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Click here to subscribeA French ormolu quarter striking skeleton clock Hatton, Paris, late 19th century The eight-day rack and bell ting-tang quarter striking movement stamped Hatton, Paris, 845 to backplate with two bells mounted above Roman numeral enamel chapter ring with under-dial work visible to centre, on baluster profile hexagonal lobed upright and rosette cast panelled plinth with marble base, 29cm high, under glass dome.
A Victorian brass skeleton timepiece with passing strike Bennett and Clench, Salisbury, circa 1760 The five-pillar single fusee movement with strapwork pierced plates, six-spoke wheel crossings, deadbeat escapement and cylindrical bob pendulum with wooden shaft, with pierced silvered Roman numeral cartouche chapter ring above plaque signed Bennett & Clench Salisbury to front, 53cm high, on moulded white marble base with bun feet. Bennett & Clench are recorded in Loomes, Brian Watchmakers & Clockmakers of the World Volume 2 as working in Salisbury 1859-75.
A rare George II walnut large bracket clock Windmills & Wightman, London, circa 1735 The five-pillar twin fusee rack and bell striking movement with verge escapement, rise/fall regulation and Hoho bird inhabited foliate engraved backplate signed Windmills & Wightman, LONDON within a circular cartouche to centre, the 12 inch brass break-arch dial with false bob and calendar apertures and arched signature plaque to the matted centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and fleur de lys half hour markers, with female mask and scroll cast spandrel applied angles beneath rise/fall regulation dial between dolphin cast mounts to arch, the case with later inverted bell top and foliate pierced frets above husk and scroll carved canted angles with conforming frets and brass handles to sides, on cavetto moulded base with shaped apron, 74cm high. The exact date on which William Wightman joined the celebrated Windmills firm is uncertain however Ordnance Office bills record the partnership in September 1735 (see Neale, J.A. Joseph and Thomas Windmills, Clock and Watch Makers 1671-1737, p.233). Five longcase clocks are recorded by Neale but no bracket, lantern clocks or watches are noted. The reason why this unusually large clock was made is uncertain however another ebonised example (a timepiece with silent pull repeat signed Windmills) is described by Neale and a walnut clock of similar proportions but with a rectangular dial by George Graham was formerly in the Iden collection. It is probable that such clocks were utilised in a semi-public context where the use of a longcase clock would be problematic.
A Victorian carved oak quarter chiming bracket clock Whittle, Blackburn, late 19th century The substantial four-pillar triple fusee movement chiming the quarters on a choice of four gongs or eight bells and striking the hour on a further gong, with rise/fall regulation and numbered 3426 to backplate, the 7.5 inch full-arch foliate engraved gilt brass dial with silvered plaque engraved WHITTLE BLACKBURN to centre within an applied silvered Roman numeral chapter ring with fleur de lys half hour markers and Arabic five minutes, the arch with CHIME/SILENT, FAST/SLOW and CHIME ON 8 BELLS/WESTMINSTER CHIME subsidiary dials, the case with foliate fishscale carved dome above arched frets to sides and grotesque mask capped jambs flanking dial, on plinth base with foliate scroll carved apron and gadroon moulded skirt, 58cm high; with an associated carved mahogany wall bracket.
An unusual late Victorian Masonic mahogany quarter chiming bracket clock J. Westley, London, the dial engraved by B.J. Harrison, late 19th century The substantial four-pillar triple fusee movement chiming the quarters on twelve bells and striking the hour on a gong, the 10.5 inch engraved single-sheet silvered brass dial inscribed DESIGNED Eben'r. E. Osborne, MADE BY J. Westley CLERKENWELL E.C. within a small applied Roman numeral chapter ring and further panel engraved Arabic numerals each annotated with a biblical quote relating to each number, the spandrels with similar script, with CHIMES 12/4 and CHANGE S/N levers at 3 o'clock and inscribed ENGRAVED BY B.J. HARRISON to lower edge, the arch annotated with the all-seeing eye above an open book with further script below and motto to upper edge, the temple form case with elaborate foliate pierced arched crest above pilaster applied front and open arcade sides incorporating brass sound frets and door to right-hand side, on rectangular moulded base, 65cm high.
A black lacquer musical automaton bracket clock Paul Rimbault, London, circa 1780 and later The small six-pillar triple chain fusee back-wound movement playing a choice of three tunes via a 2 inch pinned cylinder on eight bells with fourteen hammers on the hour and rack striking the hour on a further bell, now with automaton of parading farm animals operating in tandem with the music, with verge escapement and foliate engraved backplate signed Paul Rimbault, Denman Street, Soho, London, the later 7 inch rectangular brass dial with matted centre within an applied silvered Roman numeral chapter ring with fleur de lys half hour markers and Arabic five minutes with mask and scroll cast spandrels to angles beneath painted country view incorporating automaton to the shallow arch above, the later bell-top case with hinged carrying handle and arched brass fishscale side frets on moulded base with block feet, the whole decorated with raised gilt foliate designs on a black ground, 43cm high excluding handle.
A George III figured mahogany bracket clock Cha's Bayles, London, late 18th century The five-pillar twin fusee rack and bell striking movement with rise/fall regulation and foliate engraved backplate, the 7 inch brass break-arch dial with calendar aperture to the Hoho bird and foliate scroll engraved centre within applied Roman numeral chapter ring with Arabic five minutes and foliate scroll cast spandrel applied angles, the arch with subsidiary strike/silent and regulation rings below shaped plaque signed Cha's Bayles, London, the single pad top break-arch case with brass carrying handle above break-arch side apertures and brass inset front door, on moulded base with brass ogee bracket feet, 40cm high handle down. Cha's Bayles is recorded in Britten, F.J. Old Clocks & Watches and their Makers as working in London circa 1760.
A George III provincial mahogany bracket timepiece with pull quarter repeat John Ratcliffe, Chester, circa 1780 The four-pillar single fusee movement with tic-tac escapement and silent pull quarter repeat on two bells for the quarters and a larger bell for the hour, the backplate signed John Ratcliffe CHESTER within a foliate scroll cartouche, the 7.25 inch square brass dial with calendar aperture, false winding square and repeat signature to the foliate engraved silvered centre within an applied Roman numeral chapter ring with Arabic five minutes and mask and scroll spandrel applied angles, the inverted bell top case with brass carrying handle and rectangular side windows on moulded base with ogee bracket feet, 41cm high excluding handle. John Ratcliffe is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chester 1763-97. The form of repeat mechanism employed in this clock is derived from a design by Joseph Knibb however utilises a stepped cam rather than a rack to count the hours. A longcase clock by Joseph Smith of Chester with almost identical repeat work was sold in our Apsley Road Saleroom, Bristol, Lot 271 Tuesday 1st March 2005. The close similarities of these two clocks suggests that John Ratcliffe and Joseph Smith may have had some form of working relationship.
A fine George II ebonised bracket clock William Scafe, London, circa 1750 The six finned pillar twin fusee rack and bell striking movement now with anchor escapement and symmetrically engraved backplate centred by an eagle with outstretched wings, the 7.5 inch brass break-arch dial with calendar and false bob apertures to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and Indian mask and scroll cast lower spandrels, the upper spandrels incorporating rosette centred silvered rings engraved STRIKE and SILENT with pointer pivoted between, with Hoho bird and scroll engraved infill to arch with silvered curved nameplate William Scafe, London to upper edge, the inverted bell top case with brass handles above tall rectangular apertures to sides on moulded base with block feet, 45cm high. William Scafe, a Yorkshireman by birth, was trained as a blacksmith by his father before moving to London and made free of the Clockmakers Company in 1721, he was master in 1749 and is thought to have died in 1764. This clock typifies his highly individualistic style and attention to detail.
A fine George III gilt brass mounted mahogany musical bracket clock George Suggate, Halesworth, circa 1775 The substantial six-pillar triple fusee movement with verge escapement and playing a choice of four tunes on eight bells with thirteen hammers on the hour or at will and striking the hour on a further bell, with foliate scroll engraved backplate and 8 inch brass break-arch dial with calendar aperture to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and foliate scroll cast spandrels to angles, the arch with chime/not chime and strike/not strike subsidiary dials with foliate scroll engraved centres flanking shaped recessed silvered nameplate SUGGATE, HALESWORTH beneath arched tune selection scale with moveable pointer to upper edge, the figured mahogany bell-top case with five leaf and berry cast finials above hinged handles and foliate scroll cast rectangular frets to sides, female caryatid applied angles and on moulded base with leafy scroll and cartouche cast mount to the pierced apron, on foliate cast bracket feet, 61cm high overall. George Suggate is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Halesworth, Suffolk 1767 - early 19th century. The four lively tunes played by this clock are A Dutch Dance, Britton's Strike Home, 104 Psalm and Lady Coventry's Minuet, all these tunes, with the possible exception of A Dutch Dance, were very popular and regularly feature on musical clocks of this date. The complexity of the movement and the quality of the case indicate that this would have been a very expensive clock thus was probably made to order for a wealthy local landowner.
A George III Irish brass sundial Lynch, Dublin, late 18th century The octagonal plate engraved with a central rose within equation of time scale, directions indicating relative locations of International cities and Roman numeral chapter ring with fleur de lys half hour markers and Arabic ten minute intervals, with scroll pierced angled gnomen to centre, signed Lynch Dublin to plate at foot of angle plane, 29.5cm wide.
A Queen Anne walnut and marquetry eight-day longcase clock J. Harmer, London, circa 1705 The four (formerly six) finned and latched pillar inside countwheel bell-striking movement with large plates, original anchor escapement and unusual back-cock with pendulum suspension block mounted onto removable tapered end-plate, the 12 inch square brass dial latched to the movement and with subsidiary seconds dial, calendar aperture and signature cartouche J Harmer, London to the rosette decorated matted centre, within an applied Roman numeral chapter ring with sword hilt half hour markers and Arabic five minutes, the angles with twin cherub and crown pattern spandrels with foliate engraved infill between, in a case with moulded cornice and fretwork frieze above integral ebonised twist turned pilasters to the floral marquetry decorated hood door, with concave throat moulding and later bird and flower panel inlaid trunk door with lenticle, on restored plinth base with conforming decoration and moulded skirt, 221cm high. Probably Jasper Harmer who is recorded in Loomes, Brian The Early Clockmakers of Great Britain as working from circa 1685.
A George III figured mahogany eight-day longcase clock William Webster, London, circa 1760 The five-pillar rack and bell striking movement with anchor escapement and 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and silvered signature plaque W'm Webster, Exchange Alley, LONDON to the matted centre, within applied silvered Roman numeral chapter ring with Arabic five minutes and mask and scroll spandrel applied angles, the arch with strike/silent dial flanked by dolphin cast mounts, in a pagoda pedimented case with ball and spire top finial and brass stop-fluted pilasters to hood above break-arch trunk door and raised panel fronted plinth base with stepped skirt apron, 239cm high excluding top finial. William Webster is recorded in Britten, F.J. Old Clocks & Watches and their Makers as working in Change Alley from 1734 taking over the business from his father, who was journeyman to Thomas Tompion, in 1735. He was elected Master of the Clockmakers Company in 1755 and died in 1776.
A George III figured mahogany eight-day longcase clock Henry Jenkins, London, circa 1770 The five-pillar (centre removed) rack and bell striking movement with anchor escapement and 12 inch brass break-arch dial with calendar aperture and recessed subsidiary seconds dial to the matted centre, within an applied Roman numeral chapter ring with Arabic five minutes and signed Henry Jenkins, London, No. 2789, with foliate scroll cast spandrel applied angles beneath arch with strike/silent dial flanked by conforming mounts, the break-arch pedimented case with brass stop-fluted pilasters to hood above break-arch trunk door and raised panel plinth base with skirt apron, 222cm high. Henry Jenkins is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working circa 1730-88. He is particularly well known for complicated astronomical clocks, a fine musical astronomical pedestal clock is in the British Museum's collection.
A fine inlaid pollard oak quarter chiming eight-day longcase clock with Halifax moon Seddon, Frodsham, circa 1740 The substantial five finned pillar three-train rack and bell striking movement chiming the quarter on six bells, with 12.5 inch brass break-arch dial with ringed winding holes, rosette centred subsidiary seconds dial, calendar aperture and applied shaped silvered nameplate Seddon Frodsm to the wheat-ear border engraved matted centre, within an applied silvered Roman numeral chapter ring with foliate half hour markers and Arabic five minutes and large winged cherub head cast spandrels to angles within a wheat-ear engraved border, the arch with central revolving moon calibrated for the lunar month to equator flanked by dolphin cast mounts beneath conforming engraved border, the break-arch case with moulded cornice and fluted pilasters to hood above shaped-top trunk door with central parquetry star to the book-matched veneers, on conforming plinth base with ogee bracket feet, 234cm high excluding finials. Records relating to the Seddon family of clockmakers from Frodsham, Cheshire first appear in the Parish baptismal entries for the children of Mary Cook and John Seddon (described as a clockmaker by trade) in 1676, followed by the supposed supplying of a turret clock by John Seddon to Poole Hall in 1704. Frodsham Parish records apparently further record a John Seddon complaining of an Edward Cook in 1713. Finally Daniel Seddon, Clockmaker from Frodsham, is recorded as working 1754-85. As the general style of the movement, dial and case coupled with the use of a so-called Halifax moon in the arch (a term coined after John Ogden of Halifax who often used this feature in his clocks during the second quarter of the 18th century) suggest a date of circa 1740, it is probable that this clock was made by a relative (probably the father) of Daniel Seddon.
A Queen Anne figured walnut eight-day longcase clock P. Runbaule, London, early 18th century The five finned pillar rack and bell striking movement with 12 inch square brass dial with engraved calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes, fleur de lys half hour markers and signed P. Runbaule, Londini to lower edge within twin cherub and crown pattern spandrel applied angles and herringbone engraved border with S/N lever at 12 o'clock, the case with moulded cornice and blind fret frieze above integral pilasters to hood, with rectangular trunk door and on re-built plinth base, 219cm high.
a 19th century Austrian enamel timepiece the oval enamel top with French fusee movement, slight silvered chapter ring, hands lacking, and the interior of the case with farmyard setting raised on floral sprays and on circular base with applied winged head motifs and painted figures [damages] 18cm purchased at Gordon Lawrence, 37 Jermyn Street, St. James's, London. 1958
a 16th century French gilded bronze and engraved portrait medallion of oval form, with burnished mirror verso revealing an open compartment, the shoulder length portrait depciting Henry III wearing a cap with floret cresting and a high buttoned shirt below robes of state, the border inscribed in capital letters: HENRICVS*III*D*G*FRANCORVM*ET* pOLANIAE*REX*1584, the pulvinated frame with three spire shaped bosses and mounting ring on a stepped plinth 8.3cm wide, 11.1cm high, 1.4cm deep
a Regency gilt-tooled Morroccan leather work box of sarcophagus form, the gadrooned lid with rectangular knop handle, enclosing a compartment above a frieze drawer, each lined with blue paper, with foliate embossed gilt-metal escutcheon and ring handles, on gilt-metal rocaille cast shell feet 29cm wide, 17cm high, 23cm deep
a near pair of George III period mahogany cutlery boxes each of narrow serpentine-fronted design with sloping covers and line inlay, one enclosing original fabric lined interior, the other lacking interior fittings, with brass foliate ring handles, side carrying handles and scroll-cut escutcheons (one of variant design) 20cm wide, 33.5cm high, 15cm deep (largest)
an 18th century wrought iron trammell, or 'chimney crane' probably Northern European or American worked in narrow sheet metal with foliate pierced cresting and a line of ratchet teeth to one side supporting an adjustable arm with mounting ring above an overscrolled pot hook at the lower end, the lever handle with embossed brass collar bounded by open cut-out leaf scrolls, the main stay with two subsidiary turned hooks on embossed brass collars flanking a small applied brass armorial above the inscription: WAM/ ACNK/ ELVET/ ANNO 1790 and a tulip stem issuing from a heart engraved with a sheep and a banner over a small cross cresting the letters: I H S, the whole engraved with punch work and foliage 39 wide, 94cm high, 6cm deep
a suite of twelve early 20th century giltmetal wall appliques each cast with twin scrolling branches supported by a mythical winged and crowned herm figure on a scrolled 'fish-tail' support and foliate engraved ring wall mount, with moulded flame-glass shades (12) 43cm high, 26cm wide
a 19th century gilt brass hall lantern of cylindrical form with beaded uprights and curved glass panels above a pierced frieze with rosette spacers and pendant finials, the upper ring with tied ribbons to four scrolling brackets supporting a leaf cast rod 29cm diameter, 105cm high
a French boulle marquetry bracket clock, circa 1700 by Francois Rabby, Paris (c.1655-1717) the caddy top with flame finials above larger foliate finials and a balustraded frieze, the arched and glazed door enclosing a raised enamel Roman chapter ring with rococo engraved centre, single wind hole and strapwork apron inscribed with maker's signature, between corinthian columns, on a shaped apron and gadrooned toupie feet, the anchor escapement striking on a bell, the backplate boldly engraved 'Rabby Paris', the whole decorated with silvered and gilt cut and engraved brass arabesques on scarlet tortoiseshell 60cm high, 40cm wide, 18cm deep note: Rabby produced movements for many fine Boulle marquetry clocks, including one in the collection of the Duke of Marlborough at Blenheim Palace.
a chiming library clock by Winterhalter & Hoffmayer the three train movement with deadbeat anchor escapement chiming on five graduated coiled gongs with pull-cord repeat, the stained walnut case with four bevelled glasses enclosing a brass dial with silvered roman chapter ring and subsidiary fast/slow and chime/silent dials, on a moulded cut plinth base, the rear door with fabric lined brass grille 21cm wide, 26cm high, 18cm deep
a monumental late 18th century mahogany 8-day longcase clock charles Graham, Edinburgh the twin train movement with anchor escapement, the arched brass dial with silvered chapter ring enclosing subsidiary seconds and date dials with moon phase to the arch, the hood with swan neck pediment above reeded brass columns, the shaped trunk door flanked by inset brass pilaster columns, the panelled and moulded base raised on bracket feet 279cm high
a Regency period mahogany patent 'scissor-action' extending dining table By Wilkinson & Wilkinson of London the rounded rectangular top with three full leaves and a narrow half leaf, with reeded edge above ring-turned tapering baluster legs ending in brass socket castors 271 wide, 70cm high, 130cm deep note: The brass mounted scissor action frame is stamped WILKINSON PATENT LONDON. This ingenious form of extension allows the table to be reduced as a small foldover side table when not in use. Other leading firms of the period also experimented with this form of action, most notably Gillows of Lancaster.
a mahogany, partridge-wood and harewood crossbanded Carlton House desk by Gillows of Lancaster the wrap-around superstructure with a brass urn-and-arabesque gallery and leaf-carved edge enclosing a bank of six short tulipwood crossbanded drawers flanked by cupboard doors and two sloping stationery compartment covers, the gilt-tooled tan leather skiver above three frieze drawers with brass ring handles, the centre drawer stamped GILLOWS, the locks on the flanking drawers stamped GILLOWS OF LANCASTER, the frieze trimmed with bead and reel moulding at the lip and leaf-carved paterae to each corner, on turned and fluted tapering legs headed by stiff lotus leaf capitals, on turned feet, the whole embellished with parcel-gilt highlighting 139cm wide, 107cm high, 67cm deep
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