A French brass Butterfield pattern portable horizontal compass sundial... A French brass Butterfield pattern portable horizontal compass sundial Nicholas Bion, Paris, early 18th century The elongated octagonal plate with four hour scales for 55, 50, 45 and 40 degrees, the outer 4-12-8 divided into quarter-hours, the next three IIII-XI-I-VIII, 4-12-8 and IIII-XI-I-VIII divided into half hours with wheatear half hour markers for the Roman numeral chapters, the centre with foliate engraved panel within band signed N. Bion, A Paris , with glazed four-point compass and hinged bird engraved adjustable gnomen calibrated in degrees for elevation to the outer edge, the underside engraved with latitudes for twenty cities including Londres, Geneue, Cologne, Milan, Madrit, Metz, Turin and Paris , 7.1cm (2.8ins) long; in original leather case with red velvet lined interior, 8.5 (3.35ins) long overall. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Nicholas Bion was born in 1652 and is believed to have been active as an instrument maker from around 1680. A trade card pronouncing him as 'Ingenieur du Roi' and listing his address as 'le quay d'Orledge du Palais au quart de Cercle' exists in the collection of the Cluny Museum Paris. In 1709 Bion published TRAITE DE LA CONSTRUCTION ET DES PRINCEPAUX DE USAGE DES INSTRUMENS DE MATHEMATIQUE within which (page 362) he included an engraved image of an instrument almost identical to the current lot. Bion is believed to have worked well into the 18th century and died in 1733. This type of portable pocket sundial was devised by Michael Butterfield, an English Instrument maker who settled in Paris around 1685. By the end of the century Butterfield's workshop was also located on the 'Le Quay de l'Horloge' hence he would have known Nicholas Bion as a neighbour.
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A German Augsburg pattern brass portable equinoctial compass sundial Johann... A German Augsburg pattern brass portable equinoctial compass sundial Johann Schrettegger, Augsburg, circa 1800 The recessed compass centre with simple rose and radial lines engraved with German annotations for the four cardinal points beneath glazed panel within octagonal surround engraved with repeating arched foliate motifs, the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a square section arbor, the opposing side with scroll pierced and engraved pivoted armature enclosing a metal plumb, the underside of the compass with engraved signature Johann Schrettegger in Augsb. within concentric stylised herringbone engraved band, the instrument 7.5cm (3ins) wide; in original blue velvet lined texured paper covered card box gilt embossed with the name PIETRO SIMEONI to lid, 10cm (4ins) wide overall. Johann Nepomuk Schrettegger is recorded as working 1764 to 1843.
A fine Lithuanian engraved gilt brass horizontal striking table clock signed... A fine Lithuanian engraved gilt brass horizontal striking table clock signed with initials J. G., Vilnius, mid 17th century The single fusee movement with four fine steel baluster pillars secured via decorative nuts through the backplate, verge escapement regulated by sprung three-arm balance and engraved standing barrel for the countwheel hour striking mechanism incorporating decorative floral trail engraved gate and sounding via grotesque mask decorated hammer on a bell mounted beneath the movement, the backplate with fine single-footed flowering tulip pierced and engraved balance cock beside rose engraved countwheel, conforming cocked mainspring barrel ratchet with sculpted steel spring and engraved inscription J G, Wilna within an oblong cartouche, the square engraved gilt brass dial decorated with cupid seated beside a cage containing lovebirds and with sculpted steel hand to centre, within applied pewter Roman numeral chapter ring with stylised fleur-de-lys half hour markers and cast silver coloured metal winged cherub head spandrels to angles, the movement and dial fitting into the case from above and secured by three foliate pierced lugs screwed to the backplate, the exterior with hatched-scroll engraved dial surround over complex top mouldings and lozenge-shaped side windows with applied raised surrounds flanked by stylised female terms to angles, the base with conforming lower mouldings and hinged bottom panel incorporating the bell secured by a sculpted steel strap, on four winged mask and paw cast feet, 11.5cm (4.5ins) wide; 8.2cm (3.25ins) high. Although signed for a maker based in Vilnius, Lithuania the current clock is distinctly Germanic in both its overall form and detailing. This is not unusual as many mid 17th century clocks bearing signatures of makers residing in various important city-states throughout central eastern Europe share similar strong Germanic traits. From this it would be reasonable to suggest that such clocks were either bought-in from makers based in Southern Germany (mainly Augsburg or Nuremburg) or were made locally closely copying German practice. The current lot is notable in that it appears to have survived in good original condition with the only significant alteration being the provision of a sprung balance to improve timekeeping. The movement is well finished with an abundance of engraved details (which even extends to the three lugs for securing the movement into the case screwed into the backplate). The steelwork is also particularly fine with detents and springs finely sculpted with complex mouldings and scroll terminals.
A fine George III mahogany quarter chiming eight-day longcase clock Ellicott A fine George III mahogany quarter chiming eight-day longcase clock Ellicott, London, circa 1770 The six pillar triple train movement with deadbeat escapement regulated by seconds pendulum, chiming the quarters on a graduated nest of eight bells and striking the hour on a single larger bell, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Ellicott, London to lower margin, with fine pierced blued steel hands and rococo cast spandrels to angles beneath subsidiary STRIKE/SILENT selection dial flanked by conforming mounts to arch, in a mahogany break-arch case with cavetto cornice and plain frieze over brass stop fluted columns flanking the glazed dial aperture, the sides with break-arch windows and quarter columns applied to bargeboards at the rear, the trunk with shaped-top caddy moulded flame figured door flanked by brass stop-fluted quarter columns over raised panel fronted plinth base with further conforming quarter columns to angles and applied moulded double skirt incorporating squat bracket feet with shaped apron between, 231cm (91ins) high. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers' Company in 1696 and died 1733. John junior worked from Swithin's Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772.
A German Black Forest Jockeleuhr miniature wall timepiece with alarm... A German Black Forest Jockeleuhr miniature wall timepiece with alarm Unsigned but to a design devised by Jacob Herbstritt, mid 19th century The movement constructed with three wooden plates forming two compartments enclosing going train regulated by tic-tac escapement and short lenticular bob pendulum swinging within the second rear compartment, with transverse alarm mounted to the left hand side sounding on a bell mounted above and circular white enamel Roman numeral dial set into a shield shaped porcelain cartouche surround with gilt and polychrome floral painted crest and scroll decorated surround, the sides with pin-hinged doors, the rear panel with wire hanging hoop to top edge, 11.5cm (4.5ins) high. This type of miniature wall clock was devised by Jacob Herbstritt before 1845 and is essentially devised as a scaled down version of the Black Forest 'Schotten' clock. The enamel-centred porcelain dial of the current lot is a characteristic feature.
A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped... A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped with initials M L , mid to late 16th century The posted twin fusee movement with pinned iron-capped brass spring barrels concealed between two horizontal plates in the base beneath posted frame with four fine slender double baluster turned uprights, the going train now with verge escapement regulated by short bob pendulum swinging to the rear, the strike train set behind the going train incorporating twin-arbor warned release and sounding the hours via a vertically pivoted hammer on a bell mounted on top of the clock, the exterior with moulded cornice and geometric panel decorated frieze over twenty-four hour dial with stylised bird and fruiting foliage engraved centre within punch-stamped Arabic numeral chapter ring with touch pieces to the moulded outer margin, set over a shaped scribed panel enclosing further scrolling foliate and centred with a winding square, the sides with twin panel doors engraved with standing figures of Adam and Eve to the right and a pair of allegorical females to the left, the angles with conforming vertical geometric bands and the rear engraved after Hans Sebald Beham with Christ standing on a globe and holding the standard of the crucifixion beneath dove emblematic of the Holy Spirit, the lower margin with small panel decorated with a reclining female, the plinth base with complex moulded dado over foliate engraved panels centred with roundels featuring four profile busts to the sides and indistinct armorial crest to the front incorporating the stamped initials M L , on conforming moulded skirt incorporating leaf engraved ogee moulded foot, (alarm mechanism removed), 22cm (8.625ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The current lot can be compared to an example illustrated in Tardy LA PENDULE FRANCAIS, 3'me Partie: Provinces et Etranger on page 314. The hexagonal form echoes that of contemporary French examples however differs in the that trains are laid out with the strike behind the going rather than the usual French system of having one above the other. The use of iron for the wheelwork would indicate a date prior to 1580 although the inclusion of brass for the walls of the spring barrels would suggest that the clock was made closer to 1580 than 1550. The strike train also incorporates twin-arbor warning which although is known to have been in use by around 1480 (see Leopold, J. H. The Almanus Manuscript ) seems to have been rarely adopted until the introduction of the English lantern clock in its fully developed form in around 1600. The rear of the clock incorporates an engraved view of Christ standing on a globe holding the standard of crucifixion with a dove emblematic of the Holy Spirit above. Typically such decoration was often copied from a contemporary engraved source - in this case an engraving executed by Hans Sebald Beham in 1546. The panels to the sides of the case are probably also copied from similar sources however these have yet to be identified. The base also incorporates an armorial crest to the front panel, unfortunately wear and degradation to the surface now renders this crest indistinct however closer examination and specialist research may result in the family for whom the clock was made to be identified.
A Black Forest carved wood cuckoo table clock Attributed to Johann Baptist Beha A Black Forest carved wood cuckoo table clock Attributed to Johann Baptist Beha, Eisenbach, circa 1870 The wooden framed twin fusee movement with anchor escapement regulated by short pendulum with heavy brass-faced bob, the hour strike train with outside countwheel and linkages to two bellows and a cuckoo automaton who appears from behind the door above the dial to announce the hour with a two-note call followed by hammer sounding on a gong fitted to the inside of the rear case panel, the circular wooden dial carved with a rosette to centre within chapter ring applied with Gothic style bone numerals, with leaf carved and pierced bone hands and narrow moulded bezel, the gabled case with fine bird-in-flight centred vine trail carved fascia over naturalistic facade incorporating cuckoo automata and entwined leafy trail bird inhabited uprights flanking dial, the base with conforming apron set behind a carved and pierced picket fence apron panel applied with further vine leaves and terminating with a horizontal log and squab feet, the sides with small rectangular doors over conforming picket fence, the rear with lift-out panel fitted with a coiled gong to inside surface and applied with incomplete paper trade label for Camerer Cuss, London, 45cm (17.75ins) high. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father, Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert.
A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.
A William III walnut and floral marquetry eight-day longcase clock Thomas White A William III walnut and floral marquetry eight-day longcase clock Thomas White, Fairford, early 18th century The five finned pillar inside countwheel bell striking movement with 11.75 inch square brass dial with ringed winding holes, subsidiary seconds dial and elaborate basket of flowers and scroll border engraved calendar aperture to the Ho-Ho bird decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. White, Fairford to lower edge, with pierced blued steel hands and twin cherub and crown cast spandrels to angles, in a case with architectural cornice and blind foliate fretwork frieze above floral trial inlaid hood door, the sides with rectangular glazed apertures, the trunk with conforming leafy trail decorated convex throat above 41 inch door centred with a brass lenticle and decorated with intense figural inhabited symmetrical flowering foliage into an ebonised ground, the surround with stylised scrolling foliage above conforming panel outline plinth base with later skirt base incorporating shaped apron, 220cm (86.75ins) high. Thomas White is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Fairford, Gloucestershire in 1677; he worked from around 1700 continuing presumably until his death in 1748.
A gilt brass and Perspex white 'Marina' model Atmos timepiece Jaeger-LeCoultre A gilt brass and Perspex white 'Marina' model Atmos timepiece Jaeger-LeCoultre, Switzerland, circa 1960 The fifteen jewel 526/5 calibre single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended beneath, the suspension platform numbered 265489 , the circular white painted gilt baton numeral dial applied with gilt Arabic quarters and signed JAEGER-LECOULTRE, ATMOS to centre, with gilt baton hands and canted bezel to circumference, the rectangular case with gilt canted angles enclosing four white backed deep bevelled Perspex panels incorporating hinged front with aperture for the dial over reverse intaglio-cut decoration of a galleon opposing mountainous islands to lower margin inscribed Marina to right hand corner , the sides with conforming larger scale men-o-war riding on stylised waves, the rear with clear panel, on stepped skirt base with adjustable feet and incorporating bubble level to inside surface, 23cm (9ins) high; with original simulated cream leather covered protective case lined with blue baize cushions to interior and instruction booklet.
A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.
A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant... A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant clockwatch Josias Jolly, Paris, circa 1630 The incomplete oval gilt full plate single fusee verge movement with four shouldered baluster pillars pinned through the backplate applied with fine asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the edge signed Josias, Iolly, AParis , the fine single sheet engraved fire-gilt brass dial with steel hand and centre decorated with scene of the Samaritan woman conversing with Christ at the well within applied silver Roman numeral chapter ring with wheatear half hour markers and fine foliate scroll chased oval surround incorporating a cherub to upper edge over pair of grotesques to sides and a winged cherub mask to lower margin, the two-piece oval section case with delicate leafy wreath engraved decoration to inside of the convex brass front cover incorporating seven-joint hinge block decorated with a winged angel mask opposing conforming fixed convex panel to rear, the waist with gadroon mouldings bordering applied red silk backed scroll pierced and engraved applied silver sound fret collar, the base with inverted finial and clasp opposing pendant cast as a tulip bud to top, (strike train lacking), the movement pillar plate 41mm (1.6ins) by 36mm (1.4ins), the watch 71mm (2.8ins) high to top of suspension post. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Josias Jolly is recorded in Baillie, Watchamkers & Clockmakers of the World as a Master working in Paris 1609-40. Jolly was a Protestant born in Blois whose surviving work shows significant diversity however he is perhaps now best known for a watch with highly decorated enamel case executed by a member the Toutin school residing in the collection of Walters Art Museum, Baltimore (ex. Demidoff collection). The basic oval form of the current lot is reminiscent of an early 'Puritan' watch, of which an example (signed 'Chapelle' and dating to around 1625) is illustrated in Camerer Cuss, T.P. The Country Life Book of WATCHES on page 15 (plate 7). The addition of the fine decorative pierced silver band (between gadroon mouldings) to the waist of the present watch would have served to allow the sound of the hour bell (formerly fitted within the rear of the case) to be heard as well as cater for the demand for decoration from clients not so concerned with Puritan values. Indeed a similar blind engraved border can be seen on timepiece by Robert Grinkin, London illustrated in Camerer Cuss on page 19 (plate 10). The presence of this band indicates that decoration was as, if not more, important than function. Incidentally the timepiece by Grinkin also exhibits very similar engraved foliate wreath border decoration to the inside of the dial cover. The current lot is particularly rare as it was originally made as a clockwatch. Unfortunately the strike train has now been removed however the going train appears to have survived with no obvious signs of alteration and has a particularly fine fusee. The dial is exquisitely engraved and in fine condition; indeed the general overall condition of the watch would make restoration of the strike train eminently viable and rewarding.
A burr birch cased table clock The movement and dial by Charles Cabrier, London A burr birch cased table clock The movement and dial by Charles Cabrier, London, mid 18 th century, the case later The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and fine symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with shaped false bob and calendar apertures and shaped signature plate engraved Cha: Cabrier, LONDON to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, now in a Biedermeier period burr birch veneered case with brass carrying handle and scallop shell carved crest to the ogee shaped line panel bordered superstructure over complex wriggle-cut cornice, the front with conforming moulded decoration to the line-bordered hinged glazed dial aperture flanked by scroll-shaped sides and incorporating stylised scroll inlaid motifs to upper quadrants, the sides with inset break-arch windows, the rear matching the front, on conforming line-bordered generous cavetto moulded base with shaped apron and squab feet, (movement with losses), 52cm (20.5ins) high excluding handle. 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 movement and dial of the current lot were probably supplied with an appropriate case for export to central Europe when first made in the mid 18 th century. The clock would have then been re-cased locally in the early 19 th century in order to 'update' the appearance of clock in the fashionable Biedermeier style which was at its height during the second quarter of the 19 th century.
A French gilt brass and champleve enamelled mantel clock The movement by... A French gilt brass and champleve enamelled mantel clock The movement by Vincenti and Cie, circa 1880 The circular two train gong striking movement with anchor escapement regulated by lenticular bob pendulum with Brocot rate adjustment, the backplate with VINCENTI & CIE MEDAILLE D'ARGENT 1855 roundel over serial number 4 4 to lower margin, the circular dial with blue and cream stylised floral scroll enamelled centre within cast Roman cartouche numeral chapter ring and convex bevel glazed hinged brass bezel, the case with cobalt blue trellis enamelled ogee-shaped cupola surmounted by five leafy finials over cavetto cornice, the front with conforming blue and cream stylised scroll infill flanked by Ionic pilasters with red ground Renaissance style strapwork decorated shafts, the sides with symmetrical panel infill matching the front, the rear with glazed movement access hatch, on complex moulded base with bun feet, 28.5cm (11.25ins) high.
A brass inlaid mahogany bracket clock Unsigned A brass inlaid mahogany bracket clock Unsigned, first half of the 19th century The four pillar twin chain fusee gong striking movement with anchor escapement regulated by starburst decorated lenticular bob pendulum, the backplate engraved with circular starburst motif over floral spray flanked by leafy pendants, fitted with an 8 inch circular cream painted convex Roman numeral dial with pierced steel hands set within slender cast brass convex glazed hinged bezel, in an arched case with ebonised cavetto cornice over dial and brass fillet edged recessed shaped apron panel centred with inlaid lozenge flanked by stylised fleur-de-lys motifs, the front angles with full height brass line decorated slender strip uprights and the sides with brass floral basket ring handles over rectangular fishscale sound frets, the rear with arched door now with baize-covered brass grille insert to aperture, on ebonised fluted band decorated skirt base with brass ball feet, 46.5cm (18.25ins) high; with a later mahogany wall bracket with arcade border to table and curved support, the clock and wall bracket 68cm (26.75ins) high overall, (2).
A magnificent 19c National Comprehensive Family Bible with Illustrations, References and Maps edited by Revd. John Eadie DD., LL.D. only one entry in the family register noting a marriage in 1888. The cover displaying the highest workmanship of the bookbinders art with sunken panel and deeply incised lining, decorated with gilded brass corners and clasps, 10 1/2" x 13" x 4" thick G++
A cabinetmaker's lockable pine chest measuring 39" x 24" x 25"h. with 3 sliding banks of 7 drawers with leather pulls over saw box and moulding plane well, the mahogany drawers and till tops decorated with satinwood stringing. The lid interior with mahogany panel decorated with rosewood, ebony and satinwood diamond, ebony and satinwood stringing and figured oak surround G+
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