An Edwardian inlaid mahogany tubular bell quarter chiming eight-day longcase... An Edwardian inlaid mahogany tubular bell quarter chiming eight-day longcase regulator, William Drew, Peterborough, early 20th century The very substantial triple train movement chiming the quarters on eight tubular gongs and striking the hour on an additional gong, the going train with deadbeat escapement, Harrison's maintaining power and fine beat adjustment for the wood rod pendulum with cylindrical nickel plated bob, the 13 inch brass break-arch dial with subsidiary seconds dial to the fine foliate scroll engraved centre within applied silvered chapter ring with raised gilt Arabic numerals and rococo scroll cast spandrels to angles, the arch with twin subsidiary Strike/Silent and Whittington/Westminster selection dials with rosette engraved centres, upper silvered infill panel signed WILLIAM DREW, MAKER, Peterboro' and flanked by conforming mounts, the swan neck pedimented case with Corinthian columns flanking dial and rectangular sound frets to sides of hood above bevel-glazed break-arch caddy moulded door flanked by Corinthian quarter columns to trunk, on fielded panel fronted plinth base with canted front angles and moulded skirt, 246cm (97ins) high.
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A Regency brass inlaid mahogany bracket clock Joseph Phillips, London A Regency brass inlaid mahogany bracket clock Joseph Phillips, London, early 19th century The five pillar twin chain fusee bell striking movement with anchor escapement regulated by lenticular-bob pendulum and border engraved shouldered backplate, the 8 inch circular white painted Roman numeral convex dial indistinctly signed JOS'H PHILLIPS, LONDON to centre and with pierced blued steel hands set within slender hinged cast brass convex glazed bezel, the ebony-edged arched case with brass outlined lozenge and fleur-de-lys motif decorated apron panel beneath dial, the sides with brass cornucopiae ring handles over arched fishscale sound frets, the rear with arch glazed door, on ebonised fluted band decorated skirt base with brass ball feet, 41cm (16ins) high. A Joseph Phillips is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1817-24.
A fine Regency cast iron, steel and brass turret clock movement Thwaites and... A fine Regency cast iron, steel and brass turret clock movement Thwaites and Reed, London, dated 1827 The posted iron frame with one-piece castings for the columnar corner posts, ball finials and feet, the front and rear rails applied with vertical bars fitted with brass bushes for the side-by side wheel trains, the going side with reversed four wheel train incorporating winding square for the large wooden barrel engraved THWAITES & REED, CLERKENWELL, LONDON to the brass end cap, maintaining power and anchor escapement regulated by 68 inch pendulum with 9 inch lenticular bob, the second wheel driving the separate movement centre wheel with motionwork within the frame for the 5.75 inch silvered Roman numeral chapter ring incorporating repeat signature THWAITES & REED, Clerkenwell, LONDON, 1827 to centre and with arrow-shaped steel hands opposing take-off yoke to the other side of the frame, the strike side with conforming wooden barrel and internal rack released via cam fitted to the centre wheel counting against a stepped snail behind the dial and with warning enabled via detent engaging with a tongue fitted to the fly arbor, the frame measuring 47.5cm (18.75ins) high, 57cm (22.5ins) wide and 32cm (12.5ins) deep; the movement including the pendulum suspension 53.5cm (21ins) high overall; with a gilt painted hour hand, steel stub arbor and driving weight rope lines (no weights). The partnership between John Thwaites and George Jeremiah Reed is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being formed in 1808. John Thwaites was the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. He was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade. John Thwaites was born in 1757 and took over the business presumably on the death of his father in 1780 before moving to Bowling Green Lane. The firm became well known for supplying all forms of clocks and movements either wholesale for others to retail, or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton. The current lot appears to be of a pattern devised and supplied by Thwaites and Reed from around 1810-1860 with similar examples housed in the Royal Small Arms clock tower, Enfield; St. Mary Magdeline, Twyning; Uppark House, West Sussex and Holy Trinity, Fareham. The current lot bears repairer's marks suggesting that it was located in or around Moreton-in-Marsh during the 1890's.
A George III hooded wall alarm timepiece movement and dial Joseph Gurney A George III hooded wall alarm timepiece movement and dial Joseph Gurney, Bristol, circa 1785 The weight-driven four pillar thirty-hour two-handed movement with anchor escapement and alarm set between the plates sounding on a bell mounted above, the 7.25 inch brass break-arch dial with calendar aperture and brass setting hand to the fine Ho-Ho bird inhabited rococo scroll engraved centre within applied Roman numeral chapter ring with arcaded minute ring and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels beneath arch centred with a domed boss signed Joseph Gurney, Bristol flanked by conforming mounts, now in a mahogany case with stepped flat cornice above open dial aperture to hood resting on a ogee moulded bracket with plain apron flanked by scroll outline side supports to a backboard with shaped bottom edge, 60cm (23ins) high. Joseph Gurney is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from 6 Bridge Street and Corn Street, Bristol 1783-98. A rare two-train hour striking tavern clock by Joseph Gurney was sold in these rooms on Tuesday 17th February 2010 for £13,000 hammer; another tavern timepiece by Gurney resides in the Bristol City Museum.
A rare George III scumbled pine hooded wall timepiece with alarm Thomas... A rare George III scumbled pine hooded wall timepiece with alarm Thomas Williams, Chew Stoke, circa 1770 The single-handed thirty-hour movement with rectangular plates united by four cylindrical steel pilllars pinned through the frontplate enclosing going train with anchor escapement set beside alarm mechanism sounding on a bell mounted above the plates, the 9 inch square brass dial with central silvered alarm disc, pierced iron hand and signed Tho's Williams, Chewstoke to centre within applied Roman numeral chapter ring incorporating lozenge half hour markers to the inner quarter track, the angles applied with seashell and rococo scroll cast spandrels, the simple pine box-form case with arched backboard pierced for hanging behind shaped crest and top panel which can be drawn forward to gain access to the movement from above, with open dial aperture and conforming mouldings to the base, (case intact but distressed, lacking pendulum and weights), 37.5cm (14.75ins) high. Thomas Williams is recorded in Moore, A.J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as working in Chew Stoke circa 1755-1813. Moore notes that he is first recorded by his marriage to Grace Weekes in 1755 and that he was contracted to clean/service church clocks in both Axbridge and Banwell. He died on the 1st December 1813 leaving his house and property in Chew Stoke to his (presumably second) wife, Anne. When considering Thomas William's known output it is clear that he probably had a connection with the Bilbie family of Chew Stoke. The simplistic design of the case of the current lot seems to be peculiar to the West Country and can be compared to those housing movements by John Coates of Cirencester and Thomas Cox of Thornbury illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 on pages 275 and 277 respectively.
A George III inlaid mahogany eight-day longcase clock with moonphase... A George III inlaid mahogany eight-day longcase clock with moonphase Wasbrough and Mailard, Bristol, circa 1785 The four pillar rack and bell striking movement with 12 inch single sheet brass Roman numeral break-arch dial with subsidiary seconds dial, arched calendar aperture and signed WASBROUGH & MAILARD, BRISTOL to the coastal island landscape and floral spray engraved centre within chapter ring with Arabic five minutes to outer track and rococo scroll engraved decoration to spandrel areas, the arch with rolling moonphase calibrated for age of the moon beneath times of HIGH WATER AT BRISTOL KEY to outer margin, in a case with arched fan inlaid motif and concentric border pierced infill to the swan neck pediment over wavy-edge glazed dial aperture flanked by Corinthian columns, the trunk with shaped-top caddy moulded door inlaid with a central conch shell within oval satinwood crossbanded border flanked by blind fret decorated canted angles, the plinth base with conforming circular crossbanding and fretwork canted angles on bracket feet, (the inlaid decoration probably later), 246cm (97ins) high. The partnership of Wasbrough and Maillard are recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as coppersmiths, brassfounders and clockmakers working from Wine Street, Bristol circa 1785. The Wasboroughs were one of the more prolific families of clockmakers and metal founders working in Bristol throughout the eighteenth century whose roots can be traced back to William Wasbrough who married Mary Rice (who may have been related to the Bristol clockmaker Roger Rice) on 12th January 1746.
A rare George III scarlet japanned table clock John Taylor, London A rare George III scarlet japanned table clock John Taylor, London, circa 1775 The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum with holdfast to the asymmetric foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar aperture and shaped recessed panel signed John Taylor, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with rococo scroll cast spandrels beneath subsidiary silvered Strike/Silent selection dial flanked by conforming mounts to arch, the bell top case with hinged brass carrying handle to the ogee shaped upstand gilt decorated with stylised basket of flowers within shaped lozenge lattice panels on a rich scarlet ground flanked by brass pineapple finials above front door with conforming foliate trail decoration interrupted by lattice panels and with pierced gilt upper quadrant frets, the sides with circular over concave-topped side windows, the rear with break-arch glazed door set within the frame of the case, on cavetto moulded base incorporating gilt foliate scroll decorated shaped apron and bracket feet, (finish distressed), 47cm (18.5ins) high excluding handle. Several makers with the name John Taylor are recorded working throughout the late eighteenth and early nineteenth century however the current lot was probably made by the maker of this name who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Gloucester Street circa 1780.
An impressive French Louis XIV style gilt brass mounted Boulle bracket clock... An impressive French Louis XIV style gilt brass mounted Boulle bracket clock Unsigned, second half of the 19th century The rectangular eight-day movement with Brocot type pendulum regulation and outside countwheel hour striking sounding on a bell within the superstructure of the case, the 7.5 inch circular twelve-piece cartouche numeral dial with griffin and squirrel inhabited symmetrical strapwork scroll engraved centre within chapter ring with enamel Roman hour numerals and rococo scroll cast borders and engraved Arabic five minutes to outer track, the engraved cut brass and brown shell marquetry decorated case with cast female mask centred cushion-topped ogee shaped upstand with pendant floral trail angle mounts flanked by two pairs of flambeau urn finials to the repeating panel cast concave-sided frieze, over cast break-arch cornice and conforming moulded glazed front door applied with mount modelled as Helios aboard his chariot drawn by a pair of horses with sunburst behind, within swept marquetry panel decorated surround flanked by projecting canted angles applied with classical male and female terms over scroll supports with female mask and foliate swag cast apron between, the sides of concave profile veneered with extensive marquetry panels centred with figural silhouettes and terminating at the rear with further figural terms over scroll supports, the integral stand of lobed form with recumbant equine mounts and rosette centred marquetry tile decorated top surface to table over conforming inlaid lambrequin panel flanked by continuous band of marquetry over drapery swag lower border to the undulating sides, on four acanthus carved toupe feet, 87.5cm (34.5ins) high.
A fine Victorian engraved gilt brass hump-back carriage clock with push-button repeat and original black marble inset stand Probably by Thomas Cole for retail by Edward Biven, London, circa 1845 The rectangular two train going barrel movement with four plain pillars pinned through the backplate, five-spoke wheel crossings and rear winding, the four-wheel going train regulated by horizontal gilt platform ratchet tooth lever escapement with sprung steel three-arm balance mounted above the plates, the strike train devised without warning and with push-button repeat sounding on a gong mounted on the movement backplate, the arched silvered brass dial finely engraved with intense asymmetric foliate scrolls on a horizontal hatched ground to centre and with fine blued steel fleur-de-lys hands within a 3.25 inch Gothic Roman numeral chapter ring inscribed EDWARD BIVEN, KING WILLIAM STREET CITY either side of the XII numeral and with narrow outer minute track, the borders overlaid with a shaped gilt brass mask surround further engraved with conforming leafy trails and incorporating inset shaped silvered reserve featuring a single elaborate floral spray to lower margin, the arched case with bevelled front glass secured within repeating leaf decorated bezel plate by screws to a one-piece casting engraved with continuous large scale bird inhabited floral trail to top and sides and fitted with unusual two-piece hinged interlocking carrying handle, the sides with applied repeating leaf decorated skirts at the base, the back with one-piece frosted gilt plate fitted with shuttered winding holes and FAST/SLOW regulation within impressive engraved trophy panel incorporating quiver of arrows, bow, tambourine and a nesting bird, on shaped bracket feet, 17cm (6.75ins) high with handle folded; with original stand with rectangular cavetto moulded black marble insert to gilt floral trail engraved canted skirt, 24cm (9.5ins) high overall with handle raised. Edward Biven does not appear in usual reference works however he his recorded in The London Gazette as watch maker and jeweller of 64 Great William Street as having bankruptcy proceedings filed against him April 8th 1854. The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING. Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas. Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver 'humpback' carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). Please note:General opinion is that this clock is probably not by Thomas Cole. It is more likely to be attributed to E.W. Robins. [Please contact Auctioneer for full lot description]
A Germanic iron framed weight-driven rack striking chamber clock with trip... A Germanic iron framed weight-driven rack striking chamber clock with trip hour-repeat Unsigned, second half of the 18th century The posted movement with substantial square section uprights and two-tier top plate enclosing verge escapement regulated by front swinging short bob pendulum, the strike train with large diameter snail fitted to the hour pipe and rack placed at the rear gathered by a pawl fitted to the second wheel arbor and sounding on a bell mounted on the top plate, the 7.5 inch square painted iron dial plate with circular cream Roman numeral centre and scroll pierced brass hands within Arabic five minute outer track and plain green painted spandrel areas beneath symmetrical foliate scroll strapwork pierced fret, the sides with iron-red painted doors, the rear with conforming fixed panel fitted with pull-repeat ring, hanging hoop and spurs, on threaded iron feet, 30.5cm (12ins) high. The current lot is reminiscent of an early Dutch 'Twentse Stoelklok' movement and dial (see Edwards, Ernest L. WEIGHT DRIVEN DUTCH CLOCKS & THEIR JAPANESE CONNECTIONS page 89) however its heavy iron frame, front swinging pendulum, pierced iron crest and configuration as a 'hook and spike' wall clock would suggest Germanic origins. Please note:We have been reliably informed that this clock was almost certainly made in the village of Pesariis in the Fruili region of the Dolomites hence is Italian rather than Germanic.
A Victorian silver cased aneroid pocket barometer with altimeter scale and... A Victorian silver cased aneroid pocket barometer with altimeter scale and thermometer W. Littlejohn and Son, Wellington, 1899 The 1.75 inch circular silvered register signed W. LITTLEJOHN & SON WELLINGTON and inscribed Compensated above curved mercury tube Fahrenheit scale thermometer to the recessed centre within concentric scale calibrated for barometric inches divided into twentieths and annotated with basic weather observations within rotating outer scale calibrated in feet from 0 to 8,000 and divided for 100 foot intervals, the pocket watch type case with suspension ring enclosing knurled crown for adjustment of the altimeter scale and engine turned decoration to rear, marks for London 1899, diameter 5cm (2ins).
An Italian iron and brass small chamber clock Unsigned An Italian iron and brass small chamber clock Unsigned, circa 1700 and later The two train weight-driven posted countwheel bell striking movement with verge escapement mounted above the top plate regulated by short bob pendulum swinging to the rear, the frame with square brass plates united by substantial steel square section corner posts with faceted strike detent arbors pivoted between to the left hand side, the front with rectangular dial applied with 5.5 inch Roman numeral six-hour chapter ring with quarter divisions to inner track, stylised foliate engraved half hour markers and now with two brass hands, the exterior with domed bell and vase finials above brass side doors and fixed backplate, on turned bun feet, (lacking weights), 28cm (11ins) high. The practice of dividing each day into four periods was probably inherited from the Romans who combined it with the unequal hour system where the day started at dawn with the other periods starting from noon, dusk and midnight. Naturally this system meant that the duration of each period varied throughout the year. The later Italian hour system (in use by the start of the Renaissance) continued with the division of the day into four periods but with each being equal in length and divided into six hours with day now starting at sunset. Early Renaissance clocks were often annotated with tables denoting the time of sunrise and sunset for any given day throughout the year. The six hour dial also had other advantages; one being that it is easier to read the time more accurately on watch dial due to larger spacing between the hour numerals (although early watches were notoriously poor timekeepers!). Clocks using the six hour system also required less reserve in their strike trains compared to one using the more usual twelve hour strike system. This was possibly one of the reasons why many public clocks came to be made to announce the hour twice - once on or just before the hour, and again a minute or so later (presumably to serve as a reminder).
A brass miniature lantern timepiece with alarm Unsigned late 17th century... A brass miniature lantern timepiece with alarm Unsigned late 17th century The posted movement with verge escapement regulated by bob pendulum with silk suspension swinging to the rear and alarm set within the frame behind the going train, the dial with alarm disc and single pierced iron hand to the foliate engraved centre within applied Roman numeral chapter ring with bold arrowhead half hour markers, the frame with column turned pillars with integral shouldered vase finials and knopped feet, with foliate engraved and pierced armoral frets beneath domed bell bearer, the sides with brass doors, the rear with iron hanging loop above iron backplate fitted with extended bar terminated with angled spurs, 23.5cm (9.25ins) high overall. The current lot can be compared with a similar miniature lantern timepiece with alarm which sold in these rooms on Tuesday 6th September 2011 (lot 138) for £4,000 hammer.
A rare small English iron framed hooded wall timepiece with alarm Unsigned A rare small English iron framed hooded wall timepiece with alarm Unsigned, dated 1707 The single-handed short duration movement with three-wheel train and verge escapement regulated by short side-swinging bob pendulum with pallet arbor pivoted within transverse iron armature mounted above the top plate, the alarm train set behind the going train with vertical hammer arbor fitted to the inside of the rear movement bar sounding on a bell mounted on top of the case, the iron strip frame constructed with central pivot bar riveted to the narrow horizontal top and bottom plates each terminating with pinned tenons to take the dial plate and movement front and back bars, the rectangular brass dial measuring 6.5 by 4.75 inches with alarm disc and single iron hand to centre within engraved Roman numeral chapter ring with cruciform half hour markers, the rear of the dial with engraved date 1707, now in a simple mahogany wall hung box case with open front, removeable top panel and incorporating movement mounting hook and original bell secured to the arched case backboard pierced for hanging at the top, (lacking passing strike and weights), 28cm (11ins) high overall. The current lot can be directly compared to a small hooded wall alarm timepiece with verge escapement regulated by short bob pendulum swinging to the side described and illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 (exhibition catalogue) pages 40-41 (exhibit 8). This movement is similarly constructed to the current lot with detail differences confined to the truncated rear movement bar (full height on the current lot), the provision of two brass cocks for the pallet arbor pivots and no passing strike. Another related but later clock by John Coates of Cirencester is also illustrated in TIME & PLACE (pages 164-5), this shares the same basic frame construction with the current lot but has inherent later features such as anchor escapement and conventional dial configuration. Although conceived as a relatively modest wall alarm clock (probably intended for ºckstairs' use) the current lot is well made with neatly forged strip frame, precise wheel work and refinements such steel tips to the passing strike lifting starwheel. The movement has also survived in fine original condition with the only significant fault being the loss of the passing strike hammer and arbor.
A rare small English hooded wall timepiece movement and dial, Unsigned A rare small English hooded wall timepiece movement and dial, Unsigned, late 17th century, The single-handed short duration movement with three-wheel train and later anchor escapement set between vertical plates with fittings to take alarm to the rear, united by shaped top and bottom plates with pallet arbor pivoted between front movement plate extension and assymetric iron backcock, the brass dial with plate measuring 5 by 4 inches fitted to the movement top and bottom plate via pinned tenons, with matted centre within applied narrow silvered Roman numeral chapter ring with stylised wheatear half hour markers, (lacking alarm mechanism, hand, alarm disc, spandrels, pendulum and weights), 13.5cm (5.25ins) high. The current lot can be compared to a small hooded wall alarm timepiece with verge escapement regulated by short bob pendulum swinging to the side described and illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 (exhibition catalogue) pages 40-41 (exhibit 8). Vacant holes to the top plate suggest that a verge escapement regulated by side-swinging pendulum was also originally fitted to the current lot. The use of brass for the frame of the movement (rather than iron), as well as the provision of an applied chapter ring and spandrel ornaments to the dial, suggest that the current lot was a possibly 'higher grade' model than the example described by Darken, although would have probably been housed in a similar simple box type case.
A Victorian brass lantern clock The dial bearing signature for Richard Rayment A Victorian brass lantern clock The dial bearing signature for Richard Rayment, Bury, late 19th century The French rectangular eight-day movement striking the hours on the bell mounted above the frame and stamped R. for Richard et Cie over serial number 118159 to backplate, the posted case with dial bearing spurious signature Rich. Rayment, Bury to the foliate scroll engraved centre within silvered Roman numeral chapter ring beneath dolphin cast frets flanked by vase finials with domed bell bearer above, the sides and rear with brass doors, on ball feet, 39cm (15.5ins) high.
A rare George III red japanned table clock James Smith, London A rare George III red japanned table clock James Smith, London, circa 1775 The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum with holdfast to the Ho-Ho bird inhabited oriental pagoda and asymmetric foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar aperture and shaped recessed panel signed James Smith, LONDON to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with rococo scroll cast spandrels beneath subsidiary silvered Strike/Silent selection dial flanked by conforming mounts to arch, the bell top case with hinged brass carrying handle to the ogee shaped upstand decorated in raised gilt with figures within an Oriental garden landscape on a deep red ground above front door with conforming figural decoration within line borders and with pierced gilt upper quadrant frets, the sides with circular over concave-topped scroll-pierced gilt sound frets, the rear with break-arch glazed door set within the frame of the case, on cavetto moulded base incorporating gilt foliate scroll decorated shaped apron and bracket feet, (movement with losses), 44.5cm (17.5ins) high excluding handle. Several makers with the name James Smith are recorded working throughout the late eighteenth and early nineteenth century however the current lot was probably made by the maker of this name who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Fleet Street circa 1775-1800.
An Edwardian silver cased small aneroid portable desk barometer Unsigned An Edwardian silver cased small aneroid portable desk barometer Unsigned, 1908 The 2 inch circular white enamel register with concentric scale calibrated in barometeric inches divided into tenths and annotated with the usual weather observations set within a rotating convex glazed ogee bezel fitted with a steel recording pin, the cylindical case with frosted gilt finish to the interior of the hinged cover, marks for Chester 1908, diameter 5.8cm (2.25ins); with a Victorian silver cased aneroid pocket barometer with altimeter scale, unsigned, late 19th century, with 1.75 inch circular silvered register inscribed Compensated to centre within concentric scale calibrated in barometric inches divided into twentieths and annotated with basic weather observations within rotating outer scale calibrated in feet from 0 to 10,000 and divided for 50 foot intervals, the pocket watch type case with suspension ring enclosing knurled crown for adjustment of the altimeter scale and engine turned decoration to rear, indistinct date mark, 5.8cm (1.87ins) diameter, (2).
A fine George III brass mounted figured mahogany quarter chiming table clock... A fine George III brass mounted figured mahogany quarter chiming table clock made for the Spanish market James 'Diego' Evans in partnership with Robert and Peter Higgs, London, circa 1780 The seven pillar triple fusee movement chiming the quarters on a graduated nest of eight-bells and striking the hour on a further large bell, with verge escapement regulated by short bob pendulum and holdfast to the fine symmetrical rococo scroll engraved backplate centred with a basket of flowers over shaped cartouche signed Higgs y, DIEGO EVANS, Bolsa Real, LONDRES , the 8 inch brass break-arch dial with calendar aperture and shaped recessed panel signed Higgs y, DIEGO EVANS, Bolsa Real, LONDRES to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with rococo scroll cast spandrels beneath subsidiary silvered MUSICA/SILENCIO selection dial flanked by conforming mounts to arch, the bell top case with pedestal surmount capped with brass flambeau urn finial above rococo scroll cast mount to superstructure flanked by smaller urn finials above front door with brass fillet inset glazed dial aperture and scroll cast upper quadrant frets, the sides with hinged brass carrying handles over arched scroll pierced sound frets, the rear with break-arch glazed rectangular door set within the frame of the case, on cavetto moulded skirt base with brass bracket feet, 51cm (20ins) high excluding top finial and pedestal, 63.5cm (25ins) high overall. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom of the Clockmaker's Company in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770. James Evans is recorded by Baillie as also working from Sweetings Alley from 1773. In 1775 he went into partnership with Robert and Peter Higgs; the firm subsequently moved to Exchange Alley and continued in business until around 1825. The partnership of Higgs and James Evans specialised in producing clocks for the export market - particularly to Spain hence a significant proportion of surviving examples (including the current lot) being annotated and signed in Spanish.
A Queen Anne brass lantern clock Francis Mitten, Chichester A Queen Anne brass lantern clock Francis Mitten, Chichester, early 18th century The posted countwheel bell-striking movement with anchor escapement regulated by seconds pendulum swinging outside of the frame clock to the rear, the dial with single hand and stylised leafy scroll engraved centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and engraved Fra. Mitten, Chichester to lower edge, the frame with column turned corner posts beneath dolphin inhabited foliate pierced frets, vase turned finials and domed bell bearer, the sides with plain brass side doors, the rear with iron hoop and spurs, on turned ball feet, 37cm (14.5ins) high; with an oak wall bracket with pierced ogee pointed arch top above scroll supports for the rectangular table fronted with a shaped apron over conforming outline to backboard beneath, 62cm (24.5ins) high overall. Francis Mitten is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as 'of St. Pancreas', London in 1711 when he took as apprentice John Squire. A marriage is recorded in 1714 at St. Pancreas, with another in Chichester the following year. He is believed to have worked up to around 1730.
A William III brass lantern clock Joseph Norris, Abingdon A William III brass lantern clock Joseph Norris, Abingdon, circa 1695-1700 The posted countwheel bell-striking movement with verge escapement regulated by short pendulum swinging within the frame clock to the rear, the dial with single iron hand and assymetric stylised leafy tulip scroll engraved centre within applied silvered Roman numeral chapter ring with cruciform sword hilt half hour markers and engraved Jos, Norris, Abingdon to lower edge, the standard third period frame with column turned corner posts beneath dolphin inhabited foliate engraved and pierced frets, vase turned finials and domed bell bearer, the sides with plain brass side doors, the rear with iron hanging hoop and spurs fitted to the iron backplate, on turned ball feet, 39.5cm (15.5ins) high. Joseph Norris is recorded in Loomes, Brian, LANTERN CLOCKS & Their Makers as born in Abingdon around 1650 and apprenticed in London to his brother Edward Norris in 1661 (gaining his Freedom of the Clockmakers' Company in 1670). By around 1675 he was in Amsterdam (probably working for the Fromanteels) where he was married in 1677. On his return to Abingdon in 1692 he set up business in Oak Street and was made Burgess in 1695. He was subsequently appointed Chamberlain of the Borough of Abingdon from 1698 until 1702. Joseph Norris outlived his wife by six years and is thought to have worked until his death in 1727.
A William III/Queen Anne oak thirty-hour longcase clock Joseph Windmills A William III/Queen Anne oak thirty-hour longcase clock Joseph Windmills, London, circa 1700 The four finned pillar countwheel bell striking two-handed movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with foliate scroll pierced blued steel hands and matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, signed J. Windmills, London to lower edge and with Arabic five minutes to outer track, the angles applied with twin cherub and crown cast spandrels, in a case with cavetto moulded cornice and plain frieze above three quarter columns flanking dial, the trunk with convex throat over long 45.5 inch rectangular door, on panel fronted plinth base with moulded skirt, 218cm (86ins) high; with a copy of Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737 The Antiquarian Horological Society, Ticehurst 1999, dj, (2). The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark Lane End, next Tower Street by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph's death in 1724. Thirty hour longcase clocks by Joseph Windmills are relatively rare with only 10 examples recorded by Neale. The case of the current lot can be loosely compared to a similar example housing a thirty-hour movement with 12 inch dial by John Andrews, London which sold in these rooms on Tuesday 11th March 2014, lot 114.
A fine William III silver pair-cased verge pocket watch Daniel Quare, London A fine William III silver pair-cased verge pocket watch Daniel Quare, London, circa 1695 The gilt full plate single fusee verge movement with four Egyptian pillars incorporating foliate-pierced galleries pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the backplate with fine symmetrical foliate scroll pierced and engraved balance cock with herringbone bordered rim and conforming pierced broad foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature Quare, London , the pillar-plate fitted with circular silver champleve dial with scroll-chased signature cartouches engraved Quare, London to the matted centre within Roman numeral chapter ring with lozenge half hour markers and Arabic cartouche five minute numerals to outer track, with later blued steel beetle and poker hands and in plain silver inner case with suspension post and ring at twelve o'clock, with an outer case decorated with pique work scroll designs into leather covered brass within moulded silvered brass hinge plates and bezel-edge, the dial 41mm diameter; the inner case 48mm diameter; the outer case 55mm diameter. Daniel Quare is an important maker who is recorded on Loomes, Brian The Clockmakers of Great Britain 1286-1700 as born in Somerset circa 1647/8; by 1671 he had moved to London as he was admitted as a Free Brother to the Clockmakers' Company in April of that year. Quare initially worked in St. Martin's Le Grand, London (where he married in 1776) later moving to Allhallows, Lombard Street in 1681, before finally relocating to Exchange Alley where he is believed to have taken-on the former premises of Robert Seignior in around 1686. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1709 he is believed to have taken his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European Royal and aristocratic clients. As a committed Quaker he refused to sign the Oath of Allegiance in 1697, however as a much respected maker, he was still able to discreetly supply the court of William III. In around 1680 Quare made repeating watches to his own design which eventually lead him to dispute a conflicting patent filed by Edward Barlow in 1686; the resulting exchange two years to resolve.
A Victorian gilt brass cased aneroid pocket barometer with altimeter scale... A Victorian gilt brass cased aneroid pocket barometer with altimeter scale and thermometer J. Hicks, London, late 19th century The 1.75 inch circular silvered register signed J. HICKS, MAKER, LONDON, 5433 and inscribed Compensated above curved mercury tube Fahrenheit scale thermometer to the recessed centre within concentric scale calibrated for barometric inches divided into twentieths and annotated with basic weather observations within outer scale calibrated in feet from 0 to 10,000 and divided for 50 foot intervals, the pocket watch type case with suspension ring and rotating bezel with recording pointer to inside of glass, diameter 5cm (2ins), with original leather covered outer travelling case; with a Victorian gilt brass cased aneroid pocket barometer with altimeter scale, J. Hicks, London, late 19th century, the 2.5 inch circular silvered register signed J. HICKS, 8, 9 & 10 Hatton Garden, LONDON, 457 and inscribed Compensated to centre within concentric scale calibrated for barometric inches divided into twentieths within outer scale calibrated in feet from 0 to 10,000 and divided for 50 foot intervals, the pocket watch type case with suspension ring enclosing knurled crown for adjustment of the altimeter scale, diameter 7cm (2.75ins); and a Victorian gilt brass cased aneroid pocket barometer with altimeter scale, Thomas Armstrong and Brother, Manchester and Liverpool, late 19th century, the 1.75 inch circular silvered register signed THOMAS ARMSTRONG & BROTHER, MANCHESTER & LIVERPOOL, 1837 and inscribed Compensated to centre within concentric scale calibrated for barometric inches divided into twentieths annotated with basic weather observations within rotating outer scale calibrated in feet from 0 to 10,000 and divided for 50 foot intervals, the pocket watch type case with suspension ring with knurled bezel, diameter 4.8cm (1.87ins), with original leather covered outer travelling case, (3). James Joseph Hicks is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Hatton Garden, London from 1861 until after 1900. He was a committed Catholic who presented various meteorological instruments to the Vatican receiving the title Knight Commander of St. Gregory in recognition for his services. Thomas Armstrong and Brother are recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from circa 1875 until after 1900.
A fine and rare George I brass mounted lampblack stained burr field maple A fine and rare George I brass mounted lampblack stained burr field maple 'mulberry' veneered table clock with pull quarter-repeat on six bells John Wady, London, circa 1720 The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull-quarter repeat on a nest of six graduated bells, the backplate engraved with bird inhabited symmetrical foliate scrolls and strapwork around a central basket of fruit, the 7.5 inch brass break-arch dial with false bob and calendar apertures and rectangular silvered signature plate JOHN WADY, LONDON to the finely matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, with fine sculpted blued steel hands and angles applied with female bust and bird inhabited scroll cast spandrels beneath arch centred with subsidiary STRIKE/SILENT selection dial flanked by conforming mounts, the lampblack stained burr field maple veneered inverted bell top case with generous brass handle and shallow frieze upstand above cross grain walnut top moulding and front door with raised brass bordered break-arch glazed dial aperture, the sides with conforming slender break-arch side windows and the rear door matching the front, on conforming cross grain moulded brass bound shallow skirt base with claw and ball cast feet, 49cm (19.25ins) high excluding handle. John (Jean) Wady is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from 1724 and subsequently declared insolvent in 1729. Wady was born on the Channel Islands but is believed to have moved to London to become an apprentice clockmaker in around 1706 (presumably gaining his Freedom of the Clockmakers Company in around 1713). On 30th May 1721 John Wady married Mary Davis at St. Bride, Fleet Street, London, he is also known to have taken two apprentices; his nephew, James (son of William Wady) in September 1720, and William Sparkes in 1724. When considering the relatively few known surviving clocks by Wady it is clear that he was strongly influenced by the work of French Huguenot immigrant clockmakers such as Claude Du Chesne and Simon De Charmes who were both working in London at the turn of the 18th century. Huguenot work is often highly inventive with many examples having complex dial layouts, musical movements and distinctive cases. The form and detailing of the case perhaps most demonstrates this Huguenot influence within the current lot whose slender proportions, upstand for the superstructure and raised surrounds to the glazed apertures echo features seen on a black japanned musical table clock by Simon De Charmes which sold at Sotheby's 25th April 2007 (lot 81) for £45,000 hammer. Similar details are also present on an ebonised striking table clock with complex dial by John Wady which sold at Bamfords, Bakewell 1st May 2013 (lot 1263) for £16,000 hammer. The burr figured veneers are particularly rare and impressive and were created by treating burr field maple with nitric acid and then lampblack to create the striking contrast within the natural structure of the timber. Treated veneers of this type were traditionally labelled as 'mulberry' and were almost always used alongside walnut cross grain mouldings.
A fine and rare George I silver mounted ebony grande sonnerie striking table clock with pull-quarter repeat and alarm Andrew Dunlop for Daniel Delander, London, circa 1720 The substantial eight large diameter knopped and finned (centre two latched) pillar triple fusee movement with plates measuring 8.5 by 7.5 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 short bob pendulum and alarm sounding on the hour bell wound via pulley mounted on the fine herringbone bordered Ho-Ho bird inhabited foliate scroll engraved backplate centred with figural scene of Daphne pursued by Apollo beneath grotesque male mask with pronounced whiskers issuing from one of the leafy scrolls, the 7.75 inch brass break-arch dial with silvered alarm setting disc, herringbone engraved calendar and shaped false bob apertures and applied scroll-bordered silver signature plate engraved Dan. Delander, London applied over engraved cartouche Andr. Dunlop, LONDON to upper margin of the matted centre within silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with cast silver mask and scroll pattern spandrels beneath arch with Hours & Quarters/Silent All/Hours Alone selection dial flanked by conforming silver mounts, the inverted bell top case with generous hinged cast silver handle to the fillet edged superstructure flanked by heavy shouldered finials above front door with raised complex mouldings to the glazed dial aperture beneath conforming fine foliate scroll engraved and pierced silver upper quadrant fret apertures, the sides with further shaped silver sound frets over break-arch glazed windows, the rear with door incorporating arched scroll-pierced ebony sound fret over rectangular glazed panel, on shallow cavetto moulded skirt base with cast silver squab feet, 48cm (19ins) high excluding handle. Daniel Delander in recorded in Loomes Brian Clockmakers of Britain 1286-1700 as born in London around 1677-8 to Nathaniel and Rebecca Delander. He was apprenticed in 1692 to Charles Halstead but was later transferred to Thomas Tompion gaining his Freedom of the Clockmakers' Company in 1699. Delander is initially thought to have worked from Devereux Court later moving to a house ¾tween the two Temple Gates', 'near Temple Bar' in 1712. Daniel Delander died in 1733 and is believed to have been succeeded by his son Nathaniel Delander, who gained his Freedom of the Clockmaker's Company in 1722. Daniel Delander was a fine and inventive maker who very much followed in the footsteps of his former master, Thomas Tompion. His work often demonstrates a refined approach with a great deal of consideration given to the proportions, detail finish and technical specification of the movements. Delander was never one to let fashion overtake him, always being at the cutting edge with regards to design and use of materials. He is perhaps best known for his exquisite small walnut precision longcase clocks with duplex escapements made during the 1720's as well as the silver mounted grande sonnerie table clock formerly in the Rous Lench Collection which is illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks on page 411, Plates 585-6. Andrew Dunlop is recorded by Loomes as working in Aberdeen until around 1700 before moving to London where he worked from Spread Eagle Court, Grey's Inn. He joined the Clockmakers' Company in 1701 and took in Thomas Hague as an apprentice in 1719 followed by his son, Conyers, in 1725. He is thought to have died in 1732 and was succeeded by his son. The work of Andrew Dunlop is described in Maxwell-Irving... [Please contact Auctioneer for full lot description]
A William III walnut and floral marquetry eight-day longcase clock William... A William III walnut and floral marquetry eight-day longcase clock William Carter, Cambridge, circa 1695 The five finned pillar (centre latched) inside rack and bell hour striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and triple crown and scroll carved calendar aperture to the matted centre within applied silvered Roman numeral Chapter ring with elaborate basket hilt engraved half hour markers, Arabic five minutes to outer track and signed W'm Carter, Cambridge to lower edge, the case with ogee moulded cornice, plain frieze and floral trail marquetry decorated door to the formerly rising hood, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a circular glazed lenticle and decorated with three shaped marquetry bird inhabited flowering foliage panels into an ebonised ground within a walnut field, the surround with further continuous leafy trails, the sides veneered with two line inlaid panels within crossbanded borders, the plinth base with further conforming marquetry panel within crossbanded borders now applied with a later moulded skirt, (generally distressed but in structurally sound original unrestored condition), 206cm (81ins) high. William Carter is recorded in Loomes Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Cambridge from before 1714 until around 1721; Loomes further notes in British Clockmakers 1286-1700 that Carter's son, Hewes, was apprenticed in 1716 to Henry Camden. The engraved 'triple crown' decoration around the calendar aperture of the current lot is a feature sometimes seen on longcase clocks dating from the 1690's and is generally thought to represent the unification of the three Kingdoms of England, Ireland and Scotland which was first envisaged during the reign of James II in 1688 and was cemented by Act of Parliament in 1707.
A fine Charles II gilt brass mounted ebony small basket top table clock with pull-quarter repeat Charles Gretton, London, circa 1680 The five finned pillar twin fusee bell striking movement with pull-quarter repeat on a single bell, the going train with verge escapement regulated by short bob pendulum, the strike train with counting via early double-cut sprung rack gathered away from the snail via pallet engaging with teeth cut to the underside opposing locking enabled by pawl to the upper set of teeth, the fine symmetrical flowering tulip engraved backplate with foliate engraved apron to backcock over drapery lambrequin cartouche signed Charles Gretton, in Fleete Street and visible mainspring barrel set-up clicks with pawls held by elaborate scroll-cut brass spring, the 6.25 inch square brass dial with high position winding holes to the 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, the ebony veneered case with hinged tied floral bud shouldered brass handle to the foliate scroll and husk swag relief decorated pierced domed ºsket' caddy surmount flanked by ball finials over smooth ovolo top moulding and plain glazed front door, the sides with conforming rectangular windows, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ovolo moulded skirt over brass disc feet, 29cm (11.5ins) high excluding handle. Charles Gretton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Claypole, Lincolnshire in 1648. He was apprenticed to Humphrey Downing from June 1662 until 1670 but did not gain his Freedom of the Clockmakers' Company until 1672. Gretton married Mary Phillips in 1677, however by 1695 he was a widower hence his second marriage to Lucy Uffman in 1700. By 1683 Charles Gretton was working at The Ship in Fleet Street, and in 1685 he is noted as 'in Fleet Street over against Sergeants Inn Gate'. He was made Assistant of the Clockmakers' Company in 1689, Warden in 1697, and Master in 1700. He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. In 1701 Gretton put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members. He died in 1731 leaving his business to be continued by his nephew William Moore. The life and work of Charles Gretton is currently receiving detailed attention by Dennis Radage and Warner Meinen for a forthcoming publication. The current lot is a fine early example of Gretton's work and incorporates the earliest form of rack striking where the double-cut rack is gathered away from the snail by a pallet to the lower set of teeth whilst being held by a hook engaging with the upper set. This system requires separate locking of the train which is enabled by a detent raised by a flag engaging with a pin fitted to the end of the rack. Prior to striking the rack hook is released by a pin fitted to the minute wheel and is held in warning by a pair of detents lifted by another pin to a second minute wheel (fitted behind the hour wheel). This layout is essentially identical to that seen on a clock by Robert Seignior described and illustrated in Dawson, Percy G., Drover, C.B. and Parkes D.W. Early English Clocks pages 352-60, plates 512-7. In addition to this unusual and particularly early form of rack striking, the current lot also has a similar shaped bent-brass escape wheel top cock to that seen the example by Robert Seignior; this would suggest that both probably originated form the same ... [Please contact Auctioneer for full lot description]
A William III ebony table clock Charles Gretton, London A William III ebony table clock Charles Gretton, London, circa 1695 The five finned pillar rack and bell striking movement with verge escapement regulated by short bob pendulum, the symmetrical floral scroll engraved backplate with cartouche signed Charles Gretton, London to centre and visible mainspring barrel set-up clicks with decorated pawls towards lower margin, the 7.25 inch square brass dial with ringed winding holes, calendar aperture and herringbone border engraved false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Char. Gretton, London to lower edge, with pierced steel hands, vacant N/S strike/silent switch aperture to the edge of the plate at nine o'clock and winged cherub mask cast brass spandrels to angles, the ebony veneered case with eagle head and leafy scroll cast hinged brass carring handle to the domed caddy superstructure above complex top moundings and foliate scroll pierced elongated lozenge shaped sound fret to the upper rail of the front door, the sides with rectangular glazed apertures, the rear with rectangular glazed door fitted with lozenge sound fret to upper rail, on complex moulded shallow skirt base now fitted with brass ball feet (movement with losses), 37cm (14.5ins) high excluding handle. Charles Gretton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Claypole, Lincolnshire in 1648. He was apprenticed to Humphrey Downing from June 1662 until 1670 but did not gain his Freedom of the Clockmakers' Company until 1672. Gretton married Mary Phillips in 1677, however by 1695 he was a widower hence his second marriage to Lucy Uffman in 1700. By 1683 Charles Gretton was working at The Ship in Fleet Street, and in 1685 he is noted as 'in Fleet Street over against Sergeants Inn Gate'. He was made Assistant of the Clockmakers' Company in 1689, Warden in 1697, and Master in 1700. He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. In 1701 Gretton put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members. He died in 1731 leaving his business to be continued by his nephew William Moore. The life and work of Charles Gretton is currently receiving detailed attention by Dennis Radage and Warner Meinen for a forthcoming publication. The current lot is a recent discovery which, until now, had not been recorded by Radage and Meinen. Flourishes such as the decorative spring set-up clicks to the backplate are typical of Gretton's work which often incorporates such features to give his clocks a distinctive 'personality'.
An important Charles II small walnut eight-day longcase clock previously in the Iden collection Joseph Knibb, London, circa 1675 The six knopped, finned and latched pillar movement with tall rectangular plates measuring approximately 7.5 by 5.5 inches, the going train with anchor escapement regulated by two-piece seconds pendulum with brass lenticular bob and butterfly-nut regulation to the single-footed suspension block over separately cocked escapement pallet arbor and with pallet-shaped aperture to backplate, the strike train with external crossed-out countwheel and sounding on a 'pork pie' shaped bell mounted above the plates, the 9.5 inch square latched brass dial with winding holes and calendar aperture to the lower edge of the finely matted centre within applied 1.5 inch wide silvered Roman numeral chapter ring with squat fleur-de-lys half hour markers and Arabic five minutes within the narrow outer track, the angles applied with winged cherub head spandrels within a line scribed border interrupted with engraved signature Iofeph Knibb Londini fecit to lower margin, the movement and dial resting on full-depth oak seatboard and secured to the backboard via a bracket to the upper right hand corner of the backplate, the case veneered with walnut and applied with crossgrain mouldings onto a carcass of oak with rising hood surmounted by original carved swan-neck crest centred with a scallop shell flanked by rosettes issuing floral swags, over moulded cornice, plain lintel and twist turned three-quarter columns flanking the glazed dial aperture, the sides with rectangular windows and conforming twist-turned quarter columns applied against bargeboards to rear, the trunk with convex throat moulding over 40 inch quarter-veneered rectangular door applied with half-round moulded border and fitted with original high position iron lock, the interior with early pattern iron hinges and spoon locking mechanism for the hood, the sides veneered with grain running horizontally within crossbanded borders, on crossbanded plinth base with compressed bun feet (the plinth base rebuilt around the original side uprights), 193cm (76ins) high excluding ball finial, 199cm (78.5ins) high overall. Provenance: Purchased in Oxfordshire 1919 by Richard Arnold Esq. before passing into the collection of Walter Iden (inventory number 1913) by the late 1930's, from whom it was directly acquired by Neville Rollason shortly after the War. From before 1949 until 1963 the clock resided at Peplow Hall near Hodnet, Shropshire before being purchased by the present owner for a hammer price of £1,700 (underbid by Ronald Lee) at the on-site sale of the contents dispersed after the death of Neville Rollason in June 1963. Literature: Extensively illustrated (including a rear view of the movement complete with pendulum assembly) in Cescinsky, Herbert and Gribble, Ernest R. EARLY ENGLISH FURNITURE AND WOODWORK (1922) pages 300-1, Figs. 410-14 and discussed on pages 307-8. Illustrated in Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 pages 68-9, Figs 96-7 with an enlarged detail of the crest on page 46, Fig. 96. Illustrated in Dawson, Percy G., Drover, C.B. and Parkes D.W. Early English Clocks page 248, Plate 332 (detail of crest only). Illustrated and described in Dwason, Percy G. THE IDEN CLOCK COLLECTION pages 144-5 where Dawson notes that the current lot is the earliest example by Knibb in the collection. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City aut... [Please contact Auctioneer for full lot description]
A fine James II gilt brass mounted ebony small basket top table timepiece with silent-pull quarter-repeat on two bells Henry Jones, London, circa 1685-90 The seven 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 Henry Jones, in the Temple to a leafy scroll bordered cartouche to centre, the 6.125 inch square brass dial with single winding hole 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, the ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the foliate pierced domed ºsket' caddy surmount decorated with cherub masks, Ho-Ho birds and floral swags flanked by figural terms to angles 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 repousse brass sound frets centred with cherub mask motifs, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over brass disc feet, 32cm (12.5ins) high excluding handle. Henry Jones is an important maker who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1772. In 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name. 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. The design and execution of the engraved decoration to the backplate of the current lot can be very closely compared to that of the only known table clock by Peter Knibb which is illustrated in Lee, Ronald A. The Knibb Family, Clockmakers page 129, plate 139. Lee also illustrates (on the preceding page, plate 138) another closely related backplate for a clock by John Knibb, Oxford and notes that both have internal rack striking, which would suggest that each date from the mid 1680's. The dial, with its distinctive relatively strong concentric engraving and squat fleur-de-lys half hour markers to the chapter ring ... [Please contact Auctioneer for full lot description]
A fine and rare William III walnut veneered table clock with pull... A fine and rare William III walnut veneered table clock with pull quarter-repeat on six bells John Boucheret, London, circa 1695-1700 The five finned and knopped pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull quarter-repeat on a nest of six graduated bells, the backplate engraved with fine symmetrical foliate scrolls around an oval herringbone bordered cartouche signed John Boucheret, Londini Fecit to centre, the 8 inch square brass dial with ringed winding holes and foliate scroll border decorated calendar and false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Boucheret, London to lower edge, with pierced blued steel hands and angles applied with cast winged cherub head spandrels within herringbone border interrupted by N/S strike/silent switch aperture at twelve o'clock, the figured walnut veneered case with unusual twin female term and tied foliate bud cast hinged brass carrying handle to the domed caddy superstructure flanked by vase finials above complex crossgrain top mouldings and glazed front door now applied with female mask cast mounts to uprights, the sides with brass repousse scroll pierced lozenge shaped sound frets over rectangular glazed apertures, the rear with rectangular glazed door set within the frame of the case, on complex moulded shallow skirt base with brass disc feet, 39cm (15.25ins) high excluding handle. A maker with the name John Boucheret is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working circa 1750. Baillie also records a Jacob Boucheret as gaining his Freedom of the Clockmakers' Company in 1728; it is most probable that these records relate to subsequent generations of the maker of the current lot. From his name it may be appropriate to speculate that John Boucheret was probably a first generation Huguenot immigrant clockmaker who could have possibly quietly worked outside the jurisdiction of the Clockmakers' Company maybe in one of the larger Huguenot workshops such as that of Claude Du Chesne. The movement of the current lot echoes the work of Daniel Quare and Thomas Windmills, in particular the layout of the repeat work with the hammer arbors pivoted between the plates (rather than fitted to a separate carriage). Such detailing is typical for clocks made during the latter years of the 1690's as is the engraving to the backplate which can be closely compared to that on an ebony table clock by Quare illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks page 373, Plate 534. The dial again is nicely detailed with the relatively refined appearance of the centre being perfectly complimented by the herringbone border to the edge of the plate. The walnut veneered case is particularly rare and attractive with well-chosen figured veneers. Due to the enduring fashion for ebony, walnut-cased table clocks from this period are very scarce. This is illustrated by the fact that only one from Tompion's numbered series (number 88) is recorded as being in a walnut case (see Barder, Richard The Georgian Bracket Clock 1714-1830 page 49, and Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 88).
A Queen Anne walnut eight-day longcase clock Samuel Townson, London A Queen Anne walnut eight-day longcase clock Samuel Townson, London, circa 1710 The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum , the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed Sam. Townson, London to lower edge, with pierced blued steel hands and twin cherub and crown pattern cast brass spandrels to angles, in a fine burr walnut veneered case with removable domed caddy surmounted by box upstand above ogee moulded cornice and fine foliate scroll pierced frets to front and side friezes, generous three-quarter columns with gilt brass caps and bases to the glazed hood door, the sides with fine rectangular scroll pierced frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with burr veneered convex throat above 42 inch herringone bordered rectangular trunk door centred with a brass lenticle and applied with an arrangement of three pairs of book-matched veneers within half-round moulded border, the sides crossbanded, on conforming herringbone bordered crossbanded plinth base with ogee top mouldings and tall skirt base, 226cm (89ins) high excluding caddy superstructure, 245cm (96.5ins) high overall (excluding finials). Samuel Townson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as the son of Robert Townson born in 1692. He was apprenticed to Thomas Wheeler in 1695 and gained his Freedom of the Clockmakers' Company by redemption in 1702. He was apparently married twice; first to Sarah Wheeler (the daughter of his Master) in 1694 and then to Martha Fellowes in 1706. Loomes also notes a record of a Samuel Townson being interred in a non-conformist burial ground in 1758.
A collection of Royal Worcester Roanoke pattern dinner wares comprising thirty three plates and bowls (various sizes) together with a small collection of Coalport Country ware tea wares, a pair of vases with moulded and painted forget-me-not and ring handles decoration, etc together with an unusual pair of French decanters with plated mounts and handles, marked to base L'Esprit & Le Vin, a heavy cut glass bowl of oval form, etc
An unusual clear crystal five strand necklace tree of tapering cylindrical form upon a rounded base with applied sticker Dartington, England together with a small example, possibly for use with rings together with a Royal Doulton and other glass ring tree, a Dartington paperweight with scorpio detail, an ebony dressing brush with applied silver mount, etc (brush displayed behind cabinet)
An Edwardian bar brooch, centred with a collet-set round mixed-cut peridot, flanked to either side with a row of seed pearls, in 9ct rose gold; a seed pearl brooch, of stretched octagonal form, rose gold-plated; a cased bar brooch, centred with a pearl in a rectangular motif, in 15ct gold; a boxed seed pearl eternity ring, in 9ct gold, size O 1/2; and a brooch, of floral form, highlighted with pink paste and seed pearls, in 9ct gold (5)
A 9ct rose gold bracelet, composed of curb-links, with a 9ct gold heart-shaped padlock clasp, 8.6g; a 9ct gold signet ring, 2.1g; a 9ct rose gold signet ring, 2g; a 9ct gold locket, of heart-shaped form, 2.8g; an 18ct gold charm, in the form of a wheel barrow, 1g; a pair of jade drop earrings, with unmarked gold fittings; a 12ct gold-filled locket; a pinchbeck and crystal glass locket; two pairs of gold-plated earrings; a gold ring setting; a fine chain; and a gold-plated necklace, highlighted with imitation coral beads (16)
An Edwardian crucifix pendant, decorated with a scrolling motif set with turquoise and seed pearls, in 15ct gold, on a rose gold-plated fancy-link chain; a 9ct gold oval-link chain, 3.5g; an Arts & Crafts style brooch, centred with an oval mixed-cut stone, probably amethyst, in unmarked 18ct gold; an 18ct rose gold brooch, composed of two fern leaves, 3.3g; an 18ct rose gold pendant, mounted with a yellow gold Dea Bendata motif, 2.8g; an Edwardian style ring, set with green and white paste, in 9ct gold, 1.8g; a sterling silver ring and medallion, 7.8g in total; an Italian micro mosaic bracelet, in pinchbeck; and a white metal pendant, centred with a carved coral cameo (10)
A graduated strand of coral beads; a coral and seed pearl ring, in white metal; a carved coral ring, in white metal; a pair of silver earrings, each with cannetille decoration, highlighted with a row of graduated coral; a strand of coral; a strand of imitation coral; and a banded agate brooch, of oval form, mounted in a silver frame (8)
An assembled suite of silver jewellery, comprising: a ring, a brooch and a pair of clip on earrings, each set with a citrine coloured stone, each decorated with foliage; a silver bar brooch, the central scrolling bar terminating at each end with hexagonal shaped green stone, possibly jade; two pairs of simulated tortoise shell earrings, each of circular domed form, applied with gold details, screw fittings; and a pair of silver earrings, each with ruffled border, centred with a suspended ball motif, 7.4g (11)
A sapphire ring, claw-set with a cabochon star sapphire weighing approximately 8.04cts, in unmarked 14ct gold, size J 1/2; a 15ct tri-gold brooch, of mesh ribbon form, 5.2g; two gem-set rings, in 9ct rose gold; and a 9ct gold safety pin brooch, centred with a mother-of-pearl and enamelled heart-shaped motif (5)
A silver charm bracelet, with heart-shaped padlock clasp, hung with six various metal charms; two sterling silver and marcasite rings; a sterling silver watch chain; a sterling silver curb-link chain; a silver brooch, set with white paste; two English silver napkin rings, 46.4g; two silver-plated napkin rings; a white paste eternity ring; and a gold-plated curb-link chain, Sarah Cov (12)
A graduated triple-strand imitation pearl necklace, contained in a fitted case; a large Edwardian style clasp, in the form of a ribbon, set with white paste; a silver charm bracelet, with heart-shaped padlock clasp, hung with twelve various charms; a stainless steel open-faced pocket watch; six costume brooches; a sterling silver earring; and a paste ring
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