A George II/III green japanned eight-day longcase clock William and John... A George II/III green japanned eight-day longcase clock William and John Kipling, London, mid 18th century The five pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn cast spandrels to angles beneath circular boss signed W:m & Jn:o, Kipling, London flanked by dolphin cast mounts to arch, the green japanned case with concave sided 'pagoda' pediment fronted with anthemion and scroll pierced fret over gilt floral trail and hatched panel painted break-arch cavetto cornice and further scroll pierced fret above figural panel decorated hood door flanked by conforming columns to front angles, the sides with rectangular windows within leafy borders and bargeboards to the rear, the trunk with gilt leaf motif centred hatched panel painted concave throat moulding over shaped 'block top' door decorated in raised polychrome and gilt with figures amongst elaborate pagodas and other structures within silver line borders, the surround with seated figures to upper margin over foliate trails interrupted by hatch panels, the sides divided into pairs of leafy panels, on raised shaped panel fronted plinth base decorated with a European man o' war moored beside a coastal fort over moulded double skirt and squab feet, 250cm (98.5ins) high. William Kipling is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Romaldkirk, Yorkshire in 1680/1 and apprenticed through the Blacksmiths' Company to Thomas Johnson in September 1695. He is thought to have succeeded Johnson working from Ratcliffe Cross, London from circa 1705. Latterly William Kipling took his son, John (born 1722) into partnership until the latter's death in 1750, when the business was handed over to Charles Bosley. William is believed to have outlived his son by seven years dying in 1757. The current lot is a fine original unrestored example of an early London pagoda-cased clock which retains much of its original decorated surface to the case.
We found 79002 price guide item(s) matching your search
There are 79002 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
79002 item(s)/page
A Renaissance style gold pendant 'form watch A Renaissance style gold pendant 'form watch' Bearing signature for Denis Bordier, Geneva, probably mid 19th century The shaped gilt full plate single fusee verge movement with four double baluster pillars pinned through the backplate, asymmetric tulip pierced and engraved balance cock and conforming infill around the mainspring set-up ratchet opposing engraved text Denis Bordier to lower margin, the scallop-shaped gilt dial with single steel hand to the symmetrical foliate scroll engraved centre within applied Roman numeral chapter ring with asterisk half hour markers within a fine foliate scroll chased oval surround incorporating equestrian figure to upper margin, the three-piece case cast and chased in the form of a stylised floral bud with integral suspension loop, (movement with losses including escapement, balance arbor and greatwheel), the movement pillar plate 35mm (1.625ins) by 25mm (1ins), the watch 53mm (2.125ins) high to top of suspension post. The movement of the current lot is interesting in that it essentially appears technologically faithful to mid 17th century practice with authentic looking small asymmetric foliate pierced balance cock and steel spring set-up ratchet and pawl to the backplate. However, on closer examination, the distance between the plates coupled with the design of the slender double-baluster pillars and the relative crudeness of the fusee cone would suggest that this watch is a 19th century 'revival' piece. The signature again appears to resemble 17th century practice however is perhaps a little light in its execution. This lightness in detail is also reflected in the dial surround which incorporates open scrolls more akin to 18th century rococo practice than 17th century Arabesque designs. From this it can be concluded that the present watch was made as a 'historic' revival piece which became fashionable from the mid 19th century onwards. Indeed a 19th century 'reproduction' silver oval watch bearing a signature for Denis Bordier was sold at Christies, New York IMPORTANT WATCHES INCLUDING THE LEO COLLECTION on Wednesday 16th June 2010, (lot 308) for $2,750.
A Regency brass inlaid ebonised bracket clock Edwards, London A Regency brass inlaid ebonised bracket clock Edwards, London, circa 1820 The five pillar twin fusee gong striking movement regulated by anchor escapement with heavy lenticular bob pendulum, the shouldered backplate with pendulum holdfast and signed EDWARDS, Shoreditch to centre, the 5.5 inch circular fired white enamel Roman numeral dial signed EDWARDS, LONDON to centre and with steel moon hands set into square brass surround engraved with baskets of flowers and musical trophies within floral scrolls to spandrel areas and with strike/silent selection lever to upper margin, the case with brass line bordered stepped 'chamfer' upstand incorporating applied batons with scroll inlaid terminals to hip angles above cavetto cornice and glazed front door with rosette-centred line decorated uprights and rails flanked by brass inset canted angles over moulded dado and symmetrical foliate scroll fronted apron panel, the sides with twin cornucopian brass ring handles over rectangular brass fishscale sound frets, the rear with plain rectangular glazed door set within the frame of the case, on brass ogee moulded shallow skirt base inlaid with brass line border to front and with adjustable ball feet, 37cm (14.5ins) high excluding finial; 41.5cm (16.25ins) high overall. Provenance: George Fludyer, (d.1837) and by descent through the Fludyer Family, finally to Sir Arthur John Fludyer, 5 th and last baronet, who died childless in 1922. Then to his sister Katherine who married Henry Randolph Finch of the Croft, Manton, second son of George Finch, Burley-on-the-Hill, Rutland and by descent. The Finch Family had the title of the The Earls of Winchelsea and Nottingham Burley-on-the-Hill. A paper transcript of repairer's marks is included with the clock with the first entry being for Tupman 1826. In addition to this there is also the following note which provides clear confimation of the above provenance: This dial was broken by F. Langley Butler to Sir A. Fludyer (!). Several makers with the surname Edwards are recorded working in London during the first half of the 19th century including a handful with the forename James (noted in Baillie, G. H. Watchmakers & Clockmakers of the World ) as active around 1820 in areas around Shoreditch including Limehouse, Cheapside and Whitechapel.
A rare Spanish pewter portable equinoctial compass sundial Unsigned A rare Spanish pewter portable equinoctial compass sundial Unsigned, 18th century The square case centred with recessed compass incorporating a circular paper scale printed with rose within band annotated in English with the cardinal points sub-divided into four beneath circular glazed panel retained by a scalloped brass bezel, the surround with band annotated in Spanish NORTE, Norteste, LESTE, suete, SVR, sudoeste, ESE, Noveste within spandrel areas engraved with masks emblematic of the four winds, the hinged open hour circle set within a pierced square frame and pivoting against a folding arm locating into corresponding graduated slots calibrated for degrees of elevation to the side of the instrument, the hour ring engraved 1-12-1-12 twice and fitted with pivoted needle gnomon to centre, the interior of the lid engraved with a panel of a naked figure holding a basket of fruit and blowing a horn over Memento Mori motif with further masks to angles, the exterior engraved with rococo scroll motifs and the text SYRVOAD: ETAN, CISCOCRVANTeS, NEGRI , (suspension post/ring lacking), 6cm (2.375ins) wide. The current lot is a rare form of Spanish dial which operates essentially in the same manner as other sundials designed with inclined chapter rings and pivoted pin gnomons such as German Augsburg pattern dials. A noteworthy detail which sets the current lot aside from related German models is the use of a pivoted stay engaging with graduated slots cut into the body of the instrument to set the elevation of the hour ring rather than a reading directly against a pivoted arm engraved with degrees for latitude.
A George I black japanned longcase clock of one month duration Markwick and... A George I black japanned longcase clock of one month duration Markwick and Markham, London, circa 1720 The substantial five finned pillar rack and bell striking movement with five-wheel trains and anchor escapement regulated by seconds pendulum, the 13 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and low winding holes to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with female mask and scroll cast spandrels beneath silvered Strike/Silent switch and boss engraved Markwick, & Markham, LONDON flanked by dolphin cast mounts to arch, the black japanned case with architectural cornice over gilt floral painted upper quadrant infill to frieze and conforming leafy trail decorated break-arch glazed hood door applied with generous three-quarter columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over rectangular door painted in gilt with oriental garden landscapes within stylised leafy strapwork borders and conforming delicate surround, on ogee moulded skirt base with conforming painted decoration to front and applied moulded skirt, (painted decoration circa 1900), 230cm (90.5ins) high. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with his son in Law Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. The current lot is unusual in that it is signed 'Markwick & Markham' rather than just 'Markwick Markham' suggesting that it was made fairly early on in the partnership.
A German Augsburg pattern brass portable equinoctial compass sundial Lorenz... A German Augsburg pattern brass portable equinoctial compass sundial Lorenz Grassl, Augsburg, late 18th century The recessed compass centre with radial lines engraved with German annotations for the four cardinal points and locking lever for the blued steel pointer beneath glazed panel within octagonal surround engraved with alternating arched cross-hatched panels and floral motifs on a matted ground, the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a sprung arbor, the underside of the compass with engraved Eleva Poli, Wittenberg 53, Venedig 45 ZeiZ, Edenburg 57, over signature Lor. Grafsl to lower margin, 5cm (2ins) wide. Lorenz Grassl is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Augsburg circa 1700, however the engraved hatched decoration to the plate of the current lot would stylistically suggest a date towards the end of the 18th century.
A Victorian brass inlaid mahogany drop-dial wall timepiece with ten inch... A Victorian brass inlaid mahogany drop-dial wall timepiece with ten inch dial The dial signed for Gillett and Bland, Croydon, late 19th century The four pillar single fusee movement with anchor escapement regulated by lenticular bob pendulum and stamped with number 6706 to backplate, the 10 inch circular white painted Roman numeral dial bearing signature GILLETT & BLAND, Steam Clock Factory, CROYDON to centre and with steel spade hands within hinged cast brass glazed bezel with angled silvered fillet to inner edge and moulded turned wooden surround, the box case with side doors above drop-trunk fronted with inlaid brass line border interrupted with rosettes to angles flanked by shaped ears, the curved base with pendulum access flap, 39.5cm (15.5ins) high.
A fine George II japanned eight-day quarter chiming musical longcase clock... A fine George II japanned eight-day quarter chiming musical longcase clock Newman Cartwright, London, circa 1730 The substantial five pillar triple train rack and bell striking movement with anchor escapement regulated by seconds pendulum, the musical train peeling the quarters and playing a choice of two tunes on the hour via a sixteen hammers on eight bells, the 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and applied arched signature plate Newman Cartwright, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and applied female mask and scroll cast spandrels to angles beneath arch centred with A Minuett/A March tune selection dial flanked by dolphin cast mounts, in a black japanned case with domed caddy surmount to the blind fret fronted box upstand over moulded cornice and conforming infill to the quadrants above the break-arch glazed hood door decorated with gilt foliate trails, the sides with rectangular glazed apertures and quarter columns applied to bargeboards at the rear, the trunk with floral spray painted concave throat moulding over break-arch door finely decorated in raised polychrome and gilt with a stag being pursued by hounds within an arcadian Oriental landscape with pavillions, the surround further decorated with foliate trails beneath birds to upper quadrants, the sides painted with full height flowering foliage, on cavetto moulded plinth base with conforming landscape scene to front and applied skirt over squat ogee bracket feet (wear and loss to decoration), 234cm (92cm high). A clockmaker with the name Newman Cartwright does not appear to be recorded in the usual sources however a watch dating to around 1720 by 'N. Cartwright, Lombard Street' (with pierced silver pillars) is noted in Britten, F. J. FORMER CLOCK AND WATCH MAKERS AND THEIR WORK. In addition to this a walnut eight-day longcase clock by Newman Cartwright, also dating to around 1720, was sold at Chorley's, Prinknash Abbey on 24th June 2010 (lot 445) for £3,000 hammer. Finally a record of successful proceedings and notice of a meeting for debtors relating to the bankruptcy of Newman Cartwright 'of Lombard Street, Silversmith and Chapman' is recorded in the Gazette printed in late May or early June 1758.
A French porcelain inset ormolu mantel clock Unsigned A French porcelain inset ormolu mantel clock Unsigned, circa 1870 The circular two train bell striking movement with anchor escapement, Brocot rate adjustment and backplate stamped with serial number 324 147 to lower margin, the square porcelain dial with fine gilt ground figural painted centre within stylised Roman numeral cartouche chapter ring and outer minute track, the spandrel areas decorated in black with Anthemions and scrollwork on a Uranium orange ground within fine repeating leaf cast surround, the plinth form case with twin-handled urn surmount incorporating orange ground porcelain body decorated with bands of stylised foliage on a gilt ground flanked by seated chimera sphinxes onto a foliate panel cast cavetto moulded platform incorporating elaborate repeating anthemion cast cornice beneath, the sides with projecting tapered columns with conforming porcelain shafts and geometric cast panel infill behind, the rear with circular foliate fretwork movement access hatch, on complex breakfronted ogee moulded skirt base cast with acanthus leaf decoration over ivy trail band and moulded squab feet applied with leafy motifs, the sides terminating with tombstone shaped panels, 40.5cm (16ins) high; with original giltwood stand 44.5cm (17.5ins) high overall.
A German Augsburg pattern brass portable equinoctial compass sundial Johann... A German Augsburg pattern brass portable equinoctial compass sundial Johann Schrettegger, Augsburg, circa 1800 The recessed compass centre with simple rose and radial lines engraved with German annotations for the four cardinal points beneath glazed panel within octagonal surround engraved with repeating arched foliate motifs, the hinged open hour circle pivoting against folding curved latitude scale and engraved in reverse III-XII-IX with stylised wheatear half hour markers, the centre with pivoted needle gnomen set on a square section arbor, the opposing side with scroll pierced and engraved pivoted armature enclosing a metal plumb, the underside of the compass with engraved signature Johann Schrettegger in Augsb. within concentric stylised herringbone engraved band, the instrument 7.5cm (3ins) wide; in original blue velvet lined texured paper covered card box gilt embossed with the name PIETRO SIMEONI to lid, 10cm (4ins) wide overall. Johann Nepomuk Schrettegger is recorded as working 1764 to 1843.
A fine Lithuanian engraved gilt brass horizontal striking table clock signed... A fine Lithuanian engraved gilt brass horizontal striking table clock signed with initials J. G., Vilnius, mid 17th century The single fusee movement with four fine steel baluster pillars secured via decorative nuts through the backplate, verge escapement regulated by sprung three-arm balance and engraved standing barrel for the countwheel hour striking mechanism incorporating decorative floral trail engraved gate and sounding via grotesque mask decorated hammer on a bell mounted beneath the movement, the backplate with fine single-footed flowering tulip pierced and engraved balance cock beside rose engraved countwheel, conforming cocked mainspring barrel ratchet with sculpted steel spring and engraved inscription J G, Wilna within an oblong cartouche, the square engraved gilt brass dial decorated with cupid seated beside a cage containing lovebirds and with sculpted steel hand to centre, within applied pewter Roman numeral chapter ring with stylised fleur-de-lys half hour markers and cast silver coloured metal winged cherub head spandrels to angles, the movement and dial fitting into the case from above and secured by three foliate pierced lugs screwed to the backplate, the exterior with hatched-scroll engraved dial surround over complex top mouldings and lozenge-shaped side windows with applied raised surrounds flanked by stylised female terms to angles, the base with conforming lower mouldings and hinged bottom panel incorporating the bell secured by a sculpted steel strap, on four winged mask and paw cast feet, 11.5cm (4.5ins) wide; 8.2cm (3.25ins) high. Although signed for a maker based in Vilnius, Lithuania the current clock is distinctly Germanic in both its overall form and detailing. This is not unusual as many mid 17th century clocks bearing signatures of makers residing in various important city-states throughout central eastern Europe share similar strong Germanic traits. From this it would be reasonable to suggest that such clocks were either bought-in from makers based in Southern Germany (mainly Augsburg or Nuremburg) or were made locally closely copying German practice. The current lot is notable in that it appears to have survived in good original condition with the only significant alteration being the provision of a sprung balance to improve timekeeping. The movement is well finished with an abundance of engraved details (which even extends to the three lugs for securing the movement into the case screwed into the backplate). The steelwork is also particularly fine with detents and springs finely sculpted with complex mouldings and scroll terminals.
A German Black Forest Jockeleuhr miniature wall timepiece with alarm... A German Black Forest Jockeleuhr miniature wall timepiece with alarm Unsigned but to a design devised by Jacob Herbstritt, mid 19th century The movement constructed with three wooden plates forming two compartments enclosing going train regulated by tic-tac escapement and short lenticular bob pendulum swinging within the second rear compartment, with transverse alarm mounted to the left hand side sounding on a bell mounted above and circular white enamel Roman numeral dial set into a shield shaped porcelain cartouche surround with gilt and polychrome floral painted crest and scroll decorated surround, the sides with pin-hinged doors, the rear panel with wire hanging hoop to top edge, 11.5cm (4.5ins) high. This type of miniature wall clock was devised by Jacob Herbstritt before 1845 and is essentially devised as a scaled down version of the Black Forest 'Schotten' clock. The enamel-centred porcelain dial of the current lot is a characteristic feature.
A William III walnut and Arabesque marquetry eight-day longcase clock Joseph... A William III walnut and Arabesque marquetry eight-day longcase clock Joseph Windmills, London, circa 1700 The five finned and latched pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and external countwheel locking detent passing through an aperture in the backplate, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the rose decorared matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed J: Windmills, London to lower edge, with pierced steel hands and winged cherub and foliate scroll cast spandrels to angles with foliate engraved infill to margins between, in a case with architectural cornice and plain frieze over hood door incorporating foliate scroll marquetry surround flanked by three-quarter columns to front angles, the sides with rectangular windows, the trunk with concave throat moulding over 42 inch door veneered with intense symmetrical foliate strapwork marquetry around a central lentical within parquetry banded outer border, the surround further decorated with scrolling foliage, the sides veneered in walnut each divided into three vertical panels with ebony and box triple line borders and crossbanding, on conforming symmetrical marquetry fronted plinth base with scroll border and later skirt base (hood rebuilt) 214cm (7ft) high. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark Lane End, next Tower Street by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. The dial of the current lot is typical of Windmills at this period with the winding holes, calendar aperture and centre of the seconds dial having ring-turned decoration although the rose to the centre is an embellishment not often used by Windmills. The case can be directly compared to two examples illustrated in Neale A. J. Joseph and Thomas Windmills, Clock and Watch Makers 1671-1737 colour plate IX and on page 129 (Figure 510); both of these exhibit exactly the same cut of marquetry as the current lot.
A William III walnut and floral marquetry eight-day longcase clock Thomas White A William III walnut and floral marquetry eight-day longcase clock Thomas White, Fairford, early 18th century The five finned pillar inside countwheel bell striking movement with 11.75 inch square brass dial with ringed winding holes, subsidiary seconds dial and elaborate basket of flowers and scroll border engraved calendar aperture to the Ho-Ho bird decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. White, Fairford to lower edge, with pierced blued steel hands and twin cherub and crown cast spandrels to angles, in a case with architectural cornice and blind foliate fretwork frieze above floral trial inlaid hood door, the sides with rectangular glazed apertures, the trunk with conforming leafy trail decorated convex throat above 41 inch door centred with a brass lenticle and decorated with intense figural inhabited symmetrical flowering foliage into an ebonised ground, the surround with stylised scrolling foliage above conforming panel outline plinth base with later skirt base incorporating shaped apron, 220cm (86.75ins) high. Thomas White is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Fairford, Gloucestershire in 1677; he worked from around 1700 continuing presumably until his death in 1748.
A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.
A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant... A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant clockwatch Josias Jolly, Paris, circa 1630 The incomplete oval gilt full plate single fusee verge movement with four shouldered baluster pillars pinned through the backplate applied with fine asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the edge signed Josias, Iolly, AParis , the fine single sheet engraved fire-gilt brass dial with steel hand and centre decorated with scene of the Samaritan woman conversing with Christ at the well within applied silver Roman numeral chapter ring with wheatear half hour markers and fine foliate scroll chased oval surround incorporating a cherub to upper edge over pair of grotesques to sides and a winged cherub mask to lower margin, the two-piece oval section case with delicate leafy wreath engraved decoration to inside of the convex brass front cover incorporating seven-joint hinge block decorated with a winged angel mask opposing conforming fixed convex panel to rear, the waist with gadroon mouldings bordering applied red silk backed scroll pierced and engraved applied silver sound fret collar, the base with inverted finial and clasp opposing pendant cast as a tulip bud to top, (strike train lacking), the movement pillar plate 41mm (1.6ins) by 36mm (1.4ins), the watch 71mm (2.8ins) high to top of suspension post. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Josias Jolly is recorded in Baillie, Watchamkers & Clockmakers of the World as a Master working in Paris 1609-40. Jolly was a Protestant born in Blois whose surviving work shows significant diversity however he is perhaps now best known for a watch with highly decorated enamel case executed by a member the Toutin school residing in the collection of Walters Art Museum, Baltimore (ex. Demidoff collection). The basic oval form of the current lot is reminiscent of an early 'Puritan' watch, of which an example (signed 'Chapelle' and dating to around 1625) is illustrated in Camerer Cuss, T.P. The Country Life Book of WATCHES on page 15 (plate 7). The addition of the fine decorative pierced silver band (between gadroon mouldings) to the waist of the present watch would have served to allow the sound of the hour bell (formerly fitted within the rear of the case) to be heard as well as cater for the demand for decoration from clients not so concerned with Puritan values. Indeed a similar blind engraved border can be seen on timepiece by Robert Grinkin, London illustrated in Camerer Cuss on page 19 (plate 10). The presence of this band indicates that decoration was as, if not more, important than function. Incidentally the timepiece by Grinkin also exhibits very similar engraved foliate wreath border decoration to the inside of the dial cover. The current lot is particularly rare as it was originally made as a clockwatch. Unfortunately the strike train has now been removed however the going train appears to have survived with no obvious signs of alteration and has a particularly fine fusee. The dial is exquisitely engraved and in fine condition; indeed the general overall condition of the watch would make restoration of the strike train eminently viable and rewarding.
A fine Renaissance style gilt brass and pierced ivory pendant watch Unsigned A fine Renaissance style gilt brass and pierced ivory pendant watch Unsigned, probably English, mid 19th century The oval full plate single fusee verge movement with four faceted baluster pillars pinned through the backplate applied with fine gilt eagle-head inhabited asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the fine engraved gilt brass dial with steel hand and centre decorated with asymmetric leafy sprays within applied Roman numeral chapter ring and conforming fine foliate scroll chased oval surround incorporating an urn to lower margin, the two-piece oval ivory case with gilt brass dust cover insert for the movement and profusely pierced throughout with intense foliate scrollwork incorporating armorial crest within moulded oval surround to verso, with gold hinge and suspension loop to top and hook clasp to base (movement incomplete including balance and staff, fusee cone now substituted for a cylinder), the movement pillar plate 40mm (1.5ins) by 33mm (1.25ins), the watch 58mm (2.25ins) high to top of suspension post; with original leather covered outer case decorated with pique work monogram surmounted by a coronet within studded border to front cover 61mm (2.625ins) high. The current lot was made in the 'Renaissance revival' style which became fashionable during the mid 19th century. The fine pierced ivory case was clearly purpose made to incorporate a family crest, this would suggest that the watch was probably a special commission possibly for presentation to the original owner whose monogram appears on the outer cover.
A fine French gilt brass caryatides cased carriage clock with push-button... A fine French gilt brass caryatides cased carriage clock with push-button repeat Unsigned but possibly by Brunelot, late 19th century The eight-day two train gong striking movement with silvered platform lever escapement and backplate stamped with trademark comprising the letter B within a circular cartouche, the rectangular frosted gilt dial applied with chased floral rosette to centre and with fine scroll-pierced hands within cobalt blue ground gilt Roman numeral cartouche painted porcelain chapter ring bordered by a cavetto moulded surround, the bevel-glazed gilt brass break-arch case with hinged carrying handle over curved glass to top and inset laurel wreath motif to tympanum above cavetto dentil cornice and finely cast female terms to the canted angles, on conforming complex dentil and ogee moulded skirt base, 18cm (7ins) high excluding handle; with original leather covered outer travelling case. The trademark comprising a letter B within circular cartouche is recorded in Allix Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development on page 434 as being unidentified, however it is further noted that Brunelot has been suggested as a possible candidate for this stamp but as of yet no evidence has been found to support this view. A clock by Jacot in an identical case to the current lot is illustrated by Allix and Bonnert on page 172 (Plate VII/24).
A French porcelain inset ormolu mantel clock The movement by John-Baptiste... A French porcelain inset ormolu mantel clock The movement by John-Baptiste Delettrez, circa 1870 The circular two train bell striking movement with anchor escapement regulated by lenticular bob pendulum with Brocot rate adjustment, the backplate with J. B. D. within oval cartouche trademark over serial number 30787 13-3 to lower margin, the square porcelain dial with fine floral wreath painted centre within Roman numeral chapter ring incorporating fine gilt scroll infill and outer puce ground minute track within spandrel areas decorated with insects and fine repeating leaf cast surround, the plinth form case with twin-handled urn surmount incorporating puce and gilt bordered floral band painted porcelain waist over spiral fluted laurel cast socle and stepped cavetto moulded platform to superstructure, the sides of scroll outline incorporating musical and military trophy surmounts issuing floral trails and inset porcelain panels to front, the rear with rectangular engraved foliate fretwork door, on breakfronted ogee moulded skirt base cast with ivy leaf decoration and with turned feet, 34cm (13.5ins) high; with original giltwood stand 39.5cm (15.5ins) high overall.
A cabinetmaker's lockable pine chest measuring 39" x 24" x 25"h. with 3 sliding banks of 7 drawers with leather pulls over saw box and moulding plane well, the mahogany drawers and till tops decorated with satinwood stringing. The lid interior with mahogany panel decorated with rosewood, ebony and satinwood diamond, ebony and satinwood stringing and figured oak surround G+
An early 19th century papier-mache work box by Jennens & Bettridge, the cover painted centrally with an urn within a surround of flowers, scrolls and Grecian Key borders, the later plush lined interior with fitted compartments, on bun feet, w. 28 cm. CONDITION REPORT: Bears stamp to base, some wear to finish
Gustave Becker Post 1900 Large Oak Cased Bracket Clock, 3 Train Striking and Chiming on 5 Rods, on Each Quarter and Striking the Hour, Rear Door as Pierced Brass Panel, Glazed on Both Sides, with Glass Panelled Door. Large Front Door Again Bevelled Glass, Rope Carving Above, Dial with Roman Numerals, and Silvered Foliate Surround. Sub Dial Indicating Silent / Chime Facility. Serial Number 2102831 Gold Medal Emblem. Stands 18 Inches High, 12.25 Inches Wide & 7.5 Inches Depth. Excellent Condition and Working Order.
An 18th Century style wood composite fire surround 136 x 127 x 21cm Provenance: No 12 North Audley Street, , removed in the late 1970s. The Chimney piece removed from No 12 North Audley Street in the late 1970's. The chimney piece was likely to be installed by the Wells, after they took over the lease in 1883. Towards the end of the nineteenth century No11 & 12 were threatened by plans for rebuilding the area to the north of Grosvenor Square. As early as 1883, however, the Estate's officers and the first Duke of Westminster showed a marked reluctance to countenance the demolition of No. 12 on account of its fine interior, and No. 11 was saved because of its association with No. 12 and the fortuitous fact that the two houses now had a common façade. (fn. 37)Similar reasons persuaded the second Duke to override the firm advice of his Board that No. 11 should be demolished in 1913-14. (fn. 38) Leases of No. 12 in the 1920's contained additional covenants that no alterations were to be made to the architectural appearance or decorations of the interior without the Estate's consent. In 1883 William Wells, whose wife, Lady Louisa, was a daughter of the ninth Earl of Wemyss, was granted a new sixteen-year lease of No. 12. (fn. 40) He also acquired a similar lease of No. 11 at the same time (fn. 41) and may have contemplated re-uniting the two houses, but apparently did not do so, No. 11 being in the occupation of a milliner for most of the remaining years of the nineteenth century. (fn. 42) In 1888-9, however, Wells extended the front of No. 12 by one bay on a strip of land taken from the site of No. 13, then recently rebuilt as St. Mark's Vicarage. (fn. 43) He died in the latter year but his widow was allowed by the second Duke of Westminster to retain No. 12 under a yearly tenancy after the lease had expired, and she lived there until her death in 1920. (fn. 44)
A foil backed ruby flowerhead brooch, the round central stone surround by tapered petals comprising of three smaller stones and finished with pointed tips, all in closed back white metal setting with later yellow metal pin, 3.7cm diameter, together with an oval amethyst brooch with engraved yellow metal border and pin, 2.5cm long (2)
PAIR OF OUTSTANDING DIAMOND DROP EARRINGS each set with a pear cut diamond of approximately 1.0 carats, suspended in a surround of brilliant cut diamonds, below an old cut diamond of approximately 0.20 carats, which is in turn suspended below a further cluster of diamonds, the central old cut diamond approximately 0.60 carats, unmarked, 30mm long
AN EARLY 20TH CENTURY BOUDOIR TIMEPIECE with circular white enamel Arabic dial and blued steel Breguet hands, signed Garrard, the white metal rectangular case decorated with bands of forget-me-not flowers on a guilloche pink enamel ground, the top and dial surround each with engraved ribbon tied wreath, the back with three shuttered holes upon a beaded and green jadite base, 6cm high
A BRASS "MARINER" CLOCK by Mappin & Webb, modern, the prototype first produced for the Festival of Britain 1951, the twin barrel movement with platform escapement striking the glass bell surround on on the hour and half hour, 4 1/4" silvered dial with Roman numerals, raised on moulded mahogany circular base with applied brass rope twist edging and applied brass plaque inscribed "Maritime England 1982", on turned brass feet, 10 1/4" high
LATE NINETEENTH CENTURY FRENCH EBONISED WALL CLOCK by Merchand, unsigned two train key wind movement with anchor escapement striking on a coiled gong, the signed 9.5 inch painted dial with Roman numerals and two front winding holes, ornate pierced metal hands, the shaped and scalloped rectangular surround inlaid with pewter and mother of pearl detail, hinged glazed front, scalloped ebonised case, 47cm across
Loading...-
79002 item(s)/page