clocks is A. P. Ledger and Roger Smith, Benjamin Vulliamy and the Derby Porcelain Manufactory, 1784–1795(Derby: Museums and Art Gallery, 2007).3. For a detailed account of the design and production of Vulliamy's lion clocks, see Roger Smith, 'Vulliamy Lions: their designers and modellers', Furniture History, vol. LVI (2020), pp. 69-82.4. British Horological Institute, Vulliamy Records, Clock Book vol. 1 (1797-1809).5. Day, Jackson and Houle are listed in the Vulliamy Watch Day Books as Mr Day, statuary etc, Brewers Row, Westminster; Mr Jackson, clock maker, 11 Chapel Row, Spa Fields; Arthur Hoole (sic), 1 Middle New Street, Fetter Lane. (The National Archives, C104/58/2, extracts published in Francis Wadsworth, 'Some early 19th Century Workmen', Antiquarian Horology, Summer 1991, pp. 401-12.) 6. The National Archives, C104/58/2, Day Book 32, 19 January 1808; Day Book 33, 30 March 1809.7. Antony house is now in the care of the National Trust. For brief biographical details of Reginald Pole Carew MP, see his Member Biography in The History of Parliament (online).8. No. 389 was sold by Bonhams 11 J... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare mid-19th century French carriage clock with chaff cutter escapementPaul Garnier, Paris number 2976The early multi-piece case with facetted handle over a bevelled glazed inspection panel (the repeat button passing through the glass), moulded uprights and a plinth base, the solid rear door with hinged shutter opening to reveal the winding and setting squares. The Roman white enamel dial with minute track and numerals picked out in light and dark blue, the centre signed Paul Garnier Hger de la Marine Paris, above blued steel trefoil hands and a subsidiary Arabic alarm dial with blued steel setting hand. The three-spring barrel movement with Garnier's own chaff-cutter escapement with three-arm monometallic balance, and extremely delicate arbors throughout, rack striking the hours and half-hours on a bell. The back plate signed Paul Garnier Paris, and numbered on the backplate under the bell, the rear door, shutter and base also repeat numbered. Ticking, striking, sounding the alarm and repeating. Together with a double-ended winding key. 18cms (7ins) highFootnotes:Paul Garnier (né Jean-Paul) was born in 1801 in Épinal, France, moving first to Luxeuil to carry out a watchmaking apprenticeship, and then to Paris in 1820 to join Lépine's workshops, before finally establishing his own business in 1825. In the 1827 Exhibition he exhibited an astronomical clock and some mantel regulators, which won him a silver medal. He would win silver medals again at both the 1834 and 1839 Exhibitions, before winning a gold medal in 1844. Around this time, he seems to have written to the formidable Antide Janvier, asking for permission to use the title 'Elève de Janvier', as Garnier, at some point, attended the free Horological school Janvier established in 1802. Janvier readily assents to this request, and Garnier used the title on his carriage clocks until about 1835, and in his written correspondences until at least 1844. Around 1835, Garnier makes use of the title 'Horloger (or Her) du Roi', which in turn is supplanted by 'Her De La Marine' after the 1848 revolution and the deposition of the monarchy.From 1830 Garnier began to make affordable, semi-massed produced carriage clocks (pendules de voyage) and could be said to have established the Parisian carriage clock industry. He was able to do this by combining a basic, easily made design with his patented 1830 escapement. This escapement, alternatively called the 'chaff-cutter', 'Gautier', or 'chopper', could be machine made, drastically reducing the time and cost of making. It is a type of frictional rest escapement, comprising of pallets in the form of a single roller (a circle with about 4/9ths of its circumference cut off at an angle and the sides ground) made of either jewel or hardened steel, the latter being more common with repaired rollers. The escape wheel is in fact two separate wheels mounted on the same arbor a specific distance apart. The wheel teeth are bevelled along the edge that interacts with the roller.The combination of basic shape and cost saving escapement meant that pendules de voyage, having previously been economically unattainable to the vast majority of people, were reduced in cost to the price of a standard mantle clock.Despite being affordable, these clocks were not poorly made, exhibiting very fine diameter pivots (even by French clock standards) and usually having rack striking, which was a desirable feature, being much easier to set than count wheel striking. The clocks would also only strike the half hour and the hour, which saved on cost compared with the more common repeaters. In the early clocks, engine turned dials, one-piece cases, and barrel stopwork were all very common. With clocks made between 1830-1840, it was common to fit a coloured-paper covered block of wood into the base of the hollow casting.In addition to carriage clocks, in 1847 Garnier presented a novel master clock and slave clock system, and at least one chronometer has been assigned to him. He also pursed scientific instrument making, his obituary eventually being published in the Society for Civil Engineers bulletin in 1869.His son, also Paul Garnier, was born in 1834 and continued the business after his father's death. Additionally, he submitted drawings and models of his father's design for a free-sprung chronometer escapement to the Conservatoire National des Arts et Métiers and the Revue Chronométrique. Before his death in 1916, he donated his family's collection of watches and clocks (the former including examples from the 16th century) to the Musée des Arts et Métiers.R. A. E. (1890) 'A Few Words About M. Paul Garnier's Collection', The Horological Journal, Vol. 33 (3), pgs. 33-34.Arnott, P. (2011) 'Constant Force Chronometer No. 1 Attributed to Paul Garnier', Antiquarian Horology, Vol. 33 (1), pgs. 58-65.Weld C. R. (1868) 'Parliamentary Reports on the Paris Universal Exhibition, 1867', The Horological Journal, Vol. 11 (4), pgs. 43-50.British Horological Institute (1877) 'Entirely Detached Gravity Escapements', The Horological Journal, Vol. 20 (1), pgs. 4-6.Allix, C. (1993) 'Paul Garnier Revisited', Antiquarian Horology, Vol. 20 (5), pgs. 411-425.Boquillon, M. (1863) 'Horology at the International Exhibition, London, 1862', The Horological Journal, Vol. 5 (8), pgs. 90-93.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A unique and extremely interesting late 18th century ebonised longcase timepiece with additional counting featureWright, PoultryThe hood with serpentine arched cresting supported on freestanding brass-mounted Doric columns, with gilt-heightened gothic-arched glazed side doors over an elaborately stepped and moulded throat section, the long arched door with gilt-heightened raised moulding over a conforming stepped moulded section to the plain base on shaped apron. The 12-inch one-piece silvered arched dial centred by a Roman chapter ring with matching pierced blued steel hands, wound at VI, surmounted by a series of four subsidiary dials - the furthest to the right-hand side set with two hands simply giving running seconds and the hour in a 24-hour day. The remaining three are directly geared and mark the passing of each individual hour, their dials marked as 100; 1000 and 20,000.The large weight driven movement with plates measuring 21.5cms x 18cms (8.25ins x 7ins) united by four substantial knopped pillars, the large diameter barrel driving a four wheel train terminating in an anchor escapement set to the top right hand side of the plates, directly behind the subsidiary seconds dial, the plain pendulum suspended from a centrally-mounted cock, thereby necessitating a pivotted right-angled linkage to the crutch. Together with the pendulum with steel rectangular-section rod terminating in a brass bob, later crank winder, case key and brass-clad weight. 2.07m (6ft 10ins) highFootnotes:Thomas Wright was born around 1744 and was made Free of the Clockmakers Company in 1770, establishing himself in the Poultry likely at number 13, and moving later to number 6. At some point between 1770 and 1781, he was appointed watch and clockmaker to the King, though how he obtained this distinction is unknown. Around 1781, Thomas Earnshaw approached Wright to finance his patent for a detached spring chronometer escapement, the former having previously had a falling out with his previous financer. After much discussion, it was decided that Wright would file the patent on Earnshaw's behalf, and Earnshaw would recompensate Wright the 100-guinea patent fee, by charging an additional guinea for each of the first 100 chronometers sold. The patent, 1354, was filed by Wright in 1783. It has been claimed, by Earnshaw, that Wright insisted these first 100 chronometers bear the stamp Wright's Patent on the movement. One such chronometer is known which carries this stamp, though the others seem to use T. W. Pt. 34, with the T.W. presumably standing for Thomas Wright. In 1784, Earnshaw developed a bimetallic compensation balance, and the first watch this was used on was signed Thomas Wright in the Poultry, London, No. 2228. Thomas Earnshaw was not the only famous colleague Wright had, as he also worked with Matthew Boulton, of Lunar Society fame, beginning around 1770. Boulton and Wright produced a clock for King George III in 1771; Boulton supplied the gilt bronze and Blue John case, while Wright supplied the movement. It is possible that this is how Wright received his Royal warrant, though why Boulton contacted Wright in the first place is not clear. Although the clock was made for the King, the design was used by Bolton to manufacture at least six other 'King's clocks'. The escapement was originally verge but was replaced with a pin wheel in the 1820's by Benjamin Vulliamy. Wright is known to have had at least one child, George William, who was apprenticed to his father in 1785. Unfortunately, Wright died in 1792 on a visit to Birmingham, possibly to meet with Boulton, and his son does not appear to have been made free. There also does not seem to be a record of a 'George William Wright clockmaker' and it is possible he pursued a different career after his father's death. There is some indication that Wright's shop was taken over by a horologist named Thorp and the shop name became 'Wright & Thorp', though this hasn't been confirmed. Watches from Wright seem to be more prolific than his clocks, though some of Wright's work can be found at the Palace Museum in Peking.There was also a Thomas Wright of Fleet Street working between 1718-1748 as a scientific instrument maker. This Thomas Wright was also Mathematical Instrument Maker to His Royal Highness, George, Prince of Wales and famed as one of the best instrument makers of the day. Whether this was a relation of Thomas', possibly his father, remains unknown.Weaving, A. H. (1991) 'Clocks for the Emperor', Antiquarian Horolgy, Vol. 19 (4), pg. 389.Randall, A. G. (1984) 'An Early Pocket Chronometer by Tomas Earnshaw, signed Robert Tomlin', Antiquarian Horolgy, Vol. 14 (6), pgs. 609-615.Crisford, A. (1976) 'Thomas Wright in the Poultry London No. 2228', Antiquarian Horolgy, Vol. 9 (7), pgs. 785-788.Science Museum Group (2022) Thomas Wright. Available at: https://collection.sciencemuseumgroup.org.uk/people/cp38979/thomas-wrightSotheby's (2005) An important English ormolu musical and quarter chiming table clock, Thomas Wright and, Matthew Boulton, London and Birmingham, circa 1772. Available at: https://www.sothebys.com/en/auctions/ecatalogue/2005/fine-clocks-watches-barometers-mechanical-music-scientific-instruments-l05881/lot.77.htmlHobbins, J. H. (1912) 'The Chronometer: Its History and Use in Navigation', The Horological Journal, Vol. 55 (4), pgs. 57-65.The British Museum (2022) Thomas Wright. Available at: https://www.britishmuseum.org/collection/term/BIOG81737Atkins, C. E. (1931) The Company of Clockmakers: Register of Apprentices 1631-1931, London: The Clockmakers Company.Royal Collection Trust (2022) Mantel Clock. Available at: https://www.rct.uk/collection/30028/mantel-clockThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A rare second half of the 19th century automata novelty mystery 'Magician' mantel clockThe clock movement by Japy Freres, numbered 839.Surmounted by the standing brass automata figure of an exotic magician with head-dress, impressive moustache, necklaces, tied robe and mules, he is able to raise his arms and is articulated at the base of his neck in order to bow in acknowledgement of his performances. Before him stands a table on turned legs set on the main clock body in gilt and lacquered brass with applied scroll mounts to the front corners over a fancy base. The 3.5-inch white enamel Roman dial with minute track and fancy trefoil hands. The spring driven movement with outside countwheel strike on a bell, the backplate stamped Japy Freres 839 and further signed in gothic script h.A.(sic). Pendulum lacking, ideal for restoration. 40cms (15.75ins) high.Footnotes:This ingenious clock shows the magician apparently making different objects appear and disappear. The interchanging props are a white dice, a red apple and a yellow bun. There is also a blank option in which the object is shown to 'disappear' all together.For further information on this lot please visit Bonhams.com
A 19th century French ormolu half hour striking mantel clock, the case with a urn finial with removable cover, with ram's masks and foliate swags, on a fluted arched top, fluted side pilasters with pineapple finials and a bow ended base with egg and dart moulded toupie feet, the body inset with Sevres style porcelain mounts and dial on a puce ground, the gilt Roman dial with a central painted panel depicting a putti in flight, the eight day movement signed Henry Bright of Leamington, no. 11877 and striking the hours and half hours on a bell, 13.75in (35cm) high. The minute hand has snapped off and is detached (but present). Porcelain panels all in good condition. Encrusted dirt to case and would benefit from careful cleaning. There is also some wear and tarnishing to the gilt in places. Chip to edge of glass on movement door. Winds, runs and strikes correctly.
A Meissen style mantel clock garniture, the clock with applied putti and flowers, 19in. (48.2cm.) high, with a pair of matching three branch candelabra, 12¾in. (32.4cm.) high. (3). * Clock with some damage and old discoloured repairs, one figure with missing leg, not fully tested, Candelabra also with restoration to trunks etc ,nibbles and missing flower petals etc, some movement to trunks, all pieces a/f
A LATE 19TH CENTURY FRENCH BRONZE AND CHAMPLEVE ENAMEL MANTEL CLOCK modelled as an elephant raised on an onyx base supporting a spherical champleve enameled case enclosing a floral enamel dial with Arabic numerals fronting a spring driven eight-day movement with platform escapement20cm highThe clock is in good working condition having a good action. The clock is loose on the elephants back. There is no damage to the enamel, the bronze is worn on the edges, the marble has small chips on the edges, the clock doesn’t come with a winding key.
PHILIP GILBERT COCKSPUR STREET LONDON. AN ENGLISH REGENCY ORMOLU, BRONZE AND WHITE MARBLE MANTEL CLOCK the classical case with seated female scholarly figures reading and flanking a scroll sided drum head dial within a bead edged scroll decorated bezel enclosing a matted Roman chapter ring with ornate hands enclosing an openwork centre beneath a winged eagle cresting and fronting a chain driven eight day fusee timepiece movement with anchor escapement; the stepped white marble rectangular base with cast swagwork decoration - raised on turned feet. Maker's signature to the left handbook.37.5cm wide 29cm highThe pendulum is not original and there is a hairline crack in the marble base on the reverse side. The movement ticks when wound but may need a service. The gilding is in good condition and there are no losses to the marble.
A SMALL LATE 19TH CENTURY FRENCH PORCELAIN PANELLED ORMOLU CARRIAGE STYLE MANTEL CLOCK the rococo style case surmounted by a songbird having scrolling leaves and flower sprays enclosing two porcelain side panels and porcelain dial depicting classical ladies in a garden setting below a white dial with Roman numerals fronting an eight-day spring driven carriage clock style movement, back of case signed E. Meunier24cm high
A LARGE AND IMPRESSIVE EARLY 19TH CENTURY FIGURAL BRONZE AND SIENNA MARBLE MANTEL CLOCK the patinated bronze sculpture modelled as a Classical Greek philosopher holding a stick standing beside a bronze mounted Sienna marble column with relief bronze ring showing the signs of the zodiac enclosing a 3.5" enamel dial with Roman numerals fronting an eight-day spring driven movement with outside countwheel and silk suspension striking the hours/half hours on a bell89cm highThe clock is in very good original condition having very good color and patina to the bronze figure. The sienna marble is in good order with no losses or breaks. The dial has no cracks or restoration. The movement is complete, chiming on the bell with the original pendulum but it is dirty and would require a service. We do not guarantee mechanical parts or functionality.
LEFERVRE & FILS, PARIS. AN UNUSUAL 19TH CENTURY FRENCH ONYX AND CHAMPLEVE ENAMEL MANTEL CLOCK the 4.5" dial with enamel centre and Roman numerals fronting a spring-driven eight-day movement striking the hours and half hours on a bell with anchor escapement - stamped by Lefevre & Fils Paris numbered 4168. The architectural temple-shaped case with champleve enamel panels and tile effect roof having pierced gilt brass gallery and amethyst glass jewels; raised on leaf cast bracket feet.43cm wide 40cm high
A LATE 19TH CENTURY FRENCH BOULLE AND ORMOLU MANTEL CLOCK the tortoiseshell and brass inlaid case with rococo style mounts enclosing a 5.5" gilt and enamel dial with Blue Roman numerals and black Arabic outer markings fronting an eight day spring driven striking movement35cm highThe clock does tick and strike but is missing its bell and will need a service. The top of the case is missing a small amount of brass inlay otherwise in good order.it does come with an old winding key but not the original. All the ormolu mounts are in very nice condition.
A LATE 19TH CENTURY FRENCH EBONISED AND BOULLWORK MANTEL CLOCK of typical shouldered tapering form on leafcast splay feet, the embossed gilt brass dial with inset enamel Roman numerals above a glazed pendulum aperture enclosing an eight day spring driven striking movement - bell and pendulum lacking.36cm high
A 19TH CENTURY GILT BRASS AND ROUGE MARBLE MANTEL CLOCK with folding handle enclosing a silvered combined thermometer and compass above a 4" gilt brass dial with silvered Arabic numerals and gilt raised flower spray centre fronting an eight-day spring driven movement striking the hours and half hours on a bell, with balance wheel escapement.28cm high handle up
A LATE 19TH CENTURY AUSTRIAN VIENNESE EBONISED AND ENAMEL MANTEL CLOCK the ormolu mounted case covered with enamel panels depicting classical scenes enclosing an enamel dial with Arabic numerals fronting a watch style chain driven fusee movement with engraved pierced balance cock and verge escapement - backplate signed Caspar Hagn.20.5cm high
AN EARLY 19TH CENTURY FRENCH EMPIRE ORMOLU FIGURAL MANTEL CLOCK the 4.5" convex enamel dial with Roman numerals and outer minute markers fronting an eight-day spring driven movement with silk suspension and anchor escapement, striking the hours and half hours on a bell. The high quality gilded case with seated maiden and rococo decorated leaf work, mounted on a shaped plinth with classical figural panel; raised on turned feet.43cm high 33cm wideIn very good condition, with high-quality gilding and no losses. There are no cracks chips or restoration to the dial. The movement is original to the case and is in working condition, striking the correct hours but may need a service. Very well cast and of good quality.
AN UNUSUAL FRENCH ARTS AND CRAFTS MANTEL CLOCK WITH AXE MOON AND CALENDAR DIAL the 4.5" engraved brass dial with Roman numerals and axe moon centre above a calendar dial with month and date selection, fronting a French 8-day spring driven movment with count wheel strike and anchor escapement. The aesthetic style case has silvered side columns, splayed feet, stained green glass windows, and bell-shaped crest.53.5cm high
A MID 19TH CENTURY FRENCH BRONZE AND ORMOLU AUTOMATION MANTEL CLOCK of gothic form with clock tower above a naturalistic base with rotating waterwheel and three turning glass barley twist rods simulating moving water, the gilt clock dial having Roman numerals fronting an eight-day spring driven movement with outside countwheel and silk suspension striking the hours/half hours on a bell, the base enclosing a separate spring driven movement. 43.5cm high
AN EDWARDIAN ART NOUVEAU STYLE BOXWOOD STRUNG AND MAHOGANY INLAID MANTEL CLOCK the enamel Arabic dial fronting an eight-day spring driven timepiece movement.26.5cm high The clock is in very good order, with good colour and patina, two small hairline cracks to the side of the case, the dial has a small hairline just before number 3, the movement looks to have been cleaned in recent years and is in working condition, we cannot guarantee mechanical parts - No key.
A LARGE MID 19TH CENTURY FRENCH BRONZE AND ORMOLU AUTOMATION MANTEL CLOCK the case modelled as a castle with turreted clock tower enclosing an enamel dial fronting an eight-day spring driven movement with silk suspension and bell strike, the base formed as the sea coast with rocking ship on blue material; the ship runs on a separate spring driven movement53cm high
RICHOND. A LATE 19TH CENTURY FRENCH ORMOLU MANTEL CLOCK the ornate case surmounted by an urn finial above a square bodied case with lion's mask handles on a masked plinth with leafcast paw feet enclosing a 4" gilt and enamel dial with Roman numerals fronting an eight-day spring-driven movement striking the hours/half hours on a bell.39cm high
A LATE 19TH CENTURY FRENCH CHAMPLEVE ENAMEL, ONYX AND BRASS FOUR GLASS MANTEL CLOCK the glazed case with champleve enamel frame to the front, onyx top and base enclosing a floral enamel dial with Arabic numerals fronting an eight-day spring driven movement with champleve mercury pendulum striking the hours/half hours on a gong27cm high
A LATE 19TH CENTURY FRENCH GLAZED ORMOLU MANTEL CLOCK The case surmounted by two ormolu cherubs above a glazed bell top pediment supported on acanthus columns and leaf work swags on shaped base, the glazed panels backed by pierced silvered filigree panels enclosing an enamel dial with Roman numerals fronting an eight-day spring driven movement striking the hours/half hours on a bell, stood on later plinth.37cm high without plinth
AN EARLY 19TH CENTURY FRENCH ROUGE MARBLE AND ORMOLU PORTICO MANTEL CLOCK the break arched top surmounted by two doves on stylised clouds supported on four ormolu capped turned marble columns on a rectangular base raised on ormolu engine-turned bun feet. The 4.5" enamel dial with Roman numerals and gilt fleur-de-lis hands fronting an eight-day spring driven movement with silk suspension and outside countwheel striking the hours/half hours on a bell50cm high
VINER & CO. LONDON. A 19TH CENTURY ROSEWOOD CASED GOTHIC REVIVAL DOUBLE FUSEE MANTEL CLOCK OF SMALL SIZE the engine turned gilt brass dial with swirled centre, Roman numerals and strike/silent to the arch bordered by a shaped gilded slip. Fronting a fine quality signed eight-day double fusee bell striking movement with anchor escapement with rolling pin suspension. Housed in a lancet-top case with outset front cluster columns, side frets and shaped plinth base on turned feet25cm high
KINABLE, PALAIS ROYAL, NO. 131. AN EARLY 19TH CENTURY FRENCH ORMOLU FIGURAL MANTEL CLOCK modelled as Orpheus playing a lyre standing beside a floral wreath enclosing a burning torch, the opposite side of the case is a bouzouki leaning beside the enamel dial with Roman numerals fronting an eight-day spring driven movement with outside countwheel and silk suspension striking the hours/half hours on a bell52.5cm high
A LATE 19TH CENTURY FRENCH WHITE MARBLE MANTEL CLOCK the shaped arch top and moulded sides on a plinth base with engraved gilt scrollwork flower sprays enclosing a 5 1/4" dial with marble chapter ring and gilt Roman numerals surrounding a gilt brass centre with visible Brocot type escapement and jewelled pallets fronting an eight-day spring driven movement striking the hours/half hours on a bell, brass bob pendulum with steel rod47cm high
A LARGE 19TH CENTURY FRENCH FIGURAL ORMOLU MANTEL CLOCK surmounted by two cherubs on a leaf work base with floral swags enclosing a 4.5" enamel dial with Blue Roman numerals and black Arabic minute track fronting an eight-day spring driven movement with outside countwheel striking the hours/half hours on a bell38cm high 66cm wide
EDWARD JAMES, LONDON. AN EARLY 19TH CENTURY DOUBLE FUSEE ROSEWOOD MANTEL CLOCK the 4" silvered circular dial with Roman numerals and signed centre fronting a large double fusee eight-day movement with anchor escapement and striking the hours on a bell. The case with leaf cast brass bezel and side sound frets, glass top and moulded plinth base.25.5cm high 18cm wide
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