A rare French gilt brass large four-glass mantel timepiece of one year duration, Retailed by Mason & Son, Canterbury, late 19th century, The substantial circular four pillar movement fitted with large diameter spring barrel and greatwheel to backplate driving via cocked pinion the four wheel train set between the plates regulated by visible Brocot escapement mounted within the dial and Ellicott type compensated pendulum, the backplate stamped 4165, 16.2, the two-piece white enamel dial with visible escapement and inscribed MASON & SON, CANTERBURY to the recessed centre within Roman numeral chapter ring with regulation square at twelve oÂ’clock, with blued steel moon hands and moulded gilt brass bezel, the substantial frosted gilt brass case with caddy-moulded top and cavetto cornice above heavy bevel glazed panels and caddy moulded uprights to angles, on conforming cavetto moulded skirt base incorporating bracket feet to the curved angles, 35.5cm (14ins) high
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A French inlaid rosewood mantel clock, Laine, Paris, mid 19th century, The circular eight-day countwheel bell striking movement with silk suspension and stamped LAINE A PARIS, 414, 148 to backplate, the rectangular engine-turned silvered brass dial with Roman numeral chapter ring and steel moon hands above curved signature cartouche Laine a Paris to lower margin, the case with tied floral bud cast brass hinged handle above double line inlaid surround to dial aperture incorporating rising upper rail for withdrawing the front glass, the sides with lozenge shaped windows, the rear with lift-out panel, on cavetto moulded skirt base with line panel-bordered front and sides, 21.5cm (8.5ins) high excluding handle
A French novelty brass and copper combination timepiece, aneroid barometer, thermometer and compass in the form of a lantern, Unsigned, late 19th century, The small circular eight-day single train movement with replaced platform lever escapement and circular silvered Roman numeral dial with recessed gilt centre, blued steel hands and regulation lever at twelve oÂ’clock set behind a bevel glazed hinged cast brass bezel, the cylindrical copper case fitted with opposing conforming aneroid barometer calibrated in barometric inches and with the usual observations and curved Fahrenheit scale mercury thermometer between brass baton uprights capped with knop finials, the top applied with small cylindrical glazed upstand enclosing compass beneath conical cover and ring handle, the base with stretcher modelled as a faux oil reservoir set between the baton uprights fitted with bun feet, 24cm (9.4ins) high excluding handle
A William IV brass inlaid mahogany bracket clock, Unsigned, circa 1830, The five pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the 8 inch circular cream painted Roman numeral convex dial with steel moon hands set within cast brass bezel, the shallow-arch top case with square gadroon moulded domed surmount above crest carved with leafy trails terminating with scrolls above shaped brass fillet inset panel decorated with brass symmetrical scroll inlay beneath dial, the front angles with applied rosette and line inlaid slender pilasters incorporating scroll profiles to lower section, the sides with foliate brass ring handles above rectangular brass fishscale sound frets, the rear with rectangular glazed door, on shallow moulded skirt base incorporating brass rosette and baton inlay to front moulding and brass ball feet, 46cm (18ins) high
A William IV brass inlaid mahogany bracket clock, Gray, London, early 19th century, The five pillar twin fusee bell striking movement with anchor escapement and signed Gray, Billiter Square, LONDON to the decorative scroll border engraved backplate, the 8 inch circular cream painted Roman numeral convex dial with pierced steel hands set within cast brass bezel, the shaped-top case with crest comprising central ebony ground brass inlaid panel flanked by leafy trails terminating with carved rosettes above dial bordered with downswept line decorated ebony band to lower edge over swollen rectangular panel inlaid with symmetrical brass scrolls flanked by leafy trail decorated applied slender pilasters to front angles, the sides with brass cornucopia ring handles above rectangular brass fishscale sound frets, the rear with rectangular glazed door, on shallow moulded skirt base incorporating brass rosette and baton inlay to front moulding and brass ball feet, 44cm (17.25ins) high. Although several clockmakers with the surname Gray are recorded as working in London during the early 19th century, there appears to be no mention in the usual reference sources of a maker with this name working from Billiter Square.
A rare Black Forest carved walnut weight-driven ‘Angelus’ cuckoo wall clock, Attributed to Johann Baptist Beha, Eisenbach, circa 1875, The wooden-framed triple train weight-driven movement with anchor escapement and wood-rod pendulum carved with Gothic tracery to bob, the striking train with external countwheel and linkages to two bellows and a cuckoo automaton which appears from behind a pair of doors within the gable of the case to announce the hour with a two-note call followed by the hour repeated on a gong, the third train with further countwheel and linkages to a monk who appears within an arched recess beneath the dial to apparently ring a bell set within the tower at six am., twelve noon and six pm., the circular wooden dial applied with bone Gothic Roman numerals and with pierced hands set within Gothic tracery to the front of the architectural case with arched recess beneath the dial and flanked by projecting spiral twist columns to the canted angles, the top with pierced spire containing a pivoted church bell above crotcheted gable incorporating circular doors for the cuckoo automaton flanked by spire finials and castellated parapet to sides, the base with inverted crotchet finials to the shaped pendant apron, (some losses to the case), 82cm (32.25ins) high excluding pendulum. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father,Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert. The design of the current lot appears in a surviving drawing by Lorenz Beha dated 1874 and was produced in very small numbers. The monk automaton is activated alongside the ‘Angelus’ striking which is intended to mark the time of prayer for the Catholic daily liturgy.
A French Charles X inlaid rosewood portico mantel clock, Crasse, Paris, early 19th century, The eight-day countwheel bell striking movement with ‘gridiron’ pendulum and signed Crasse Paris to backplate, the circular silvered dial with repeat signature to the engine-turned centre within Roman numeral chapter ring and elaborate stylised leaf chased ormolu bezel, the case with tablet upstand above ogee cornice and foliate scroll marquetry panel fronted lintel to entablature above two pairs of columns with engine-turned gilt caps and bases flanking dial with pendulum swinging beneath, on conforming marquetry panel fronted plinth base with canted moulded skirt, 49cm (19.25ins) high
A French Louis XV small gilt brass mounted boulle bracket timepiece with ‘silent’ pull quarter repeat, Saint Martin, Paris, circa 1740, The movement with rounded lower angles to both plates united by four baluster turned pillars pinned through the backplate signed Saint Martin AParis to lower margin, the going train with large diameter mainspring barrel, tic-tac escapement with offset pallets and silk pendulum suspension, the quarter repeat mechanism sounding the hours and quarters on a nest of three bells contained within the superstructure of the case on demand only, the 5.5 inch circular thirteen-piece blue on white enamel Roman numeral cartouche dial with plain centre within chapter ring with scroll chased borders to the applied numerals and outer minute track, with sculpted blued steel hands and applied enamel plate inscribed S. MARTIN, APARIS to lower margin, the waisted cut brass, polychrome stained shell and mother-of-pearl contra-parti veneered case applied with gilt surmount cast as a cherub feeding with a straw from a scallop shell over leafy corner mounts to the cavetto-shaped superstructure above cartouche-centred scroll cast crest and shaped bead-bordered glazed door applied with apron mount cast as a child Chronos holding a sandglass, set within leafy trail surround applied with further foliate mounts to angles and with tall brass-lined recessed arch windows within conforming floral scroll decorated infill to sides, the interior with symmetrical rococo panel veneered rear door over radial parquetry tile decorated canted floor, on acanthus scroll cast feet with shaped apron fronted with cartouche mount between, (unrestored with some damage and losses mainly to case), 49cm (19.5ins) high. Saint Martin is recorded in Loomes, Brian, Watchmakers & Clockmakers of the World as working in Paris circa 1710. The current lot employs a ‘silent pull’ quarter repeat mechanism which is designed to sound the hours and quarters only on demand (does not automatically strike during normal operation). This form of repeat mechanism is thought to have been devised for use in the bedchamber, hence would have been supplied to an extremely wealthy client who could afford such a luxury. English ‘Silent pull’ quarter repeating table clocks are scarce but do turn up from time to time, French examples are generally rarer hence are much more difficult to find.
A French gilt brass mounted Boulle ‘religieuse’ table clock with pull-quarter repeat, The movement signed for Louis Ourry, Paris, late 17th century and later, The two train movement with rectangular plates united by five tapered baluster pillars pinned at the rear and signed Louis Ourry AParis to the lower margin of the backplate, the going train now with Brocot type escapement, the strike train with scroll-cut sculpted steel gate and high position countwheel for sounding the hours on a bell mounted within the superstructure of the case, the pull-wound quarter repeat mechanism with separate hammer for sounding the hours on the same bell and two for sounding quarters on a further pair of bells, the 7.5 inch circular twelve-piece Roman numeral enamel cartouche dial with delicate foliate strapwork rosette decorated matted centre within chapter ring with scroll-chased infill around numerals and every minute numbered to the outer track, with mask applied to the rear of the dial plate incorporating matted infill to the square upper angles to allow secure fitting into the rectangular dial aperture of the case above decorative gilt brass mount modelled as a pair of standing angel-winged nymphs supporting the dial, now in a case with flambeau urn finials to the fine engraved brass, pewter and red shell foliate scroll contra-parti marquetry veneered domed superstructure above cast gilt brass gallery inset frieze incorporating projecting pedestals for the second tier of larger flambeau finials and complex brass bound ebony mouldings to cornice, the front with repeating leaf cast brass surround to the arch-glazed front door with marquetry scroll borders and conforming infill to upper angles flanked by full-height Corinthian strip pilasters with fine cast capitals over geometric strapwork and stylised leafy plant decorated shafts, the sides with tall rectangular windows with cast brass surrounds within foliate borders and flanked by conforming pilasters, the rear with walnut veneered panel door, on moulded base with leaf-cast gilt brass feet, (the case possibly 19th century, clock generally heavily distressed commensurate with being dropped although veneers are generally intact), 58.5cm (23ins) high. Louis Ourry is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Paris circa 1680. He is further recorded on the British Museum website as becoming a master watchmaker in 1684. The movement of the current lot is of fine quality and incorporates pull-quarter repeat which is rarely seen on French clocks of this period. The case appears to have been made for the movement and dial and is also of suitably fine quality however the pattern for the marquetry does not appear to match other ‘period’ examples as analysed in Plomp, Reinier Early French Pendulum Clocks, 1658-1700. Further investigation confirms the presence of comparable Napoleon III ‘revival’ examples with the same basic pattern of marquetry, this would suggest that the current case was made in the 19th century to replace the original, probably due to wear and tear.
A French gilt brass mounted ebony ‘religieuse’ table clock, The movement signed for Charles Champion, Paris, circa 1675 century and later, The two train movement with rectangular scroll-top plates united by five tapered baluster pillars pinned at the rear and signed Charles Champion AParis to the lower margin of the backplate, the going train with verge escapement and cycloidal cheeks for the silk pendulum suspension, the strike train with scroll-cut sculpted steel gates and pointer to the numbered countwheel positioned to the top left hand corner of the backplate for sounding the hours on a bell mounted behind the pediment of the case, now with a 10.5 by 9 inch black velvet covered dial with gilt collets to the winding squares and fine foliate-pierced and engraved hands within applied Roman numeral chapter ring with tied starburst half hour markers and every minute numbered to outer track, the upper angles applied with symmetrical scroll cast spandrel mounts, the lower with larger conforming mounts flanking hinged rococo cartouche engraved Charles Champion, AParis, now in a ebony veneered case with elaborate cartouche-centred symmetrical leafy scroll cast arched crest incorporating dolphins and armorial lion terms above rectangular glazed door applied with further cast mounts to angles and rails, the sides with slender break-arch lozenge shaped windows, the rear with walnut panel-veneered door, on shallow moulded skirt base with cast lion’s paw feet, (case with worm damage), 46cm (18ins) high. Charles Champion in recorded in Baillie, G.H. Watchmakers & Clokmakers of the World as appointed Jure in Paris in 1691.
An Italian brass chamber clock, Lorenzo Riviera, late 17th century, The two train weight-driven posted countwheel bell striking movement configured with verge escapement mounted above the top plate and short bob pendulum swinging to the rear, the countwheel cut for Italian six hour striking with each count cut twice in order for the previous hour to be automatically repeated when activated by a second lifting pin positioned soon after the first, the frame with square brass plates united by slender square section column uprights with moulded caps and bases with unusual herringbone engraved and lozenge faceted strike detent arbors pivoted between, the front with rectangular single-sheet brass dial engraved with 4.25 inch Roman numeral chapter ring with quarter divisions to inner track and stylised foliate engraved half hour markers, the centre decorated with a romantic mountain landscape, the upper and lower margins engraved with fine symmetrical foliate scroll strapwork centred with a grotesque mask to top and rococo scroll bordered cartouche signed LORENZO, RIVIERA, FECE at the base, the exterior with domed bell and generous ovoid vase finials above open sides and rear, on turned bun feet, (one finial, hand, escapement and elements of movement lacking, no pendulum or weights), 30cm (11.75ins) high. The current lot appears to be a fairly typical example of an Italian ‘lantern’ clock dating to the end of the 17th century. The movement is particularly well finished with highly decorative collets and engraved steel strike detent arbors pivoted between the frame posts. The dial is finely engraved with the foliate strapwork being very similar to that found on the backplates of English table clocks of the period. Despite such sophistication in the decorative detail, the movement possesses many relatively ‘archaic’ features - most notably the hand arbor being fixed securely to the hour wheel, and strike lifting via a nag’s head engaging with pairs of pins fitted to the going train greatwheel. These details are more typical of 16th century Gothic practice (and require the trains to be ‘run through’ to set the time and synchronise the strike) than 17th century Renaissance work, as strike activation had already been greatly improved by the introduction of a starwheel for lifting fitted (along with the hand) via a friction clutch to the hour wheel behind the dial. This refinement allowed the time to be set and adjustment of strike lifting without having to ‘run through’ the going train, and had been a standard feature on English lantern clocks since the beginning of the 17th century.
An Italian iron and brass small chamber clock, Unsigned, circa 1700, The two train weight-driven posted countwheel bell striking movement with verge escapement mounted above the top plate and 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 and stylised foliate engraved half hour markers, 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 rare William III eight-day longcase clock movement and dial, William Kenyon, Liverpool, circa 1700, The substantial four (formerly five) finned pillar rack and bell striking movement with thickly turned pillars and escapement set relatively low within the plates, the 12 inch square brass dial with fine foliate border engraved decoration to the ringed winding holes and inset subsidiary seconds ring above open scroll decorated calendar aperture to the Ho-Ho bird inhabited centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed WÂ’m Kenyon, Leverpoole to lower edge, the angles applied with female head and foliate scroll cast spandrels within a herringbone engraved outer border, now in a late 18th century oak case with cavetto cornice and pierced frieze above slender turned columns to hood and ogee throat moulding over star centred narrow caddy moulded and parquetry banded door flanked by rounded angles to trunk, on crossbanded plinth base with skirt incorporating bracket feet, 200cm (78.5ins) high. William Kenyon is recorded in Loomes, Brian LANCASHIRE CLOCKS and CLOCKMAKERS as believed born in 1667, Loomes further notes that various children, fathered by a William Kenyon, were born between the dates 1708-20. A James Kenyon is also recorded as working at Redcross Street in 1715 then Newmarket in 1725 and was declared insolvent in 1743. An ebonised thirty-hour longcase clock by Kenyon that could be stylistically dated to the 1690Â’s was sold in these rooms on 4th September 2012 (lot 216) for £5,500 hammer. The centre of the dial of the current lot is particularly noteworthy for the quality of its decoration and appears to retain traces of gilding to the crevices. The subsidiary seconds ring is fitted as a separate item but in a ring-shaped recess so that it sits flush to the plate - presumably to allow it to be removed for silvering. The movement has survived in relatively fine original condition and is of particularly heavy construction with massive pillars. The use of rack striking also further demonstrates the confident and high-quality approach of the maker.
A George II oak thirty-hour longcase clock, Henry Deykin, Worcester, mid 18th century, The single handed plated countwheel bell striking movement with 10 inch square brass dial boldly signed Hen’r Deykin, WORCESTER n.1311 to centre and with fine pierced blued steel hand within applied silvered Roman numeral chapter ring with lozenge half hour markers and female mask and scroll cast spandrels to angles, in a case with small shaped crest to the canted caddy upstand above ogee cornice, plain frieze and slender three quarter columns to hood door, the trunk with rectangular door, on plain plinth base with canted skirt, 211cm (83ins) high. Henry Deykin is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as born in Worcester around 1715 and apprenticed to his father, Thomas, gaining his freedom in 1736. He succeeded his father in 1777 moving the business from Broad Street to Lich Street before dying in 1779 leaving his business to former workman, William Rouse. Loomes notes a miniature hooded wall timepiece by Deykin signed and numbered ‘891’ to a boss applied to the arch of the dial.
A small hook-and-spike weight-driven wall timepiece with alarm, Whitehurst, Derby, circa 1840, The four pillar plated thirty-hour movement with anchor escapement, fifteen-inch pendulum and alarm mechanism with vertically pivoted hammer sounding on a bell mounted above the plates and stamped with serial number 5894 to backplate, the 6 inch circular brass dial signed WHITEHURST, DERBY to centre, with steel spade hands and brass alarm setting hand within Roman numeral chapter ring with narrow minute ring and dot quarter-hour markers to outer track, the movement fitted with sheet metal dust covers incorporating sliding side panels, the rear with hanging hoop and spurs, 18cm (7ins) high overall. John Whitehurst was born in Congleton, Cheshire in 1713, he was apprenticed as a clockmaker to his father (of the same name) before setting up business in Derby in 1736 - the same year he installed a turret clock to the newly completed Guildhall. He was an accomplished maker and scientist who had a particular interest in geology. He moved to London in 1780 in order to take up position at the Royal Mint as ‘Stamper of the Money Weights’ as well as pursue his scientific interests. He was founder member of the Lunar Society and was elected to the Royal Society in 1783. He died in 1788 leaving the Derby clockmaking business to his nephew also called John (II) who in-turn took his son of the same name into partnership in 1809. The firm traded as ‘Whitehurst & Son’ until 1834 when the business reverted to just ‘Whitehurst’ on the death of John (II). The business continued under the Whitehurst name until 1856 when it was passed onto John Smith and is still trading today as ‘Smith of Derby’. The design of the current lot was devised by John Whitehurst in the late 18th century and continued to be made (albeit varying in detail) until around 1855 (the serial numbering system being implemented in 1809). The current lot dates to the last period of the firm (1834-56) but is faithful to the earlier models in that it utilises a small brass dial rather than the larger white dials more often seen on the later examples.
A Victorian small brass fusee skeleton timepiece, Unsigned, mid 19th century, The single chain fusee movement with six-spoke wheel crossings and anchor escapement set between stepped ‘Gothic’ pierced plates incorporating gabled pediment and spire finials and united by six stylised baluster turned pillars, the silvered Roman numeral chapter ring with wavy inner edge and steel moon hands, on four turned brass feet, 21.5cm (8,5ins) high; mounted on blue velvet lined stepped oval mahogany base with bun feet, 27cm (10.5ins) high overall
A decorative brass skeleton timepiece, Unsigned, 20th century, The single fusee movement with anchor escapement set between elaborate waisted scroll pierced plates united by five column-turned pillars, the pierced circular silvered brass Roman numeral dial with rosette-fretted centre within shield shaped cartouche numeral chapter ring and with blued steel spade hands, fitted via four turned bell-shaped feet onto a stepped ogee moulded Carrara marble ovoid base with glass dome cover and bun feet, the clock excluding base and dome 33cm (13ins) high; 44cm (17.5ins) high overall
A Victorian brass skeleton timepiece with passing strike, Edward Scales, Manchester for Thomas Lees, Bury, mid 19th century, The single chain fusee movement with five-spoke wheel crossings to all except the escape wheel, anchor escapement, pierced mainspring barrel and passing strike set between scroll-outline brass plates united by five turned brass pillars and with bell mounted above, the rear stamped EDW. SCALES, MANCHESTER, 254, the front fitted with brass Roman numeral chapter ring engraved Tho.s Lees, Bury to lower margin and blued steel fleur-de-lys hands, 29cm (11.5ins) high; mounted on a moulded rectangular Carrara marble base with glass dome cover, 34cm (13.5ins) high overall. A Thomas Lees is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Bury circa 1790-1814. An Edward Scales is recorded by Baillie as the inventor of a detached lever escapement working in Manchester around 1800 who may be the same maker (or possibly the father of a maker by the same name) listed by Loomes in volume 2 as working in Manchester circa 1848-51.
A Victorian lacquered brass ‘Litchfield Cathedral’ hour striking skeleton clock with trip repeat, Attributed to John Smith and Sons, London, for retail by Rhodes, Bradford, mid 19th century, The twin chain fusee gong striking movement with anchor escapement and five spoke wheel crossings set between characteristic pierced plates united by six turned pillars and modelled as two towers capped with tall faceted spire finals flanking central arched aperture with further taller spire set to the rear, the front with pierced silvered Roman cartouche numeral chapter ring engraved RHODES BRADFORD to the lower margin, with shaped outer minute track and blued steel moon hands, on rectangular brass base plate, 33cm (13ins) high; mounted on original inlaid rosewood stand with symmetrical rococo scroll decoration within line borders to front, rounded angles and bell shaped feet, the upper surface cut with rebate for the original glass dome cover, 41cm (16.25ins) high overall. Manoah Rhodes and Son are recorded in Loomes, Brian Watchmakers & Clockmakers of the World as working in Bradford 1837-66 and later. The current lot can be firmly attributed to John Smith and Sons of St. John’s Square, Clerkenwell, and can be compared to the design published in their 1865 catalogue; a plate from which is reproduced in Royer-Collard, F.B. SKELETON CLOCKS on page 54. A very similar example (but with platform lever escapement) is also illustrated by Royer-Collard on page 57 - which he describes as an early model dating to around 1840. The firm of John Smith and Sons was 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.
A late Victorian inlaid rosewood quarter chiming bracket clock, Retailed by T. Smith and Son, Glasgow, late 19th century, The substantial four pillar triple chain fusee movement with anchor escapement and chiming a choice of two melodies on a nest of eight graduated bells every quarter and striking the hour on a gong, the 7 inch arched brass dial with applied shaped plaque engraved with retailers signature T. SMITH & SON, QUEEN STREET, GLASGOW to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with symmetrical scallop shell and foliate scroll cast spandrels with the upper continuing up into the arch to form decorative infill around the silvered subsidiary CHIME/SILENT and CHIME ON EIGHT BELLS/WESTMINSTER CHIME selection dials, the shaped-arch top case with fine Renaissance style bone and engraved inlaid decoration of a vase loaded with fruiting foliage flanked by stylised scrolls to tympanum above front door with inset canted silvered brass dial surround (glass lacking) and further inlay incorporating grotesque mask and drapery swags containing fruit to upper margin and symmetrical scrolls to bottom corners flanked by pendant husk decorated canted angles, the sides with rectangular foliate-pierced sound frets within scroll-inlaid fascias, the rear with brass grille inset rectangular door, on moulded skirt base with further scroll inlaid motifs to front and sides and generous ogee moulded squab feet, 53.5cm (21ins) high
A Victorian gilt brass mounted ebonised quarter chiming bracket clock, Retailed by J. Langelaan, Southsea, late 19th century, The four pillar twin chain fusee movement with anchor escapement and two-in-one strike train chiming the quarters on four gongs and striking the hour on a further larger gong, the backplate stamped D.R. PATENT over W&H, Sch for Winterhalter and Hoffmeyer to lower margin, the 7 inch arched brass dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with winged cherub head and foliate scroll cast spandrels beneath arch with twin silvered subsidiary rings for CHIME/SILENT and FAST SLOW set within conforming gilt relief infill centred with a cherub mask to apex,. The ebonised bell-top case with large twin handled oval section urn surmount above applied floral swag mounts and conforming smaller urn finials to superstructure, the front with silvered brass canted bezel inset arch-glazed door applied with cast female mask escutcheons to uprights and scroll cast angles to upper quadrant panels, the sides with arched sunburst mask centred brass sound frets, the rear with rectangular grille inset door, on cavetto moulded skirt base applied with grotesque mask centred apron mount flanked by conforming foliate cast claw feet, the rear with applied trade plate J. LANGELAAN, 105 PALMERSTON ROAD, SOUHSEA, 72cm (28.5ins) high overall
A fine Regency brass inlaid ebonised bracket clock with enamel dial, Grant, London, early 19th century, The five pillar twin fusee bell striking movement signed Grant, Fleet Street, LONDON and with arrow-shaped strike/silent lever to the lancet-shaped backplate, the 6.5 inch fired white enamel circular Roman numeral dial signed GRANT Fleet Street LONDON, No. 602 to centre and with blued steel hands set behind hinged convex glazed cast brass bezel, the lancet-shaped case with brass parquetry star motif within circular panel above dial and recessed brass fillet bordered shaped panel enclosing inlaid stylised tulip-form motif beneath, the front edges with cast slender Gothic column mounts continuing to form moulded lancet-arch above, the sides with brass fruiting vine leaf ring handles above lancet arch shaped brass fishscale sound frets, the rear with conforming lancet-glazed door, on brass bound stepped fillet moulded skirt base with brass ball feet, 40cm (15.75ins) high. John Grant is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as gaining his freedom of the ClockmakersÂ’ Company in 1781, he later served as Warden and died in 1810. He was a fine maker who was nephew and successor to the famous clock and watchmaker Alexander Cumming. His son, John junior, was born in 1796, became Liveryman of the ClockmakersÂ’ Company in 1817 and is believed to have worked until 1840.
A fine engraved gilt brass strut timepiece in the manner of Thomas Cole, W. Vasel, London, late 19th century, The eight-day movement with spotted oval frontplate and conforming backplate united by four plain pillars secured via blued steel screws to the rear, the upper margin cropped to allow for the vertical platform lever escapement with split bimetallic balance above delicate four-wheel train with large diameter greatwheel barrel and five-spoke crossings set between the plates, the 3.5 inch wide silvered brass Roman numeral dial with fine intense symmetrical foliate scroll engraved centre incorporating rectangular baton panels within narrow Roman numeral chapter ring and with fine blued steel fleur-de-lys hands, the upper margin engraved with floral sprays over apron with a central cartouche within pierced gilt-overlaid surround engraved with further floral motifs set behind bevelled front glass, the case with shaped leafy scroll and strapwork panel decorated front surround flanked by stylised half pilasters to sides beneath sculpted ‘ears’ and shaped hinged handle to top, the rear panel profiled to match the front and fitted with regulation and hand-setting shutters, pivoted inverted heart-shaped strut and engraved with the initials M.V. to upper margin, on engraved concave gilt brass bracket feet, 18cm (7ins) high excluding handle. Although not apparently listed in the usual sources W. Vasel was known as a fine maker who worked from several addresses in London from 1881-1907. Vasel appeared to specialise in continuing the production of high quality decorative timepieces made popular by Thomas Cole who submitted several examples both under his name and on the stand of Hunt and Roskell at the Great Exhibition in 1851. Thomas Cole died abruptly of typhoid fever in 1864 no doubt leaving a ‘gap’ in the market for others to continue with the production of finely made timepieces in his style. The current lot is essentially indistinguishable both in quality and design from those originating from Cole’s workshop during his lifetime. The movement is made typically to Cole’s specification with shaped spotted plates and delicate five-spoke wheel work throughout and the case exhibits the finest grade of engraving normally reserved for the best examples.
A fine and rare George II Louis XV style ormolu mantel timepiece with year calendar dial, Clay, London, mid 18th century. The circular five pillar single chain fusee movement with verge escapement and short-bob pendulum, the backplate covered with a rotating circular disc engraved Clay to surface and connected via the centre-pivot to the concentric calendar hand and advanced day-by day via pallet flag engaging with teeth cut to the circumference, the 4.25 inch circular enamelled dial with cobalt blue centre within small diameter Roman numeral chapter ring with Arabic five minutes and concentric bands annotated with painted signs of the Zodiac, Sun Rise for each sign and date-of-the-month with months named to outer track, with fine sculpted steel hour and minute hands to centre and calendar hand issuing from a gilt solar mask within narrow canted gilt bezel surround, in a waisted asymmetric rococo scroll and leafy spray cast and chased case with surmount cast with an eagle overpowering a dragon above hinged convex glazed bezel and scroll pierced and engraved brass shaped frets to sides, the rear with circular glazed aperture, on generous asymmetric scroll cast feet incorporating scallop shell detail, (case very dirty/now with blacked finish), 39cm (15.25ins) high. It is possible that the current lot may have been made by Charles Clay who originated from near Huddersfield and gained his freedom of the Clockmakers’ Company prior to 1716. In 1723 he was appointed Clockmaker in His Majesty’s Board of Works and in 1731 supplied the turret clock for the gateway at St. James’s Palace. He specialised and experimented with musical mechanisms and is perhaps now best known for his organ clocks. One of which now resides at Windsor Castle which was acquired from his widow three years after Clay’s death in 1743. Another incomplete organ clock was also acquired around this time for Augusta wife of Frederick, Prince of Wales, this clock was subsequently completed by George Pyke and now resides at Kensington Palace. The dial of the current lot is particularly interesting and very well executed. The year calendar hand is ingeniously driven by a disc covering the rear of the movement and is advanced on a daily basis via a flag engaging with teeth cut to the circumference. The positioning of the mechanism allows for easy adjustment of the date as well as straightforward servicing of the mechanism. The indications on the dial are somewhat unusual and perhaps archaic for this date - possibly having more in common with European Renaissance work than 18th century English practice. Indeed indication of times of ‘Sun Rise’ would have been more relevant during the early Renaissance in Nuremburg when each calendar day (but with unequal day and night hours) started at sunrise. Most English dials with year calendar produced during the latter years of the 17th century and throughout the 18th century tend to incorporate an equation of time to allow setting with a sundial, however, when considering the small size of the current lot, this may have been one complication too many. It is therefore perhaps possible that the time of ‘Sun Rise’ may have been included as a basic form of simple celestial regulation - as it would allow the timekeeping of the clock to be checked at dawn (but only periodically). The case is particularly bold in its casting and incorporates ‘English’ features such as engraved brass sound frets to the sides and wooden seatboard to support the movement; it is therefore possible that the case was made in England in the Louis XV taste. The finish appears to have been deliberately ‘blacked’ (possibly during the Victorian period) however traces of original rich gilding can be seen so would probably clean-up well to a rich lustrous mercury-gilt finish.
A very rare German Renaissance gilt brass astronomical monstrance table clock case originally fitted with a Universal Astrolabe, In the manner of Jeremiah Metzger, Augsburg, circa 1570, the movement and dial centre later, The high grade English single fusee movement dating to around 1830 with deadbeat escapement, five-spoke wheel crossings, concealed clicks to the fusee and twenty-four hour motionwork to the large diameter frontplate, the dial with later centre engraved with foliate scrolls on a matted ground and incorporating tripartite banner bearing spurious inscription Reighs, Dresden, 1536, set within original narrow twenty-four hour chapter ring with asterisk half-hour markers, button touch pieces and outer track engraved for every minute, the case with ovoid urn finial to the disc-shaped upstand engraved with vestigial subsidiary day-of-the-week dial annotated with respective planets to rear opposing fine foliate scroll cast and pierced rosette within moulded surround to front and with delicate chased open strapwork fret to the circumference, the rear of the principal section with centre cut-out to accommodate the later movement leaving border engraved with lines for stereographic projection around the celestial equator stamped POLUS, MITNECHTLICH to upper margin opposing MITLEGLICH, POLUS at the base, the left and right hand margins with a series of horizontal lines annotated with symbols for the signs of the Zodiac, the outer edge of the ring divided for degrees annotated in five degree intervals for every quadrant set within conforming outer scale to the moulded surround, the edge of the shallow drum casing with continuous border etched in low relief with stylised Arabesque strapwork within tightly moulded bands, the whole raised on a patinated bronze figure cast as Atlas seated on a fine pieced and chased strapwork dome with moulded collar over shallow ogee-shaped foot decorated with conforming continuous Arabesque strapwork, 34.5ins (13.5ins) high; now mounted on a circular turned ebonised wood base, 39.5cm (15.5ins) high overall. The current lot can be closely compared with an example signed by Jeremias Metzger and dated 1564 residing in the collection of the Victoria and Albert Museum (Museum Number 4273-1857). Another similar example is in the Kunsthistoriches Museum, Vienna, and is illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 146 (Fig. 118); whilst a third (which is presumably lost) features in a full height portrait of Anna, Duchess of Bavaria painted by Hans Mielich of Munich in 1556. The presence of a twenty-four hour chapter ring to the main dial of the current lot differs to that of the example by Metzger in the V. & A. which has a relatively simple and fairly conventional twelve-hour dial layout incorporating an alarm disc to the centre. The surviving elements of the dial also indicate that it would have had at least two-hands (hours and minutes) whilst the relatively narrow proportions of the hour and minute rings suggests that space was required in the centre for a reasonably complex feature. The most obvious candidate to occupy this space would be a form of standard astrolabic dial (similar to that fitted to the example in the Kunsthistoriches Museum, Vienna) however the presence of a Universal Astrolabe to the rear of the clock would perhaps render this unnecessary. It is therefore more probable that the dial centre was possibly fitted with a wide concentric band of self-adjusting overlaid sectors giving the lengths of the day and night which, when used, were often positioned within a ring annotated for the signs of the Zodiac with the relative positions of the sun and moon indicated by a pair of hands issuing from a disc engraved with a diagram of aspects to the centre. Close examination of the monstrance clock that features in the portrait of Anna, Duchess of Bavaria by Hans Mielich seems to support the possibility of such a dial layout (which would have been essential for providing the correct time under the system of unequal hours in use during the 16th century). The rear of the case of the current lot is fitted with the remnants of a Universal Astrolabe with enough of the engraving surviving to establish that it was laid-out to a design described and published by the Spaniard Juan de Rojas y Sarmiento in 1551 (although he was describing a design which was already known to exist). The Universal Astrolabe differs from a standard astrolabe in that it projects the celestial sphere from pole to pole (hence ‘from the side’) rather than across the equator as with a normal astrolabe. The inherent advantage of this type of projection is that the relative position of celestial bodies can be plotted for different latitudes whilst standard astrolabes require the position of the stars to be determined and recorded on a template (rete) before their positions for a given time and date can be observed. The Universal Astrolabe is particularly useful for calculating the length of the day for any given time of the year which is particularly relevant when considering the system of unequal hours in use at this time. The Universal Astrolabe originally fitted to the current lot was probably not connected or ‘driven’ by the movement in any way - it was most likely to have bee supplied as a form of accessory to allow independent calculations to be made. The disc-shaped surmount incorporates a dial for days-of-the-week to one side, this would have probably been fitted with a central disc (applied with a pointer to the circumference) as the centre is currently plain with little gilding. The other side is finely cast and pierced with foliate strapwork which resembles the decoration sometimes seen to the exterior of German ‘tambour’ clock watches of the period (see Basserman-Jordan, Hans von THE BOOK OF OLD CLOCKS AND WATCHES page 65, fig. 41a). The fact that this panel is pierced (coupled with the delicate fretwork to the outside edge of the surmount) suggests that it may have also housed a bell - perhaps for an alarm (in addition to the day-of-the-week calendar mechanism). This possibility is supported by evidence in a form of a slot in the case beneath indicating that their was a mechanical connection between the movement and whatever was originally housed within the surmount. The base of the clock would have been fitted with a bell (probably for sounding just the hours). The Atlas figural support appears to be a relatively standard casting as the same basic model appears to have been used on two of the other examples noted above. The unusual low relief ‘Arabesque’ decoration to the ogee-shaped bottom moulding and to the edge of the shallow cylinder of the case can be compared to that on a drum-shaped table clock by Jakob Marquart, Augsburg dating to around 1560 illustrated in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 203 (exhibit 39). This decoration reflects the influence of Middle Eastern design borne out of a strong trading relationship with the Ottoman Empire. The current lot is an extremely rare survivor (albeit in partial-form) from the ‘golden’ period of early German Renaissance clockmaking with strong stylistic similarities to an example from arguably the most important workshop of the period - that of Jeremias Metzger of Augsburg. The original fitment of a Universal Astrolabe to the rear of the case appears to be an extremely rare, if not unique feature of possibly documentary importance.
A fine and rare Queen Anne verge pocket watch movement, Thomas Tompion and George Graham, London, number 4650, circa 1713, The full plate gilt verge movement with four Egyptian pillars pinned through the frontplate and three-arm sprung steel balance, the backplate with fine leaf-bordered symmetrical foliate scroll pierced and engraved balance cock with female mask decoration at the base and conforming pierced broad foot flanked by silvered regulation disc with adjacent applied foliate scroll infill opposing signature Tho: Tompion, Geo: Graham, LONDON and engraved serial number 4560, the frontplate stamped with repeat serial number, movement diameter 39mm, now fitted to a late 18th century circular white enamel Roman numeral sedan timepiece dial with blued steel spade hands, the case contemporary to the dial with hinged cast brass bezel fitted with convex glass within moulded cavetto surround, the rear with circular hinged brass cover and brass suspension ring fitted to upper margin, 14.5cm (5.75ins) diameter. Thomas Tompion has often been referred to as the ‘father of English clock and wachmaking’. When considering the legacy of his work and influence on subsequent generations, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and was working in the clock and watchmaking trade. Although there is no record of his apprenticeship or whether he received any formal training prior to moving to London, he quickly became established and obtained his freedom of the Clockmakers’ Company in late 1671. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with eminent mathemeticians and scientists such as Robert Hooke and Jonas Moore - perhaps the most progressive and inventive minds of the day. Such associations lead to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676 and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his watches and clocks from around 1681/2. This, as well as maintaining a high degree of refinement in both the design and construction of his clocks and watches, ensured the highest level of exclusivity for clients purchasing from him. In around 1700 Thomas Tompion took a former apprentice, Edward Banger, into partnership however this arrangement came to an abrupt end in 1707-8 for reasons unknown. On Banger’s departure Tompion reverted to working alone until he found confidence in George Graham who had been engaged as a journeyman for Tompion since 1696. Graham’s character had already been given the seal of approval by Tompion who allowed him to marry his niece, Elizabeth, in 1704; however it still would be a few years before Tompion would take Graham into partnership which he eventually did in 1711. Thomas Tompion died in November 1713 leaving the business to George Graham who maintained the same exacting standards and became famous in his own right with notable achievements including the development of the deadbeat escapement for pendulum clocks and the cylinder escapement for watches. He continued Tompion’s sequential numbering for his clocks and watches and assisted John Harrison with his development of the marine timekeeper. George Graham died in 1751 and was buried next to Thomas Tompion at Westminster Abbey. The current lot belongs to a group of less than twenty examples signed by both Tompion and Graham from around four hundred known surviving watches from Tompion’s first numbered series as recorded by Jeremy Evans in Evans, Carter & Wright THOMAS TOMPION, 300 YEARS. The movement can be closely compared with number 4540 which is illustrated together with a view of the dial (providing a good indication of how the original dial for the current lot would have appeared) on page 292. It is also perhaps interesting to note that the current lot is the last example recorded on the list to be signed with Tompion’s name (albeit in partnership with Graham) suggesting that it is probably the last surviving watch made in Tompion’s workshop before his death in November 1713.
An important Charles II architectural key-wound thirty-hour hooded wall clock, Jonathan Chambers, Shefford, circa 1670, The substantial four finned pillar single-handed movement latched at the front and originally pinned to the rear with thick plates measuring 7.5 by 5.75 inches incorporating integral cast extensions for the strike detents to left hand side and with rounded-arch shaped lower edge, the going train regulated by verge escapement and short bob pendulum with unusual angled escapewheel and arbor to allow offset positioning of the contrate wheel, the backplate fitted with hour wheel on an arbor passing through the movement to the dial, the strike train with outside countwheel and hammer pivot arbor positioned to the centre of the movement fitted with hammer at the front for striking on the inside edge of a vertical bell mounted above the plates, the 9.75 inch square brass dial centred with an engraved five-petal rose motif above drapery lambrequin signed Jonathan Chambers, Fecit to lower margin within applied 1 inch wide silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, with fine generous pierced steel hand and spandrel areas engraved with unusual symmetrical decoration incorporating a dog rose over pomegranate and other fruit, in a wall mounted pedimented case veneered in a padouk-like timber with fine architecturally correct ebonised mouldings, the rising hood with applied gilt brass cherub mount to tympanum above raised mouldings to the glazed dial aperture and rectangular side windows, the backboard fitted with latch to hold the hood in raised position above horizontal table applied with a pair of tall blocks to support the movement, the underside with ebonised shaped apron flanked by conforming side brackets with a short rectangular veneered back panel behind, (case probably later) 58.5cm (28ins) high. Provenance: From the estate of an esteemed antiquarian horologist, sold at SothebyÂ’s, Bond Street, London, 22nd October 1987 (lot 197) subsequently purchased by the vendor from Asprey, London. Jonathan Chambers is recorded in Loomes, Brian LANTERN CLOCKS and Their Makers as a clockmaker, yeoman and blacksmith who was working in Shefford, Bedfordshire by around 1665. As a recusant Quaker he was prosecuted for not attending church from 1669 onwards. Chambers died in 1693 leaving his widow Alice to marry fellow clockmaker, Thomas Palmer, the following year. Only two other clocks by Jonathan Chambers appear to be recorded; a lantern clock illustrated in Hana, W.F.J. English Lantern Clocks on page 75 (Plate 29) and a walnut longcase clock sold at ChristieÂ’s, King Street, London, 16th December 1987. The current lot is well documented featuring in both Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 pages 43-7 and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 3 pages 22-5 (where the movement is extensively illustrated). As already noted the movement is of substantial proportions and is very well made with finely finished steelwork. An unusual feature is the way in which the lifting arms, detents, hour hammer and hand are mounted onto their squared arbors - they are all secured via a pin through a hole drilled to the edge of the boss of the arm/lever rather than being held by a pin across the face of the boss (ie passing through an extended section of the squared arbor). The reason why the maker went to the additional trouble of incorporating this detail throughout is unknown but it does suggest that he was endeavouring to produce a movement of the highest quality. The engraving to the spandrel areas of the dial is particularly interesting as it is clearly by the same hand responsible for very similar decoration seen on series of dials by leading makers such as Edward East, Joseph Knibb and Henry Jones all dating to the 1660Â’s or very early 1670Â’s. This series includes an eight-day longcase clock signed by Joseph Knibb of Oxford (which dates to around 1665 and also has rose engraved decoration to centre) which was sold in these rooms on Tuesday 11th March 2014 (lot 143 for £240,000). The presence of this decoration to the dial suggests that it was sent to London to be engraved, this would imply that Chambers had connections with the London clock trade (a possibility that is perhaps reinforced by bequests in his Will being made to two London clockmakers, John Harry and John Westoby). The engraving also provides very strong dating evidence for the clock placing its date of manufacture close to 1670 - making it one of the earliest thirty-hour longcase clock type movements to have survived. It is perhaps appropriate to finally note that Shefford is only three miles south of Edward EastÂ’s birthplace at Southill and six miles south of Ickwell Green, the birthplace of Thomas Tompion. Although there is no known connection between Jonathan Chambers and East or Tompion evidence in the dial and movement of the current lot would certainly suggest an awareness of the inventive approach and high standards of such makers as well as, in the case of Edward East, the shared use of an engraver.
A fine and rare Charles II brass lantern clock of impressive large proportions, Thomas Knifton, London, circa 1665, The posted countwheel bell striking movement with remote hour hammer pivoted between lugs riveted to the upper surface of the gallery top plate above verge escapement set within the gallery and short bob pendulum now swinging within the frame of the case at the rear, the dial signed Thomas Knifton at the (crossed keys) in Lothbury, London towards the upper margin of the dial centre and with engraved stylised flowering tulip scrolling infill beneath, the centre with alarm disc and distinctive sculpted iron ‘arrowhead’ hand within applied 7.25 inch circular silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and leafy infill to spandrel areas, the large ‘Lothbury’ type frame with column-turned corner posts beneath open-work gallery and foliate pierced and engraved frets set between multi-knop vase-shaped finials with domed bell bearer incorporating decorative pierced lobes and fitted with further central finial above, the sides with brass doors, the rear with iron hanging hoop and short spurs, on turned ball feet, 50cm (19.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist, purchased at Sotheby’s, Bond Street, London, 11th June 1998 (lot 343). Thomas Knifton is recorded in Loomes, Brian LANTERN CLOCKS and Their Makers as born in Nottingham 1614 and apprenticed to William Sellwood in 1632 gaining his freedom of the Clockmakers’ Company in 1640. He worked at the Cross Keys, Lothbury in St. Margarets Parish and at one time at the Draper’s Arms. He died in January 1667 in the parish of St. Botolph’s, Bishopsgate from a sudden illness. He was a prolific maker of lantern clocks who was probably succeeded by John Ebsworth who invariably signed his early clocks with the same ‘crossed keys’ device. The current lot was clearly made to impress with the frame being of particularly large proportions. The incorporation of a pierced gallery above the movement top plate is perhaps first seen on a clock originally made with balance wheel (probably dating to the 1640’s) by David Bouquet illustrated in White, George, English Lantern Clocks on page 110 (Figure II/141). Bouquet was a French Huguenot immigrant whose clocks tended to exhibit strong a Continental influence. For balance wheel clocks the gallery naturally provides a convenient enclosed space for the balance to oscillate. Relatively few lantern clocks with true enclosed galleries appear to have been made, however during the 1640’s a pattern of fret was developed which incorporated a pierced gallery to the lower edge in order to give a similar visual impression, this type of fret was often used by Knifton. The scale of the frame is impressive and of a size normally reserved for quarter chiming clocks with the additional space being necessary for the third train. The gallery also provides an additional platform onto which the hour and quarter hammers can be fitted without conflicting with the balance wheel. The development and relative standardisation of this type of chiming lantern clock (contained within a frame of large proportions incorporating a gallery for the balance wheel) is principally associated by George White (English Lantern Clocks page 155) to the workshop of Peter Closon during the 1640/50’s, although other examples are known by various makers including Knifton, Henry Child and Ahasuerus Fromanteel. Technical developments, which included invention of the pendulum in 1658, resulted in a gradual overhaul of lantern clock design during the early 1660’s, with balance wheel escapements being superseded by verge escapements and short bob pendulums and trains wound via Huygen’s endless rope system (rather than by separate lines and weights) which required the striking trains to be ‘reversed’. The provision of a short pendulum required some inventive thinking with regards to the positioning of the alarm mechanism which had traditionally been planted to the rear of the frame on balance wheel clocks. One solution was to place the pendulum within the frame - either between the trains (thus creating the ‘winged’ lantern clock) or at the rear tucked-in behind the countwheel. The other method was to move the alarm inside the frame (a system popular with West Country makers) thus allowing the pendulum to be fitted to the rear of the clock. The current lot was originally made with alarm set within the frame at the rear to allow the pendulum to oscillate unhindered to the exterior. At some point the alarm has been removed and the pendulum moved so that it swings within the area originally occupied by the alarm mechanism. This relatively minor modification allows the clock to hang much closer to the wall. As Thomas Knifton died in 1667 the current lot would have been amongst one of the first lantern clocks made with verge escapement regulated by short bob pendulum. A similar large lantern clock with gallery and short bob pendulum by Ahasuerus Fromanteel is illustrated and described as ‘an important early pendulum clock’ in White, George English Lantern Clocks on page 189 (Figures IV/59-61). The deeply hatched engraving to the dial centre of the current lot is noteworthy as is the unusual ‘arrowhead’ iron hand, both of these features are indicative of Knifton’s bold approach to detail and also arguably date the clock to the first few years of the 1660’s on stylistic grounds
A William III lantern clock, Joseph Foster, London, circa 1695, The posted countwheel bell striking movement with verge escapement and pendulum swinging within the frame of the clock between the trains, the dial signed Jos: Foster in Exchange Alley towards the upper margin of the centre over engraved flowering tulip scrolling infill beneath, with pierced iron hand and applied silvered Roman numeral chapter ring within stylised leaf engraved angles, the standard third period ‘Lothbury’ type frame with column-turned corner posts beneath foliate engraved and pierced frets, vase turned finials and domed bell bearer, the sides with brass doors incorporating ‘winged’ projections capped with further leafy frets, the rear with spurs to the iron backplate beneath iron hanging hoop secured with screws to the top plate, on tuned ball feet, 39cm (15.5ins high). Joseph Foster is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1684, gaining his freedom of the Clockmakers’ Company in 1691 and working from Exchange Alley, London until 1707.
A brass second period lantern clock, Unsigned, mid 17th century, The posted countwheel bell striking movement now with anchor escapement to the reversed going train, the dial with unusual tight concentric ring engraved centre and long-tailed iron hand within applied Roman numeral chapter ring with tied-asterisk half hour markers and deep inner quarter-hour track with the first of each quarter division hatched, the frame of second period ‘Lothbury’ type with column-turned corner posts beneath original early pattern shield and foliate scroll pierced frets with the front incorporating engraved initials WD between vase finials supporting a domed bell bearer above, on turned ball feet, 38cm (15ins) high. The dial of the current lot is unusual, in particular the chapter ring which has early style tied-asterisk half hour markers and a relatively deep inner quarter-hour track with the first division after each hour hatched - the reason for this is unknown. The chapter ring also has a noticeable inner-border which again is unusual, however, when this detail is considered alongside the plain dial centre then it is probably appropriate to speculate that the centre may have originally been applied with a pierced cast brass ‘rosette’ - similar to those seen on two lantern clocks illustrated in White, George English Lantern Clocks on pages 140-1 (Figures III/31 and 32). It is likely that such a cast brass rosette was supplied as a raw casting of relatively fixed diameter, hence the inner border to the chapter ring would need to be of appropriate internal diameter to ensure that the rosette ‘filled’ the space. A group of small filled holes to the dial plate near the inner edge of the chapter ring provides further strong evidence of an applied rosette, the concentric ring decoration was probably executed after a rosette was removed (early in the clock’s life) in order to conceal the filled fixings and to decorate the now unadorned dial centre.
A James II/William and Mary lantern clock with alarm, Joseph Windmills, London, circa 1685-90, The posted countwheel bell striking movement with verge escapement and pendulum swinging within the frame of the clock between the trains, the dial signed J: Windmills, London towards the upper margin of the dial centre and with engraved flowering tulip scrolling infill beneath, the centre with alarm disc and pierced iron hand within applied silvered Roman numeral chapter ring and stylised leaf engraved angles, the standard third period ‘Lothbury’ type frame with column-turned corner posts beneath foliate engraved and pierced frets, vase turned finials and domed bell bearer, the sides now with brass doors incorporating ‘winged’ projections capped with further leafy frets, the rear with external alarm mechanism fitted along with spurs to the iron backplate beneath iron hanging hoop riveted to the top plate, on turned ball feet, (with restoration/ rebuilding) 38cm (15ins high). The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, A.J. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers’ Company as a free Brother in 1671 - the same year that Joseph Knibb, Thomas Tompion and Daniel Quare 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 worked with his father; by 1700 the business had become a partnership between father and son which lasted until Joseph’s death in 1724.
A fine and rare Charles II panelled oak quarter-chiming thirty-hour longcase clock, John Williamson, London, the movement circa 1683, the case circa 1672, The four finned pillar two-handed plated movement with anchor escapement and long pendulum to the four-wheel going train, the two-in-one hour and quarter hour strike/chiming train utilising large countwheel cut for both the hours and quarters planted on the backplate and with pump-action wheel to the front plate for positioning the hammer pin-wheel set along with the quarter hammer pivots within a separate brass carriage fitted to the inside of the frontplate to either peel on a nest of four bells for the quarters or strike the hour on a further larger bell, the 9.5 inch square brass dial with applied silvered seconds ring to the fine boldly engraved symmetrical flowering tulip and foliate decorated centre incorporating drapery cartouche signed John Williamson, Near Temple Barr, Londini Fecit towards lower margin within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with sculpted blued steel hands and applied winged cherub head cast brass spandrels to angles, in a fine panelled oak case with deeply moulded triangular pediment and tall scroll-lattice pierced frieze to both front and sides above glazed dial aperture and large side windows to hood, the trunk with convex throat over 46 inch full-width single fielded panel door, the base of the same width with simple waist moulding above conforming fixed shorter fielded panel and moulded skirt, 235cm (92.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist, purchased at Sotheby’s, Bond Street, London, 4th April 2001 (lot 300). The movement and dial previously in a purpose-made ebony/ebonised case in a private collection in Derbyshire before passing in the 1950’s to another private collector who in-turn sold it by auction in London in 1976. The current case was supplied for a short-duration movement and dial by John Wise for presentation to a London institution in 1672. The original dial by Wise was retained but the movement had been replaced (probably upgraded to eight-day duration) before being illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 494 (plate 733). The clock as it is now is illustrated in Loomes, Brian BRASS DIAL CLOCKS on page 50 (plate 37).. The life and work of John Williamson is described in Loomes, Brian BRASS DIAL CLOCKS where it is noted that he was possibly born in 1651 at Guisley near Leeds and was probably related to the Barber family who worked as blacksmiths and clockmakers in nearby Otley. John Williamson moved to London and was admitted as a free Brother to the Clockmakers Company in December 1682, however records indicate that he only paid one month’s subscription to the Company and by December 1683 he had returned to Leeds to be married. Williamson continued making clocks in Leeds (very much in the London style) until after 1700 when the business is thought to have passed to his former apprentice, William Tipling. The movement and dial of the current lot belongs to a small group of short duration movements made by leading London makers during the late 1670’s and early 1680’s. The dial engraving can be compared to that seen on a key-wound thirty hour clock by Thomas Tompion formerly in the Wetherfield Collection illustrated in Cescinsky, Herbert and Webster, Percy English Domestic Clock (Fig. 77). The two-in-one strike/quarter-chiming train is similar in concept to those originally used by makers such as Fromanteel, William Clement and Joseph Knibb as it relies on a single countwheel cut for both the hours and quarters to control the running of the train. However it differs in that the pump-action that facilitates the switching between the operation of the hour and quarter hammers is achieved by moving the hammer pin-wheel rather than the hammer pivot arbors themselves. This system is inherently simple and is neatly incorporated between the plates by providing a separate cocked pivot plate for the pin wheel and hammer arbors. The case is rare example of one made by a non-specialist maker, with the construction and much of the detail being more typical of craftsman used to making vernacular furniture. It is also notable that the case has survived in fine condition with all of the original structure apparently intact, and is of rich colour. This is entirely commensurate with ‘an easy life’ probably from spending most of its time residing in a London institution. The fact that both the case and movement can be individually accurately dated is highly unusual if not unique. Despite the ten year difference in age between the two the ‘marriage’ of movement and dial into the current case is particularly successful, and allows both to be preserved as a fine useable examples.
A walnut and floral marquetry eight-day longcase clock, The dial bearing signature for Jean Brulefer, London, circa 1695 and later, The later four pillar rack and bell striking movement fitted via sheet-iron falseplate to the 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll engraved calendar aperture to the rosette decorated matted centre within applied silvered Roman numeral chapter ring with unusual scroll engraved half hour markers, Arabic five minutes to outer track and bearing signature Jean Brulefer, London Fecit to lower margin, with fine pierced steel hands and winged cherub head and foliate scroll cast spandrels to angles, in a case with domed caddy surmount above moulded cornice, foliate fretwork frieze and floral trail inlaid hood door applied with spiral twist turned three-quarter columns to front angles, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a lenticle and decorated with three shaped marquetry bird inhabited flowering foliage panels into an ebonised ground within figured walnut field, the base with conforming marquetry panel and later moulded skirt incorporating bracket feet, 217cm (85.5ins) high
A George III ebonised table clock, John Neale, London, circa 1760, The five pillar twin fusee bell striking movement with Ho-Ho bird inhabited symmetrical foliate scroll engraved backplate incorporating rococo scroll bordered oval cartouche signed John Neale, Leadenhall Street, London towards the lower margin, the 8 inch brass break-arch dial with calendar aperture and shaped signature plate engraved Jn’o Neale, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll-pierced steel hands, the angles with rococo scroll cast spandrels beneath STRIKE/NOT,STRIKE selection dial flanked by conforming mounts to arch, the inverted bell-top case with brass carrying handle above front door with raised mouldings to glazed dial aperture, the sides with circular over concave-topped rectangular glazed apertures, the rear with break-arch glazed door set within the frame of the case, on cavetto moulded shallow skirt base with moulded squab feet, 53cm (21ins) high excluding handle. John Neale is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working from Leadenhall Street, London 1743-58. Baillie also notes that he filed a patent for a ‘Quadrantal Planetarium’ watch.
A George III brass mounted ebonised table clock, Francis Jersey, London, circa 1760, The five pillar twin chain fusee movement with rise/fall pendulum regulation for the verge escapement and signed FranÂ’s Jersey, LONDON towards the lower margin of the delicate symmetrical rococo scroll engraved backplate, the 7 inch brass break-arch dial with curved false-bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with rococo scroll cast spandrels beneath arch with twin silvered brass subsidiary dials for rise/fall regulation and Strike/Silent selection flanking applied shaped signature plaque engraved FranÂ’s Jersey, London to apex and with foliate motif engraved infill to lower margins, the inverted bell-top case with hinged brass carrying handle and pineapple finials above front door with brass fillet inset moulding to dial aperture and scroll cast brass fret infill to upper quadrant angles, the sides with circular over concave-topped rectangular brass fishscale sound frets, the rear with rectangular break-arch glazed door set within the frame of the case, on shallow cavetto moulded skirt base with brass bracket feet, 47cm (18.5ins) high excluding handle. Francis Jersey is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1770. A mahogany table clock by Francis Jersey was sold in these rooms Wednesday 16th February 2011 (lot 87) for a hammer price of £5,000.
A George III stained fruitwood table clock, James Chater and Sons, London, circa 1760, The five pillar twin fusee bell striking movement with verge escapement, trip hour repeat and signed Chater And Sons, London to the fine symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with false bob and calendar apertures and shaped signature plate engraved Chater & Sons, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll-pierced steel hands, the angles with rococo scroll cast spandrels beneath STRIKE/SILENT selection dial flanked by conforming mounts to arch, in an inverted bell-top case with brass carrying handle above front door with raised mouldings to glazed dial aperture, the sides with circular over concave-topped rectangular glazed apertures, on cavetto moulded shallow skirt base incorporating decorative shaped apron, 47cm (18.5ins) high excluding handle. James Chater senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers’ Company 1718, gaining his freedom in 1726 and died 1762, Baillie describes him as an ‘eminent’ maker. He had two sons James junior (admitted 1746, free 1753, worked until 1785) and Eliezer (free 1751, Liveryman 1766, Master 1772, died 1777). James and Eliezer are thought to have worked with their father from 1753-62, after which the firm was continued as a partnership between the two brothers.
A mahogany miniature thirty-hour longcase clock, The movement and dial by Richard Colley, London, circa 1730, the case later. The four pillar plated outside countwheel bell striking single-handed movement with verge escapement and short bob pendulum, the 4 inch brass break-arch dial with matted centre and blued steel hand within applied silvered Roman numeral chapter ring with lozenge half hour markers and symmetrical foliate scroll cast spandrels to angles beneath arch signed Rich. Colley, London to an oval herringbone cartouche within foliate scroll engraved infill, now in a mahogany break-arch case with cavetto cornice above three-quarter columns flanking dial aperture to hood, slender caddy moulded break-arch door to trunk, on plinth base with moulded double skirt, (the case 20th century possibly incorporating earlier elements), 133cm (52.5ins) high. Richard Colley is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as an ‘eminent’ maker who worked from Fleet Street and died in 1736.
STAR RUBY AND DIAMOND PENDANT WITH MATCHING RING the pendant set with an oval cabochon cut ruby 12x10mm displaying asterism, below a diamond set section, in nine carat gold, on a nine carat gold chain approximately 45cm long; the ring set with an oval cabochon cut ruby also displaying asterism, in nine carat gold, size N, note: asterism is an optical effect where by when a cabochon cut gem stone is tilted one way to another a star shape can be seen to move across the surface
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