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Lot 240045
Gelbgold-Ring mit Amethyst, Perlen und Brillanten, Juwelier Rohrbacher, Zweibrücken um 1960, gestempelt Handarbeit, Rohrbacher und 585, ovaler Ringkopf mit großem facetiertem, dunklem Amethyst, 3 Perlen D jew. 2,5 mm, und 2 Diamanten im Brillantschliff, zus. ca. 0,10 ct, weiß, vvsi, Ringkopf L 18 mm, Ringgröße 57, Gewicht 4,3 g. 3258-009
Lot 240005
Weißgold-Ring mit Solitärbrillant 1,100 ct, Handarbeit, Weißgold gepunzt 750, mit einem Diamant im Brillantschliff, ca. 1,10 ct, getönt N,O very light yellow, vvsi 1, Ringgröße 57, Gewicht 10,6 g, mit Bewertungs-Gutachten der Deutschen Gesellschaft für Edlesteinbewertung Idar-Oberstein aus 2017, Wiederbeschaffungswert 9375 €. 3184-001
Lot 899
LIVERPOOL / AUTOGRAPHS Large ring bind folder of 31 signed photos, some taken when players are leaving the training group including Fernando Torres, Daniel Agger, Steve Gerrard, Pepe Riene, Ryan Babel, Paul Konchesky, Brad Jones, Roy Hodgson, Jonjo Shelvey, Sammy Lee and Martin Skrtel plus others. Good
Lot 33
A 19th century Italian miniature silver mounted marmo rosso 'antico' sarcophagusmark for Antonio Giuseppe Rè, Turin, circa 1830the basin form with two applied silver lion mask ring handles on either side, raised on silver paw feet, height 7.5cm, length 19.5cm.For further information on this lot please visit Bonhams.com
Lot 68
A fine and significant Italian pietra dura table top on an ebonised and gilt bronze mounted centre table or gueridonthe pietra dura top circa 1850 and probably Florentine, the 19th century table apparently of a slightly later dateThe black marble top inlaid with an assortment of hardstones and marbles including lapis lazuli, duke's red, white marble and turquoise, the central assorted floral bouquet comprised of madonna lilies, convulvus, roses, 'forget-me-nots', violas, jasmine and 'lily of the valley' together with a bunch of grapes, within a wreath-form border comprising a variety of pearl pendant-hung ribbon-tied flowers and floral trails, the surround with a central coat of arms surmounted by a lion rampant and above the motto: 'PRO PATRIA', with a detachable rosette-embedded guilloche frieze below, on a ring turned baluster column, with a concave tripartite base terminating in roundel turned feet and brass castors, the underside of the table bearing an indistinct stamp, the pietra dura top: 77.5cm x 66cm x 3.5cm; the table: 83cm wide x 72cm deep x 80cm high, (32 1/2in wide x 28in deep x 31in high)Footnotes:Provenance:At some point in the mid 19th century the offered pietra dura table top was commissioned in commemoration, or perhaps more accurately in celebration, of a marriage between two individuals, one from the Wallace family and one from the Lowles.Two related 19th century pietra dura table tops are illustrated in A. Giusti, Pietre Dure: Hardstone in Furniture and Decorations, 1992, London, whilst a couple of further tops, along with the aforementioned, appear in l'Opificio dell Pietre Dure nell'Italia Unita, dagli Splendori di Corte al Lusso Borghese, ed. by A. Giusti, 2011, Florence, No. 2, pp.'s 90-91; No. 14, p. 110; No. 28, pp.'s 134-135; and No. 32, pp.'s 144-145.One of these remarkable pietra dura tops, despite featuring in both of the previously referenced books, is also highlighted in yet another of Annamaria Giusti's impressive academic works on the subject. This specific book is A. Giusti, Pietre Dure and the Art of Florentine Inlay, 2006, London, ill. 186, pp.'s 228-229 & ill. 200, p. 244. Whilst the top so understandably focussed upon by Giusti is a true 'tour de force' in pietre dure and incorporates similar colourful flowers and bunches of grapes to those on the present example. In addition to these, a Florentine table top with a closely comparable central floral bouquet and distinctive border comprised of assorted flowers to those on the offered model, is pictured in Koeppe, Wolfram and A. Giusti, Art of the Royal Court, Treasures in Pietre Dure from the Palaces of Europe, 2008, New York, pp.'s 98-99.The Coat of ArmsThe arms depicted upon the present pietra dura top are those of Wallace impaling Lowle, or rather they are the marital arms of the families of Wallace and Lowle. Consequently it seems a logical conclusion that this commemorates, or possibly more accurately celebrates, the marriage of two individuals from these respective dynasties, the identities of whom currently remain unknown.The display of the arms of Murray in the second and third quarters of the husband's arms suggest that he was descended from the marriage of the Reverend John Wallace (circa 1674-1733) and Christina Murray (circa 1676-1755). John Wallace served as the minister of the parish of Drumelzier, Peeblesshire, in the Scottish borders, whilst Christina was the daughter of William Murray of Cardon and the latter's wife, Christina Veitch. It is documented that John and Christina were married in Edinburgh on 5th March 1706. The Murray arms as depicted here certainly pertain to the Murrays of Falahill in the county of Midlothian, from whom Christina and the territorial house of Murray of Cardon were descended.Although there is an apparent shortage of available records, due to the marshalling of the arms depicted on this coat of arms, we may conjecture that a marriage definitely occurred between the Wallaces and an heiress of the Lowle family at some point in the late 18th or early 19th century. It is notable too that the youngest son of John and Christina, also called John (baptised 1718-1783), emigrated from Scotland thereafter settling in 1742 in British North America, where the latter established the family of Wallace of Burlington, New Jersey and Philadelphia.According to the monumental inscription on the memorial for John Wallace, located above his grave in St. Peter's church in Philadelphia, he died at the age of sixty-five years old at Hope Farm in Somerset County, New Jersey. Not far from John Wallace's memorial is another Wallace vault displaying the family arms. These arms seem identical to those appearing in the first quarter of the coat of arms on the above table top, with their closely comparable demi-lion crest and the motto: 'Pro Patria' which unquestionably denotes kinship to John.Despite the possibility of it being purely coincidental, with regards to the Lowle dynasty someone called Percival Lowle (1571-1665) also left Britain in order to begin a new life in America. Over there, he would eventually establish himself as the patriarch of this Lowle family, whose surname changed over time to ultimately become 'Lowell' instead of maintaining its original spelling. Once they finally settled in Boston, Massachusetts, the Lowles, who originally hailed from Clevedon in Somerset and Yardley in Worcestershire, went on to become one of the major families there, eventually being referred to as the 'Boston Brahmins'. It is incredible to ponder that this particular work of supreme skill also proves that a marriage took place between the progeny of two wealthy and prominent British emigre families far from their ancestral homeland.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 38
Spanish school, 18th century. After CORREGGIO (1489 -1534)."Mystical nuptials of Saint Catherine". Oil on canvas.Relined.20th century frame following 19th century models.Size: 109 x 100 cm; 132 x 123 cm (frame).The Louvre Museum houses the original work by Correggio on which the present painting is based. This is a faithful version of the Renaissance model, except for the use of somewhat more contrasting and dramatised lighting, typical of a language that has been impregnated with the plastic incursions of the Baroque. The present scene depicts the vision of Saint Catherine being betrothed by the Christ Child, who in the painting is about to place a gold ring on her ring finger. The Virgin takes the divine body in her arms, which glows with inner light, as do the faces of the figures present, with Saint Sebastian being the fourth figure to bear witness to the sacred event. Jesus gazes tenderly at Catherine, who is depicted as a beautiful young woman wrapped in golden cloths. In the background of the composition, the episode in which Sebastian is being martyred is narrated: he is tied to a tree and sawn asunder by a group of Roman soldiers. The faces in the foreground are characterised by the tremendous sweetness that emanates from barely sketched smiles, their features modulated by soft shifts of light. The atmospheric effect and the satiny sensuality of the robes are derived from the Venetian school. The same theme would be treated by other great painters, such as the Flemish genius Anton Van Dyck, and the Spanish artist Diego Ribera, master of Tenebrist naturalism.Saint Catherine de Ricci was an Italian Dominican nun, who is attributed with miraculous visions and bodily encounters with Jesus, both the infant Jesus and the adult Jesus. She is said to have spontaneously bled with the wounds of the crucified Christ. She is venerated for her mystical visions and is honoured as a saint by the Catholic Church. She was born Alessandra Lucrezia Romola de' Ricci in Florence to Pier Francesco de' Ricci, from a patrician family, and his wife, Caterina Bonza, who died shortly afterwards. At the age of 6 or 7, her father enrolled her in a Benedictine nuns' school in the Monticelli quarter, near her home, where her aunt, Luisa de' Ricci, was abbess. She was a very devout person from a very young age. There she developed a lifelong devotion to the Passion of Christ. After a short time away from the monastery she entered the Convent of St. Vincent in Prato, Tuscany, a cloistered community of nuns of the Third Order of St. Dominic. By the age of 30 she had risen to the position of prioress, and as prioress, De 'Ricci became an effective and much admired administrator.
Lot 78
Circle of HANS VREDEMAN DE VRIES (Leeuwarden, 1525/1526-Hamburg, 1609)."The Return of the Prodigal Son".Oil on copper.It has a 20th century frame.Size: 69 x 85,5 cm; 96 x 112 cm (frame).The treatment of the architecture in this work suggests that its composition is close to the artistic circle of Hans Vredeman de Vries, who achieved a great fame due to this type of scenes in which he developed a great architectural complex, in which scenes that remain in the background, with respect to the magnificence of the landscape, were included. In this particular case it is the representation of the parable of the prodigal son. The Parable tells " A man had two sons; and the younger of them said to his father, "Father, give me the share of the inheritance that is mine." And he divided the inheritance between them. A few days later the younger son gathered it all together and went away to a far country where he squandered his inheritance living like a libertine. "When he had spent it all, there came an extreme famine in that country, and he began to be in need. "While he was still far away, his father saw him and, moved, ran to him, threw himself on his neck and kissed him warmly. The son said to him, "Father, I have sinned against heaven and before you; I am no longer worthy to be called your son." But the father said to his servants, "Bring quickly the best robe and dress him, put a ring on his hand and sandals on his feet. Bring the fattened bullock, kill it, and let us eat and feast, for this my son was dead and is alive again; he was lost and is found. In this case we can see the embrace between father and son in the centre of the scene, but as is usual in the Flemish school, different scenes can be seen in the same image, such as the servant preparing the table, or the people strolling through the gardens.Born in Leeuwarden and raised in Friesland, in 1546 Vredeman de Vries went to Amsterdam and Kampen. In 1549 he moved to Mechelen where the High Court was located. Sebastian, his brother, was the organist of the local church. Vredeman de Vries designed ornaments for the joyous parades of Charles V and Philip II. Studying Vitruvius and Sebastiano Serlio, he became an internationally renowned specialist in perspective. He continued his career in Antwerp, where he was appointed municipal architect and engineer of fortifications. After 1585 he fled the city because of the Spanish occupation by Alessandro Farnese. As a Protestant, he had to leave the city within two years. Vredeman de Vries moved to Frankfurt and worked in Wolfenbüttel, designing a fortification and a new town layout for Julius, Duke of Brunswick-Lüneburg. After his death, the project was cancelled and Hans worked in Hamburg, Danzig (1592), Prague (1596) and Amsterdam (1600). On his travels Vredeman was accompanied by his son Paul and Hendrick Aerts, both painters. Vredeman de Vries attempted to obtain an appointment at the University of Leiden in 1604.
Lot 5
A rare late 18th century French ormolu mantel clock with calendarBeckers, Invenit et FecitThe tall rectangular case surmounted by a facetted curved handle and four turned finials framing a large glazed top panel over two side panels and a glazed rear door, on turned acorn feet, the front panel with applied oval medallion and swags framing apertures for the day (engraved on a slightly protruding horizontal ring) and date (through a chamfered aperture), signed in a separate rectangular plaque Beckers, INVENIT ET FECIT. The signed 4 inch circular white enamel Roman and Arabic dial with original pierced gilt hands. The spring driven movement with anchor escapement (the pallets spanning 3.5 teeth), the rack striking system acting on the bell mounted horizontally below the case via a vertical hammer arbor. 24cms (9.5ins) high.For further information on this lot please visit Bonhams.com
Lot 50
A good late 19th century gilt metal mounted ebonised quarter chiming table clock sounding on up to ten bells and five gongsHamilton, Chrighton & Co. 41 George Street, EdinburghThe bell top with five flambe urn finials and applied swags over arched brass side sound frets on a tall stepped plinth raised on twin scroll supports. The 6.5 inch arched brass dial with twin subsidiaries offering chime/silent and a choice of Westminster chimes/eight or ten bell chime, over a silvered Roman and Arabic chapter ring with finely matted centre and applied signature plaque, with original blued steel hands. The substantial triple chain fusee movement with thick plates united by turned pillars, anchor escapement sounding the hours on a large coiled gong, and chiming the quarters on either up to ten bells or four further gongs. The backplate with foliate scroll engraving framed by a stylised rope twist border, the pendulum bob also decorated to match. 62cms (24ins) highFor further information on this lot please visit Bonhams.com
Lot 51
A good and impressive early 20th century inlaid mahogany quarter chiming longcase clock with jewelled deadbeat escapement and interesting provenanceCharles Frodsham, 115 New Bond St, W, No 2044The swan neck pediment with gadrooned finials over a long glazed door and inverted panel base on an apron, inlaid throughout with floral scrolls, flowerheads, a flaming urn and pair of birds. The 12 inch arched brass dial with chime/silent subsidiary over a Roman and Arabic chapter ring with shaped signature section and subsidiary seconds dial to the finely matted centre, all framed by impressive scroll spandrels. The substantial movement with thick plates united by pillars screwed through the backplate, the going train with Harrison's maintaining power to a jewelled deadbeat escapement and wooden rod pendulum, striking the hours on a large coiled steel gong and chiming the quarters on a graduated quartet. Together with the wooden rod pendulum, the three original brass-clad weights, trunk key and a crank winder. 2.53m (8ft 4ins) high. Footnotes:The Cockermouth Nursing Home was founded in 1902. The building, Harford House, had been donated to the town by a retired shipbuilder, Thomas Williamson. In order to make the residents' lives more comfortable, straw would be spread on the road in front of the house to dampen the sound of passing traffic. The gift of the clock in 1902 is recorded as 'Grandfather's Clock fitted with Westminster Chimes.' The Reverend C. L. Rudd who donated the clock, was also listed as donating Christmas food to the patients the year the nursing home opened.Copies of 'First Annual Report and Statement of Accounts of the Cockermouth Nursing Home for the Year ending August 31st, 1903', Cockermouth Nursing Home Section 10 are sold with this lot. See also Bradbury, J. B. (1996) Bradbury's History of Cockermouth. Carlisle: Richard Byers.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 53
A rare glass exhibition case for a Hamilton two-day marine chronometer, together with a Hamilton chronometer and deckwatch (3)HamiltonThe moulded glass case with holes to allow for gimbal mounting, brass rim and typical screw on bezel with silvered sight ring, 12cms (4.75ins) in diameter contained in an aluminium shipping container with foam lining and bayonet-fitting lid; together with a two day Hamilton chronometer movement, numbered N5355 dated 1941 in a similar container; together with a Model 22 deckwatch in screw-down case stamped BUREAU OF SHIPS U.S. NAVY N3311-1942 CHRONOMETER WATCH (3) The shipping containers 15cms (6ins) diameter For further information on this lot please visit Bonhams.com
Lot 58
A mid 19th century one-day mahogany marine chronometerJames McCabe, Royal Exchange, London, No. 199The three part case with central enamel number plaque, the lower section with inlaid brass escutcheon and hinged handles. The 3.25 inch signed silvered Roman dial with subsidiary Arabic seconds ring at VI and gold spade hands. The signed full plate movement with four ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and Earnshaw type detent escapement, cut and compensated bimetallic balance with keystone-shaped weights, sitting in a weighted, numbered gimballed bowl, with sprung winding cover. Ticking, together with a tipsy key, a further winding key and a case key. 15.75cms (6ins) wide. Footnotes:Purchased 20 September 2002 from Gerald Marsh Antique Clocks, Winchester.An overview of the McCabe dynasty is included in the Appendix. For further information on this lot please visit Bonhams.com
Lot 6
An exceptionally fine engraved gilt brass English giant carriage clock with running seconds indication and fully relief-engraved case. Together with two travel cases.James McCabe, Royal Exchange, London, No.2671The case engraved allover in deep relief with exuberant foliate scrolls and flowerheads surmounted by a folding handle with ribbed centre section held between curved uprights on engraved bases over a shaped cornice framing the bevelled glass inspection panel (with repeat button passing through a brass ferrule in the glass), the substantial bevelled glass side panels set between engraved uprights to a stepped base, solid rear door engraved allover with further scrolls and flowers and set with a slide for fast/slow regulation (with engraved scale and central fleur de lyse), slide for strike/silent, and apertures for hand-setting and winding with engraved direction arrows. Engraved with a family badge to the front of the base depicting a double headed eagle and the motto AQUILOE COLUMBAS NON GENERA The 3.5 inch rectangular dial signed between XI and I and numbered between V and VII on the Roman chapter ring with subsidiary seconds dial intersecting the XII numeral, blued steel quatrefoil hands reading against a scroll-engraved centre, twelve of the scrolls flowing outwards from the centre to represent the half-hour markers between the numerals, all framed by a dotted minute band, electroformed scrollwork and an angled gilt sight ring behind a heavy glass. The impressive twin chain fusee movement with substantial plates secured to the base with L-shaped brackets and united by five turned pillars, the going train with Harrison's maintaining power to a large shaped gilt platform with heavy cut and compensated bimetallic balance over an underslung English lever escapement; the strike train sounding and repeating on a circular-section blued steel coiled gong. Ticking and striking. Together with a French-style leather covered, velvet lined travel case with lift up front, and an associated, slightly larger, brass-bound mahogany travel box with padded, felt-lined interior. 25cms (10ins) high. (3)Footnotes:Provenance: This clock has been in the vendors family since before the Second World War. It could have been purchased in the secondary market in the early years of the century by the vendor's grandfather Colonel Adrian Gordon Paterson, D.S.O. with bar, M.C. (1888-1940). Another possibility is that it was part of his wife's family collection - he married Sybil Irene Webbe in 1919. Sybil's father was the cricketer Alexander Josiah Webbe (1855-1941) who studied at Harrow and Trinity College Oxford where he captained the University side. While still at Oxford, Webbe famously shared the opening stand with W.G. Grace at Lords, making 65 runs. He also played a Test match for England, and after he retired, he became secretary of Middlesex from 1900 to 1922 and President of Middlesex from 1923 to 1936. Colonel Paterson and Josiah Webbe were both men of huge energy with full careers and such a clock would undoubtedly have appealed to both. Colonel Paterson and his wife Sybil had a daughter Camilla, and in 1951 Camilla married the vendor's father, Thomas Odling of Paxford House near Chipping Camden in Gloucestershire. Looking further back, the engraved badge may offer an answer to the question of the original owner of the clock. The motto for some reason, is presented in reverse, and should read NON GENERANT AQUILΠCOLUMBAS instead of AQUILΠCOLUMBAS NON GENERANT (eagles do not beget doves). The corrected motto leads uniquely to two possible families, both with connections to the island of Jersey: Rodney (Baron) of Somerset and the Royal Navy; and Lempriere, that in its various forms includes Lempreur of Jersey and Normandy, a family of great antiquity in France. The double headed eagle, displayed, is an uncommon crest in English heraldry but is more common in Europe. Although the heraldry of the family of baron Rodney includes an eagle displayed in the main shield and an eagle rising in the crest, they do not appear to have ever used an eagle with two heads. However the Lempriere family, who are mainly identified by the variant Lempreur, do use the double headed eagle as part of the main shield, in particular in heraldry that is recorded in France. This slight discrepancy over the order of the motto and the eagle being double headed may indicate that it was created by an engraver unaware of the family's complete arms, or they more likely combined essential features to create what they considered to be a more artistically pleasing crest and motto? That the Lempriere and Rodney families could have been acquainted professionally in Jersey makes it possible that the badge we now see reflects the armorials of both families and may have been a gift from one to the other?A similar clock, numbered 3121 was sold in these rooms on 13 December 2011 Lot 86. Other examples are illustrated and discussed in Allix & Bonnert, 'Carriage clocks, Their History and Development', Antiques Collectors Club, 1981, plate IX/64 and Roberts, 'Carriage and other Travelling Clocks', Schiffer, 1993 Fig 20-11 a,b,c and 20-16 a,b,c,d. Roberts is particularly effusive regarding this series of clocks, commenting that they .....'represent McCabe at his very best and are undoubtedly amongst the finest carriage clocks ever produced in this country. In each case the treatment of the engraving, whilst different, is always to the highest standards and the rear view of this clock (McCabe number 3180) shows that every bit as much attention has been paid to the back as the front.'For further information on this lot please visit Bonhams.com
Lot 66
A good late 18th century mahogany quarter chiming longcase clockJames Allen, LondonThe pagoda top with ball and spire finials sitting on ribbed mouldings, the centre with shaped apron over silk backed sound frets mounted on brass stop-fluted Doric columns over a long door with flame veneer flanked by matching quarter columns on a doubled stepped plinth with applied moulded panel. The 12 inch arched brass dial with strike/silent over a Roman and Arabic chapter ring and scroll spandrels framing the matted centre with recessed seconds and applied arched signature riband. The movement with heavy plates united by five large knopped pillars, the going train with anchor escapement and substantial back cock to the original pendulum with brass strip and lenticular bob, striking the hours on a bell and chiming the quarters on eight bells and hammers. Together with three brass-cased weights 2.55m (8ft 5ins) high. This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 70
A rare mid 18th century English japanned automata table clock with chinoiserie decoration and trip repeat to activate the three automataJoseph Lum, LondonSurmounted by a brass handle and inverted bell top to a moulded cornice framed by four cone finials, the circular and shaped side apertures with particularly fine pierced wooden frets, on a moulded base and block feet, decorated all over with panels depicting figures and landscapes against a lattice-work ground and silvered borders. The 7.75 inch arched silvered dial with engraved Roman and Arabic chapter ring intersected by twin subsidiaries for 'Faster/Slower' and 'Strike/Silent', the signed centre with date aperture, painted arch depicting a couple on a see-saw pivoting in time with the swing of the pendulum, infront of a building, the door of which sits within an aperture - on the hour, the door flies out of sight and is replaced with the painted figure of man in white frock-coat and tri-corn hat - simultaneously the vanes of the windmill rotate for the period of the bell striking. The twin gut (now wire) fusee movement with five knopped pillars, anchor escapement and rack striking on a bell, the backplate centred by an engraved basket of flowers within foliage and chinoiserie-inspired trelliswork. Not currently ticking, but strike and all three automata processes (see-saw, windmill and door) operational, with trip repeat fully working. 52cms (20ins)highFootnotes:Joseph Lum is thought to have started his working life in Chelmsford in the early 18th century before moving to London.For further information on this lot please visit Bonhams.com
Lot 73
A fine and rare mid 18 century quarter chiming table clock, chinoiserie decorated on a light yellow ochre groundEardley Norton, London, numbered 297The bell top with five cone finials over a pair of side handles, shaped and circular glazed side apertures, and a moulded base on (later) ogee brass bracket feet, decorated all over with birds, flowers, buildings and figures on a yellow ochre ground, framed by gilt and red borders with green and gilt lattice-work panels to the corners. (The figures include a lone woman carrying a basket of eggs, a man with what appears to be a fish basket, and another pair of walking figures.)The 6.75 inch arched brass dial signed in a shaped recessed panel flanked by twin subsidiaries for 'Chime/Not Chime' and choice of tune 'Minuet/Cotillion', numbered 297 in the upper right hand corner, and bearing the stamp 'E.Carrion/Orense' (a 20th century restorer?), the Roman and Arabic chapter ring framed by rococo scroll spandrels, finely matted centre with chamfered date aperture and original blued steel hands. The mask behind the door further decorated with gilt flowers within red line borders. The triple gut fusee movement with substantial plates united by six knopped pillars, rack striking the hours on a bell and chiming each quarter on a run of eight bells and 16 hammers, and playing a choice of two tunes on the hour, the going train with knife-edge verge escapement. The backplate signed in a foliate reserve Eardley Norton, LONDON' and numbered in the top right hand corner. 53cms (1ft 9ins) high.Footnotes:to comeFor further information on this lot please visit Bonhams.com
Lot 74
A late 18th century ebonised quarter chiming table clock with enamel dialsEardley Norton, London, Number 2202The arched top surmounted by a caddy and five ball finials, with moulded cornice, the sides with twin foliate-cast handles over lattice-work sound frets backed in red silk, on a plinth base and ogee bracket feet. The 7.5 inch arched brass dial with strike/silent subsidiary flanked by scroll spandrels and a steel square to operate the rise-and-fall regulation mechanism, the main enamel dial with black Roman and Arabic numerals framing the concentric date ring 1-31, with blued steel and lacquered brass hands. The substantial triple chain fusee movement with pivoted verge escapement, rack striking the hours on a single bell and sounding the quarters on a run of eight graduated bells, signed within a large foliate cartouche below fruit and flowers, numbered to the top right hand side and again on the edge of the plate, secured to the case via engraved L-shaped brackets, with engraved pendulum bob and holdfast. Ticking, striking the hours and quarters. Together with two case keys, and two winding keys. 56cms (22ins) highFor further information on this lot please visit Bonhams.com
Lot 75
A rare mid-19th century mother-of-pearl-inlaid rosewood dial timepiece with revolving world time indicationJames Cooke, BirminghamThe octagonal case with inlaid border backed by a deep box with curved top and bottom apertures (the doors now absent), with a wall hook at both poles. The 12-inch dial with hinged cast brass bezel, solid, painted dial plate with Arabic minute ring and 43 different world locations featuring a prominent arrow pointer and Greenwich Mean Time below 60; the rotating painted Roman hour dial with I-XII repeated twice around the circumference, one XII being labelled beneath as Midday and the other as Midnight with the centre of the dial carrying two antique globes; Europe, Asia, Africa, and part of Oceania on the left and New Zealand and the Americas on the right below a steel minute hand, both plates being marked REGISTERED DECR2ND 1856 3910. The gut (now synthetic) fusee movement consisting of four knopped and bevelled pillars with an anchor escapement. Ticking, but crutch broken. Together with the pendulum. 42.5cms (16.5ins) high.Footnotes:The writing on the dial 'Registered Decr 2nd 1856 3910' is in reference to a Useful Registered Design application (intellectual property copyright) taken out by James Cooke of Birmingham on 2 December of 1856. The category for the registered design is listed as 'Clock or fingerpiece dial plates'.A dialmaker named James Cooke is listed as working in Birmingham from 1858-1880. Further, a dial making company was established named 'James Cooke and Son' in Birmingham in 1878, the proprietor having been in partnership with Edwin Howell since 1840 as 'Howell and Cooke'. James Cooke and Son would go on to make a new dial for the Shepherd clock at the Royal Observatory after the previous one suffered a bomb strike in October 1940. The new dial was installed in April/May 1947. James Cooke and Son was voluntarily wound up in 1980. Further information can be found on pages 84-90 of the March 2015 issue of the Antiquarian Horological Society Journal. An advert in the November 1953 Horological Journal for James Cooke and Son proclaims that they have been trading since 1840. Interestingly, the hemispheres which form part of the dial seem to be painted versions of James Wilson's dial transfer hemisphere maps, which were used on 13' painted longcase dials for moon phase apertures (see The Longcase Clock Reference Book by John Robey pg. 602) around 1793/5. James Wilson was a Birmingham dial maker who traded from 1777 until his death in 1809. Another dial maker took over his premises but closed the business permanently in 1811/12. As the transfers James Wilson used on his longcase dials are the same size as those on this clock, it does not seem unreasonable to suggest that 28 years after closing, a partnership of dial makers used some old stock transfer plates to print the hemispheres for their copyrighted world time dial.With grateful thanks to Tony Corsini of the British Library who was instrumental in tracing the Registered design mark to James Cooke & Sons.See Bateman, D. (2015) 'The replacement of the war-damaged Shepherd dial at Greenwich by James Cooke & Son of Birmingham', Antiquarian Horology, Volume 36(1), pgs. 84-90 (Accessed 23 March 2022) and Birch, E. W., Tremayne, A. (1940)'Early Dial Makers', The Horological Journal, Volume 82(2), pgs. 62-63 (Accessed 23 March 2022).For further information on this lot please visit Bonhams.com
Lot 80
A mid-19th century French oil on canvas picture clockMaison Wurtel numbered 901, the movement supplied by Japy filsThe giltwood frame with floral garland corners and deep box to the back, hinged along the top edge and opening to reveal the movement. The painting depicting an Alpine village with frolicking children and a fantasy castle, the largest turret of which carries the white enamel dial with Roman chapter ring and black Breguet-style moon hands, within a decorated brass bezel. The movement with outside countwheel striking the hours and halves on a wire gong, with Brocot suspension and delicate anchor escapement, the back plate bearing the Silver Medal seal for Japy fils for 1844 and 1849, the front plate engraved 901 WURTEL (first letter obscured) ART D'HORLOGERI PARIS. GIE VIVIENNE38 9 2. Previously with separate musical movement, now removed. Ticking with numbered pendulum, numbered 1167. 85cms (33 ins) highFootnotes:Guillaume-Ferdinand Wurtel was born in 1807, his date of death is thought to be circa 1858. In 1837 he advertised as working at 38-40 Passage Vivienne in Paris, the address he seemed to occupy for his entire career. Three years later, in 1840, he was listed in a trade almanac as a horological maker and seller offering picture clocks as well a supplier of concave glasses. In 1841 a magazine La Presse recommended La Maison Wurtel to their readers, informing them that they can buy watches, table clocks, picture clocks, music boxes, alarm clocks, and 'objects of fantasy' (trans.), all from Wurtel's shop. In 1856 he exhibited at the 'Exposition of M. Delépine (the younger) of Paris', exhibiting wares of mainly novelties; wind-up toys for children and dolls which could say 'Maman' and 'Papa'. For public enjoyment, and no doubt to attract customers, he hired a rope dancer to perform near his stall. Unfortunately, his stall was placed in the 'Scientific' section, and apparently the majority of people were rather baffled by the whole display.For further information on this lot please visit Bonhams.com
Lot 82
A good 18th century West Country lantern clockEdward Bilbie Surmounted by a boldly turned finial at the centre of a fancy bell strap with pierced mid sections, four further matching finials flanking the engraved armorial frets depicting a lion and unicorn around a shield, over a pair of side doors and iron back plate, the finials, pillars and bases each cast as one piece, with the top and bottom plates 'keyed' into them. The Roman chapter ring with fancy half-hour markers and inner quarter-hour track, signed Edw Bilbie fecit below XII within a ring of floral scroll engraving framing a plain centre, with original brass single hand. The weight driven movement with verge escapement with short pendulum terminating in a turned brass bob, and countwheel striking on the bell above. Together with a later wall bracket, a large, cylindrical lead weight, sales invoice from 1974 and a copy of Moore, Rice and Hucker 'Bilbie and the Chew Valley Clockmakers', 1995. 43cms (17ins) highFootnotes:Provenance: Purchased by the vendors mother from Meyrick Neilson Ltd, Tetbury, April 1974'..Lantern Clock by Edward Bilbie, Somerset. £1,200. 'The Bilbie family's horological contribution spanned the 17th, 18th and 19th centuries. Edward Bilbie (I) was born around 1666, he began his working life as a bell maker in Chew Valley and went on to add clocks to his repertoire circa 1694, possibly after attaching himself to the famous Webb family of horologists. The current clock is featured on page 234 of its accompanying book, Bilbie and the Chew Valley Clock Makers. It is signed Edw Bilbie fecit, which makes assigning it to a particular Edward Bilbie difficult, as all four generations of Edward are known to have signed clocks in this fashion. It is further complicated by the fact that, outside urban areas, clocks would not follow the same fashion trends as those made in cities. It is known as well that birdcage movements would be used on clocks after the 1790's in the Chew Valley. For further information on this lot please visit Bonhams.com
Lot 83
A good late 17th century marquetry inlaid oyster-veneered walnut and laburnum longcase clockJoseph Knibb, London The over-hanging cornice above a typical Knibb sound fret supported on ebonised spirally twisted columns to front and rear, the long trunk door with eight shaped panels of bird and floral inlay within boxwood and ebony borders on ebonised grounds, with oval lenticle, the base inlaid with a further five panels of matching inlay, the sides set with oyster veneered panels. The 10 inch square brass dial with winged cherubs head spandrels framing the silvered Roman and Arabic chapter ring with Arabic five-minute numerals, dots and meeting arrow heads at the two-and-a-half minute points, finely matted centre with large silvered subsidiary seconds ring, blued steel hands and chamfered date aperture. The movement with five knopped and ringed pillars, the going train with bolt-and-shutter maintaining power to an anchor escapement, the striking train with outside countwheel and 'pork pie' bell (the hammer arbors pivoted on a separate cock mounted on the frontplate) 1.95m (6ft 4.5ins) highThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 84
An 18th Century brass Lantern Clock,The strapped bell over pierced and engraved frets (the front centred by an armorial shield engraved with the initials PPE) over four tapering pillars with turned finials and ball feet, the sides with hinged doors. The dial with silvered Roman chapter ring with inner quarter hour track and stylised wheatear half hour markers, engraved with a rampant lion holding a staff below XII, with single blued steel hand. The weight driven movement originally with balance wheel control, but now converted to anchor escapement, the striking via an outside countwheel on the bell above. Together with two large cylindrical weights and two smaller parabolic shaped weights. 40cms (15.75ins) high.Footnotes:The PPE armorial shield probably references the original owners joint Christian and Surname.For further information on this lot please visit Bonhams.com
Lot 85
A good early 18th century miniature weight-driven lantern timepiece with alarmRobert Trippett, LodonSurmounted by a bell within an x-frame strap secured by a central finial over three pierced frets, the front engraved and framed by four finials on tapering columns to squat ball feet, and a pair of side doors. The four inch Roman chapter ring with 'meeting arrow-head' half hour markers and inner quarter hour track, framing the curved signature and engraved foliate scrolls around the Arabic alarm-setting disc, with pierced brass hand.The weight driven movement with verge escapement and short pendulum mounted on a knife edge sounding the alarm on a double-headed hammer on the bell above. Together with an extra bell, chain, and small cylindrical weight. 24cms (9.5ins) high.Footnotes:Robert Trippett was born about 1674, and was apprenticed in April 1688 to James Hatchman till 1695 and freed in May 1700. He was buried at St. James's Clerkenwell in 1732 or 1735.For further information on this lot please visit Bonhams.com
Lot 88
An early 18th century Austrian silver telleruhr timepiece with engraved dragon handJohann Franz Treibler, InnsbruckThe shaped plate surmounted by a large brass suspension ring, the delicate repousse silver mask depicting a bust of a woman surrounded by foliate C-scrolls and swags, with a large rose to each side, screwed to a thicker metal plate supporting the movement's shaped dust cover to the rear. The engraved gilt brass Roman and Arabic chapter ring with floral cruciform half-hour markers, the engraved dragon minute hand with an elaborate knotted hour hand. The spring driven verge movement with four knopped and ringed pillars and a front swinging pendulum with stone set bob, the back plate engraved with a wave border and an elaborate cartouche at the top signed Io Franz Treibler, a similar cartouche at the bottom inscribed Insprvgg. 33.5cms (13ins) wide Footnotes:At least two other telleruhr's are known by Johann Franz Treibler; one is a striking clock and it's mask depicts a much older woman. It is possible the masks were a series representing the seasons; it was fairly common to personify the seasons and tie them to human stages of life; Spring being represented as a fair youth; summer as harvesters in field, autumn as wine makers or imbibers, and Winter as an elder. Another similar telleruhr is held by the Tiroler Landesmuseum in Austria. It is ascribed to Johann Franz Treibler who worked in Innsbruck around 1710/1720.The back of the dial bears practise engraving; 'JO', possibly an 'R' and a '20'. It is likely that the 'JO' refers to the maker, while 20 could be a personal serial number or the date 1720.For further information on this lot please visit Bonhams.com
Lot 89
A good mid 19th century Continental rosewood grande sonnerie striking and repeating Vienna regulatorThe gong block stamped DitmairThe case surmounted by C-scroll and floral swag cresting above a sharply moulded top with three glazed sides and carved floral corners, with floral, Green man-like carvings above the brass escutcheon, and carved mask below, the interior inlaid with boxwood stringing. The white enamel dial with black Roman chapter ring and elegant steel beetle and poker hands, encircled by a cast brass piecrust bezel. The weight-driven triple barrel gut line movement with anchor escapement and artistically pierced pulleys, striking and repeating the quarters and hours on two hammers and two gongs, the back of the gong block stamped DITMAIR. Ticking, striking and repeating, with three brass-cased weights and wood rod pendulum, with winding key and case key. 129cms (50.5 ins) highFootnotes:This clock is a good example of a Late Biedermeier Vienna regulator. The Biedermeier era was an aesthetic movement in Central Europe between 1815-1848, which embraced middle-class, domestic tableaus, characterised by simplicity of style and an emphasis on the natural world for decorative inspiration. This not only applied to paintings, but music and furniture as well. The elaborate bezel, delicate hands, and straight-sided pastoral-inspired carved case is all typical of Vienna regulators from this period, specifically the later period, around 1840.No reference can be found to the 'Ditmair' stamped on the gong block. It is not uncommon for Vienna regulators of this period to be unsigned, and it is possible that Ditmair was a gong manufacturer, rather then a horologist. Vienna's trades at this time were fiercely regulated; an entire guild was devoted strictly to clock hands, and it was said that clockmakers were banned from making their own cases until 1860, this procedure until that point being controlled by a separate guild. It is interesting to note that another Austrian grand-sonnerie clock, this one a wood mantel clock, is also stamped 'Ditmair' on the gong base, see MÖBELMUSEUM WIEN (2022) Biedermeier and Empire. Available at: https://www.moebelmuseumwien.at/en/about-the-museum/the-collections/biedermeier-and-empireFor further information on this lot please visit Bonhams.com
Lot 90
A fine and very rare early 18th century Sicilian ormolu-mounted tortoiseshell table clock with unusual double-six hour and quarter strikeNicolaus Magri, Fecit, Panormi (Palermo)The stepped caddy top with facetted handle over eight turned baluster finials, the lower section of the caddy set with three pressed gilt brass panels over large ebony-framed glazed sides and a moulded front door, on a concave moulded base supported by the figures of four recumbent gilt lions, each with a furrowed brow, flowing mane and intricately detailed claws and fur, the two beasts to the front with their tongues out.The dial:8.75 inches square gilt brass with scroll spandrels framing the wide Roman and Arabic chapter ring, strike/silent (SON/SILENZIO) lever above XII, signed between VIII and IIII 'Nicolaus Magri, Fecit, Panormi', the repousse centre with foliate scrolls, off-set winding squares, alarm winding square, mock pendulum aperture and the alarm-setting disc, with pierced steel handsThe movement:the rectangular plates united by short knopped tapering pillars, the twin spring barrels with outside ratchets and clicks, the going train with pivotted verge to a short pendulum with small bob mounted on a plain hemispherical apron, the striking train with reversed barrel, sounding the quarters and hours on two bells but by one hammer - the rear of the hammer arbor in a traditional pivot, the front of the arbor mounted in a slot so as to allow for the front of the arbor to be lifted in order to strike the larger of the two bells for the hours (see footnote) 58cms (23ins) high.Footnotes:Nicolò Magri was active in Palermo (Kingdom of Sicily) in the first half of the 18th century. The lion feet hark back to the German clocks of the previous century. The striking system of this clock is worthy of closer inspection.There is a single hammer for striking double six hours with quarters on two bells. The front pivot of the hammer arbor is extended and runs in a slot to permit vertical movement within the slot allowing the hammer arbor to rock between the two bells. There are two racks, the quarter rack striking on two bells by an extended arm from the base of the rack which engages the hammer pivot, the final wide gap in the quarter rack allowing this double striking action. It is the quarter rack which finally locks the striking train after both quarter and hour striking.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 93
A rare and interesting late 17th century eight day longcase clock movement with trip repeat now contained in a later oak caseEdward East, LondonThe 12 inch square brass dial with an engraved wheatear border and twin cherub and crown spandrels framing the silvered Roman and Arabic chapter ring engraved with sword hilt half-quarter marks, elaborate half hour marks and signed between VII and V, the finely matted centre with subsidiary seconds and a square date aperture with chamfered edges and decorated with birds and a basket of fruit, the four dial feet pinned to the frontplate of the tall (5in x 8in) rectangular plates, the plates united by six knopped and finned pillars latched to the frontplate, the high barrels driving an anchor escapement with small diameter 'scape wheel, the bell striking operated via an internal rack, the repeat lever with protruding steel arm pivoted so as to activate the repeat of the last hour struck by pulling from either side. Now contained in a later 18th century oak case with mahogany hood and banding. 1.92m (6ft 3.5in) high. 1.92m (6ft 4ins) high. Footnotes:Provenance: Single family ownership for over 90 years, bought in Cornwall in the 1930's.Edward East (1602-1696) was the youngest Assistant to the court of the Clockmakers Company on its formation in 1632. During his time in office as Master, in 1645 and again in 1653, he held meetings at his premises in Fleet Street, at the 'Musical Clock'. In 1660 he was appointed Chief Clockmaker to the King. He quickly adopted the pendulum on its introduction and made some of the finest clocks of the immediate post 1657 era. During his long working life, he took on eight apprentices: Thomas Wolverstone, Robert Hanslapp, Walter Gibbs, Edward Wagstaff, Henry Jones, John East, Adam Pearce and Richard Bellinger. The London Gazette of January 22nd-26th 1690 records that a Mr East was working at 'the Sun outside Temple Bar'. He died a rich man and when Henry Jones, one of his previous apprentices, was Master of the Company, East gave the Company a gift of £100; to his credit, Jones matched this sum.The style of the current clock movement is very much based on earlier period practises, with tall plates and latched pillars. It is possible the movement may have been left over from a batch made in the East workshop some years beforehand and later sold with a 'modern' 12 inch square dial.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 94
A rare, previously un-recorded, first quarter of the 18th Century eight day longcase clock movement with weights and pendulum, now contained in an associated oak case.George Graham, London Number 627, circa 1721The 11 inch square brass dial engraved with floral swags between well cast double-screwed Indian Man spandrels, the lower edge signed Geo. Graham London the silvered Arabic and Roman chapter ring with lozenge half-hour markers, the finely matted centre with Arabic seconds ring under XII, with a silvered signature cartouche below the elaborately pierced blued steel hexagonal-centre hands the chamfered date aperture above VI with pin-hole adjustment. The movement with five robust knopped pillars latched to the frontplate, the anchor escapement with long steel kinked crutch, rack striking on a bell, the steel strike work delicately shaped throughout. Currently contained in an associated oak case with shaped cresting over a moulded cornice on slender Doric columns over a short trunk door and panel base. Together with a pair of brass-clad weights and a pendulum with a thick circular-section steel rod and (later) iron bob. The dial 28cms (11ins) wide.Footnotes:Sold with a detailed restoration report from 1995 including some original screws, clicks and pins, which had to be remade.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 95
A good mid 18th century featherbanded walnut longcase clockJohn Ellicott, London The arched hood with concave cornice supported on freestanding brass-mounted Doric columns, the long trunk door framed by inlaid quadrants and a moulded frame, over a panelled base and stepped plinth. The 12 inch arched brass dial with Roman and Arabic chapter ring signed between VII and V, the finely matted centre with large subsidiary seconds ring and chamfered date aperture, enclosed by well finished foliate scroll spandrels, the strike/silent subsidiary in the arch with addorsed dolphin mounts. The movement with five knopped pillars, anchor escapement and rack striking on the bell. Together with a pendulum, two brass-clad weights, a crank winder, hood key and trunk key. 2.29m (7ft 7ins) high.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 96
A very fine mid 18th century English walnut table clock of small sizeJohn Ellicott, LondonThe case of particularly good colour and patina, the inverted bell top with turned handle and four lobed finials over a moulded cornice, side sound frets and glazed panels to a moulded base and block feet. The 5.75 inch arched brass dial with calendar subsidiary flanked by cherub mounts, over a silvered Roman and Arabic chapter ring with half-quarter marks and crown-and-sceptre spandrels, strike/silent lever at IX, the matted centre with signature plaque and mock pendulum aperture. The movement with knopped and ringed pillars, pivoted verge escapement and rack striking on a bell, the quarters struck on command via a pull cord to the side acting on six bells and hammers, the backplate signed within a symmetrical foliate design framed by a wheatear border. Running, striking and repeating. Together with a door key and winding key. 41cms (16ins) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 97
A 17th century and later ebonised architectural table clockEdward East, LondonThe architectural case with triangular pediment over rectangular glazed side panels to a moulded base, the brass dial measuring 7 and1/8ths of an inch square with winged cherubs head spandrels framing the narrow silvered chapter ring with outer minute band containing the Arabic five minute markers enclosing the Roman hours with fleur de lys half-hour marks and the inner quarter hour track, the matted centre set with a date aperture at VI and blued steel hands, secured to the movement via four latched dial feet, the twin gut fusee movement with plates measuring 6.75 inches by 5 inches united by seven knopped and finned pillars latched to the frontplate, the verge escapement with outside numbered countwheel mounted high on the backplate, the backplate with single line border framing three engraved leaves to each corner and further decorated with a rose to each barrel and fusee arbor, signed in the centre Eduardus East, Londini. Together with two case keys and a pierced foliate brass winding key. 39.5cms (15.5ins) highFor further information on this lot please visit Bonhams.com
Lot 98
A late 17th century and later ebony architectural table clockEdward Stanton, LondonThe 20th century case with pitched top set with moulded raised panels over a moulded cornice, glazed sides and front door to a moulded plinth, the back door with pierced wooden frets. The 8 inch square brass dial framed by winged cherub spandrels, the silvered chapter ring with narrow Arabic minute band enclosing the Roman hours and fleur de lyse half-hour markers the elaborately engraved centre depicting sunflowers, tulips and anemones around a drapery cartouche signed Edward Stanton, Londini fecit over the chamfered date aperture, secured to the movement via four latched dial feet.The movement plates measuring 8.5 x 5.5 inches, with cut top corners to the backplate, united by six finned and knopped latched pillars, the narrow gut fusees with large diameter great wheels, the going train with knife-edge verge escapement, striking the hours via an outside countwheel on the bell above . Secured in the case with twin hinged latches at the base, and an L-shaped bracket to the left. Ticking and striking, together with a case key. 41.5cms (16ins) highFootnotes:Edward Stanton ('Staunton' is also occasionally seen) was born around 1641 and was apprenticed in December 1655 to Francis Bowen, a journeyman of William Bowyer. Stanton was later apprenticed to Nathaniel Allen in 1658, before he was freed through the Clockmakers Company around 1662/3 soon taking his own apprentices, including Stephen Wilmot and William Cattell. He became Master of the Company in 1697 and served until 1707. He probably died in 1715. As well as a clockmaker, he was also an engraver; in January 1673/4 he was accused of engraving Robert Seigniour's name on a clock made by Henry Jones, though no action was ever taken against him. In 1694 he was one of the original subscribers to the Bank of England and deposited £100.He seems to have been friends with the fellow clockmaker John Ebsworth and oversaw that his will was carried out on his death. He made a number of clocks including a turret clock for the Royal Exchange in 1671 as well as spring driven clocks, standard lantern clocks, miniature lantern clocks, longcase clocks, and a particularly rare night clock sold in these rooms in December 2007.No definitive Parish records have been discovered for Edward Stanton which may indicate he was a nonconformist. The above information has been gleaned from the Clockmakers Company records and Loomes, B. (2009) 'Edward Stanton and his Lantern Clocks', Horological Journal, Volume 151(01), pgs. 14-17.For further information on this lot please visit Bonhams.com
Lot 1
A good late 19th century French polychrome enamel decorated repeating carriage clockRetailed by Elkington & Co., Paris, the movement stamped with the encircled B trademarkThe corniche case with ribbed handle over an oval inspection panel and repeat button, both sides and the front panel decorated with symmetrical patterns of foliate scrolls and flower heads picked out in predominantly reds and greens on a blue ground. The Roman gilt chapter ring interspersed with darker shields around a purple centre with blued spade hands. The silvered lever platform escapement with compensated bimetallic balance striking on a coiled blued steel gong. Running, striking and repeating. 17.5cms (7ins) high.Footnotes:The firm Elkington & Co. is one of the most important names associated with the production of silver plate in England in the 19th century. Formed as a silversmith in Birmingham in 1836, the business was the creation of its founder George Richards Elkington (1800-1865) who began to apply the principals of electro-metallurgy to gilding and plating with silver and by 1838 he had discovered and patented a new way to bond silver onto the surface of another metal using electricity. The firm of Elkington rapidly went into the full-scale production of silver electroplated wares, other items such as clock cases, and recreations of famous works of art in metal which proved extremely lucrative. Works by Elkington & Co. can be found in the collections of the Victoria and Albert Museum and the Metropolitan Museum of Art in New York.For further information on this lot please visit Bonhams.com
Lot 100
A fine early-mid 18th century burr walnut silver-mounted, quarter repeating table clockHenry Thornton, LondonThe inverted bell top with solid silver handle and four finials over pierced quadrants and twin silk-backed sound frets, to a moulded base on solid silver block feet, the 7 inch arched brass dial with solid silver strike/silent subsidiary flanked by silver Green Man mounts over the solid silver Roman and Arabic chapter ring framed by Indian head spandrels, with blued steel hands, the matted centre with wide mock pendulum aperture, applied signature plaque and chamfered date aperture. The twin gut (now wire) fusee movement with six knopped pillars and knife edge verge escapement, rack striking on the hour on a large bell (cast internally with the initials JD and a five-pointed star), and repeating the quarters on demand via a pull cord to the right side. The backplate engraved with twin Green Man masks in profile amid a series of symmetrical foliate scrolls, secured in the case via two engraved L-shaped brass brackets and turnbuckles on the dial plate. Ticking, striking and repeating. 49cms (1ft 7ins) high.Footnotes:Henry Thornton was apprenticed to Samuel Stevens in 1692. It is possible that this was the same Samuel Stevens who was working in Grub Street, London, between 1680-1703, and who was himself apprenticed to Edward Stanton. Thornton gained his Freedom in 1699 and by 1723 he was known to be working at 'ye Dial' in Basing Lane, suffering a burglary that year where a silver dial worth 18d, was stolen. He moved to the Royal Exchange around 1730. The last record of him in the Clockmakers Company is 1732, a date which is tentatively put forward as the year he died. There is an unusually high proportion of his extant work in Russia, suggesting that he had early business links with the court - two gold pocket watches from the Tsar's personal collection (one of which is repeating) are now in the State Hermitage Museum, together with a large musical organ clock with 12 tunes and gilt mirrored case. A six-tune musical longcase clock and two chiming clocks are also known to be in Russia.For further information on this lot please visit Bonhams.com
Lot 101
A fine late 18th century ebonised bracket clock with deadbeat escapement and associated bracketVulliamy, London, no. 311 The ribbed handle set on a shallow caddy over a well moulded cornice and tall arched side frets backed in red silk, on a moulded base and brass block feet. The 6.75 inch dial with shallow arch and silvered signature plaque flanked by dials for strike/silent and rise-and-fall regulation, heightened by engraved single flowers, the silvered Roman and Arabic chapter ring enclosing the finely matted centre with chamfered date aperture and good original blued steel hands, all framed by foliate scroll spandrels. The very substantial twin gut fusee movement with five knopped and finned pillars, deadbeat escapement and rack striking on the bell, (a cord to the right hand side will allow the last hour to be re-struck on demand), the pendulum suspended from a pair of tear-drop shaped cocks, the backplate signed and numbered within a floral swag cartouche on an otherwise plain ground, with substantial L-shaped securing brackets. Ticking and striking. Together with a bespoke handmade ebonised wall bracket with integral drawer base. The clock 41cms (16ins) high. The bracket a further 21cms (8.25ins) high (2)Footnotes:We are grateful to Mr Roger Smith who confirms that the Vulliamy records state that this clock was sold in 1799 to a Mr Seivers. For further information on this lot please visit Bonhams.com
Lot 102
A GOOD MID-LATE 18TH CENTURY EBONISED TABLE CLOCK, WITH ASSOCIATED WALL BRACKETJustin Vulliamy, London The case surmounted by a typical handle on a shallow caddy with moulded edges over arched glazed side panels to a moulded base raised on block feet, both door panels with pierced quadrant frets backed by red silk. The 6 inch arched brass dial signed on a shaped plaque between the twin subsidiaries for strike/silent and rise-and-fall regulation, the pierced scroll spandrels framing the silvered Roman and Arabic chapter ring, matted centre, shaped mock pendulum and chamfered date apertures, with blued steel hands. The twin gut (now wire) fusee movement with thick plates united by five knopped pillars, half-deadbeat escapement with split back-cock, to a pendulum with thick steel rod pinned into the central sliding section of the heavy lenticular brass bob. The backplate engraved with a symmetrical pattern of interlaced foliage between shaded columns, secured into the case via a pair of engraved L-shaped brackets. Running and striking. Together with a 20th century crank winder. 38cms (15ins) high. Footnotes:Justin Vulliamy was born in Switzerland around 1712 and was working in London in the late 1730's. He married the daughter of clockmaker Benjamin Gray in 1741 and worked with him as a partner till 1764, when he succeeded him. His son Benjamin Vulliamy was his partner around 1780. He died in 1797.Provenance:Single family ownership for three generations, purchased by the vendor's grandfather, a timber merchant.For further information on this lot please visit Bonhams.com
Lot 103
A fine and very rare mid 18th century grande sonnerie striking ebony table clock with alarm and trip repeatConyers Dunlop, LondonThe stepped caddy top framed by four facetted finials over a deep cornice set with brass panels over freestanding reeded Doric columns, side handles and pierced wooden sound frets backed in green silk, on a stepped brass-bound plinth on brass block feet. The 7.5inch arched brass dial signed on a silvered plaque flanked by subsidiaries for rise-and-fall regulation and Strike/Silent over a silvered Roman and Arabic chapter ring with floating fleur de lys half-hour markers, the very finely matted centre with large mock pendulum aperture, chamfered date aperture and alarm-setting disc (the alarm wound via a small arbor between XII and I). The substantial movement with triple gut fusees to a pivotted verge escapement, striking the hours on a large bell and each quarter on a run of six bells, the alarm sounded on the larger bell via a double-headed hammer, the engraved backplate centred by the standing figure of Diana the Huntress, bare-breasted holding a spear, bow, and arrows over a female mask, with original pendulum sprung holdfast. Together with a bespoke wall bracket. Ticking, striking and trip repeating. 56cms (22ins) highFor further information on this lot please visit Bonhams.com
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