A George I thirty-hour posted longcase clock movement and dial. John Sanderson, Wigton, circa 1715. The two-handed countwheel bell striking movement with anchor escapement, the frame with column turned corner posts and ball feet, the 11.5 inch square brass dial with calendar aperture and ring turned ‘dummy winding hole’ decoration to the matted centre within applied Roman numeral chapter ring with complex cruciform half hour markers, Arabic five minutes to outer track and signed John Sanderson, WIGTON to lower edge, the angles without applied spandrels; with an oak wall bracket 46cm (18ins) high. John Sanderson is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as born in Wigton, Cumberland in 1671, he was orphaned at the age of twelve and brought up by his uncle. He was thought to have been apprenticed to John Ogden of Bowbridge and by 1691 he had set up business in Wigton and married a local Quaker girl, Elizabeth Pearson. John Sanderson was a colourful character who apparently travelled to as far afield as Edinburgh to attend Quaker meetings perhaps with the ulterior motive of using such gatherings to peddle his clocks. He had one son, also named John, who followed his father into the clockmaking trade but subsequently left to set up business in Newcastle-on-Tyne after a quarrel. John senior continued working in Wigton presumably until his death in 1754. The movement of the current lot is typical of Sanderson’s work as it closely resembles that of a lantern clock including turned posts and feet which were probably cast in his own workshop. The dial lacks the biblical motto for which Sanderson is famed, however is nicely detailed and distinctive in character. Such movements are thought to have originally been made to sit on wall brackets rather than be housed in a case; a well-made bracket is included in the lot in order for the clock to be enjoyed as the maker intended.
We found 1087811 price guide item(s) matching your search
There are 1087811 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
1087811 item(s)/page
A rare George I oak eight-day musical longcase clock. Benjamin Rodgers, Chesterfield, circa 1730. The substantial five-pillar triple train inside countwheel bell striking movement playing a choice of two tunes via eight bells with fifteen hammers every four hours, with original anchor escapement and outside fly with adjustable vanes for the music train, the 12 inch square brass dial with subsidiary second dial and foliate engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with foliate half hour markers, Arabic five minutes to outer track and signed Benjamin Rodgers to lower edge, the angles with applied female mask and scroll spandrels, with tune selection lever at 9 o’clock and pierced steel hands, the case with elaborate stepped and moulded caddy surmount above ogee cornice, plain frieze and three quarter columns to the glazed hood door, the trunk with complex mouldings to throat above rectangular door with canted upper angles, decorative brass hinges and centred with a gilt lenticle, on plain plinth base with moulded skirt, 242cm (95.5ins) high. Benjamin Rodgers is recorded in Hughes, Roy G. and Craven, Maxwell Clockmakers & Watchmakers of DERBYSHIRE as working in Chesterfield circa 1729-40. The current lot formerly belonged to the collection of the late John Hooper and was purchased by the current owner in these rooms from the sale of the Library & Workshop of John Hooper 10th February 2009 lot 99 for £3,800 hammer.
A Victorian brass lantern clock. Unsigned, mid to late 19th century. The five pillar twin chain fusee movement with anchor escapement and striking the hour on a bell mounted within the domed bell bearer above the frame, the brass dial with foliate engraved centre and silvered Roman numeral chapter ring with stylised wheatear half hour markers, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets, with brass side doors and backplate, 39.5cm (15.5ins) high.
A brass quarter striking lantern clock. The dial signed for F. Coleman, Ipswich, mid 19th century incorporating early 18th century dial and frame. The five pillar twin chain fusee movement with anchor escapement and two-in-one ting-tang quarter striking on two bells mounted within the domed bell bearer above the frame, the brass dial with foliate engraved centre and Roman numeral chapter ring with stylised wheatear half hour markers and bearing the signature J. Coleman, Ipswich to lower edge, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets, with brass side doors and backplate, 39.5cm (15.5ins) high.
A decorative brass ‘wing‘ lantern clock. Bearing signature William Speakman, 20th century incorporating earlier elements. The posted countwheel bell striking movement with verge escapement mounted above the top plate and pendulum with anchor-shaped bob set within the frame of the clock between the trains, the dial with alarm disc, foliate scroll engraved decoration and bearing signature William Speakman, Hatton garden fecit in a curve to the upper margin of the dial centre within applied silvered Roman numeral chapter ring and with pierced steel hand, the composite frame with ball feet, slender baluster turned columnar uprights and tall urn finials flanking early pattern scroll pierced frets beneath bell housed within the domed bearer above, with brass side doors applied with glazed extensions surmounted with pierced frets, the rear with iron backplate fitted with an alarm mechanism, hanging hoop and spurs, 39cm (15.5ins) high.
A Queen Anne brass lantern clock. Unsigned, early 18th century. The posted countwheel bell striking movement with verge escapement mounted above the top plate, the dial with rosette and foliate scroll engraved centre within applied silvered Roman numeral chapter ring with cruciform half hour markers with pierced steel hand and foliate decoration to angles, the frame with ball feet, columnar uprights and urn finials flanking dolphin frets beneath bell housed within the domed bearer above, with brass side doors, iron backplate, hanging hoop and spurs, 38cm (15ins) high.
A George III brass mounted ebonised table clock. John Ellicott, London, mid 18th century and later. The twin chain fusee movement with five substantial disc-knopped pillars and thick plates, now with deadbeat escapement, chiming the quarters on the original nest of six graduated bells and with passing strike on a single larger bell, the backplate retaining original backcock apron and engraved with symmetrical foliate scrolls around a central cartouche signed John Ellicott, London, the 7 inch brass break arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and repeat signature to lower edge, with fine pierced blued steel hands and rococo scroll cast spandrels to angles, the arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell-top case with recessed brass fillet inserts to the front door aperture and upper quadrant sound frets flanked by caddy moulded angles, the sides with conforming circular over concave topped rectangular windows, on shallow cavetto moulded skirt base with cast brass squab feet (movement with alterations), 47cm (18.5cm) high excluding handle. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers’ Company in 1696 and died 1733. John junior worked from Swithin’s Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772. The current lot was originally made as an hour-striking clock with verge escapement and pull quarter repeat on six bells. The movement was modified in the mid to late 19th century to chime the quarters every hour (using the bells and part of the mechanism for the original pull-quarter repeat facility) and to strike a single blow on the larger bell every hour. At this time the escapement was also converted from verge to deadbeat. These modifications were very well executed hence the clock presents as a good decorative example. Conversely the movement perhaps has the potential to be converted back to original specification as much of the original mechanism remains.
A George III ebonised table clock. Dowson and Peene, London, circa 1760. The five pillar twin fusee bell striking movement with verge escapement and symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and false bob apertures and silvered arched nameplate Dowson & Peene, LONDON to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell top case with brass carrying handle above cast brass upper quadrant frets and raised mouldings flanked by caddy moulded angles to the front door, the sides with circular over concave-topped rectangular brass fishscale sound frets, on shallow cavetto moulded skirt base with squab feet, 47cm (18.5ins) high excluding handle. The partnership Dowson and Peene is recorded in Baillie, G.H. Old Clocks and Watches and their Makers as working from Gray’s Inn circa 1800, however as the current lot can be stylistically dated to around 1760 the partnership must have been working earlier than the record suggests.
A George III mahogany eight-day longcase clock. Thomas Ogden, Halifax, circa 1760. The five finned pillar rack and bell striking movement with 13 inch brass break-arch dial with recessed subsidiary seconds dial, ringed winding holes and calendar aperture to the foliate scroll engraved matted centre within applied silvered Roman numeral chapter ring with foliate half hour markers, Arabic five minutes to outer track and signed Thos. Ogden, Halifax to lower edge, the angles applied with female mask and scroll cast spandrels beneath arch with circular aperture with rocking Chronos figure within silvered ring engraved TEMPUS FUGIT flanked by dolphin cast mounts, in a pagoda top case with break-arch cavetto cornice and foliate carved fret to frieze above brass stop-fluted columns flanking door to hood, the trunk with geometric break-arch door flanked by conforming quarter columns to angles, on shaped raised-panel fronted plinth base with shallow moulded skirt, 249cm (98ins) high. Thomas Ogden is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Halifax as born in 1692 and dying in 1769. As with many leading makers of the period Ogden was a Quaker and is thought to have also supplied other makers; his work tended to be distinctive, of high quality and often incorporating complications such as spherical moons or astronomical features.
A rare rack striking thirty hour longcase clock movement and dial. Giles Coates, Chedworth, circa 1760. The four finned pillar two-handed movement with inside rack striking on a bell mounted above the movement, the 10 inch square brass dial with calendar aperture to the bird inhabited foliate scroll engraved centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes and signed Giles Coates, CHEDWORTH to lower edge, the angles with female mask and scroll cast spandrels. Please note: The rack striking is a later conversion from countwheel strikingGiles Coates senior is recorded on Dowler, Graham GLOUCESTERSHIRE CLOCK AND WATCHMAKERS as born in 1737 and married to Jane Marks of Chedworth in 1777/8, he had four children, the third of whom, also called Giles, followed his father into the clockmaking trade. The work of Giles Coates senior is is generally individual in nature and of high quality as demonstrated by the current lot, which has the very rare feature of inside rack striking and is finished to a high standard. Another thirty-hour movement and dial by Coates is illustrated and discusses in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 pages 192-3.
A posted thirty-hour small longcase or hooded wall clock movement with 8.25 inch dial. Thomas Baxter, circa 1725. The countwheel bell striking movement with anchor escapement and square section steel uprights, the 8.25 inch square brass dial with ring-turned centre and sculpted iron hand within brass Roman numeral chapter ring with stylised fleur-de-lys half hour markers and signed THOMAS BAXTER to lower edge, the angles applied with fine Indian mask and scroll cast spandrels. Thomas Baxter appears to be an unrecorded maker, however stylistically the current lot can be dated to around 1725. Details such as the ring-turned decoration to the centre of the dial (as well as overall dial design) and rectangular section iron movement posts would also suggest that the movement was perhaps made in central southern England. The lack of any evidence to indicate that the rear of the frame was ever fitted with hanging hoop or spurs suggests that it was designed to be housed in a case; the small size of the dial would add weight to the belief that it was probably originally configured as a hooded wall clock rather than a longcase clock.
An eight-day longcase clock movement with 7 inch dial. The dial signed for Richard Colley Junior, London, mid 18th century. The four pillar inside countwheel bell striking movement with 10.75 x 7 inch brass break-arch dial with matted centre within silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, the angles with Indian mask and scroll cast spandrels beneath arch centred with a silvered boss engraved Rich’d: Colley, Junior, London flanked by conforming mounts (strike train added). Richard Colley junior appears not to be recorded, however his father is listed in Baillie, G.H. Watchmakers & Clockmakers of the World as an eminent maker who died in 1736. Evidence in the movement indicates that the current lot was originally made as a timepiece only, wound via the now vacant hole to the dial centre. When the strike train was added (early in the clock’s life) the going greatwheel was moved to the right to allow room; both the left hand dial feet also had to be relocated from their original positions to facilitate the conversion.
An eight-day longcase clock movement and dial. Luke Wise, Reading, early 18th century. The five finned pillar inside count wheel bell striking movement with aperture for the pallets cut into the shouldered backplate, the 12 inch square brass dial with calendar aperture and subsidiary seconds dial to the finely matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track and signed Luke Wise, Reading to lower edge, the angles with applied rococo scroll cast spandrels. Luke Wise is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born circa 1650 to the celebrated London clockmaker John Wise. By 1691 he had moved to Reading and had taken in his son, also called Luke, as apprentice in 1698. He is thought to have died in 1735. The movement of the current lot exhibits relatively early features such as finned pillars and aperture cut for the pallets to the backplate, however the detailing of the dial with lack of half hour markers and rococo spandrels suggests a date after the middle of the 18th century. As there are no obvious signs of alteration then is it would be reasonable to suggest that this movement was perhaps made by Luke Wise senior but was then later fitted with a dial and supplied by Luke Wise junior (whose working dates are apparently not recorded in the usual sources).
An unusual padouk wood musical alarm table clock. Berguer London, probably early 19th century. The five pillar twin chain fusee movement with verge escapement and alarm playing a choice of two peels or a lively melodic tune on eight bells, the backplate engraved with an urn within a rococo scroll cartouche and decorative border incorporating leafy sprays to angles, with a 7 inch brass break-arch dial with alarm disc to the matted centre and blued steel hands within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track and signed Berguer, London to lower edge the angles with female mask and scroll pattern spandrels beneath arch with CHIME/SILENT dial flanked by conforming scroll cast mounts, in a case with brass carrying handle to a moulded panel following the profile of the break-arch top with brass pineapple finials, the front door with ebonised fillet mouldings to the glazed aperture and brass inset angles, the sides with circular foliate scroll engraved brass sound frets above concave-topped windows, on moulded base with brass bracket feet, 39.5cm (15.5ins) high. Four makers with the surname Berguer (probably brothers) are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first quarter of the 19th century; Frederick 1805-24, John 1809-24, Francis (Holborn) 1820 and Joseph 1820. Two generations of makers with the same surname are also recorded working in Chaux-de-Fonds, Switzerland during the 18th century hence it is probable that the London-based makers at the start of the 19th century were first generation immigrants. The fact that the signature to the chapter ring suggests that the maker of the current lot was probably an immigrant may account for the unusual specification of the movement (which plays music as an alarm only) as well as the individual nature of the detail design of the case. These variations perhaps echo those seen on clocks made in London by an earlier generation of Huguenot immigrant makers working during the early years of the 18th century.
A walnut and floral marquetry eight-day longcase clock. The dial bearing signature for David Lestourgeon, London, early 18th century and later. The later century four pillar rack and bell striking movement fitted to the original 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and herringbone border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers Arabic five minutes to outer track and bearing signature D. Lestourgeon, London to lower edge, the angles applied with twin cherub and crown cast spandrels, in a case with later inlaid ogee shaped caddy upstand above moulded cornice with plain frieze and three-quarter columns applied to the foliate trail decorated hood door, the trunk with conforming concave throat above elaborate brass lenticle centred door decorated with intense bird inhabited foliage on an ebonised ground and with decorative repeating border to surround, the sides with twin triple-line bordered crossbanded panels, on later line panel inlaid plinth base with moulded skirt (with alterations), 250cm (98.5ins) high.
A William III walnut and floral marquetry eight-day longcase clock. Thomas Baley, London, circa 1695. The six finned and latched pillar inside countwheel bell striking movement with 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture with scroll engraved detail to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to narrow outer track and signed Tho. Baley, London to lower edge, the angles with gilt winged cherub head and foliate cast spandrels within a scribed line border, the case with moulded cornice and plain frieze over foliate trail inlaid hood door applied with ebonised three quarter columns to front angles, above convex throat moulding and 42 inch door centred with an oval lenticle and inlaid with three shaped marquetry panels decorated with bird inhabited foliage on an ebonised ground within a walnut field, the sides with twin line edged panels with crossbanded surrounds, on conforming marquetry panel fronted plinth base with later applied moulded shallow skirt (case requires mainly cosmetic attention), 201cm (79ins) high. Although several makers with the surname Baley are recorded working in London during the latter years of the 17th century, none of them appear to have had the forename name ‘Thomas’. The current lot is noteworthy in that the movement is of fine quality and original to the case which has survived largely intact and unrestored.
A William III thirty hour longcase clock movement and dial. Zacariah Mountford, St. Albans circa 1700. The four finned pillar outside countwheel bell striking two-handed movement with anchor escapement and 9.75 inch square brass dial with foliate scroll engraved roundel and decorated calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes within the outer track and signed Zac Mountford, at St. Albans to lower edge, with fine steel hands and applied winged cherub head and foliate cast spandrels to angles. The current lot is extensively illustrated and described in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin and Development, 1600-1800 pages 90-2. Darken and Hooper note that Zacariah Mountford was apprenticed in 1676 to William Speakman and was a member of the Clockmakers’ Company 1684-6 before moving to St. Albans. The strike train is unusual in that only one arbor is used for both warning and locking; with the lifting piece and integral warning flap pivoted separately via a collar on the arbor (to allow the warning flap to drop away when the lifting piece is released). The lifting piece/warning pivot can also be locked by inserting a pin into a hole drilled through the pivot collar into the locking arbor, this results in the strike train being permanently held in the warned state, hence this pin can be described as a form of crude strike/silent selection. This one-arbor system is reminiscent to those seen on some of the earliest of French chamber clocks with warned striking (circa 1600).
A rare William III ebonised thirty-hour longcase clock. William Kenyon, Liverpool circa 1690-95. The four finned pillar countwheel bell striking two-handed movement with anchor escapement and 9.75inch square brass dial with circular calendar aperture to the symmetrical tulip decorated foliate engraved centre incorporating unusual ‘basket of bread’ motif to upper margin and with ring turned centre aperture, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed W’m Kenyon, Leverpoole to lower edge, with pierced steel hands and applied winged cherub head and scroll cast spandrels to angles, the case with ogee cornice and swollen frieze above three-quarter pilasters to the glazed hood door above convex throat and slender trunk with rectangular door, on conforming plinth base with moulded skirt, 203cm (80ins) 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. The delicate light symmetrical arrangement of engraved foliate scrolls with large tulip blooms issuing from a central element towards the lower margin of the dial centre of the current lot is very similar in style and feel to the engraving to the dial centre of a lantern clock by John Barton of Aughton/Ormskirk illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 303. As Loomes suggests that the lantern clock by Barton dates to the 1690’s it would, on stylistic grounds, be reasonable to suggest that the current lot would date to the same decade. This date for the clock is perhaps further supported by the fact that Kenyon would have been of active working age at the start of the decade. As the cataloguer does not know of any other Liverpool-made clocks dating to before 1700 it would perhaps be reasonable to suggest that the current lot is possibly the earliest surviving clock to have been made in the city.
An extremely rare Charles II brass miniature lantern timepiece with original balance escapement and alarm. Unsigned, circa 1680. The posted movement with brass balance regulated crown wheel escapement and separate alarm mechanism fitted to the inside of the iron backplate sounding on a bell mounted within the domed bell bearer above, the frame with ball feet, column corner posts and vase turned finials, the dial with rosette decorated silvered alarm disc and original iron hand within engraved band of foliate tulip sprays incorporating monogram AM to upper margin, the applied silvered Roman numeral chapter ring with stylised wheatear half hour markers and quarter divisions to inner track, with dolphin pattern pierced frets, the rear with iron hoop and spurs for wall hanging (side doors lacking), 24.5cm (9.5ins) high. The current lot is extremely rare in that it still retains its original brass balance wheel escapement; although a small handful of full-size lantern clocks that retain their original balances are known, the cataloguer is not aware of another documented example of a miniature lantern clock surviving with its original balance wheel escapement intact. On close examination it can be seen that the dial engraving was originally laid out with the intention to leave a space for the signature of the maker within the upper margin of the centre, however, as it seems that the clock was to be supplied unsigned, the engraving was finished with the insertion of a flowerhead within this space. This inserted flowerhead incorporates the monogram AM (to the upper left lobe) which suggests the dial may have possibly been engraved by Abraham Martin who is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as an engraver from Geneva who was made a Free Brother of the Clockmakers’ Company in September 1682. Abraham Martin was a well-connected specialist workman who undertook work for Thomas Tompion (a watch dating to 1683 with case engraved by Martin resides at the Ashmolean Museum), he is also recorded receiving a gift of a month longcase clock from his friend, Richard Street, who was also known to have produced work for Tompion. It is perhaps interesting to further note that Tompion took in (through W. Dent) an apprentice named Jeremiah Martin in 1680. Fine quality movement details (notably the steel arbors incorporating delicate turned collets and the rare original steel wedges inserted into both the balance and alarm bottom potances) coupled with the fine engraving suggests that the current lot was made in the workshops of one of the leading London makers at this time; it is a shame that the decision was made to supply it unsigned. However the combination of these and other certain distinctive features, such as opposing steel and brass pulley cheeks and lugs riveted to the underside of the top plate for securing the movement bars, may assist to offer an attribution to a particular workshop with further research.
A fine Commonwealth period brass lantern clock. Henry Ireland, London, circa 1655. The posted countwheel bell-striking movement with balance regulated verge escapement and separately wound trains, the dial with fine iron hand with long arrowhead tail, and six-petal flowerhead to the bold floral trail engraved centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and quarter-hour inner track, the angles with further foliate engraved infill, the standard London second period ‘Lothbury’ frame with column-turned posts beneath floral engraved and pierced front fret signed Henry Ireland at ye Dyall in Lothbury to lower edge, plain side frets and vase turned finials with domed bell bearer above, the sides with brass doors the rear with iron hanging hoop and backplate fitted with spurs, on ball feet, (escapement restored) 39cm (15.5ins) high. Henry Ireland is noted in White, George English Lantern Clocks page 134 as being apprenticed (alongside Thomas Knifton) to William Sellwood in 1632 for eight years, however it was not until 1654 that he was admitted to the Clockmakers’ Company as a free Brother (although it is generally accepted that he was producing clocks before that date). The reason for the substantial delay in his admission was probably down to the disruption experienced by the trade (and the operation of the Worshipful Company) caused by the unrest during the Civil War. The date of Henry Ireland’s death is not known however it is thought that he died between 1662 and 1671. Ireland chose to set up business in Lothbury, which by this time had become a hub for the horological trade mainly due to the abundant supply of brass and iron from nearby foundries. The efficient supply of raw castings lead to the emergence of a degree of standardisation with regards to frame patterns, with the current lot being classic example of the type used during the earlier part of the ‘second period’. The dial engraving again is typical of work produced in Lothbury by various makers during the 1650’s and can be closely compared to an example by Thomas Loomes illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 114, and another by Robert Robinson illustrated in the same publication on page 122. Please note: The height of the clock should read 30cm (12inches), excluding handle
A fine Charles II ebony table clock. John Knibb, Oxford, of ‘phase III’ design circa 1685-90. The fully latched twin fusee movement with typical Knibb pattern baluster turned pillars, verge escapement and striking the hours on a bell via a crossed-out numbered countwheel mounted to the rear of the movement, the backplate engraved with tulips and symmetrical scrolling foliage incorporating signature John Knibb, Oxon Fecit in a downward curve toward the lower margin, the 7 inch square gilt brass dial with calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with trident half hour markers and Arabic five minutes within the narrow outer track, with fine sculpted blued steel hands and angles applied with gilt winged cherub head spandrels with engraved repeat signature to lower margin, the ebony veneered case with typical Knibb pattern foliate-bud tied hinged gilt brass carrying handle to the domed caddy surmount above moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the uprights with cherub head and scroll cast gilt mounts (the left hand pivoted to reveal keyhole), the sides with rectangular side windows, on moulded shallow skirt base, 33cm (15ins) high excluding handle; with a foliate engraved and pierced brass winding key. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph’s larger concern in London. The strong similarities between John’s best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The current lot is an quintessential example of a Knibb ‘phase III’ table clock with the movement possessing many typical features including distinctive baluster-turned movement pillars, crossed-out countwheel, signature in a downward curve to the foliate engraved backplate and finely sculpted blued steel hands. The case with its shouldered tied foliate-bud gilt brass handle, cornice with mouldings to underside only and winged cherub head mounts to the front door is also unmistakably Knibb in its design and detailing. All these details can be directly compared with an example by John Knibb of Oxford which sold at Christie’s King Street Magnificent Clocks 15th September 2004, Lot 38 for £44,212
A fine and rare small William III ebony table timepiece with silent pull quarter repeat. Samuel Watson, London, circa 1695. The five finned pillar single fusee movement with verge escapement and silent pull quarter repeat on two bells, the symmetrical foliate scroll engraved backplate signed Samuel Watson, LONDON to a central shaped cartouche beneath elaborate pierced backcock apron, the 5.25 inch square brass dial with single winding hole and curved false bob aperture backed with scroll engraved infill to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and outer track divided to thirty second intervals and unusually numbered 0 to 60 twice, the lower edge with repeat signature, the angles applied with small winged cherub head spandrels within fine foliate scroll engraved border, the case with hinged cast gilt brass ‘Quare’ pattern double scroll carrying handle and vase centred foliate decorated repousse mount to the caddy surmount above moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door the uprights with scroll decorated gilt repousse escutcheon mounts, the sides with short over long rectangular sound frets, on moulded shallow skirt base with block feet, (movement and case with old repair and restoration), 28cm (11ins) high excluding handle. Samuel Watson was an important clockmaker and mathematician who is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as initially working in Coventry from around 1680 where he was Sheriff in 1686 before moving to London in around 1691; he was admitted to the Clockmakers’ Company as a free Brother in 1692. He was supposedly ‘Mathematician ordinary’ to Charles II for whom he made an astronomical clock in 1682 followed by another clock which he did not finish until after the King’s death. This clock was eventually sold to Queen Mary on its completion in 1690 and is preserved at Windsor Castle albeit in a later case. He also made two further complex astronomical clocks for Isaac Newton and invented five minute repeating for watches. In November 1712 Samuel Watson approached the Clockmakers’ Company with an instrument to ‘discover the houre of the day at sea and several other useful mathematical matters’ but to no avail. 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 timepieces destined 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 would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is very closely related to the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON’S CHOICE pages 36-7. The reasoning behind the division of the outer track to thirty second intervals and the more confusing double 0-60 annotation is unknown, however the overall compact proportions and fine detailing such as the engraved border to the dial suggests that the current lot was supplied to a particularly discerning client from one of the best connected and enigmatic makers of the period.
A rare Queen Anne fruitwood table timepiece with silent-pull quarter repeat. Daniel Robinson, Nottingham, circa 1700. The five finned pillar single fusee movement with silent-pull quarter repeat on two bells and fine asymmetric foliate scroll engraved decoration incorporating a cornucopia to backplate, the 7 x 6.5 inch rectangular brass dial with herringbone border engraved calendar aperture and applied silvered oval name cartouche Dan Robinson, Nottingham to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes to outer track, the angles applied with generous winged cherub head cast spandrels with foliate engraved detail between the upper two, the case with floral bud cast brass hinged carrying handle to the caddy upstand above foliate scroll sound fret to the upper rail of the front door and rectangular glazed side apertures, on moulded base, 36cm (14ins high) excluding handle. Although there appears to be no record of a Daniel Robinson working in Nottingham during this period there is a maker of this name recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born in London 1667, apprenticed to William Arthur 1681-8 but not freed. A few clocks are known to exist signed ‘Dan Robinson, London’ and it would be reasonable to suggest that this is the same maker who may have subsequently moved to Nottingham, perhaps in order to ensure he is beyond the jurisdiction of the Clockmakers’ Company. 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 timepieces destined 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 would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers, and is very similar in layout to an example by Rooksby (probably John of York) illustrated in Allix, Charles and Harvey, Laurence HOBSON’S CHOICE page 68.
A fine and rare Charles II key-wound thirty hour longcase clock. Unsigned, circa 1675-80. The two train outside countwheel bell striking single-handed movement with five finned pillars latched to the backplate and with visible motionwork below the countwheel, the early form of anchor escapement with offset pallets pivoted at the rear via a separate single footed cock beneath pendulum suspended from a forged steel arm, the 9.25 inch square brass dial with winding holes to the fine boldly engraved foliate decorated centre incorporating tulip blooms, with heavy gauge blued-steel hand within applied narrow silvered Roman numeral chapter ring with stylised wheatear half hour markers and quarter hour inner track, the spandrels decorated with further flowerheads within a line engraved border, with brass wire rod pendulum with effective length of 43 inches and fat lenticular bob, the 4.5 lb going driving weight with relief lettering IOSEPH IACKEMAN to upper surface, in an oak case of later date with ogee cornice and foliate scroll carved and pierced frieze above glazed door to hood and projecting concave mouldings to throat, the trunk with slender twin geometric panel fronted door, on plinth base with shallow moulded skirt, 212cm (83.5ins) high. The current lot is illustrated and discussed in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 pages 63-6. The movement has many unusual features including the placing of the movement pillar latches and the motionwork on the backplate (rather than the frontplate). This inventive approach to construction and layout perhaps served to assist in the disassembly of the movement. The engraving to the dial is also of particularly fine quality and can be directly compared to a keywound clock (originally made with verge escapement) by Thomas Tompion illustrated in Robinson, Tom THE LONGCASE CLOCK pages 62-3. It is perhaps surprising that this relatively sophisticated, high quality clock is not signed, however a clue to this apparent lack of signature may lie in the inscription IOSEPH IACKEMAN cast in relief to the upper surface of the driving weight. Joseph Jackman is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as promising the Clockmakers’ Company in September 1682 that he would join at the next quarter court, but did not. This suggests that he working as a clockmaker outside the control of the Clockmakers’ Company, hence would be liable to a fine/prosecution if he was seen to be trading. With this in mind it is also interesting to note that Loomes also records a maker with the surname Jackson of Newington in Surrey having a watch confiscated by the Clockmakers’ Company in 1677. The fact that this 4.5lb driving weight would be of little use for any other clock made at this time (either eight-day or thirty hour with Huygens endless rope drive) adds to the possibility that it is original to the movement hence the probability that the movement and dial were made by Joseph Jackman.
A William III ebony table clock. Nicholas Massey, London, circa 1700 and later. The five finned pillar twin fusee bell striking movement now with anchor escapement incorporating rise/fall regulation, the fine symmetrical foliate engraved backplate incorporating two female terms holding aloft a laurel wreath and supporting a drapery cartouche signed Nicholas Mafsy, London, with wheatear border and visible spring barrel set-up clicks, the 8.25 inch square brass dial with matted centre now within applied white Roman numeral chapter ring with Arabic five minutes to outer track, the lower angles with shaped enamel panels decorated with finely drawn puce rococo scrolls issuing floral sprays, the upper angles now with conforming subsidiary enamel STRIKE/SILENT and regulation rings applied to the original foliate scroll engraved infill and interrupting the wheatear decorated border, with pierced steel hands, the case with particularly fine heavy cast and chased hinged gilt handle incorporating figural putto terms, a snake and architectural elements to the domed caddy surmount above shouldered urn finials with foliate knops, moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the sides with short over long rectangular apertures, on conforming moulded shallow skirt base with gadroon cast disc feet (movement and dial with older alterations), 40cm (15.75ins) high excluding handle. Nicholas Massey senior is recorded in Loomes Brian The Early CLOCKMAKERS of Great Britain as admitted as free Brother of the Clockmakers’ Company in 1682. He was a French Huguenot immigrant who is believed to have been the eldest son of Nicholas Massey of Blois who died before 1658. He worked at Cranborn Street with the business presumably passing to his sons (one of which was also called Nicholas) on his death in 1698. Nicholas junior, who was also admitted as a free Brother of the Clockmakers’ Company in 1693 is thought to have worked up to 1723. The current lot could have been made by either Nicholas Massey senior or his son of the same name. Detailing such as the fine engraved backplate with unusual signature within a drapery cartouche, and the exceptional mounts to the case suggest a strong French Huguenot influence and can be compared to the work of other immigrant makers such as Claude DuChesne. The enamel fittings to the dial appear to date to the third quarter of the 18th century and are very well detailed; they were probably fitted to the clock to give it a more ‘modern’ appearance at that time. The dial centre also has a matted circular plate carefully placed over the original in order to disguise the redundant calendar and false bob apertures, the presence of this plate (to hide the false bob aperture) suggests that the escapement was also converted at the time the new dial fittings were added.
A George II brass mounted ebonised small table clock. James Snelling, London circa 1730. The five (formerly six) pillar bell striking movement with foliate engraved backplate centred with a figural representation of Britannia and inhabited by ho-ho birds, the 6 inch brass break-arch dial with recessed shaped silvered nameplate engraved James Snelling, LONDON and blanked-off false bob aperture inscribed Green Castle 1776 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 lower angles with female mask and scroll cast spandrels, the upper angles with star-centred silvered subsidiary Strike/Silent opposing regulation dials flanking a central calendar dial within applied foliate cast infill to the arch and with cherub mask and scroll decoration to panel beneath, the inverted bell top case with brass carrying handle and pierced gilt frets to the upper quadrants of the brass-fillet inset front door, the sides with concave bottomed rectangular above break-arch glass apertures with conforming brass fillet inserts, the rear door with further break-arch window, on moulded base with block feet, (movement with losses and other faults), 39cm (15.5ins) high. James Snelling is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as being admitted as an apprentice in 1703, gaining his freedom of the Clockmakers’ Company in 1712. He was appointed master in 1736 and died 1751. Baillie notes him as an ‘Eminent’ maker. The placing of three subsidiary dials in the arch of the dial of the current lot was perhaps made popular during the 1720’s by makers such as DuChesne, DeCharmes and Quare. The relatively complex dial, combined with neat proportions of the case results in an particularly attractive clock which perhaps deserves restoration of the movement.
A collection of 8 old horse brasses, North East Railway, Horse (diestruck, Kent Invicta), horse within horseshoe (diestruck), crescent (2) one diestruck, sun in splendour (diestruck), radiant sun (diestruck), Sussex horse within pierced ring, also a horse’s leather brow band of the Household Cavalry with 12 star mounted brass links and 2 large star mounted oval bosses and a large brass cannon (length 6”) taken from the corner tail of an officer’s shabraque of the Royal Horse Artillery. GC. (10)
A 1939 Iron Cross 2nd class, with ribbon; 2 1914 Iron Crosses, 2nd class (one lacking suspension ring, the other with minor dents); a Third Reich cast iron plaque, with eagle and swastika over a sheild bearing crossed miner’s hammers and a mineshaft, and inscribed “Fur Besondere Verdienst/ Pionier - Lehr- Bataillon.Z.B.V”; 2 medallions; and a post war East German side cap. Average GC
A WWII late war issue Japanese officer’s sword, katana, polished untempered blade 27½”, the tape bound hilt with copper pommel and pierced circular brass tsuba, in its leather covered scabbard. GC (slightly worn, scabbard locking suspension ring); with a War Trophy Certificate issued by 23 Indian Division SEAC, to RSM J Jennis, of “23 Ind. Div. Provost Unit CMP(I)”, dated 21 November 1946 for “One Japanese Main Sword”
The Leicester Mercury Silver Challenge Bowl A large Edwardian montieth shaped bowl, by Charles Stuart Harris, London 1902, shaped moulded rim with mask heads, moulded girdle, lion mask loose ring handles, domed foot, engraved "The Leicester Mercury Silver Challenge Bowl Value 70 Guineas Donors, Messrs F. Hewitt & Sons Ltd., Leicester. "To Leicester Competitive Festival of Music Council 1924 for Competition by All the 1st Prize Choirs of Each Annual Festival at the Final Evening Concert Held for Any One Year" weight approx. 120ozs diameter 46cms, (18"), height 28cms, (11"), on a wooden plinth, with a silver band.
A George I yellow metal mourning ring, oval flat bezel encasing gold thread initials, engraved round the bound with a skeleton motif and inscribed `W. Moreton Obt. 28 Apr 1719 A.E.T. 28` and a Victorian 18ct hallmarked gold and black enamelled mourning ring, London 1846, signet design, marked `IN MEMORY OF` other engraved and dated 1846, (2).
A gentleman`s stainless steel Omega Geneve Dynamic mechanical bracelet watch, c.1970, a circular blue dial with a silvered chapter ring, radiating batons, luminous hands and blue centre second sweep. Oval landscape flared case with a satin finish to an integral bracelet. Marked to the back `TOOL 107 Waterproof`
A Finnish sterling silver Lapponia ring, c.1975, a folded fabric style head, with flat shoulders, signed `Lapponia` with Finnish assay marks for 1975, possibly by Bjorn Weckstrom, a Danish amber ring, c.1960, attributed to Carl Ove Frydensberg, a narrow oval cabochon amber, rub set to a tapering flat band, marked `Håndarbejde, Denmark`, with maker`s mark, together with a sterling silver ring by Magnus Maximus Designs, c.1970, a tube with cut out section to reveal a natural crystal, mounted to a flat section bar, Birmingham 1971 (3)
Loading...-
1087811 item(s)/page