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Lot 50
Three similar Continental gilt brass verge pocket watch movements Bearing... Three similar Continental gilt brass verge pocket watch movements Bearing various signatures, mid to late 18th century Each gilt full plate single fusee verge movement with scroll-pierced stop-iron block and sprung three arm balance, the backplate with foliate scroll pierced and engraved balance bridge and conforming applied infill around the silvered regulation disc continuing to form a shaped cartouche for the signature, two examples with faceted section baluster pillars pinned through the backplate bearing signatures Martineau, LONDON, 2550 and Wilter, LONDON, 7877 to backplates, the third with square section baluster pillars and bearing signature Alleoud, London to backplate, each fitted with convex white enamel Roman numeral dial with arcaded minutes ring, the pillar plates measuring approximately 35mm (1.375ins) diameter, (3). Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The three watch movements in the current lot are almost certainly of Dutch manufacture produced during the mid to late 18th century signed with 'spurious' London signatures. One diagnostic feature is that on such examples the layout of the regulation tends to vary slightly from typical English practice resulting in the silvered regulation disc being positioned on the opposite side of the movement (to the left rather than the right when viewed with balance bridge uppermost). The applied decoration to each backplate forming a decorative cartouche border for the signature is an unusual and attractive detail.
Lot 126
A fine Charles II ebonised eight-day longcase clock Lawrence Debnam, Frome A fine Charles II ebonised eight-day longcase clock Lawrence Debnam, Frome, dated 1675 The two-handed posted countwheel bell striking movement with column-turned corner uprights and resting on integral spikes fitted to the underside of the baseplate, the trains both with offset greatwheels each pivoted between a post attached to the baseplate opposing lug fitted to the one of the frame uprights, the going with anchor escapement incorporating solid ºttery brass' escape wheel and regulated by seconds pendulum, the strike sounding on a bell mounted above, the 10 inch square brass dial with iron hands and fine symmetrical scrolling tulip engraved centre issuing from a stylised urn to lower centre and incorporating flamboyant signature Lawrence Debnam, in Froome Fecit to upper margin, within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, the dial plate engraved with the names Jam: Delanc and John Sentance along with the date 1675 beneath the chapter ring at two o'clock, the angles applied with winged cherub mask cast and pierced spandrels, the ebonised pine case with triangular pediment and architectural frieze over fixed glazed dial aperture and conforming rectangular side windows to the formerly rising hood, the trunk with convex throat moulding and 43 inch rectangular door, the plinth base with ogee mouldings to upper edges and on moulded skirt, 221cm (87ins) high. Literature: The current lot is documented in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 5 pages 30-33 (where the movement and dial is extensively illustrated). Lawrence Debnam is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Frome, Somerset in 1643 and was working from Cheap Street in the town from at least 1667 and is thought to have died in 1682/3. The presence of James Delance's signature beneath the chapter ring suggests that he was also involved in the making of the current lot. James Delance is recorded by Loomes as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Debnam who died in 1683 at the age of 40. By 1721 Delance had moved to Downton, Wiltshire and was still working in 1736. John Sentance appears to be unrecorded as a clockmaker although it could be considered possible that he was responsible for the remarkable engraved decoration to the centre of the dial. The current lot employs and escape wheel made from work-hardened ºttery brass' formed by hammering a cast solid disc prior to cutting of the teeth. This creates a wheel much more resilient to wear however this process makes it difficult to cross it out hence why it is left as a solid disc when fitted. It is perhaps appropriate to speculate that the current lot is probably one of the earliest West Country clocks to be fitted with anchor escapement with seconds pendulum; as such the maker(s) may have sought to experiment with the metallurgy of the escape wheel in order to ensure longevity of this new technology. This very rare feature appears to have been subsequently used by James Delance (see following lot) and it is testament to both makers that these wheels are still serviceable after over three hundred years of use. The layout of the trains suggests that when originally conceived the current lot was intended to have a duration of thirty-hours, however the maker chose to complete the clock with eight-day continuance and facilitated this by incorporating offset greatwheels each pivoted between a post attached to the baseplate opposing lug fitted to the one of the frame uprights. The frame uses typical 'Bristol' one-piece lantern castings but dispenses with the finials and feet substituting the latter for steel spikes - a feature typical of the early Somerset clocks. Another 'West Country' detail present in the current lot is the keyhole shaped aperture cut into the lower edge of each of the movement pivot plates. The reason for these is unknown however they may be have been intended to allow slight adjustment/tight fitting of the integral locating lugs into the baseplate. The remarkable dial of the current lot is perhaps one of the finest examples of the fully developed Bristol and West Country style made fashionable by makers such as John London of Bristol during the kid 1670's. Indeed the engraving can be compared to a dial by London illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on page 38 (exhibit 7 in the exhibition). The exuberant signature is extraordinary in its confidence and execution as such is extremely effective in expressing the pride and individuality of the maker. It is also highly likely that the current lot is the earliest surviving dated provincial clock to have an anchor escapement regulated by seconds pendulum. Indeed the early incorporation of this refinement may be one of the principal reasons why the dial is apparently inscribed by all those involved in its making.
Lot 138
An ebony small table timepiece with silent-pull quarter-repeat on two bells... An ebony small table timepiece with silent-pull quarter-repeat on two bells The movement and dial by Benjamin Wright, London, circa 1690, the case later The four finned and knopped pillar movement with verge escapement regulated by short bob pendulum and silent-pull quarter-repeat sounding the hours and quarters on two bells mounted above the plates, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Benjamin Wright, Londini Fecit to a lambrequin cartouche to centre, the 6.125 inch square gilt brass dial with single winding hole and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles with foliate scroll inlaid infill to margins between, now in an ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the domed caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll mounts to jambs, the sides with conforming rectangular windows beneath lozenge-shaped foliate scroll pierced sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow moulded skirt over ebonised disc feet, 31cm (12.25ins) high excluding handle. Benjamin Wright is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1664, apprenticed to Abraham Prime in April 1678 and gaining his freedom of the Clockmakers' Company in July 1685. He is believed to have worked from Bell Alley, Coleman Street, London and died before January 1709 when his widow, Mary, is recorded taking George Wright as an apprentice. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence 'silent-pull' quarter repeating timepieces are rarer as the original owner have to have been extremely wealthy to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is essentially based on the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7.
Lot 149
A rare George II ebonised grande-sonnerie striking table clock The dial... A rare George II ebonised grande-sonnerie striking table clock The dial signed for John Wood, Grantham, mid 18th century The substantial seven knopped and ringed pillar triple chain fusee movement with plates measuring 8.75 by 7.25 inches and chiming the quarters on a nest of six graduated bells followed by full hour strike on a further larger bell every fifteen minutes, with trip quarter repeat, verge escapement regulated by lenticular bob pendulum and backplate engraved with symmetrical foliate scrolls around a vacant matted oval cartouche within herringbone decorated border, the 8 inch brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and female mask and scroll cast gilt brass spandrels to angles beneath arch centred with a circular silvered boss with engraved signature John Wood, GRANTHAM flanked by subsidiary Hours/Hours & Quarters/Silent all and Repeat/Silent strike selection dials with applied foliate cast infill mounts to upper margin between, the ebonised case with inverted bell-top superstructure and brass urn and spire finials to the foliate fretwork fronted box upstand over break-arch cornice, plain frieze and glazed dial aperture to the front door, the sides with hinged cast brass handles over slender break-arch windows, the rear with glazed door matching the front set within the frame of the case, on shallow cavetto moulded skirt base incorporating bracket feet, 53.5cm (21ins) high excluding finials. John wood is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Grantham 1753-97. Grande sonnerie striking table clocks are particularly rare mainly due to the technical challenges of making an hour striking train appropriately geared to sound the hours every fifteen minutes for eight days. Due to the technical skill required such clocks were generally the preserve of the leading London makers such as John Ellicott; with this in mind the movement of the current lot was probably 'bought-in' from one of the leading London workshops - this would certainly account for the matted-over cartouche to the backplate.
Lot 56
Four English gilt brass pocket watch movements Various makers late... Four English gilt brass pocket watch movements Various makers late 18th/early 19th century Each gilt full plate single fusee movement with four columnar pillars and sprung three arm balance, the first with verge escapement and fine scroll pierced and chased backcock with diamond endstone and grotesque mask decoration at the junction with the engraved foot flanked by silvered regulation disc with adjacent applied conforming infill opposing signature Will'm Carpenter, London, 7210 ; the second also verge with fine scroll pierced and chased backcock with grotesque mask decoration at the junction with the engraved foot flanked by Slow/Fast calibrated regulation sector opposing applied plate signed Geo'e Tompins, LONDON, No. 430 ; the third also verge with scroll pierced and chased backcock flanked by Slow/Fast calibrated regulation sector opposing applied plate signed J. C. Moore, WORTHINGNo. 8449 ; the fourth with English lever escapement, engraved backcock with diamond endstone and grotesque mask decoration at the junction with the foot flanked by Slow/Fast calibrated regulation sector opposing applied plate signed Jn'o Wilson, Peterboro, 25489, (each lacking dial) the pillar plates 45mm (1.775ins) diameter approx., (4). Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. William Carpenter is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Soho, London 1770-1805. He was a fine maker who specialised in making clocks for export to India and China as such would have managed a very large multidisciplinary workshop. George Tompkins appears not to be recorded in the usual sources however it is most likely that he was related to one or more of the several makers sharing the same surname who worked in London during the latter quarter of the 18th Century. John C. Moore is recorded by Baillie as moving to West Tarring, Worthing in 1794 and John Wilson is noted as working in Peterborough circa 1795.
Lot 161
A George III mahogany longcase regulator William Hewlett, Bristol A George III mahogany longcase regulator William Hewlett, Bristol, circa 1785 The four pillar eight-day single train movement with bolt-and-shutter maintaining power and deadbeat escapement regulated by seconds pendulum with heavy lenticular bob, the 12 inch square silvered brass dial with shuttered winding hole and signed William Hewlett, Bristol to centre beneath brass ring bordered panel incorporating sector with Roman numerals for the hours within outer sweep Arabic five minute track, the case with swan neck pediment superstructure over moulded cornice, plain frieze and glazed hinged dial aperture flanked by columns with brass caps and bases, the trunk with concave throat moulding over caddy moulded rectangular door, on plain plinth base with bracket feet, (movement with possible alteration), 209cm (82.25ins) high excluding later finial. William Hewlett is recorded in Moore, A.J. The Clockmakers of Bristol 1650-1900 as working in Bristol circa 1775-97. Evidence in the movement plates would suggest that the current lot was originally made with a subsidiary seconds dial positioned within the area now occupied by the brass ring enclosing the hour sector. This possibility is further supported by the fact that the hour sector is cut into a separate circular plate inserted into an aperture in the dial with the brass ring serving to conceal the join. Interestingly the hour disc (fitted behind the sector aperture) is made form a piece of recycled brass as the rear is engraved with a lantern clock dial centre signed for John Culliford of Bristol. The fact that the current lot was originally made to display minutes and seconds only would suggest that it served to test the timekeeping of watches, hence was probably made as the 'shop regulator' for Hewlett's own use. The conversion to show hours was probably done early in its life to make it more appropriate for subsequent usage.
Lot 97
An early Victorian cast iron small turret timepiece J An early Victorian cast iron small turret timepiece J. Newland, Alton, circa 1840 The five-wheel train with deadbeat escapement, maintaining power and six-spoke wheel crossings set between tapered skeletonised blue painted cast iron plates united by six columnar pillars and with brass bushes for the pivots, the right hand side of the frame fitted with 4 inch circular brass setting dial with Arabic ten minutes to circumference and signed J. Newland, Alton to centre, the rear with bevel-gear dial take-off work fitted with connecting yoke; with two 35.5 inch circular convex gilt on blue painted Roman numeral convex dials each complete with gilt hands, motionwork and take-off arbors, (lacking pendulum rod, winder and weight), the movement 41cm (16ins) high. J. Newland is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Alton, Hampshire 1839-48.
Lot 113
A fine and rare North Italian ebonised architectural table timepiece with... A fine and rare North Italian ebonised architectural table timepiece with silent-pull quarter-repeat on two bells Gio Pietro Callin, Genoa, circa 1680 The rectangular movement with four baluster turned pillars pinned through the backplate signed Gio Petro Callin AGenoua to the lower margin, the going train with spring barrel and verge escapement regulated by short pendulum with silk suspension and cycloidal cheeks, the early Knibb type silent-pull quarter-repeat train striking the hours and quarters on demand only via twin vertical hammer arbors sounding on a graduated pair of bells mounted within the pediment of the case, the 8 by 7 inch faded salmon silk covered iron dial applied with silvered Roman numeral chapter ring with tied asterisk half hour markers and Arabic five minutes within the outer minute track, the angles applied with foliate scroll pierced chased gilt brass spandrels with the lower two continuing down further to flank a cartouche cast as en entwined pair of serpents enclosing silvered signature plate engraved Gio Petro Callin AGenoua , the finely detailed Baroque case with open arch pediment centred with a small panel upstand capped with triangular tympanum flanked by scroll-carved infill over breakfronted lintel with plain frieze and tight cornice mouldings, the front with rectangular door applied with raised mouldings to the glazed dial aperture flanked by generous hipped carved sides scrolls, the conforming breakfronted base incorporating key drawer and deep cavetto moulded skirt, on six bun feet, 52cm (20.5ins) high. A Pietro Calim is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as 'German Keeper of clock on Palazzo delle Compere' 1677-85; although little else appears to be known of Callin a few clocks signed by him are known including; An ivory inlaid ebonised night clock with fine painted dial depicting chronos and death passing the hours, offered in this sale as the previous lot. An impressive ebonised tall alter clock with allegorical dial painted by Giovanni Battista Gaulli, The Poldi Collection, Milan. An ebonised night clock with dial painted with a Saint at prayer, Cambi, Genova, 18th November 2014, lot 136. In addition to these another night clock probably from the same workshop but signed 'Giovanni Carlo Calin' (also with fine painted dial depicting chronos and death passing the hours) was offered at Christies, New York THE ABBOTT GUGGENHEIM COLLECTION , 27th January 2015, lot 118. Finally a further ebonised table timepiece of noticeably similar design to the current lot (and with almost identical dial) but signed 'Giovanni Battista Batta Callin' is illustrated in Tardy LA PENDULE FRANCAIS. 3'eme Partie, Provinces et Etranger on page 417. The movement of the current lot closely resembles that of an early French 'Pendule Religieuse' but with the additional provision of a 'silent-pull' quarter repeat mechanism. The positioning of the going train between the plates and the design of movement pillars can be directly compared to an hour-striking movement by Nicholas Hanet dating to around 1675 illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700 pages 66-7 Figs. 115-7. Both the movement by Hanet and that of the current lot are arranged with the strike/repeat trains offset to the right to allow room for vertical planting of the going train to the centre. In addition to having offset strike trains both movements also share essentially the same configuration of double-footed backcock (fitted with cycloidal cheeks) and similar crown wheel top cock casting (each incorporating pallet arbor front pivot). From these details it would be logical to suggest that the current lot was made around the same time (or marginally later) as the clock by Hanet, and that the maker was clearly strongly influenced by contemporary French practice. The 'French influence' within the current lot is not confined to the movement as the use of fabric-covered iron for the dial plate incorporating signature cartouche doubling-up as a pendulum bob access flap are also classic features seen on early French pendulum clocks. The design of 'silent-pull' repeat mechanism used in the current lot is of the earliest type which is believed to have been invented in around 1676 by Edward Barlow and/or Daniel Quare which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 343-4). This mechanism will sound the last hour and quarter on two bells on demand only and is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. The presence of this mechanism on the current lot would suggest that the maker was well versed with English practice as well as French. Indeed the dial also exhibits possible subtle English influence in the chapter ring (with Arabic five-minute annotations within the outer minute track) and use of cast spandrels to angles. In England, prior to the invention of quarter-repeat work, the only clocks available to assist with telling the time after dark were night clocks. English night clocks are rare as they were quickly superseded by repeating clocks/watches, hence it seems that none were made after around 1680. Conversely in Italy night clocks seemed to be the preferred solution with the form almost becoming standardised by the Campani family of Rome during the 1670's. The case of the current lot is particularly finely proportioned and detailed with crisp architecturally correct mouldings indicating that it was made by a specialist craftsman familiar with the principals of Classical architecture and Palladianism. The inherent smaller proportions of the case are also quite pleasing when compared with larger night clocks which can be somewhat imposing.
Lot 59
Ferguson, James F. R. S. SELECT Mechanical Exercifes Ferguson, James F. R. S. SELECT Mechanical Exercifes: Shewing how to conftruct different, CLOCKS, ORRERIES, and SUN-DIALS, ON PLAIN AND EASY PRINCIPLES. Printed for W. Strahan and T. Cadell, Strand, London, 1773; 7 folding plates, 12mo. half leather with marbled boards (19th century Liverpool library annotations, spine later).
Lot 104
A Renaissance style gold pendant 'form watch A Renaissance style gold pendant 'form watch' Bearing signature for Denis Bordier, Geneva, probably mid 19th century The shaped gilt full plate single fusee verge movement with four double baluster pillars pinned through the backplate, asymmetric tulip pierced and engraved balance cock and conforming infill around the mainspring set-up ratchet opposing engraved text Denis Bordier to lower margin, the scallop-shaped gilt dial with single steel hand to the symmetrical foliate scroll engraved centre within applied Roman numeral chapter ring with asterisk half hour markers within a fine foliate scroll chased oval surround incorporating equestrian figure to upper margin, the three-piece case cast and chased in the form of a stylised floral bud with integral suspension loop, (movement with losses including escapement, balance arbor and greatwheel), the movement pillar plate 35mm (1.625ins) by 25mm (1ins), the watch 53mm (2.125ins) high to top of suspension post. The movement of the current lot is interesting in that it essentially appears technologically faithful to mid 17th century practice with authentic looking small asymmetric foliate pierced balance cock and steel spring set-up ratchet and pawl to the backplate. However, on closer examination, the distance between the plates coupled with the design of the slender double-baluster pillars and the relative crudeness of the fusee cone would suggest that this watch is a 19th century 'revival' piece. The signature again appears to resemble 17th century practice however is perhaps a little light in its execution. This lightness in detail is also reflected in the dial surround which incorporates open scrolls more akin to 18th century rococo practice than 17th century Arabesque designs. From this it can be concluded that the present watch was made as a 'historic' revival piece which became fashionable from the mid 19th century onwards. Indeed a 19th century 'reproduction' silver oval watch bearing a signature for Denis Bordier was sold at Christies, New York IMPORTANT WATCHES INCLUDING THE LEO COLLECTION on Wednesday 16th June 2010, (lot 308) for $2,750.
Lot 53
Three similar Dutch gilt brass verge pocket watch movements Bearing various... Three similar Dutch gilt brass verge pocket watch movements Bearing various signatures, mid to late 18th century Each gilt full plate single fusee verge movement with scroll-pierced stop-iron block, faceted baluster pillars and sprung three arm balance, the backplate with foliate scroll pierced and engraved balance bridge and conforming applied infill adjacent to the silvered regulation disc, the first three with white enamel Arabic numeral dials incorporating arcaded minutes ring and bearing signatures Ja's Samson, London and John Witter, London to backplates, the third lacking dial and bearing signature John Travers, LONDON, the pillar plates measuring approximately 38mm (1.5ins) diameter, (3). Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The three watch movements in the current lot are almost certainly of Dutch manufacture produced during the mid to late 18th century signed with 'spurious' London signatures. One diagnostic feature is that on such examples the layout of the regulation tends to vary slightly from typical English practice resulting in the silvered regulation disc being positioned on the opposite side of the movement (towards the left rather than the right when viewed with balance bridge uppermost).
Lot 102
A monumental Victorian brass quarter chiming 'exhibition A monumental Victorian brass quarter chiming 'exhibition' skeleton clock Attributed to John Smith and Sons, Clerkenwell, London for Duncan Anderson Cooper, Huddersfield, circa 1864 The triple chain fusee movement with Vulliamy type deadbeat escapement regulated by lenticular bob pendulum and chiming the quarters via a transversely planted six-inch pinned cylinder on a nest of eight graduated bells positioned within the superstructure of the frame and sounding the hours on a coiled gong mounted on a separate post at the rear, the finely executed wheelwork with six-spoke wheel crossings set between elaborate heavy-gauge plates pierced in the Gothic Revival manner incorporating buttresses flanking a central tracery lancet arch to centre beneath further shaped arch flanked by tiers of spires and surmounted by a fleur-de-lys finial to apex, the plates united by seven massive double-screwed knopped pillars and applied with elaborate silvered brass skeletonised Roman numeral chapter ring pierced and engraved with fine foliate scrolls surmounted by a coronet to each cartouche numeral around an open centre revealing fine decorated steelwork and pierced cocks to the under dial work, mounted on a green baize covered slightly canted rectangular base applied with silvered brass ribbon-form retailer's signature plate engraved COOPER, NEW ST., HUDDERSFIELD over large presentation plaque inscribed PRESENTED TO, Joseph Norton Esquire, on retiring from business, FROM HIS NUMEROUS WORK PEOPLE, AS A TESTIMONIAL OF THEIR REGARD AND ESTEEM, MAY 1864, flanked by elaborate foliate pierced sprays and on gilt bun feet, with brass-edged rectangular five glass protective cover, the clock 51cm (20ins) high; with base and cover 71.5cm (28.25ins) high overall. Duncan Anderson Cooper is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Huddersfield 1850-66. The current lot can be firmly attributed to John Smith and Sons of St. John's Square, Clerkenwell, who were established in 1780 and became one of the largest manufacturers of both domestic and public clocks throughout the 19th century and is still trading today but as a materials stockholder and broker having made their last clock in 1938. The company was the subject of an article published in The Illustrated London News on 20th September 1851 (see Roberts, Derek British Skeleton Clocks pages 260-67), in which it was held up as being at the forefront of contemporary clock manufacture. Smith's 1865 catalogue gives an idea of the extensive range of skeleton clocks the company produced. A relatively standard scroll pattern skeleton clock is listed at £2.10s, however a clock such as the present example would have cost ten times as much 'Chime Skeleton Clocks, quarter-hours on 8 bells & hours on gong, 25 upwards' (see Roberts, page 127). Such clocks were amongst the finest the company produced. The presentation plaque applied to the plinth of the current lot indicates that the clock was given to Joseph Norton on his retirement in 1864. Joseph Norton is recorded as the owner of Highbridge Mill, Huddersfield, Yorkshire, who resided at nearby Nortonthorpe Hall. A detailed history of the Norton family, including reference to the presentation of the current lot to Joseph Norton on his retirement in 1864, is documented in the online article by Brook, Alan A CATALOGUE OF THE TEXTILE MILLS OF THE HUDDERSFIELD AREA C.1790-1914, PART TWO - GROVE MILL TO RUSHFIELD MILL (entry 153).
Lot 150
A small George II thirty-hour longcase clock movement with nine-inch dial... A small George II thirty-hour longcase clock movement with nine-inch dial Gabriel Smith, Nantwich, circa 1730 The single handed countwheel bell striking movement with four finned pillars, anchor escapement and plates measuring just 4.5 by 3 inches, the 9 inch square brass dial with pierced blued steel hand to the matted centre within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers and signed Gab Smith, Namptwich to lower margin, the angles applied with unusual scallop shell and foliate scroll cast spandrels (no pendulum or weight). Gabriel Smith is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Barthomley, Chesire in 1656. He married Ann Whittington in 1682 and worked as a clockmaker, carpenter, bell founder and millwright in Barthomley up until 1722. He subsequently moved to Nantwich where he continued working presumably until his death in 1743 aged 87. The current lot is highly unusual in that the movement is particularly small in its dimensions. The reason why the maker chose to make the movement this size is unknown however it did require him to attach it to the dial via horizontal iron straps applied to the rear of the plate in order to avoid riveting the dial feet within the matted area at the centre.
Lot 127
A Charles II ebonised thirty-hour longcase clock James Delance, Frome A Charles II ebonised thirty-hour longcase clock James Delance, Frome, circa 1685 The substantial two-handed posted countwheel bell striking movement measuring 7.75 inches between the plates with generous rectangular section corner uprights and resting on integral spikes fitted to the underside of the baseplate, the going train with anchor escapement incorporating solid ºttery brass' escape wheel and regulated by seconds pendulum, the strike train sounding on a large bell mounted above, the 10.25 inch square brass dial with fine pierced iron hands and symmetrical scrolling tulip engraved centre incorporating a central rose over lambrequin signed Jam's Delance, in Froome to lower margin, within applied Roman numeral chapter ring with stylised sword-hilt half hour markers and Arabic five minutes within the outer minute track, the angles applied with winged cherub mask and scroll cast and pierced spandrels, in an ebonised pine case with substantial ogee moulded cornice and deep open panel fronted frieze (to accommodate the large bell behind) over full-width hood door applied with raised mouldings to the glazed aperture and the sides with conforming rectangular windows, the trunk with convex throat moulding and 42 inch rectangular door centred with an oval lenticle, the sides applied with further mouldings to form tall rectangular panels, the plinth base with ogee mouldings to upper edges and bun feet, (case with restoration), 221cm (87ins) high. James Delance is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam in Frome (see previous lot) prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Lawrence Debnam who died in 1683 at the age of 40. Delance is recorded as undertaking work on clocks for Lord Weymouth at Longleat from at least 1694 until 1703. By 1721 Delance had moved to Downton, Wiltshire (see following lot) and was still working in 1736. The current lot employs and escape wheel made from work-hardened ºttery brass' formed by hammering a cast solid disc prior to cutting of the teeth. This creates a wheel much more resilient to wear however this process makes it difficult to cross it out hence why it is left as a solid disc when fitted. This very rare feature was probably learnt from Lawrence Debnam as it also seen on the previous lot; it is testament to both makers that these wheels are still serviceable after over three hundred years of use. The well engineered and precisely finished nature of the movement extends to the use of substantial rectangular section corner uprights which appear to have been favoured by Delance as these can be seen on other clocks by him including a fine thirty-hour musical clock by him sold at Christies, King Street THE VITALE COLLECTION OF HIGHLY IMPORTANT EUROPEAN CLOCKS on Tuesday 26th November 1996 (lot 247). The engraved decoration to the dial of the current lot is also of the best 'London' quality and can be directly compared to the dial of a clock by Tompion illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 on page 83 (Plate 2/53). From both the dial engraving and the general quality of approach with regards to the movement it would perhaps be appropriate to speculate that Delance had close connections with the best London makers and may well have spent time in a leading workshop during his time in the capital.
Lot 52
Four similar Dutch gilt brass verge pocket watch movements Bearing various... Four similar Dutch gilt brass verge pocket watch movements Bearing various signatures, mid to late 18th century Each gilt full plate single fusee verge movement with scroll-pierced stop-iron block, square section baluster pillars and sprung three arm balance, the backplate with foliate scroll pierced and engraved balance bridge and conforming applied infill adjacent to the silvered regulation disc, the first three with white enamel Arabic numeral dials incorporating arcaded minutes ring and bearing signatures Markham, London, 2897 ; Geo. Clarke, London. No. 7424 and Tarts, London, 26166 to backplates, the third lacking dial and bearing signature J. Miller, London, No. 25272, the pillar plates measuring approximately 35mm (1.375ins) diameter, (4). Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The four watch movements in the current lot are almost certainly of Dutch manufacture produced during the mid to late 18th century signed with 'spurious' London signatures. One diagnostic feature is that on such examples the layout of the regulation tends to vary slightly from typical English practice resulting in the silvered regulation disc being positioned on the opposite side of the movement (to the left rather than the right when viewed with balance bridge uppermost). In addition to this the presence of the signature 'Tarts, London' to one of the watches would also suggest Dutch origins as it seems that this was a fictitious name specifically used by Dutch makers to give the impression that the watch was of English manufacture.
Lot 76
A decorative gilt brass and marble mantel timepiece Unsigned A decorative gilt brass and marble mantel timepiece Unsigned, 20th century The French eight-day movement with platform lever escapement and skeletonised plates visible through the glazed dial centre, with blued steel moon hands and silvered Roman numeral chapter ring within engine-turned bezel, the case of gilt hemispherical form applied with ribbon tied oak leaf trails to crest and a bumble bee to verso, the whole raised on a pedestal cast and chased as dophin mounted onto cavetto moulded foot secured to a veined grey marble rectangular plinth, 28.5cm (11.25ins) high.
Lot 66
A brass and silver limited edition skeleton timepiece 'The Money Clock A brass and silver limited edition skeleton timepiece 'The Money Clock' Thwaites and Reed Limited, 1979 The eight-day movement with platform lever escapement and passing strike sounding on a bell mounted above the plates shaped as the symbol for GBP Sterling united by five cylindrical double-screwed pillars, the front with silvered Roman numeral chapter ring with fleur-de-lys half hour markers and scalloped outer edge beneath stamped edition number NO.113 , mounted on circular wooden base inset with an 500 gram ingot of 999 standard silver bullion issued by JOHNSON MATTHEY, LONDON and numbered HK 10357 , the clock 16.5cm (6.5ins) high; with authentication certificate and glass dome cover, 20.5cm (8ins) high overall.
Lot 80
A German Black Forest Jockeleuhr miniature wall timepiece with alarm... A German Black Forest Jockeleuhr miniature wall timepiece with alarm Unsigned but to a design devised by Jacob Herbstritt, mid 19th century The movement constructed with three wooden plates forming two compartments enclosing going train regulated by tic-tac escapement and short lenticular bob pendulum swinging within the second rear compartment, with transverse alarm mounted to the left hand side sounding on a bell mounted above and circular white enamel Roman numeral dial set into a shield shaped porcelain cartouche surround with gilt and polychrome floral painted crest and scroll decorated surround, the sides with pin-hinged doors, the rear panel with wire hanging hoop to top edge, 11.5cm (4.5ins) high. This type of miniature wall clock was devised by Jacob Herbstritt before 1845 and is essentially devised as a scaled down version of the Black Forest 'Schotten' clock. The enamel-centred porcelain dial of the current lot is a characteristic feature.
Lot 107
A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped... A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped with initials M L , mid to late 16th century The posted twin fusee movement with pinned iron-capped brass spring barrels concealed between two horizontal plates in the base beneath posted frame with four fine slender double baluster turned uprights, the going train now with verge escapement regulated by short bob pendulum swinging to the rear, the strike train set behind the going train incorporating twin-arbor warned release and sounding the hours via a vertically pivoted hammer on a bell mounted on top of the clock, the exterior with moulded cornice and geometric panel decorated frieze over twenty-four hour dial with stylised bird and fruiting foliage engraved centre within punch-stamped Arabic numeral chapter ring with touch pieces to the moulded outer margin, set over a shaped scribed panel enclosing further scrolling foliate and centred with a winding square, the sides with twin panel doors engraved with standing figures of Adam and Eve to the right and a pair of allegorical females to the left, the angles with conforming vertical geometric bands and the rear engraved after Hans Sebald Beham with Christ standing on a globe and holding the standard of the crucifixion beneath dove emblematic of the Holy Spirit, the lower margin with small panel decorated with a reclining female, the plinth base with complex moulded dado over foliate engraved panels centred with roundels featuring four profile busts to the sides and indistinct armorial crest to the front incorporating the stamped initials M L , on conforming moulded skirt incorporating leaf engraved ogee moulded foot, (alarm mechanism removed), 22cm (8.625ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The current lot can be compared to an example illustrated in Tardy LA PENDULE FRANCAIS, 3'me Partie: Provinces et Etranger on page 314. The hexagonal form echoes that of contemporary French examples however differs in the that trains are laid out with the strike behind the going rather than the usual French system of having one above the other. The use of iron for the wheelwork would indicate a date prior to 1580 although the inclusion of brass for the walls of the spring barrels would suggest that the clock was made closer to 1580 than 1550. The strike train also incorporates twin-arbor warning which although is known to have been in use by around 1480 (see Leopold, J. H. The Almanus Manuscript ) seems to have been rarely adopted until the introduction of the English lantern clock in its fully developed form in around 1600. The rear of the clock incorporates an engraved view of Christ standing on a globe holding the standard of crucifixion with a dove emblematic of the Holy Spirit above. Typically such decoration was often copied from a contemporary engraved source - in this case an engraving executed by Hans Sebald Beham in 1546. The panels to the sides of the case are probably also copied from similar sources however these have yet to be identified. The base also incorporates an armorial crest to the front panel, unfortunately wear and degradation to the surface now renders this crest indistinct however closer examination and specialist research may result in the family for whom the clock was made to be identified.
Lot 58
An unsual gilt metal, carved paste and polychrome painted singing bird... An unsual gilt metal, carved paste and polychrome painted singing bird automaton with timepeice Incorporating watch movement by Edward Pamer, London, late 18th century and later The watch with gilt full plate single fusee movement with four square baluster pillars, scroll pierced stop iron block and sprung three arm balance, the backplate with fine scroll pierced and chased backcock with the engraved foot flanked by silvered regulation disc with adjacent applied conforming infill opposing signature Edw. Pamer, LONDON, 1173, with circular white enamel convex Arabic numeral dial and gilt arrow hands set into gilt brass case with convex glazed hinged bezel now applied with brass flange to exterior and fitted to the front of an octagonal section plinth-form case containing brass single chain fusee driven singing-bird automaton mechanism with octagonal plates united by four cylindrical pillars operating a multi-note call and powering an automata surmount of a small bird flapping its wings and moving its head whilst perched amongst a gilt flowering shrub with polychrome paste set petals and leaves over a green leaf painted collar to base, the gilt painted octagonal wooden plinth applied with conforming floral finials to the canted corners of the cavetto moulded top over recessed landscape painted panels to sides and rear and floral spray decoration to angles, on cavetto moulded base with brass bun feet and incorporating automata start/stop lever to front edge, (basically 20th century incorporating earlier elements), 20cm (8ins) high; with a circular giltwood stand 24cm (9.5ins) high overall.
Lot 65
A brass pedestal timepiece 'The Orrery Clock' The St A brass pedestal timepiece 'The Orrery Clock' The St. James's House Company, London, late 20th century The horizontal eight-day movement with tandem barrel drive and inverted platform lever escapement applied to the underside of the top plate set beneath silvered annular Roman numeral hour and subsidiary minutes ring, the superstructure modelled with an armillary sphere enclosing an orrery simulating the relative orbits of six planets around the sun against a meridian scale calibrated in degrees to interior and with the months of the year to exterior, the orrery motionwork contained between circular plates incorporating a shaped sub plate and driven by an external pinion arbor engaging with one of the barrel greatwheels of the timepiece movement beneath, the whole raised on a concave lacquered brass pedestal foot with turned wooden plinth, 44.5cm (17.5ins) high; with original instruction booklet and a glass dome cover, 46cm (18ins) high overall.
Lot 3
A silver mounted shagreen cased part set of mathematical drawing instruments... A silver mounted shagreen cased part set of mathematical drawing instruments Heath and Wing, London, circa 1760 The green velvet lined interior comprising a lower tier now containing folding silver coloured metal mounted ironmonger's rule engraved in inches and with tables annotated for various sections of iron, one end fitted with sliding calliper and the edge stamped T. WYBAUN ; an upper tier fitted with an assortment of draughtsman's implements including a silver proportional dividing compass with sharp steel tipped arms each pierced with long slots for the sliding pivot assembly with knurled screw for securing against scales divided for Circles and Lin. to one side and Plans and Solids next to signature Heath & Wing, London to the other; the lid with flap revealing a silver mounted ivory expanding parallel ruler and a matching mathematical sector rule annotated with the usual logarithmic, trigonometric and other scales and signed Heath & Wing to the silver hinge mount, the exterior veneered in green-stained sharkskin with shaped silver lock escutcheon, fretwork plates for the surface mounted hinges and a pair of hook clasps, (incomplete and with substitutions), 19.5cm (7.75ins) wide. The partnership between Thomas Heath and Tycho Wing is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from several addresses in London 1751-73 including 'Hercules and Globe' next door to Fountain Tavern, Strand in 1759 and Near the Savoy Gate in the Strand in 1771. They were succeeded by Thomas Newman.
Lot 162
A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.
Lot 46
Collection of similar 19th Century Staffordshire blue and white transfer printed child's china teaware items, decorated with Oriental scenes, English landscape scenes etc. comprising various teapots; lidded sucriers; sauce boats; dinner plates; bowls; cups; saucers; oval meat dishes etc. (Over 40 pieces). CONDITION REPORT: Condition report on request.
Lot 1476
A late 19th century Victorian mahogany linen press tallboy. The base having short over deep drawers being raised on bracket feet. The brass swan neck brass handles with batwing back plates and escutcheons to each drawer being mahogany lined. Above a twin door press cabinet having slides set within ( also a later hanging rail. Finished with a flared cornice atop. Dismantles into 2 pieces for ease of movement
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