A Queen Anne silver pair-cased verge pocket watch with champleve dial John Smallwood, Lichfield, early 18th century The gilt full plate single fusee verge movement with four square Egyptian pillars pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the backplate with fine symmetrical foliate scroll pierced and engraved balance cock with herringbone bordered rim and female mask at the junction of the conforming pierced broad foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature John Smallwood, Lichfield , fitted with circular silver champleve dial with scroll bordered panel signature cartouches engraved SMALLWOOD, LICHFIELD to the matted centre within Roman numeral chapter ring with lozenge half hour markers and Arabic lozenge five minute numerals to outer track, with gold beetle and poker hands, the plain inner case with indistinct maker's mark only, fitted with convex glass and suspension post, the outer case similarly marked, the pillar plate 41mm (1.625ins) diameter, the outer case 57mm (2.25ins) diameter overall. Provenance: Formerly in the collection of Dr. David Torrens, subsequently acquired by the vendor from Charles Allix in the 1950's. John Smallwood is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as working in Lichfield, Staffordshire by 1711 and selling-up his stock in 1741.
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A brass mounted rosewood cased two-day marine chronometer Thomas Roberts, Liverpool, circa 1870 The circular four pillar single chain fusee movement with Harrison's maintaining power, Earnshaw type spring detent escapement and split bimetallic balance with cylindrical compensating weights and helical balance spring, the spotted backplate with spring set-up ratchet and blued-steel pillar and backcock securing screws, the reverse of the dial bezel plate stamped 1160, the 4 inch circular silvered Roman numeral dial with subsidiary seconds dial with serial number 9/766 beneath signature THOMAS ROBERTS, MAKER TO THE ADMIRALTY, 34 STRAND ST. LIVERPOOL and WIND DOWN/UP dial to centre, secured by a screw-down bezel into a lacquered brass bowl with conforming serial number 1160 to interior and with circular winding hole shutter to underside, mounted via gimbals into a brass bound rosewood wood three tier box centred with a shaped brass vacant name plaque and with shaped inset brass corner caps to top tier over front with circular ivory plate engraved with repeat signature, the sides with inset hinged carrying handles and with brass reinforcement straps to angles, 18cm (7ins) wide; with a mahogany outer guard box with extended shaped base panel, 31cm (12ins) wide overall. Thomas Roberts is recorded in Mercer, Tony Chronometer Makers of the World as working in Liverpool 1860-73.
A very rare mahogany electric longcase timepiece Unsigned but possibly by The Reason Manufacturing Company, Brighton, to a design by Murday, circa 1908 The four pillar movement enclosing solid minute wheel and crossed-out motionwork driven by a four-division stepped cam mounted behind the movement alternately pulled and shunted by a sprung two-arm armature connected to the long pendulum crutch suspended via independent pivot above the movement and incorporating electromagnetic coil Hipp-toggle switchgear at the base, the long steel-rod pendulum suspended from a substantial 'A' frame behind the movement and with iron bar supporting twin cylindrical brass bobs over a fixed electromagnetic two-part impulse coil at the base, the 12 by 13.75 inch rectangular brass dial with subsidiary seconds dial to the fine foliate scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced steel hands and fine overlaid foliate scroll pierced and engraved decoration to upper and lower margins, the swan neck pedimented case with complex cornice mouldings over rectangular glazed hinged dial aperture and fielded panels to sides, the trunk with ogee moulded cornice over full-width rectangular glazed door inset with ogee fillet mouldings, on plinth base fronted with a fielded panel over a moulded skirt, 215cm (84.5ins) high. The design of the current lot can be compared to that of an electric pendulum mantel clock patented by Thomas John Murday in 1908 and manufactured by the Reason Manufacturing Company Limited, Brighton illustrated in Shenton, Alan and Rita THE PRICE GUIDE TO CLOCKS 1840-1940 on page 416 (figure 243). Another related mantel timepiece was sold at Sotheby's New York MASTERPIECES FROM THE TIME MUSEUM PART FOUR, VOLUME III on 14th October 2004 for $2,040. Such mantel timepieces are particularly rare as Murday soon went on to develop models using balance wheel regulation for which he obtained another patent in 1910. The current lot may be unique and is offered with file of correspondence which includes an old photograph of probably the same clock (or possibly an identical second example).
A George IV Gothic inlaid mahogany eight-day longcase clock with unusual dual time 'regulator' dial layout and concentric winding arbors Edward Smith, Newbury, circa 1825-30 The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and under dial gearing to allow winding of both trains through the same hole incorporating square for the going train within concentric pentagonal cannon barrel for the strike train, the 12 inch single sheet silvered brass dial with subsidiary seconds and dual small Roman numeral hour dials and signed Edward Smith, NEWBURY beneath inscription REGULATOR to centre within outer Arabic five minute track, with matching blued steel hands set behind hinged convex glazed hinged cast brass bezel, the pointed Gothic lancet arch-top case with spire finials flanking pediment fronted with arcaded border and central rosette over dial and lower inlaid quadrant panels flanked by buttressed pilaster uprights with stepped apron between, the trunk with concave throat over lancet panel inlaid tall rectangular door decorated with rosettes to corners flanked by stepped canted angles inset with further slender lancet panels and applied with split acorn-turned terminals, the crossbanded base with further conforming geometric panel decoration over squat bracket feet with shaped apron between, 217cm (85.5ins) high. Edward Smith is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Newbury circa 1830. The dial of the present lot is highly unusual in that it is of 'regulator' format incorporating two subsidiary hour dials. The hour dial on the right can be independently set in relation to the dial on the left hence the clock can display two different times. However, as this clock was made long before the introduction of time zones, it is highly unlikely that the dial was made to display the time for two locations concurrently. It is therefore most probable that the current lot was made for timing purposes with one of the hour dials being 'zeroed' at the start of an event whilst the other displayed the current time. The most likely application of this was probably to record the length of a working shift which would suggest that the clock may have been originally supplied to a wealthy owner of a mill or similar operation for this purpose.
A George III mahogany longcase clock with unusual 'regulator' type dial layout J. Atkinson, Gateshead, Late 18th century The four pillar rack and bell striking movement with anchor escapement regulated by seconds period pendulum and fitted with an iron falseplate cast with SHAW & Co., the 12 inch wide dial with subsidiary seconds over Roman numeral hour dials and signed J. Atkinson, GATESHEAD to centre within outer minute ring annotated with Arabic numerals at the quarters, the angles with delicate raised gilt rococo scrolls onto a mid-blue ground beneath arch painted with an oval landscape view within conforming gilt surround and blue ground, the break-arch case with cavetto moulded cornice and brass stop-fluted columns flanking the hinged glazed dial aperture over break-arch flame figured trunk door and conforming plinth base with applied panel decoration and moulded double skirt, 223cm (88ins) high. Two makers with the surname Atkinson and the initial J. are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Gateshead during the latter part of the 18th century; James who dates are noted as 1770-77 and Joseph who worked from circa 1775 until his death in 1804. It is probable that James and Joseph were brothers, the current clock is most likely to be by Joseph.
A fine George III ebonised hooded wall alarm timepiece Thomas Ranger, Chipstead, circa 1765 The posted movement with square section uprights and anchor escapement regulated by 23 inch lenticular bob pendulum, the alarm set behind the going train and sounding on a bell mounted above the top plate, the 5.25 inch square brass dial with silvered alarm disc and concentric signature Tho's Ranger, Chipsted to centre within applied silvered Roman numeral chapter ring with lozenge half hour markers, with single iron hand and angles engraved with foliate scroll spandrel decoration within a scribed line border, the ebonised pine case with ogee cornice above tall frieze and three-quarter columns flanking glazed dial aperture to the front door, the sides with conforming quarter columns applied to bargeboards at the rear, the bracket with cavetto throat moulding to table over shaped side supports and double-skinned backboard incorporating aperture for the weights to descend before an intermediate panel enclosing a further recess for the pendulum, the base terminating with an inverted ogee arch to backboard, 77cm (30.25ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 55 pages 182-83. A clockmaker with the surname Ranger is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chipstead before 1773. Darken further notes in TIME & PLACE that Thomas Ranger's working dates were probably circa 1740-73. The current lot is a particularly attractive and well thought-out example with the pendulum and weights divided from each other by an intermediate panel fitted in front of the backboard.
A rare George II thirty-hour weight-driven 'hook-and-spike' wall timepiece James Woolley, Codnor, circa 1725 The three wheel going train with anchor escapement regulated by seconds pendulum set between tapered plates united by four square section steel pillars, the backplate fitted with distinctive backcock incorporating long pendulum suspension arm, the 7.5 inch wide brass break-arch dial with matted centre and pierced iron hand within applied Roman numeral chapter ring with floating cruciform half hour markers and engraved signature Wolley, Codnor to lower edge, the angles with applied winged cherub head cast spandrels beneath conforming mount to arch, the dial plate fitted to an appropriately shaped board with pine box case to rear incorporating iron hanging hoop, spurs and removable back panel, 27.5 cm (10.75ins) high approx. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 page 238, fig. 6. James Woolley is noted in Darken, Jeff and Hooper John English 30 Hour Clocks (on page 136) as 'one of the most renowned of provincial clockmakers' who was born in 1695 and lived until 1786 when he was succeeded by his nephew, John. James Woolley was born to a relatively wealthy family however he appeared to have had a wayward streak which led to him being caught poaching as a boy. His subsequent apprenticeship to the blacksmith Thomas Tantum of Lascoe lead him to become a clockmaker, a career in which he excelled. In 1726 Woolley presented a turret clock to the City of Nottingham and thus was enrolled as a Burgess; this no doubt brought him to the attention of possible clients thus secured his future. Although eight-day longcase clocks by Woolley are known he appears to have specialised in thirty-hour work; however the attention to detail lavished on his movements and the quality of finish seen on many of his dials are why they are so highly regarded by modern day collectors. The current lot is the first of probably only two documented wall clocks of this type by Thomas Woolley, with the other also being offered in this sale as the following lot. The design and layout of the movement is typically original and possesses many fine details such as the deep domed wheel collets, distinctive backcock casting and arched lower margin to the plates. The style of half hour markers and spelling of his name (without the second 'o') to the chapter ring, coupled with the êrly' design of spandrel casting would suggest that the current lot is one of Woolley's earlier clocks, and can be compared to a dial of an thirty hour longcase clock (dated to around 1720) illustrated in Darken, Jeff and Hooper John English 30 Hour Clocks on page 134, fig. 3/42.
A rare George III seven-day weight-driven 'hook-and-spike' wall timepiece with alarm James Woolley, Codnor, circa 1765 The four wheel going train with anchor escapement regulated by seconds pendulum set between tapered plates united by four square section steel pillars, with arched cut-out to lower margin and integral extension to the left hand side for the offset alarm mechanism which sounds on a bell mounted above, the backplate fitted with distinctive backcock incorporating long pendulum suspension arm, the 9 inch diameter circular single-sheet brass Roman numeral dial with alarm disc, pierced iron hand and engraved signature Woolley, Codnor to centre, applied to a caddy moulded square oak dial board fitted with pine box case to rear incorporating iron hanging hoop, spurs and removable back panel, 28cm (11ins) high including bell. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks pages 277-80 figs. 5/29 to 5/32; and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 54 pages 180-1 (where the movement is extensively illustrated). James Woolley is noted in Darken, Jeff and Hooper John English 30 Hour Clocks (on page 136) as 'one of the most renowned of provincial clockmakers' who was born in 1695 and lived until 1786 when he was succeeded by his nephew, John. James Woolley was born to a relatively wealthy family however he appeared to have had a wayward streak which led to him being caught poaching as a boy. His subsequent apprenticeship to the blacksmith Thomas Tantum of Lascoe lead him to become a clockmaker, a career in which he excelled. In 1726 Woolley presented a turret clock to the City of Nottingham and thus was enrolled as a Burgess; this no doubt brought him to the attention of possible clients thus secured his future. Although eight-day longcase clocks by Woolley are known he appears to have specialised in thirty-hour work; however the attention to detail lavished on his movements and the quality of finish seen on many of his dials are why they are so highly regarded by modern day collectors. The current lot is the second of probably only two documented wall clocks of this type by Thomas Woolley, with the other also being offered in this sale as the previous lot. The design and layout of the movement is typically original and possesses many fine details such as the deep domed wheel collets and castellated tooth form for the alarm crownwheel. The provision of an alarm and the fact that it has a duration of seven-days differentiates the movement of the current timepiece from the previous lot. These differences perhaps either demonstrates progression in Woolley's approach or willingness to satisfy the specific demands of a client. The relatively utilitarian appearance of the dial would suggest that the current timepiece was destined for ºckstairs' use of a large household with the alarm designed to alert staff at the beginning of the working day.
A rare small English iron framed hooded wall timepiece with alarm Unsigned, late 17th century The single-handed short duration movement with three-wheel train and verge escapement regulated by short side-swinging bob pendulum with pallet arbor pivoted above the frame between a transverse iron armature at the front and shaped brass cock at the rear, the alarm train set behind the going train with vertical hammer arbor fitted to the inside of the rear upright and sounding on a bell mounted on top of the case, the iron strip frame constructed with central bar riveted at the top to the horizontal full-depth top plate and bent forwards at the base to form a 'J', the front terminating with stepped tenons to take both the front movement bar and the dial, the rear with alarm mechanism set within an angled bracket secured via a tenon through to the top plate and a screw to the central movement bar just above the greatwheel pivot, the rectangular single sheet brass Roman numeral dial measuring 6.5 by 4.5 inches with alarm disc and single iron hand to centre within engraved chapter ring with stylised wheatear half hour markers, the oak wall hung 'salt box' type case with open front, removable top panel and incorporating movement mounting hook and original bell secured to the arched case backboard pierced for hanging at the top, 26.5cm (10.5ins) high overall. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 8 pages 40-41. The current lot can be directly compared to a small hooded wall alarm timepiece (complete with verge escapement regulated by short bob pendulum swinging to the side) which was sold in these rooms on Tuesday 17th March 2015 (lot 64). The movement of this other example is similarly constructed to the current lot with detail differences confined to the extended rear movement bar (truncated on the current lot), the provision of a single iron armature for the pallet arbor pivots and the presence of passing strike (incomplete). A third clock of this type (but with anchor escapement) signed for George Wood of Nailsworth is also included in this sale (see following lot) suggesting that such timepieces were made in Gloucestershire. This possibility is further supported by the presence of a related but later clock by John Coates of Cirencester also illustrated in TIME & PLACE as exhibit 48 pages 164-5.
A rare George III small English iron framed hooded wall timepiece with alarm George Wood, Nailsworth, dated 1760 The single-handed short duration movement with three-wheel train and anchor escapement regulated by seconds pendulum swinging outside the case to the rear, the alarm train set behind the going train with vertical hammer arbor fitted to the inside of the rear upright and sounding on a bell mounted on top of the case, the iron strip frame constructed with central pivot bar riveted to the wide horizontal top and narrow bottom plates each terminating with pinned tenons to take the dial plate and movement front and back bars, the rectangular single-sheet brass dial measuring 7 by 5.5 inches with alarm disc and single iron hand to centre within engraved Roman numeral chapter ring with stylised cruciform half hour markers, the lower angles signed Geo., Wood opposing stylised engraved doves to upper margin, the rear of the dial with engraved date 1760 to lower left hand corner , the simple oak and elm wall hung box case with open front, removable top panel and incorporating movement top plate locating hooks to inside of the arched backboard, the rear with protruding iron backcock and external pendulum crutch between iron hanging hoop and spurs, 28cm (11ins) high. George Wood is recorded in Dowler, Graham GLOUCESTERSHIRE CLOCK AND WATCH MAKERS as working in Nailsworth during the mid-18th century. Dowler cites two notices seeking the recovery of stolen watches bearing his name, the first dated 23rd December 1740, the second 22nd September 1766. The current lot can be closely compared to an earlier small hooded wall alarm timepiece which is also included in this sale (see previous lot). The movement of this other example is of similar construction to the present clock with significant differences confined to the truncated rear movement bar, narrow top plate and the provision of verge escapement regulated by side swinging short bob pendulum. Both timepieces also share similarly proportioned rectangular single-sheet dials and the same basic design of case. Another comparable movement and dial, dated 1707 and also with side-swinging short bob pendulum (but in later case), was sold in these rooms on Tuesday 17th March 2014 (lot 64). In addition to these an alarm timepiece featuring a similarly configured iron-framed movement by John Coates of Cirencester is also known. This example is illustrated and described in TIME & PLACE as exhibit 48, pages 164-5, however differs from the current lot in that the dial is of traditional design complete with chapter ring and spandrels. The 'saltbox' case is also more akin to the standard hooded wall clock case than that housing the current lot. Ultimately the basic design and layout of the movement of the current lot has its roots in the earliest of wall-hung alarm timepieces made by makers of the first fully developed English lantern clocks. One such timepiece, attributed to Robert Harvey, London, and dating to around 1600 is also included in the current sale (see following lot). It would seem that the presence of the current timepiece together with the example by Coates would suggest that this particularly early design of iron-framed wall timepiece movement persisted in the West Country, particularly Gloucestershire, long after other areas had adopted alternative designs.
A fine small George III mahogany domestic longcase regulator made for the Middle Eastern market George Prior with movement supplied by John Thwaites, London late 18th century The substantial eight-day centre-seconds movement with bottle-shaped plates united by six distinctive tapered baluster pillars and stamped T. THWAITES over indistinct number 1933 to frontplate, the train with Harrison's maintaining power, high pinion count, six-spoke wheel crossings throughout and Graham type deadbeat escapement with jewelled pallets regulated by wood-rod seconds pendulum with wide-jaw suspension, large brass-faced lenticular bob and calibrated rating nut, the 10 inch ogee-arch shaped brass dial with circular white enamel convex centre signed GEORGE PRIOR, LONDON within 'Turkish' numeral chapter ring and five minutes to outer track, with steel seconds hand and pierced brass hour and minute hands within applied engraved ogee-arch-shaped mask finely decorated with a pendant incense burner within crescent motif flanked by generous foliate scrolls to upper margin over conforming leafy sprays to lower spandrel areas, the case with ogee-arch shaped cavetto moulded cornice and conforming shaped frieze inset with fine scroll-pierced brass sound frets to front over glazed hood door flanked by fluted canted angles and with rectangular brass fishscale fret-backed glazed apertures to sides, the trunk with convex throat moulding over caddy-moulded ogee-arch flame figured veneered door, on plinth base with conforming raised panel to front and double skirt, 194cm (76.5ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. By repute acquired from a member of the diplomatic service who purchased it from a government department in Istanbul. Of George Prior relatively little is known other than he was born in 1732 and his working dates were 1762-1813. He was based at 31 Prescot Street, Goldman's Fields, London and was succeeded by his son Edward in 1814. John Thwaites was born in 1757 the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. Ainsworth was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade, London. John Thwaites succeeded his father, presumably on the latter's death in 1780, before moving to Bowling Green Lane. He worked alone until 1817 when he took his wife s nephew, George Jeremiah Reed, into partnership. John Thwaites and the subsequent partnership were well known for supplying all forms of clocks and movements either wholesale for others to retail, or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. George Prior predominantly specialised in the supply of clocks and watches to the Ottoman market trading through British merchants based in major Middle Eastern ports such as Istanbul. This lucrative market was built on the historic tradition of presenting clocks and watches to the Ottoman Court since the late 17th century. However, by the end of the 18th century, trade had expanded to the extent that George Prior could not satisfy demand for his products alone hence he collaborated with other makers in order to increase his supply. A natural choice of collaborator was John Thwaites who by the end of the 18th century had established himself as a fine maker willing to supply movements for retail by others. The movement of the current lot can be closely compared with that of a longcase regulator by John Thwaites sold at Christie's, King Street, Important Clocks and Marine Chronometers 13th December 2000, lot 65. Both timepieces share the same 'bottle-shaped' plates, distinctive tapered baluster pillars, wide jaw pendulum suspension, escapement and detailing to the wheelwork. Indeed the only significant difference between these two movements is in the positioning of the train between the plates which varies in order to allow the current lot to have centre seconds (versus standard regulator dial layout). Another example of the collaboration between John Thwaites and George Prior takes the form of an impressive musical table clock residing in the collection of The Victoria and Albert Museum (Museum number W.1:1, 2-1971). This table clock was bequeathed by Lady Lorraine in 1971 and features an almost identical circular enamel dial centre to the current lot, and is housed in a fine gilt brass mounted cream japanned case with cut glass spherical dome surmount and finials. A comparable longcase regulator also made for the Middle-Eastern market by Markwick Markham Borrell, London (with movement probably supplied by John Thwaites) was sold at Christies, King Street, London on the 23rd May 2010 (lot 38) for £23,750.
A fine and impressiveVictorian silver mounted walnut quarter-chiming presentation bracket clock with wall bracket John Moore and Sons, London, dated 1867 The six finned baluster pillar movement chiming the quarters on a nest of eight graduated bells and sounding the hour on a coiled gong, the going train with anchor escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to the suspension, the 8.25 inch wide single sheet silvered brass arched dial signed JOHN MOORE & SONS, CLERKENWELL, LONDON, 14239 to centre and with blued steel hands within fine foliate strapwork engraved decoration to lower angles beneath arch incorporating subsidiary SLOW/FAST regulation and STRIKE/SILENT selection dials within conforming foliate infill, the ogee arch-top case surmounted by fine cast and chased Gothic foliate bud finials united by a pierced gallery running front to back over four further finials flanking the pediment applied with an oval silver gilt panel engraved with a view of St. Pauls Church, Rusthall and a pair of cast leafy rosettes to front, the hinged glazed dial surround decorated with further small silver rosettes to frame and with canted silvered brass fillet to interior, the angles inset with Gothic columns incorporating leafy caps and the sides with foliate scroll-pierced arched sound frets, on inverted breakfronted skirt base centred with further shaped gilt cartouche engraved PRESENTED BY, FRIENDS & NEIGHBOURS, TO EDWARD OTTLEY WOLLASTON ESQ., ON HIS LEAVING THE PARISH OF, ST PAUL'S RUSTHALL flanked by additional rosettes and concave moulded sections beneath the pillars, on original wall bracket with moulded inverted breakfront table over pierced scroll outline side supports, the mounts hallmarked for London 1867 (maker's mark S.S ), the clock 72.5cm (28.5ins) high; the clock on wall bracket 97.5cm (38.5ins) high overall. John Moore and Sons succeeded the partnership of George Handley and John Moore (both of whom were apprenticed to, and were successors of John Thwaites who died in 1800) on the death of George Handley in 1824. The firm worked from 38-9 Clerkenwell Close and became particularly well known for producing public clocks and supplying movements to other makers. The last of the Moore dynasty of clockmakers, Henry James, died aged 60 in 1899, however the firm is thought to have continued into the early years of the 20th century. St. Pauls Church, Rusthall, Tunbridge Wells was built to a design by Henry Isaac Stevens (1807-73) and was consecrated on 14th August 1850.
A fine, impressive and very rare Victorian engraved gilt brass and malachite inset clock with thermometer and aneroid barometer in the form of a full-sized occasional table Thomas Cole, London, number 1 545, circa 1860 The eight-day movement resembling that of a standard Cole strut clock with rectangular frontplate stamped with serial number 1 545 and applied with two separate shaped backplates for the going and strike trains each with going barrels, six-spoke wheel crossings and three pillars secured by screws from the rear, the going train incorporating vertical shaped platform English lever escapement regulated by sprung three-arm steel monometallic balance, the strike train sounding the hours on a coiled gong mounted behind the movement, the left hand backplate stamped THOMAS COLE, LONDON to lower edge, the 10 inch circular silvered Roman numeral dial incorporating recessed circular subsidiary barometer scale calibrated in barometric inches and with the usual observations and a curved Fahrenheit scale mercury thermometer to the finely engraved centre decorated in the Greek revival manner with hatched radial rosette incorporating anthemion motifs within a Vitruvian scroll border, with plain minute and cruciform hour blued steel hands within generous gilt cavetto moulded bezel incorporating concentric bead-cast borders and fitted with a heavy bevelled glass, the case with table-top incorporating quatrefoil lobed rim applied with eight malachite roundels set in pairs between anthemion and stylised scroll decorated projections of the stepped rim, the shallow dome-shaped rear panel centred with a square box enclosing the movement and incorporating winding/hand setting holes and shuttered escapement viewing aperture to underside, the whole mounted via hinged screw pivots and a curved graduated stay onto a conforming square plate attached by a rotating joint onto the elaborate two-tier triform base, the upper section with three slender square section uprights incorporating outswept bracket-shaped terminals to top over stylised panel and foliate scroll engraved feet resting onto a concave-sided platform stage with conforming fine foliate motif and gadroon border engraved detail, the lower tier with three further panel decorated square section baluster uprights mounted onto a substantial stepped triform block applied to a wide platform base adorned with three finely cast recumbent sphinxes within further finely worked stylised scroll and gadroon engraved borders, the underside with three adjustable disc-shaped levelling feet (surface with overall brown patination, barometer mechanism lacking), 49.5cm (19.5ins) wide across the top; 75.5cm (29.75ins) high with table top in horizontal position. Provenance: The current lot was a given to the vendor's father, a doctor, from a very grateful patient during the early 1960's, thence by descent to the present owner. The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING. Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas. Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver 'humpback' carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). The brothers then went their separate ways with James Ferguson going on to explore his technical abilities later developing a series of escapement designs including a 'resilient' lever escapement (1830), a 'double rotary' escapement (1840), a detached escapement calliper (1849) and an escapement with negative diameter (1859). Thomas Cole sought to specialise in small decorative timepieces of the highest quality. By 1845 he was advertising himself as a Þsigner and maker of ornamental clocks' and in 1851 submitted examples for display at the Great Exhibition, both under his name, and on the stands of other leading retailers such as Hunt & Roskel and Hancocks. He then went on to exhibit at the Paris Exhibition of 1855 where his entry warranted an 'Honourable Mention', and again at the British International Exhibition in 1862 where he was awarded a medal for 'Excellence of taste and design'. Thomas Cole was elected to the Royal Society of Arts in June 1861; he died three years later of typhoid fever, at his home at 1 Westbourne Park Road, Paddington, leaving his second wife Charlotte and their three children (two boys and one girl). The originality and inventiveness of design coupled with the exceptional quality of finish ensured an enduring popularity for Thomas Cole's work, mainly from the rising Nouveau Riche class of Victorians made wealthy from the Industrial Revolution. Until the discovery of the current lot only two other full-sized 'table' clocks by Thomas Cole were known. Both of these were first documented as consecutive lots offered at Christie's, King Street, Important Clocks and Marine Chronometers 13th December 2000 (lots 63 and 64). The first was numbered 1884 and was signed for the retailer's Hunt and Roskell, London; whilst the second bore the numbers 1578 and 1505 and was dated March 1862 to the going spring barrel. Both of these clocks were very similar only differing in detail - mainly in the design of the engraving; they sold for the premium inclusive amounts of £69,750 and £71,950 respectively. It seems that these two examples were purchased by the same buyer as they were offered again by Christie's, in their sale of Magnificent Clocks, on the 15th September 2004. Presented together as a 'harlequin pair' (lot 29) they realised £81,260 including buyer's premium. Finally number 1884 appeared for a third time at Christies where it was sold for £73,250 on 15th March 2012 (lot 25). Although the current lot is outwardly similar than the other two known examples overall refinements and improvements in both its specification and detailing are evident. The dial incorporates the additions of a barometer scale and thermometer whilst the rim of the table is generally of increased complexity featuring a stepped layered edge. The base is also more substantial with the central platform being significantly wider than on the other examples. This allows the lower tier of baluster supports to be spread further apart and the base plate to have an increased footprint resulting in improved stability and more satisfactory proportions. In addition to this the horizontal elements of the both the central platform and the base are extensively engraved compared to the relatively simple single geometric band seen on the lowermost step of the other two examples. Overall the detail design of the engraved enrichments possessed by the current lot are particularly harmonious being in the Greco-Egyptian style throughout. This style of decoration was made popular by Thomas Hope during the first quarter of the 19th century and seems to have been used relatively sparingly by Cole and then only for his finest examples.
A Queen Anne oak eight-day longcase clock Abraham Pilson, Plymouth, early 18th century The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and herringbone border engraved calendar aperture 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 Abra. Pilson, Plymouth to lower edge, with pierced blued steel hands and twin cherub and crown decorated scroll cast spandrels to angles, the case with shallow domed caddy surmount and deep ogee moulded cornice over slender integral three-quarter twist columns to the glazed hood door, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with full-width door centred with a lenticle and applied with half round outline mouldings to form a rectangular panel, the plinth base with ogee top moulding over conforming panel to front and moulded skirt, 208cm (82ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. Abraham Pilson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Plymouth circa 1700. The case of the current lot is noteworthy in that it appears to be a regional interpretation of the contemporary London style (probably made by a local joiner) which has generally survived in fine original condition.
A fine and well documented William and Mary brass lantern clock Thomas Veale, Chew Magna, dated (16)95 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear, the dial with central vestigial alarm disc within symmetrical foliate tulip engraved infill and with pierced brass hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and concealing engraved initials TV and date • to the plate beneath, the angles engraved with bands of concentric brickwork, the typical 'Bristol' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer, with brass side doors, iron backplate and hanging hoop above spurs to rear, on tall disc-knopped feet, 42cm (16.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks pages 92-4 figs. 2/66 to 2/68; Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 20 pages 76-9 (where the movement is extensively illustrated) and Loomes, Brian LANTERN CLOCKS & Their Makers page 192 figs. 11.12 and 11.13. Thomas Veale's dates are collated in Loomes Brian Lantern Clocks & Their Makers page 307 where it is noted that ¾llchambers records his freedom at Bristol in 1652, Moore records him as being of Bristol in 1660 when he was a bondsman to a marriage. George White records his marriage at Chew Magna 1656 to Charity Plaister. He was working to at least 1697. He left sons John and James, but no clocks are yet recorded by them'. The current lot utilises a frame casting derived from those originally favoured by the Chew Valley school of clockmakers with the earliest surviving dated example made by Edward Webb of Chew Stoke in 1676 (private collection). Several other clocks by Webb are known with dates ranging from 1678-93, with all of the documented examples sharing the same group of frame castings. These castings were also used by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695) for his earlier lantern clocks, long after Bristol makers had tended to opt for castings more closely related to London work of the period. The on-going use of such frames suggests that they were cast locally, perhaps initially by Edward Webb at his foundry in Chew Stoke (which was just over a mile from Thomas Veale's home at Denny Farm, Chew Magna), then by the Bilbie family after Webb's death in 1694. Of Thomas Veale five lantern clocks are documented, with all but one dated and made within the time span 1692-7. All these examples share the same basic frame castings, are signed with the initials TV either behind the alarm disc or chapter ring and can be found and compared in the following sources: White, George English Lantern Clocks page 230 fig. V/36 (undated example), page 231 figs. V/37 (dated ’) and V/38 (detail of dial only dated —). Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS 1615-1700 page 50 (dated 1692). Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67 (the current lot dated ’). All of the four dated examples share similar engraving executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central flowerhead motif at the top. The angles are decorated with the same concentric brickwork infill. The undated example (White, George English Lantern Cl oc ks page 230 fig. V/35) departs a little from the above similarities by incorporating larger more abstract scroll-work towards the lower margin of the dial centre and terminates with a female mask at twelve o'clock. It is perhaps interesting to compare this example with those made by Edward Webb during the 1680's which tend exhibit the same basic design within the engraving; which was strongly influenced by the work of Thomas Brown of Bristol during the 1650's (see White, George English Lantern Clocks page 232). From this observation it would be perhaps reasonable to suggest that the undated example is probably the earliest surviving example of his work and may pre-date 1680. The current lot appears to have survived in original unaltered condition and retains its original escapement. The right hand side door also features exquisite practice engraving over half of the panel incorporating a central winged female mask flanked by foliate scrolls and grotesques.
A William III walnut and floral marquetry eight-day longcase clock Christopher Gould, London, circa 1695 and later The five finned pillar inside-rack and bell striking movement with anchor escapement regulated by seconds pendulum and 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the rosette decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with fine pierced blued steel hands and winged cherub head and leafy scroll cast spandrels to angles within a fine scrolling foliate engraved border interrupted with signature Chr: Gould Londini fecit to lower margin, in a case with ogee moulded cornice and blind foliate fretwork frieze above floral trial inlaid hood door applied with spiral twist turned three-quarter columns to angles, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a lenticle and decorated with three shaped marquetry bird and angel figure inhabited flowering foliage panels into an ebonised ground within a figured walnut field, the surround with stylised leaf decoration above conforming panel outline plinth base with compressed bun feet, (case with faults), 206cm (81ins) high. Provenance: The property of a private collector, purchased from Phillips Fine Art Auctioneers sale of Clocks and Watches including Scientific Instruments and Barometers London, 8th December 1998, lot 177 for £12,000. Christopher Gould is generally regarded as one of the leading makers from the 'Golden Period' of English clockmaking. He gained his freedom of the Clockmakers' Company in 1682 but by 1713 had become destitute and received charity from the Company until his death in 1718. Christopher Gould's work invariably demonstrates a level of quality and elaboration that could only be afforded by the most wealthy of patrons, with the movement and dial of the current lot being no exception with well thought-out internal rack striking mechanism and fine engraved detail around the spandrels - a feature often only found on Gould's best work.
A fine and very rare Charles II night timepiece Joseph Knibb, London circa 1670-75 The rectangular six finned and latched pillar single fusee movement with backplate measuring 7.75 by 5 inches and horizontal silent verge escapement regulated by short bob pendulum, the sides with black japanned metal dust covers, the top with similar shutter extended at the rear to provide a platform for the light source, the frontplate with integral cast arched extension to the upper edge to carry the revolving hour disc driven by motionwork behind and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band of the principal disc, the 9 inch square gilt brass dial with break-arch centre panel painted with a scene of horsemen dismounting within a pastoral landscape beneath pierced arched sector to reveal the revolving chapter hour disc painted with cherubs in flight on a sky blue ground behind, the upper margin with pierced Roman numerals I, II and III for the quarters and incorporating scalloped inner edge with each division denoting the minutes, the lower margin signed Joseph Knibb Londini fecit over an engraved perspective pavement flanked by vertical panels engraved with delicate floral trails and paired Corinthian columns, the upper angles decorated with tied foliage flanked by grotesque lion's masks, in a gilt brass mounted ebony veneered table-top case with triangular tympanum applied with square panel outline mouldings to upper surfaces and with fine gilt mount modelled as an elaborate Baroque shield flanked by cherubs to front, the lintel with generous gilt festoon swags of fruiting foliage over rectangular glazed front door applied with raised moulding to the aperture and flanked by solomonic twist Corinthian columns with finely detailed capitals and bases, the sides with rectangular blind panels and conforming quarter columns applied to bargeboards at the rear, the base with projecting plinths for the columns at the angles, the rear with flat surface applied with geometric border mouldings behind the pediment over rectangular door with conforming panel decoration (movement with restoration, case now with removable superstructure, some restoration and adaptations), 52cm (20.5ins) high. Provenance: Formerly the property of H. Alan Lloyd, sold on instruction of his widow at Sotheby's, London, 2nd December 1974 (lot 33); sold again at Antiquorum, Geneva in their sale titled THE ART OF BRITISH HOROLOGY 21st October 1995 (lot 13) for a hammer price of CHF 50,000 (approximately £32,000 including 10% buyer's premium). Literature: Illustrated in Lloyd, Alan H. OLD CLOCKS (first published 1951) Plates 46 C. and D. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. The current lot is one of four documented night clocks by Joseph Knibb with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was probably developed by the Fromanteels prior to Joseph's arrival in London in 1671. The advantage of this type of dial layout is that it negates the need to provide a separate chapter ring for daytime use as seen on other examples by makers such as Edward East and John Hilderson (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5, plates 759-63 for an example by John Hilderson). The engraved decoration and layout of the dial of the current lot is generally similar to the three other examples illustrated by Lee but has some detail differences - most noticeably in the design of the upper spandrel ornament. These differ in that the other three have decoration composed with a dog rose over pomegranate and other fruit whilst the current lot is engraved with foliate scrolls terminating with grotesque lions masks. The dog rose and pomegranate design is of a type seen on other standard clock dials by makers such as Edward East, as well as examples by Knibb made during his formative years in Oxford (including an ebonised architectural longcase clock which was sold in these rooms on Tuesday 11th March 2014, lot 143, for a hammer price of £230,000). From this it is perhaps appropriate to speculate that the dial of the current lot was most likely engraved by a different hand - probably the same individual responsible for an almost identical dial for a hour-striking night clock by Henry Jones illustrated in Early English Clocks on page 521 (plate 770). The case of the current clock is essentially 'of the period' and can be directly compared to one housing a standard table clock movement and dial by Edward East illustrated in Early English Clocks page 174 (plate 235). However alterations including the top being cut just below the lintel to make it removable (presumably to allow the lamp to vent when used at night) and the provision of an additional baseboard for the movement to sit-on would indicate that the case is not original to the movement and dial.
A fine William III walnut and floral marquetry eight-day longcase clock Jasper Taylor, London, circa 1700 The five finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt hour markers, Arabic five minutes to outer track and signed Jasper Taylor, in Grays Inn to lower margin, with fine pierced blued steel hands and twin cherub and crown leafy cast spandrels to angles the case with moulded cornice and plain frieze above floral trial inlaid hood door applied with three-quarter columns to angles, the sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with conforming leafy trail decorated concave throat above 42 inch door centred with a lenticle and decorated with marquetry bird and angel figure inhabited flowering foliage into an ebonised ground, the surround with stylised leaf decoration, the sides with two line-edged panels within crossbanded borders, on conforming panel outline marquetry fronted plinth base with shallow moulded skirt, 213cm (84ins) high. Jasper Taylor is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in 1671 to the clockmaker Thomas Taylor to whom he was subsequently apprenticed gaining his Freedom of The Clockmakers Company in 1695. He worked at Grays Inn, London and took many apprentices (including Thomas Fitter in 1699) with his last being George Freeman in 1711. The design of marquetry decoration to case of the current lot can be directly compared to that on a clock by Isaac Lowndes illustrated in Bruton, Eric The Wetherfield Collection of Clocks on page 170 (fig. 132). Please note: In order to clarify any doubt (possibly inferred by the catalogue description) we would like to state that we are of the firm opinion that the movement and dial are original to the case; in other words the movement and dial are not associated to the case.
A French engraved gilt brass miniature carriage timepiece with painted enamel panels Indistinctly signed, late 19th century The eight-day movement with replaced platform lever escapement and rectangular enamel dial panel incorporating circular white Gothic Roman numeral chapter disc and blued steel hands within polychrome painted field decorated with figures within a picturesque garden landscape to lower margin, the miniature corniche type foliate scroll engraved case inset with further riverscape painted panels to sides and rear, the top with hinged handle over bevel glazed escapement viewing aperture, 7.6cm (3ins) high to hilt of handle.
A German gilt metal mounted walnut 'swinging cherub' mantel timepiece Lenzkirch, Germany, circa 1905 The small single train going barrel movement with inverted wheel train regulated by upside-down anchor escapement connected via a brass wire cranked armature to the back-and-forth swinging pendulum pivoted beneath the movement, the backplate stamped with Lenzkirch A.U.G., 1 Million trademark over serial number 13463, the silvered Arabic numeral dial decorated with a rosette to centre and with cartouche numerals within applied gilt bezel, the case of architectural form with concave-sided pediment surmounted by a vase finial and applied with foliate cast panel mount to front over ogee cornice and gilt stud decorated shaped panel around dial, the base with baluster-turned columns flanking recess enclosing the pendulum the with bob cast as a child on a swing fronting foliate gilt surround decorated back panel flanked by incised scroll-shaped side projections capped with gilt finials, on ogee- moulded plinth base with curved side sections and disc feet, 43cm (17ins) high. The Lenzkirch clock factory was founded in 1849 by clockmaker Eduard Hauser and organ maker Ignaz Schpperle who decided to make clock movements and parts of the highest quality using line production in order supply individual clockmakers for finishing and casing. Within a few years the factory was producing complete clocks, however towards the end of the century the business went into decline due to failure in keeping up with new production techniques. This resulted in the firm being sold to the Junghans brothers who continued it as an off-shoot until its final closure in 1932
A Japanese engraved brass Kake-Dokei lantern clock with double foliot regulation and alarm Unsigned, mid to late 19th century The weight-driven posted countwheel striking movement with double-crownwheel escapement regulated by one of two foliot balances at one time each applied with adjustable curser weights and with automatic switching between the two via linkages engaging with pins applied to the rear of the countwheel, the spring-driven alarm mechanism positioned behind the dial at twelve o'clock wound via a key to front and sounding on the 'pork pie' hour bell mounted on a baluster-turned post above the frame, the rectangular asymmetric floral spray engraved dial plate with upper central rotating ring-turned disc applied with the pierced steel hand and an adjustable alarm setting pin within chapter ring engraved with twelve panels with characters for the Japanese hours tokis over zodiacal symbol with inner edge divided into ten buns , over two calendar apertures for the Twelve Terrestrial Branches and the Ten Celestial Stems of the traditional Japanese calendar set beneath the chapter ring, the case with elaborate baluster-turned decorative corner posts, asymmetric foliate spray engraved side panels retained by sprung latches and conforming fixed panel to rear, 22cm (8.75ins) high including feet, now contained in a later glazed mahogany hooded case of traditional design with stepped superstructure over rectangular front window and brass grille frets above further glazed apertures to sides, the bracket with shaped apron to table and drilled for fixing to the wall at the top of the backboard, 46cm (18ins) high overall. The first mechanical clocks were introduced to Japan by Jesuit Missionaries during the second half of the 16th century, some of whom settled on the island of Amakusa and assisted Japanese craftsmen in developing their own clocks. The Japanese system of temporal hours presented a problem for these early craftsmen as each twenty-four hour period was divided into night and day with the hours for each starting or ending at dawn or dusk. With this system the hours for each varied throughout the year as the seasons changed. To compensate for this Japanese makers developed the double foliot system which allowed the effective rate of the clock to be changed automatically at dusk or dawn - to reflect the different length of the hour for each. Naturally, as the seasons developed, the beat rate for each foliot needed to be updated on a regular basis; this was usually undertaken by a local clockmaker who would adjust the position of the cursor weights on each foliot. Technologically Japanese lantern clocks generally reflect the early European models that were imported during the late 16th century, with the basic design and form remaining essentially the same throughout the Edo period (1603-1868). This apparent lack of technological development within Japanese clockmaking was due in part to the fact that the state was essentially closed-off to outsiders whilst under the control of the Shogun. Also during this time Japan was predominantly an agricultural society which meant that accuracy in timekeeping was simply not required, hence there was no need to improve the technology (which would have been extremely difficult within the system of unequal temporal hours). Ultimately during the subsequent Meiji period Japan adopted the Western system of equal hours (in 1872) which rendered the double-foliot system obsolete. The current lot is a fine example of a fully developed double-foliot Kake-Dokei complete with alarm and calendar dating probably to shortly after 1850. The movement is finely executed and the case confidently engraved. Technologically it presents as a fascinating insight into traditional Japanese clockmaking and strongly reflects the crafts 16th century European roots.
A fine French small porcelain panel inset ormolu mantel clock Martin, Baskett and Martin, Paris, circa 1860 The circular eight-day movement rack striking on a bell and signed Martin Baskett & Martin, Paris over number 477 to backplate, the rectangular light-green bisque porcelain panel dial with fine foliate painted rosette and repeat signature MARTIN BASKETT & MARTIN, PARIS to centre within vine decorated Gilt Roman cartouche numeral chapter ring over polychrome scene of two seated cherubs arranging flowers to lower margin, the rectangular case with surmount cast as a seated Classical female muse within repeating husk swag and crossed feather moulded border over scroll decorated frieze and female caryatid mounted angles, the sides inset with further bisque panels finely painted with cherubs holding aloft baskets of fruit on a conforming light green ground, on repeating anthemion cast ogee moulded skirt base with elaborate paw feet, 26cm (10.25ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks.
A fine French Sevres style porcelain mounted ormolu mantel clock garniture, Unsigned, late 19th century The circular eight-day movement regulated by platform escapement with sprung balance set into a powder-blue porcelain sphere with surmount cast as dove and incorporating dial painted with figure of seated Chronos to centre within an elaborate repeating jewelled gilt scroll bordered Roman numeral chapter ring, the whole raised on tapered gilt pedestal inset with panel painted with a cherub flanked by scroll-outline female terms, the elaborate D-ended base applied with musical trophies and fronted with a female mask emblematic of Liberty, on leaf cast squab feet flanked by scrolled side supports, (sphere complete but extensively cracked with loose section), 51cm (20ins) high; with pair of twin handled vase side pieces en-suite, each with ogee-shaped gilt decorated blue-ground cover over cylindrical body finely painted with a continuous pastoral scene incorporating figures in peasant dress over swollen base section flanked by stylised scroll handles, on circular husk decorated concave base incorporating rosette cast panels over squab feet, (one cover extensively restored), each 32cm (12.5ins) high.
A French Empire ormolu small figural mantel timepiece Unsigned, early 19th century The circular eight-day movement with silk pendulum suspension and circular white enamel Roman numeral dial set within a rope twist engine-turned bezel, the case modelled as cupid riding in a chariot being drawn by a pair of poodles incorporating the timepiece as the wheel beneath foliate trail cast side panel and with lions mask terminal for the yoke, the oval plinth base applied with a rosette centred floral spray cast mount flanked by ribbon tied laurel wreaths, on engine-turned ball feet (unrestored, lacking pendulum, minute hand and one foot, chariot detached), 27cm (10.5ins) high.
A rare French Empire ormolu and patinated bronze small figural mantel timepiece 'au négre portefaix' incorporating musical mechanism to plinth The stand signed for Alibert, Paris, early 19th century, the timepiece movement later The later circular movement with gilt Arabic numeral dial and bevel-glazed bezel, in a case modelled as an African American male with glass eyes wearing a rimmed hat, jacket and pantaloons set in a walking pose carrying an envelope and using a cane in his left hand whilst transporting a tied cotton-bale housing the timepiece movement on his back, the rectangular plinth base inset with a panel cast in relief with three cherubs aboard a punt raised on four gilt engine-turned feet, the integral oval outline burr maple veneered stand cut with a groove to take a glass dome cover to top surface and with Swiss made musical mechanism playing a choice of two airs via a 2.5 inch pinned cylinder and a tuned steel comb to interior, the exterior with pull-wind cord to right hand side and mother of pear panel incorporating operating levers annotated Changer and Jouer flanking signature Alibert a Paris to lower margin, on four button-turned feet, the clock 26cm (10.25ins) high; the clock and base 32cm (12.5ins) high overall. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. The form of the current lot is based on a design registered by Jean-Andre Reiche in January 1808 (see Niehuser, Elke FRENCH BRONZE CLOCKS page 149).
A fine Louis XV ormolu and black marble figural mantel clock with concentric calendar Ridel, Paris, late 18th century The circular eight-day countwheel bell striking movement with anchor escapement regulated by pendulum incorporating female sunburst mask cast bob and silk suspension, the 5 inch circular convex white enamel Arabic numeral dial signed Ridel a Paris to centre within puce concentric Arabic calendar ring, conforming hour chapters and quarters to outer track, with fine entwined ribbon-pierced and chased gilt hands and blued steel arrow calendar pointer within hinged gilt engine-turned bezel fitted with convex glass, the case with tied laurel spray and lyre cast surmount to the drum housing the movement and dial applied with ribbon tied vine trails to sides over pendant apron centred with a vacant white marble oval panel flanked by cornucopia, the whole supported via curved brackets on a pair of cylindrical black marble pedestals applied with chain-link swags and surmounted by scantily clad standing Classical female figures cast in the manner of Thomire, the rectangular platform base applied with gilt bollards united by chains around each pedestal over front incorporating gilt grotesque mask and scroll cast mount flanked by projecting panels with engine-turned inserts, on six turned gilt brass feet, 52cm (20.5ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. Ridel is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Paris circa 1800 with examples of his work at the Palace de Fontainbleau and in the collection of the Gemeente Museum, The Hague.
A fine and impressive French gilt brass and Belge noir marble large four glass mantel regulator of one year duration Susse Freres, Paris, late 19th century The movement with tandem going barrels driving the five wheel train with the upper two wheels pivoted between cocked sub-plates fitted to the frontplate, with delicate deadbeat escapement regulated by Ellicott pattern compensated pendulum with fine-beat adjustment to crutch and panel centred disc-shaped bob with locking regulating nut beneath, the backplate numbered 1346 over stamped monogram trademark, the 6.5 inch circular convex white enamel Roman numeral dial inscribed REGULATEUR, MARCHANT UN AN, Susse Freres, Paris with five minutes to outer track and blued steel spade hands within generous cavetto moulded bezel, the bevel-glazed case with cushion and cavetto moulded marble top over pin-hinged front and rear doors set between caddy-moulded brass uprights and conforming bevelled glass side panels, on cavetto moulded marble skirt base with rounded angles and discreet brass pad feet with shallow-arched recess to each side between, 50cm (19.75ins) high. Susse Freres were primarily a firm of decorative 'bronziers' who were worked from Place de la Bourse during the second half of the 19th century. Another year duration mantel regulator by them is illustrated in Roberts, Derek Mystery, Novelty and Fantasy Clocks figure 9-21.
An early Victorian small gilt and patinated brass four-glass mantel clock Jose Rodriguez Losada, London, circa 1840 The circular twin chain fusee movement with five column-turned pillars and horizontal platform English lever escapement incorporating sprung split bimetallic balance and silvered SLOW/FAST curved regulation scale to rear, the backplate with engraved signature J. R. Losada, 105 Regent St., London over vertically positioned hour bell, the silvered brass single sheet Roman numeral dial with heart-pierced blued steel hands over shaped double-line border engraved reserve enclosing repeat signature J. R. Losada, 105 Regent St., London, 6514, to lower margin, the bevel-glazed case with rectangular aperture to the cavetto moulded top over full width front door incorporating 3.75 inch wide complex ogee pointed arch glazed dial aperture with raised triangular profile surround to exterior and canted silvered brass fillet to interior, the sides with generous bevel-glazed panels, the rear with conforming panel set into ah hinged door with spring clasp, the two tier plinth base applied with band of cast patinated brass stylised acanthus foliage over cavetto moulded skirt fitted with compressed bun feet, 25.5cm (10ins) high. Jose Rodriguez Losada is recorded in Loomes, Brian Watchmakers & Clockmakers of the World as working in London 1839-75. Losada was a Spanish émigré who moved to London in 1835; he initially worked for James Moore French before setting up on his own specialising in complex precision clocks and marine chronometers for export to Spanish speaking countries. In 1864 he supplied 36 marine chronometers to the Spanish Government through the Royal Observatory at Cadiz. Losada died in 1875 leaving the business in the hands of his nephews José and Miguel Rodriguez who continued up until around 1890.
An unusual Regency eight-day picture or mural clock movement Payne, London, circa 1825 The five pillar twin fusee rack and gong striking movement with half deadbeat escapement regulated by lenticular bob pendulum suspended from the brass gong block to be mounted on a board behind the movement and signed Payne 163 New Bond Street to the lower margin of the frontplate, the backplate drilled with four holes for mounting the movement onto a panel behind via pinned posts, the plates 15cm (6ins) high by 10cm (4ins approx.) wide. William Payne is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1820-40, other sources suggest that he worked from 1811 until 1856 with the firm continuing to trade under as Payne & Co. until around 1875. The unusual configuration of the current lot indicates that the movement was mounted (via four feet pinned through the backplate) from behind on a board facing forward. The pendulum would have been separately suspended from a brass block (also supporting the gong) fitted to the board behind the backplate. The absence of dial feet and the fact that the frontplate carries the signature indicates that the movement would have been accessed through the front (after removing the hands) for attention. This layout would suggest that the current lot was made for a picture clock (where the hands would be part of a working feature of a painting - usually a church tower clock) or some other bespoke application where access from the front was necessary.
A George III lacquered brass solar microscope William and Samuel Jones, London, circa 1800 The square brass plate signed W & S JONES, 135 Holborn, Fecerunt, London to the raised circular front panel with two knurled screws one for adjusting the angle of the brass framed rectangular mirror, the other for the position of the three-part body-tube fitted to the threaded centre aperture and incorporating large primary lens at the plate end opposing rack and pinion focus adjustment, condensor and objective lens slots at the other with sprung specimen supporting platform between, in original mahogany box with accessories including low power lieberkuhn objective lens, six further high power objectives arranged in a brass slider, three condensor lenses mounted in individual brass sliders, three bone specimen sliders and other accessories, the inside of the lid with pasted trade label for JOHN CAIL, Mathematical & Philosophical, INSTRUMENT MAKER.. GREY STREET, NEWCASTLE UPON TYNE.. , the box 25.5cm (10ins) wide. The partnership between the brothers William and Samuel Jones is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as operating from several addresses in Holborn, London 1792-1859 (including 135 Holborn 1792-1800). John Cail is recorded by Clifton as working from various addresses in Newcastle upon Tyne 1825-65 (including 21 Grey Street 1855-65), a trade label identical to that pasted to the inside of the lid of the current lot is also reproduced by Clifton. The solar microscope was developed by John Cuff in the mid 18th century. The instrument would have projected a view of the specimen by focussing reflected sunlight through the body tube.
Two similar George III gilt brass verge pocket watch movements J. Clark, London and J. Vangble, London third quarter of the 18th century Each gilt full plate single fusee verge movement with four square section baluster pillars pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the first with fine asymmetric foliate scroll pierced and engraved balance cock and unusual diamond-hatched engraved foot flanked by silvered regulation disc within adjacent conforming applied infill opposing signature J. Vangble, London and serial number 576 the other also with asymmetric foliate scroll pierced cock but with pierced foot and infill panel around the regulation disc opposing signature J. Clark, London with serial number 3071 , both fitted with convex white Roman numeral enamel dials (both lacking hands), each pillar plate 35mm (1.375ins) diameter. Numerous makers with the name J. Clark are listed in Baillie G.H. Watchmakers & Clockmakers of the World as working in London during the third quarter of the 18th century. J. Vangble appears not to be recorded in the usual sources.
A verge pocket watch movement with champleve dial James Lehcim, London, first half of the 18th century The gilt full plate single fusee verge movement with four square section baluster pillars pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the backplate with symmetrical foliate scroll pierced and engraved balance cock with grotesque mask at the junction of the conforming pierced foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature Ja's Lehcim and serial number 470 , fitted with circular silver champleve dial with arched panel signature cartouches engraved LEHCIM, LONDON to the scroll decorated matted centre within Roman numeral chapter ring and Arabic lozenge five minute numerals to outer track, (hands lacking), the pillar plate 35mm (1.375ins) diameter. A maker with the surname 'Lehcim' appears not to be recorded however it is possible that the name has been reversed, hence a maker with the surname 'Michel' may have been responsible for the current lot.
A gilt brass verge pocket watch movement with champleve dial Deshays, ADovay, early 18th century The gilt full plate single fusee verge movement with four square section baluster pillars pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the backplate with fine symmetrical foliate scroll pierced and engraved balance cock with gadroon bordered rim and grotesque mask at the junction of the conforming pierced broad foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature DESHAYS, A DOVAY and serial number 137, fitted with circular silver champleve dial with curved panel signature cartouches engraved DESHAYS, A.DOVAY to the matted centre within Roman numeral chapter ring with lozenge half hour markers and Arabic lozenge five minute numerals to outer track, with pieced blued steel hour hand (minute hand lacking), the pillar plate 37mm (1.4375ins) diameter. Although there appears to be no specific record of a maker by the name of Deshays working from 'Dovay' in the usual sources it is perhaps interesting to note that the current lot appears to be distinctly English in character suggesting that the maker was trained in London. With this in mind it is perhaps appropriate to note that a Matthew Deshais is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London before 1710.
A Paris porcelain bowl 19th century, painted with a rectangular panel of two putti at play on branches, a smaller panel of a single putto harvesting corn with a sickle, the white ground brightly enamelled with further putti playing pipes and seated on elaborate leaf scrolls, the interior richly gilded, 16.5cm.
A Meissen two-handled beaker c.1723, the tall flared form painted to each side with a quatrefoil panel, one with a Chinaman holding a stand on which perches a colourful bird, the reverse with a further figure holding a smoking tray of incense, reserved in borders of Böttger lustre and feathered scrollwork in red, puce and green, the inner rim with a wide formal gilt border, gilt r mark to the base, 8.1cm. Copy of a purchase invoice from Heinz Reichert.
A good Worcester ovoid vase c.1770, richly decorated with a wide panel of two phoenix or other fancy birds perched on flowering chrysanthemum stems and holey rockwork, two further panels of chrysanthemum and leafy bamboo in the Kakiemon palette, alternating with narrow bands of gilt and white flowerheads on a deep blue ground, square seal mark, 19.8cm.
A Worcester blue and white creamboat c.1755, each side moulded with a shaped panel beneath an arched osier border, painted with the Captive Bird pattern, to one side a Chinaman holding a bird in flight at the end of a rope, the other with a figure crossing a bridge beside a storeyed pagoda, floral sprays to the interior, workman's mark beneath the scrolling handle, 11.5cm. Paper label for Albert Amor Ltd.
A Worcester blue and white teabowl and saucer c.1760-70, decorated with the Fisherman in a Fan-shaped Panel pattern, with three shaped panels of Oriental landscapes between three floral roundels, reserved on a pale powder blue ground, square seal and open crescent marks, 11.8cm. Paper label for Klaber & Klaber.
A George II burr walnut bureau bookcase, crossbanded and with herringbone inlay and applied moulding, the upper section with a pair of arched panel doors enclosing shelves and pigeonholes, the fall enclosing a fitted interior over lwo long and two short drawers and bun feet, 97cm wide58cm deep202cm highThe Starling Collection.
An attractive inlaid walnut box on stand, probably 18th century, the hinged top with a central panel inlaid with pan pipes and flowers within a broad stylised foliate border and crossbanding, the front and sides profusely inlaid with scrolling foliage, the square tapering legs inlaid with patera and shells within strung panels, and below kingwood inlaid panels,58cm wide43.5cm deep75cm highThe Old Rectory, Edgcote.
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