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Lot 244
A Coalport blue ground and gilded bone china tyg, the central panel painted with a highland scene, the twisted gilt handles with acanthus terminals, on scroll feet, transfer printed mark, 12cm high; a Coalport baluster pot pourri jar, blue ground, the central cartouche painted with a mountain scene, vase cover with gilt finial (restored top), transfer printed mark, 15.5cm high.
Lot 12
A Dutch inlaid mahogany mercury contra-barometer J. Stopanni, Amsterdam, 19th century The two-section urn surmount outlined pewter scales with ribbon bow crest decorated signature cartouche above applied spirit Fahrenheit and Reaumur scale thermometer to the left hand scale, the centre tube flanked by scales for both English and French barometric inches, the right hand main scale annotated with additional amplified English barometric inches incorporating the Dutch `36` scale calibrated 20-0-16 with the 0 representing the mean pressure at sea level in The Netherlands, the case with parquetry banded broken triangular pediment and vase finial above chevron banded frieze panel and glazed front door with conforming inlay to surround, the box base with three half bell-shaped inserts and two vase shaped pendant finials, 127cm high overall.
Lot 61
An early Victorian walnut drumhead bracket clock, Daniel Desbois, London, circa 1840. The five pillar twin fusee gong striking movement with anchor escapement and pendulum holdfast to the backplate signed Desbois, Grays Inn Passage, London to centre, the eight inch circular single sheet silvered brass Roman numeral dial signed DESBOIS, LONDON near the XII numeral and with blued steel hands within hinged brass glazed bezel, the case with drum section supported on foliate carved volutes with recessed rectangular panel fronted plinth base beneath, on skirt base with squab feet, 44cm (17.25ins) high. Daniel Desbois is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1800-40.
Lot 62
A Regency inlaid mahogany bracket clock, Barraud, London, early 19th century. The unusual circular five pillar twin chain fusee bell striking movement with anchor escapement and pendulum with holdfast attached to the base of the case, the border engraved backplate signed BARRAUD, Cornhill, LONDON to a conforming oval cartouche, the 7 inch cream Roman numeral circular convex dial with repeat signature to centre and gilt spade hands within a convex glazed engine-turned brass bezel, the arch shaped case with hinged brass carrying handle above ebony edged front with scroll line bordered panel beneath dial, on moulded skirt base with brass ball feet, 40.5cm (16ins) high excluding handle. The current lot is probably by Paul Philip Barraud who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as becoming a Liveryman of the Clockmakers` Company in 1796 and appointed Master in 1810. He is listed as a fine watch and chronometer maker who worked in partnership with W. Howells and G. Jamison for making Mudge`s timekeepers. He had two sons; Frederick Joseph (worked 1806-25), and John (worked from 1813), with whom he formed a partnership in 1811 which presumably lasted until his death in 1820.
Lot 69
A Regency brass inlaid mahogany bracket clock, Unsigned, early 19th century. The five pillar twin fusee bell striking movement with anchor escapement and pendulum holdfast to the decorative border-engraved shouldered backplate, the 8 inch circular white painted Roman numeral convex dial with unusual scroll pierced blued steel spade hands and cast brass bezel, the triangular pedimented case with brass pineapple finial to the stepped plinth upstand above foliate scroll inlaid infill over dial and conforming shaped panel to apron, the sides with brass ring handles above brass Gothic tracery rectangular sound frets, on rosette decorated skirt base with brass ball feet, 44cm (17.5ins) high excluding finial.
Lot 70
A Victorian mahogany bracket timepiece, Higgins, London, mid 19th century. The four pillar single fusee movement with anchor escapement and Vulliamy-type wide jaw suspension for the heavy bob pendulum, the 8 inch circular silvered Roman numeral dial with blued steel fleur-de-lys hands and signed HIGGINS, 10 Ernest St. REGENTS PARK to centre within a glazed cast brass bezel, the shaped-top case with stylised fan and rosette infill to pediment and brass grille inset rectangular side frets above central panel flanked by carved foliate scrolls fronting the shaped outline side sections to apron, on skirt base with compressed bun feet, 48cm (19ins) high. The current lot is probably by William Higgins who is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1839-51.
Lot 71
A French Empire style ormolu figural mantel clock, Unsigned, mid 19th century. The eight-day countwheel bell striking movement with circular white enamel Roman numeral convex dial with blued steel Breguet hands and foliate milled bezel, set into an ogee-shouldered plinth with foliate spray applied lower quadrants and supporting a music stand for a cherub stood on a cushioned stool and leaning on a columnar pedestal whilst playing his woodwind instrument to the right of the movement, on rectangular plinth base applied with a relief panel cast with a musical trophy to apron and on engine turned bell-shaped feet, 27cm high.
Lot 75
A French Louis XVI style ormolu mounted white marble figural mantel clock, Unsigned, late 19th century. The eight-day bell striking movement with floral garland decorated circular white enamel Arabic numeral dial with elaborate pierced gilt hands and convex glazed cast bezel, the case cast with a robed female figure standing amongst billowing clouds to the left of the dial, on breakfronted cavetto moulded white marble base with foliate cast applied mouldings and entwined garland inset panel to apron, on cast bun feet, 29cm high; matched with a pair of ormolu twin branch candelabra each cast with branches entwined around a straight cornucopia, on twist volute cast foot with white marble square tablet base and turned brass feet, each 26cm high, (3).
Lot 76
A French Louis XVI style ormolu mantel clock, Raingo Freres, Paris, late 19th century. The eight-day countwheel bell striking movement with stamped RAINGO FRERES.. trademark to backplate and circular convex white enamel Roman numeral dial with gilt pierced hands and glazed bezel, the case with stylised urn surmount to the concave sided scroll mounted upstand and shaped panel with finely chased symmetrical foliate infill beneath dial flanked by free-standing balusters issuing fruiting foliage, the breakfronted base inset with female mask foliate scroll decorated panel flanked by further conforming panels, on disc turned feet, 41cm high, with original giltwood plinth, 46cm high overall.
Lot 77
A French gilt metal mounted mottled red marble mantel clock garniture, Retailed by Finnigans, circa 1900. The eight-day bell striking movement with circular white enamel convex Arabic numeral dial inscribed FINNIGANS to centre with elaborate foliate scroll engraved gilt hands and glazed bezel, the case with cast lovebird surmount above dial and gilt foliate scroll putto term mounted panel to support flanked by patinated bronze reclining figures of putti playing pipes, the shaped moulded platform base centred with a foliate scroll decorated panel flanked by further fluted panels and rosette inhabited scroll cast mounts to the curved ends, on six engine-turned tapered feet, 41cm high; with a pair of casolette urn side pieces, each with reversible domed cover with foliate knop and gilt candle sconce to interior, above ovoid body applied with vine swags between the triform pan mask decorated supports united by a central collar and on hoof feet, on circular gilt metal frieze inset plinth base with engine turned feet, 30cm high.
Lot 79
An impressive French engraved gilt brass Renaissance style table clock, Planchon, Paris, late 19th century. The eight-day two train gong striking movement with VINCENTI & Cie, MEDAILLE D`AGANT 1855 medallion and stamped PLANCHON, PALAIS-ROYAL to backplate, the dial with demi-lune aperture painted with sun opposing a moon on a 24 hour disc so that each in-turn act as the hour hand against the engraved Roman numerals to the arch of the aperture, within raised silvered minute ring with steel hand applied with brass solar mask, the case modelled as an oversized German Renaissance `Turmchenuhr` with spire finials and fishscale engraved cast ogee shaped cupola to the double galleried tower upstand within further baluster arcade with conforming corner finials, the front engraved with flowering foliage within an arch with cloud infill around minute ring, the angles applied with baluster three-quarter pilasters with foliate capitals and bases on two-tier plinths, the left hand side engraved with a sunburst decorated mock quadrant sundial scale above fine recessed stylised dolphin and foliate scroll decorated panel and strapwork cast mount bearing date 1554, the right hand side engraved with an allegorical figure dressed in Renaissance style armour looking into a solar disc within an arch, with conforming recessed engraved panel and strapwork mount relief cast Planchon, Palais-Royal beneath, the rear with rectangular door, 65cm high. Matieu Planchon was apprenticed to his father and subsequently worked for several of the leading French makers including Robert Houdin prior to setting up business at Palais Royal, Paris in 1890. He specialised in high-end novelty clocks such as floating turtle timepieces, and imaginative recreations of Renaissance and other historic models. The current lot demonstrates his high quality approach in both attention to detail of the design and in the execution, the scale of the clock is also perhaps suggestive of an object made for exhibition.
Lot 80
A French Sevres style porcelain inset ormolu mantel clock, Unsigned, mid 19th century. The eight-day bell striking movement with blue-on-white circular enamel Roman numeral dial with elaborate gilt hands, Arabic five minutes and bevel glazed beaded bezel, the elaborate case with bird inhabited floral surmount to the polychrome putto painted shaped porcelain panel inset upstand, with cast putti and festoon swags flanking dial above further shaped cherub decorated panel and waisted foliate scroll cast canted angles with knurl feet and foliate mount to apron, on integral floral panel inset sectional base with cast feet, 54cm high.
Lot 84
A Regency brass mounted ebonised miniature bracket timepiece, Dwerrihouse & Carter, London, circa 1820. The four pillar single fusee movement with arched plates, anchor escapement and signed Dwerrihouse & Carter, Berkeley Square to the lower margin of the backplate, the 4 inch circular white enamel Roman numeral dial with blued steel spade hands and cast lacquered brass glazed bezel, the arched case with hinged carrying handle above moulded brass bordered front incorporating a lozenge shaped decorative panel beneath dial, on cavetto moulded skirt base with squab feet (case distressed and lacking rear door), 25cm (10ins) high excluding handle. Dwerrihouse and Carter are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Berkeley Square, London 1802-23.
Lot 86
A Regency brass inlaid rosewood bracket clock, John Warry, Bristol, early 19th century. The five pillar twin chain fusee bell striking movement with original anchor escapement and foliate engraved backplate signed John Warry, BRISTOL to centre and fitted with a pendulum holdfast clamp, the 8 inch cream painted Roman numeral break-arch dial with repeat signature to centre and subsidiary STRIKE/SILENT dial to arch, the break-arch case with brass carrying handle above line inlaid front door and brass fishscale arched side frets, on moulded skirt base with contre-partie brass foliate marquetry panel to apron, 43cm (17ins) high excluding handle. The current lot could have been made by either John Warry senior or his son of the same name. Both are recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 with John senior working from Redcliffe Street 1783-1821, and John junior working presumably from the same address 1830-58.
Lot 87
*A Fine Regency gilt brass mounted inlaid partridgewood lancet bracket clock, Grant, London, circa 1820. The five pillar twin fusee bell striking movement with anchor escapement, strike/silent lever and signed Grant, Fleet Street, LONDON to the lancet shaped backplate, the 7 inch circular silvered brass Roman numeral circular dial with repeat signature to centre, blued steel Breguet style hands and convex glazed cast bezel, the case with crescent shaped amboyna inlaid panel above dial and satinwood banded interlaced ebony line lozenge decorated panel infill to apron within ebony ground repeating lozenge border and with gilt slender three-quarter columns to angles, the sides with gilt lion mask ring handles above brass tracery pierced Gothic side frets, on stepped skirt base with ebonised mouldings and later cast paw feet, 41cm (16ins) high. John Grant junior who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Fleet Street 1817-67. The bespoke nature of the movement with its lancet shaped plates and the high quality of the veneers suggests that the current lot was made to order for a particularly discerning client.
Lot 94
An Irish George III mahogany eight-day longcase clock, John Ottiwell, Limerick, circa 1770. The four pillar rack and bell striking movement with 13 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed John Ottiwell, Limerick to lower edge, the angles with scroll cast spandrels, in a case with swan neck pediment and foliate scroll carved swollen frieze above fluted pilasters to hood, break-arch door flanked by canted angles to trunk, on a reduced shaped-panel fronted plinth base with bracket feet, 227cm (89.5ins) high. John Ottiwell is recorded in Ferrar`s Limerick Dictionary of 1769 as a watchmaker working in Main Street East. Another perhaps slightly earlier clock by David Gordon of Dublin in a related case was sold in these rooms 10/02/2009 lot 154.
Lot 95
*A George III mahogany eight-day longcase clock with moonphase, John Healy, Manchester, early 19th century. The four pillar rack and bell striking movement with 13 inch white painted Roman numeral break-arch dial with arched calendar aperture, subsidiary seconds dial and signed J`no Healy, MANCHESTER to the ho-ho bird decorated centre, within chapter ring with Arabic five minutes and fruit painted spandrels beneath arch with rolling moonphase, in a case with verre eglomise fronted swan neck pediment above fluted columns to hood, swollen frieze over shaped-top crossbanded door flanked by quarter columns and with squat panel beneath to trunk, on oval panel veneered plinth base with ogee bracket feet, 220cm (86.5ins) high. A John Healey is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Manchester 1777-1814.
Lot 99
A Regency ebony and brass inlaid mahogany bracket clock, Dutton, London, early 19th century. The five pillar twin chain fusee bell striking movement with anchor escapement and thick brass shouldered plates, the backplate signed Dutton, LONDON to centre, the 7 inch circular cream painted Roman numeral convex dial with gilt crossed open moonpoise hands and signed DUTTON, Fleet Street, LONDON to centre, the break-arch single-pad top case with ebonised arch mouldings above brass foliate inlaid shaped panel beneath dial flanked by ebony and brass line inlaid canted angles, the sides with arched brass fishscale sound frets, with reeded collar to the stepped base and on brass ball feet, (case seriously distressed, lacking rear door bezel and other sections), 39cm (15.5ins) high. Matthew Dutton and Sons are recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1815-25. Matthew Dutton`s father, William (worked 1746-94), was an important maker who in went into partnership with Thomas Mudge at Fleet Street in 1755, later succeeding him in 1771 when Mudge retired from the business to pursue the development of his marine timekeepers. Matthew worked with his father until 1799 then in partnership with his brother, Thomas until 1804, and then finally with his son, also called Matthew from 1815 until his death in 1825. Although the current lot is in distressed condition the movement has survived in good order hence could be brought back by someone with good cabinet making skills, with the loss of the cast brass bezel being perhaps the most significant issue.
Lot 101
A Regency mahogany weight-driven drop trunk wall clock, Robert Fletcher, Chester, early 19th century. The four pillar two train bell striking movement with anchor escapement and half-seconds pendulum, the 15 inch circular white Roman numeral dial signed ROB`T FLETCHER, CHESTER to centre, the case with moulded surround to the circular hood door above shaped ears and concave-topped caddy moulded rectangular door to trunk, and reeded panel to the curved base, 119cm (47ins) high.
Lot 116
A Regency brass inlaid rosewood bracket clock, Unsigned, early 19th century. The twin fusee bell striking movement with anchor escapement and pendulum holdfast to the shouldered backplate, the 7 inch square silvered brass Roman numeral dial with unusual heart pierced blued steel hands and fine foliate scroll engraved decoration to spandrels within a canted surround, the chamfer-top case with foliate carved finial and ribs to the brass foliate spray inlaid hipped upstand above rosette-interrupted line bordered front door flanked by brass lined canted angles and brass Gothic tracery rectangular frets to sides, on scroll panel inlaid plinth base with moulded skirt and lobed bun feet, 45cm (18ins) high overall.
Lot 117
A Regency brass mounted mahogany bracket clock, Probably by Thwaites and Reed, London, early 19th century. The five pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the 8 inch circular white painted Roman numeral convex dial bearing signature THWAITES & REED, LONDON to centre, with blued steel Breguet hands within hinged cast convex glazed bezel, the chamfer-top case with brass pineapple final to the ebonised cushion moulded hipped upstand and ripple moulded cavetto cornice over brass fillet inset quadrant panel inlaid with brass decoration and flanked by conforming canted angles to front, the sides with brass ring handles above rectangular fishscale inset sound frets, on stepped plinth base with ball feet, 50cm (19.5ins) high overall.
Lot 118
An Edwardian mahogany quarter chiming eight-day longcase clock, Unsigned, early 20th century. The four pillar triple train movement with Harrison`s maintaining power, deadbeat escapement and steel-rod pendulum with large lenticular brass faced bob, chiming a choice of two tunes on four tubular gongs every quarter and striking the hour on an additional gong, the 13.25 inch brass break-arch dial with subsidiary seconds dial to the fine applied gilt foliate scroll pierced and engraved centre within a silvered chapter ring with gilt Arabic cartouche numerals, the spandrels with further scroll-pierced gilt infill beneath arch with subsidiary STRIKE/SILENT and WHITTINGTON/WESTMINSTER within conforming pierced gilt mounts, the swan neck pedimented case with fluted columns to hood above bevel glazed oval panel and canted angles to the full-width rectangular trunk door, on panel fronted plinth base with moulded skirt incorporating bracket feet, 234cm (92ins) high.
Lot 119
An Edwardian carved walnut quarter chiming longcase clock of impressive proportions, Retailed by Kemp Brothers, Bristol, early 20th century. The substantial four pillar triple train movement with deadbeat escapement, Harrison`s maintaining power and chiming a choice of two airs on a graduated set of eight tubular gongs with hour strike on a further gong, the 13 inch brass break-arch dial with subsidiary seconds dial to the foliate scroll cast gilt centre within silvered chapter ring applied with gilt Arabic cartouche numerals and female mask and scroll cast spandrels to angles, the arch with silvered subsidiary CHIME/SILENT, STRIKE/SILENT and WHITTINGTON CHIMES/WESTMINSTER CHIMES selection dials within conforming cast infill with applied trade plaque KEMP BROS., UNION STREET, BRISTOL beneath, the case with elaborate scroll carved crest to the break arch pediment above angled Corinthian half-pilasters flanking dial and scroll pierced side frets to hood, the trunk with bevel-glazed oval panel within foliate scroll carved infill to the rectangular door flanked by conforming pilasters to the canted angles, on plinth base fronted with conforming carved raised panel flanked by canted Ionic strip pilasters above moulded skirt, 264cm (104ins) high.
Lot 121
An inlaid rosewood eight-day longcase clock, Edward Muddle, Chatham, mid 18th century and later. The four pillar rack and bell striking movement with 12 inch brass break-arch dial with star engraved subsidiary seconds dial and calendar aperture to the ho-ho bird and foliate scroll engraved matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with cast bird and urn pattern spandrels beneath arch applied with circular silvered herringbone-bordered boss signed Edward Muddle, CHATHAM flanked by conforming dolphin cast mounts, the case now veneered in rosewood with later triangular pediment, moulded cornice and fan inlaid upper quadrants above door with three quarter columns to hood, break-arch door inlaid with a fan lunette above conforming central oval panel and quarter spandrels to the trunk, on husk swag and urn inlaid plinth base with moulded skirt, 238cm (93.5ins) high.
Lot 123
*A George III green japanned eight-day longcase clock, J. Shippard, Poole, circa 1775. The five pillar rack and bell striking movement with 11.75 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes and signed J. Shippard, Poole to lower edge, the angles with bird and urn cast spandrels beneath recessed arch panel now painted with a coastal view within a dark blue ground border (rocking ship automaton lacking), the case with foliate painted ogee caddy above gilt blind fret upper quadrants and three-quarter columns flanking gilt hatched panel bordered door to hood, break-arch trunk door applied with coloured transfer engravings of a money counter and a merchant within conforming gilt borders and with opposing panels of oriental figures to upper angles, the plinth fronted with a coloured marine view with coastal ruins and men o`war above double skirt base, 240cm (94.5ins) high.
Lot 124
A George III mahogany eight-day longcase clock with moonphase, Thwaites, London, circa 1770. The five pillar rack and bell striking movement with wide convex-topped plates and 12 inch brass break-arch dial with narrow subsidiary seconds ring and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Thwaites, London to lower edge, the angles with cast rococo scroll spandrels beneath rolling moonphase with terrestrial and lunar motif engraved lunettes and calibrated for the lunar month to the edge of the disc beneath foliate scroll engraved border to upper edge of arch, the case with shaped pediment and cavetto break-arch cornice above substantial brass stop-fluted pilasters to hood, caddy moulded break-arch door flanked by stop fluted quarter columns to trunk, on raised shaped-panel fronted plinth base with conforming quarter columns to angles and double skirt, (case with faults), 238cm (93.5ins) high. Ainsworth Thwaites is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1735, gaining his Freedom in 1751 and working from Rosoman Row until 1780. He had two sons, Benjamin (apprenticed 1762, Freed 1770) and John (apprenticed 1772, Freed 1782) who subsequently made the clock for St. Paul`s Chapel, New York. The current may have been made by Ainsworth Thwaites alone, or perhaps in partnership with either of his two sons hence the presence of only the surname as a signature.
Lot 129
A Scottish Regency mahogany eight-day longcase clock, James Whitelaw, Edinburgh, circa 1815. The four pillar rack and bell striking movement with 13 inch circular single sheet silvered brass Roman numeral dial with subsidiary seconds dial and signed James Whitelaw, Edindurgh to centre, with blued steel Breguet type hands, the drum-head case with brass bezel to the circular hood surround above waisted section and raised throat mouldings, the trunk with rectangular caddy moulded door flanked by reeded quarter columns above short recessed panel, the plinth base with conforming recessed panel and bracket feet, 208cm (82ins) high. James Whitelaw is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in Edinburgh 1776 and dying 1846.
Lot 130
*An unusual George III mahogany and burr elm domestic striking regulator of one week duration with centre seconds. Alexander Cumming, Inveraray, late 18th century. The substantial five pillar rack striking movement with deadbeat escapement, bolt-and-shutter maintaining power and six wheel going train, the backplate with aperture cut for the pallets and with wood-rod pendulum with heavy brass faced lenticular bob, the 12 inch square single sheet silvered brass Roman numeral dial with blued steel hands and signed Ale:r Cumming INVERARAY to an arched cartouche to centre within chapter ring with Arabic five minutes to outer track and fine scallop shell inhabited foliate scroll engraved decoration to spandrels, in a case with moulded cornice and turned columns to hood above burr elm veneered panel inset break-arch door to trunk, on plinth base veneered with conforming rectangular panel, on bracket feet, 207cm (81.5ins) high. Alexander Cumming was born circa 1732 and was working with his brother, John, in Inveraray by 1752. He was a founder member of the Scottish Royal Society in Edinburgh and by 1761 he had moved to London. Cumming was subsequently appointed as an `expert` by Act of Parliament to assess Harrison`s marine timekeepers, and in 1763 supplied the first ever recording barometer to George III which is still in the Royal Collection at Buckingham Palace. In 1766 he published The Elements of Clock and Watch Work, he died in 1814. The current lot is an interesting early example of Cumming`s work and is perhaps a little experimental in nature. The six-wheel going train is unusual and was perhaps designed to remove errors in relation to its interaction with the strike train by delivering a high degree of power through the motionwork.
Lot 133
A George II green japanned eight-day longcase clock with moonphase, Samuel Harris, London, mid 18th century. The five pillar rack and bell striking movement with 14 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes and signed Samuel Harris, LONDON to lower edge, the angles with twin bird and urn spandrels beneath arch with rolling moonphase calibrated with the age of the moon to the rim of the disc, with sunburst decorated lunettes and herringbone engraved band to upper border of the arch, in a break-arch case with gilt hatched panel and foliate trail decorated door flanked by columns to hood, break-arch door finely painted in raised polychrome and gilt with robed figures within an oriental garden landscape with pagodas, the surround with further alternating hatched and foliate scroll border and figures to upper quadrants, on raised panel fronted plinth base with conforming decoration and moulded skirt, 236cm (93ins) high. A Samuel Harris is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World, Volume 2 as admitted as apprentice to the Clockmakers` Company in 1695, gaining his Freedom in 1708 and working until 1730.
Lot 136
A rare ebonised oak and pine `longcase` lantern clock case, Late 17th century. The hood with ogee moulded cornice above moulded rectangular door with external iron strap hinges, brass drop handle and moulded 9 by 7 inch aperture, the sides with simple rectangular doors with conforming hinges and handles, the trunk with ogee throat moulding above slender dual moulded panel inset door with three further external iron strap hinges (one replaced) and another brass drop handle, the structure continuing to from the base with brace applied below the trunk door and on later skirt, 193cm (76ins) high. Original `longcase` cases for lantern clocks are very rare, mainly due to the fact that lantern clocks were predominantly designed to hang from the wall. The construction of the current lot (often termed `pencil case`) with its slender trunk continuing to the floor reflects 17th century practice as early 18th century examples tended to resemble contemporary longcase clock cases more closely by incorporating a more developed hood and a wider section to form a plinth at the base. The mixed use of pine and oak in the current lot confirms that it was designed to take a painted finish (in this case ebonised). The simple hood side doors and external iron strap hinges are again perhaps 17th century features. Two related cases which are dated between 1660 and 1680 are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 370-1.
Lot 144
A fine Charles II walnut and oyster laburnum marquetry longcase clock case, Circa 1680. The formerly rising hood with part-ebonised cornice mouldings and swollen foliate marquetry decorated frieze above spiral twist turned three-quarter columns flanking foliate trail inlaid door with 9.5 inch square glazed aperture, the convex throat further decorated in various timbers and green-stained bone with tulips, the 42 inch rectangular trunk door with central circular and two ovoid marquetry panels, each depicting bird inhabited foliage within an oyster veneered laburnum ground with marquetry spandrels to upper and lower angles and line-edged crossbanded borders, the sides with laburnum oysters within further crossbanded borders, the plinth base with conforming marquetry oval panel and spandrels, on compressed bun feet, 193cm (76ins) high.
Lot 145
A Charles II eight-day longcase clock movement with ten inch dial, Unsigned, circa 1680, in a later oak case. The six finned pillar outside countwheel bell striking movement with anchor escapement and formerly with bolt-and-shutter maintaining power, the 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the matted centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles applied with winged cherub head and foliate scroll cast spandrels, now in an oak case with moulded cornice and foliate pierced fret above spiral twist turned pilasters to hood, shaped-top crossbanded door flanked by fluted quarter columns to trunk, on conforming raised panel fronted plinth base with ogee bracket feet, 208cm (82ins) high. The movement and dial of the current lot is perhaps related to a group of anomynous clocks by an unknown maker described in Robinson, Tom THE LONGCASE CLOCK pages 53-6. The example pictured by Robinson (3/9-12) displays many close similarities to the current lot including the engraving of the chapter and seconds ring, and the use of an hour wheel bridge casting as a backcock. Robinson suggests that such anonymous movements were made by either journeymen or other makers who, as they were not Freemen of the Clockmakers` Company, were not authorised to sign their work. Many such examples have now had signatures of famous makers added hence genuine unsigned examples such as the current lot are rare.
Lot 153
*A George I ebonised table clock with pull quarter repeat and alarm, Andrew Dunlop, London, circa 1725. The five finned pillar twin fusee bell striking movement with verge escapement, pull quarter repeat on six bells and alarm sounding via two small hammers on the hour bell, the backplate engraved with a basket of flowers flanked by ho-ho birds within foliate scrolls and a herringbone decorated border, the 7.5 inch brass break-arch dial with subsidiary calendar and false bob apertures and signed And:r Dunlop, London to a burnished oval cartouche to the matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with applied female mask and scroll pattern spandrels and N/S switch at 9 o`clock beneath arch with rosette-centred silvered Arabic numeral alarm setting dial with blued steel pointer flanked by Indian mask and scroll cast mounts, the inverted bell top case with hinged carrying handle and brass finials above scroll pierced frets to the upper quadrants of the front door and break-arch side windows, the rear door with demi-line scroll-pierced sound fret above rectangular glazed panel, on cavetto moulded base with squab feet, 45cm (17.5ins) high excluding handle. Andrew Dunlop is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1701-32.
Lot 155
A William III walnut and floral marquetry eight-day longcase clock, Fabian Robin, circa 1695. The five finned pillar inside countwheel bell striking movement with 11 inch rosette-centred square brass dial with subsidiary seconds dial, foliate engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to narrow outer track and signed Fab: Robin, Londini fecit to lower edge, the angles with gilt winged cherub head and foliate scroll cast spandrels, in a case with moulded cornice and fretwork frieze above foliate trail inlaid door applied with spiral twist three-quarter columns to hood, above conforming decoration to the ebonised ground convex throat, the trunk with 42 inch rectangular door centred with an oval lenticle and inlaid with three shaped marquetry panels decorated with bird inhabited foliage on an ebonised ground within a walnut field, on conforming marquetry panel fronted base with bun feet, 201cm (79ins) high. Fabian Robin(s) is recorded in Britten Former clock and watch makers as working in London circa 1695.
Lot 156
A Queen Anne brass mounted ebonised table clock with pull quarter repeat, Richard Peckover, London, early 18th century. The six finned pillar bell striking movement with verge escapement and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a grotesque mask and a basket of flowers above festoon swag within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, herringbone border engraved shaped false bob aperture and oval cartouche signed Rich. Peckover, London to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels beneath arch with blued steel disc centred subsidiary calendar dial flanked by conforming mounts, in an ebonised cherub and scroll repousse mounted dome top case with foliate cast carrying handle and vase finials above further repousse panel mounted front door, the sides inset with lozenge over rectangular gilt sound frets and the rear with conforming lunette shaped fret within gilts mounts to door surround, on cavetto moulded base with brass disc feet, movement with some restoration, 43cm (17ins) high. Richard Peckover is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World, Volume 2 as working circa 1700-54. In 1735 he was working in Change Alley, later moving to Royal Exchange by 1751. Baillie further notes that Peckover probably acquired the business of Quare and Horseman in 1733.
Lot 157
A William III walnut and floral marquetry eight-day longcase clock with ten inch dial, Richard Baker, London, circa 1690. The four (formerly five) finned pillar inside countwheel bell striking movement with 10 inch square brass dial with calendar aperture, subsidiary seconds and later foliate scroll engraving to the dial centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles with winged cherub and foliate scroll cast spandrels, the lower edge signed Richard Baker, Londini fecit, in a case with moulded cornice and inlaid frieze above foliate marquetry bordered hood aperture, the trunk with convex throat over 42 inch rectangular door with shaped floral marquetry panel incorporating teardrop motif above two further break-arch outline panels decorated with foliate designs on a walnut ground and incorporating a glazed oval lenticle between, on a plinth base now similarly decorated and with moulded skirt, (with restoration) 204cm (80.5ins) high. Richard Baker is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being apprenticed through the Blacksmiths` Company to John Chatfield before transferring to Richard Browne in 1683. He gained his Freedom of the Clockmakers` Company by redemption by order of the Lord Mayer in 1685. He is described as a `Great Clockmaker` and took on many apprentices including Peter Garon in 1687 for which he was fined by the Clockmakers` Company as Garon (being a Huguenot immigrant) was considered an `alien`. Baker is thought to have died in around 1700 with his widow, Jane continuing his business until around 1718.
Lot 9
A traction engine transportation box van, with internal T1500 Superwinch fitted with a battery to assist loading, spare wheel, rear roller door with drop down ramps and side display panel, the maximum axle load 1300kg, 244cm (8 feet) x 137cm (four feet, six inches) x 198cm (six feet, six inches). Note: This lot can be viewed at our Baynton Road saleroom, Ashton, Bristol, BS3 2EB, during the stated view times.
Lot 283
A hand tinted map of Cornwall by John Speed, with an inscription `These maps are to be sold by Roger Rea the elder and younger at the Golden Cross in Cornhill against the exchange 1662`, the map with an inset panel of Launceston, with the Coat of Arms of the royal family and various Coats of Arms of the Dukes of Cornwall, 39x51cm (illustrated)
Lot 289
A collection of loose maps of Cornwall comprising a new map of Cornwall drawn from the best authorities by Thomas Kitchin, George engraver to his Royal Highness The Duke of York, circa 1764, 19x25cm, hand tinted map of Cornwall by John Seller circa 1783-87, with description below of the county, dimensions of map 11x14cm, Cornwall by Edward Weller F.R.G.S., published by Cassell, Petter & Galpin of London, circa 1876, this hand tinted map with inset panel of the Scilly Isles, 30x42cm, Cornwall guide to knowledge, this being a wood block print, by J Archer SC, 100 Drummond Street, Euston Square, circa 1833, together with a guide to knowledge leaflet regarding Cornwall, 16x22cm, coloured map of Cornwall by Weller, printed by William Mackenzie, London, Edinburgh and Glasgow, circa 1898, 21x27cm, black and white map of Cornwall by Cole & Roper, circa 1835, with inset panel of the Scilly Isles, 17x23cm, coloured map of Cornwall drawn and engraved by J Archer, with inset panel of the Scilly Isles, 18x23cm, black and white map of Cornwall, printed for Robert Sayer in Fleet Street and Carrinton Bowls in St Paul`s church yard, circa 1765, taken from Ellis`s English Atlas, with inset panel supplement for the Isles of Scilly, drawn from an actual survey by DE & LA Rochette, 20x24cm, a coloured map of Cornwall published 1st July 1809 by J Cary, 21x26cm (9)
Lot 454
A 19th century Cantonese Famille Rose charger of dished circular form, the centre panel decorated with three female figures in garden and landscape setting, between a border of exotic birds, butterflies and blossoming foliage, underside bears incised and painted marks, 46cm diameter (illustrated)
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