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Click here to subscribeTHREE GEORGE III EXETER SILVER TABLESPOONS all Old English pattern, two by John Hicks 1802 & 1804, the third with bright cut terminal by Parsons & Goss 1806, together with a George III silver Old English pattern table spoon by Stephen Adams, London 1785 with bright cut terminal, 7 tr. ozs combined
A SET OF TWELVE VICTORIAN SILVER KINGS PATTERN TABLE FORKS by John Samuel Hunt, London 1866, engraved with Stag crests, a harlequin set of twelve Victorian silver Kings pattern dessert spoons comprising three by Charles Eley, London 1826, one by William Eaton, London 1832, four by George Adams, London 1856 and four by John Samuel Hunt, London 1866, combined weight 60 tr. ozs; together with twelve silver handled Kings pattern table knives and twelve silver handled Kings pattern dessert knives (48)
After Gerard ter Borch, 18th CenturyA lady reading a letter at a table oil on panel46 x 34.5cm (18 1/8 x 13 9/16in).Footnotes:The present lot is after the original work by Gerard ter Borch, which is currently in the Wallace Collection, London (inv. no. P236)For further information on this lot please visit Bonhams.com
An Edwardian satinwood envelope card table by Maple & Co, the square top with each flap string inlaid with scroll detail, opening to a green baize surface with wells to each inner flap, supported on four tapered legs joined by an x-stretcher with turned finial, on castors, 75 cm high x 55.5 cm wide
A William and Mary style walnut dressing table, early 18th century, with feather-banded rectangular top above two central receding drawers flanked with a single square drawer either side, mounted with brass knopped swing handles and backplates, supported on turned tapered legs joined by a shaped stretcher, terminating on bun feet, 75 cm high x 81 cm wide x 49 cm deepLocation:
A Victorian mahogany wind out dinning table on bulbous turned legs and large brass casters 74cm x 149cm (unextended) x 150cms with five extra leaves each from 59.5 to 63.5 wide, along with eight Victorian mahogany Sheraton style shield back dinning with upholstered seats on square stretches (with winder)Location:
Collector's Showcase 1/30 scale C500416 Fuhrer Office Reichskanzlei 1939 with walled office floor, map table, lighting and removable banner flag, Limited Edition of 300 in original box with CS00421 Adolph Galland, CS00420 Himmler, and CS00419 Heydrich with rmovable hats and helmets (counted in), with King & Country LAH126 BDM Girls, LAH81 Reichsleiter Martin Bormann, LAH123 Trudi Junge, LAH91 Reichmarschall Hermann Goring, LAH124 Adolf Hitler and LAH99 Hitler and his dog in original boxes (Condition boxes Very Good, one box torn) (26)
Y A FINE GEORGE I EBONY TABLE CLOCK WITH PULL-QUARTER REPEAT ON SIX BELLSJOHN GORDON, LONDON, CIRCA 1725The six pillar twin fusee bell striking movement now with verge escapement regulated by lenticular bob pendulum and pull quarter-repeat sounding on a nest of six graduated bells, the symmetrical strapwork foliate scroll engraved backplate decorated with twin trumpeting angels, butterfly, pheonix and a basket of flowers over signature cartouche engraved John Gordon, LONDON to centre and with herringbone outer border, the 6 inch brass break-arch dial with shaped false bob and recessed silvered signature plate engraved John Gordon, LONDON to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll-pierced steel hands and Indian mask and scroll cast brass spandrels to angles with the upper interrupted by subsidiary Strike/Silent and regulation dials with scroll engraved infill between beneath larger subsidiary date of the month ring flanked by scroll cast mounts, the inverted bell top case with generous hinged brass carrying handle over double cavetto top mouldings and opening front with fine complex raised mouldings to the break-arch glazed dial aperture and the scroll pierced upper quadrant frets, the sides with scroll-pierced break-arch sound frets bordered by conforming raised mouldings and the rear with rectangular door incorporating break-arch glazed aperture and upper quadrant frets set within the frame of the case, on cavetto moulded skirt base with moulded block feet.39.5cm (15.5ins) high with handle down, 24.5cm (9.75ins) wide, 17.5cm (6.75ins) deep. Provenance:Purchased at Bonhams, London sale of FINE CLOCKS 14th December 2016 (lot 112) for £6,875. John Gordon (sometimes spelt Gordin) is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1675 and apprenticed to Benjamin Graves 1689-96. He was married in 1698 to Lucretia Bailis at Allhallows the Great. Loomes notes two apprentices taken in by him, William Gordon 1700/01-13 and Thomas Norton in 1707. John Gordon worked at 'the Black Spread Eagle' in Ludgate but had moved to the Parish of St, Gregory by St. Paul's by the time his will was proved in 1732. The engraving to the backplate can be compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass pages 265-71. Most notable are the inclusion of trumpeting angels, a butterfly and a phoenix; indeed these features are all present on the backplate of a table clock by George Graham illustrated by Dzik on page 277 (Figure 15.15). As discussed by Dzik such engraving has roots in French Huguenot immigrant work. In addition to this the complex layout within the arch of the dial of the present clock is also a trait of London-based Huguenot clockmakers hence it is highly probable that John Gordon (or Gordin) was of Huguenot heritage. The repeat work incorporated into the present clock follows the 'dual rack' system discussed in section 4 of Dzik, Sunny and Still, Roger BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-25. Several clocks employing similar variations are illustrated by Dzik with perhaps the closest to the current lot being an example by John Purden, London illustrated and discussed pages 450-52. As with most clocks of this type the escapement has been subsequently converted from verge escapement to anchor during the 19th century. The maker who undertook this work did so with a great deal of pride as he went to the trouble of having the replacement backcock and pendulum engraved to suit the movement and signed the pendulum bob with his name J. BURTON along with the date 1866. Condition Report: Movement is complete except far the pivoted rise/fall regulation arm and is in working condition. The escapement has been converted from verge to anchor escapement requiring in slight enlargement of the slot in the top edge of the backplate to allow for the anchor pallet arbor. Otherwise movement appears fundamentally all original with no other visible evidence of alteration or notable replacements. The movement running, striking and repeating however a gentle clean/service is advised. The dial is somewhat dirty/discoloured with some oxidation to the silvering and light metal polish residue in some of the crevices. The backing for the false bob aperture is missing otherwise all appears original. As catalogued the case is veneered in ebony with ebony mouldings and is original to the movement and dial. The seatboard is original. The case has been cosmetically restored hence the frets are almost certainly relatively recent replacements and the finish is very good. The mouldings are particularly fine and the front and rear doors retain their original locks and hinges with the possible exception of the rear door lock which may be a well-matched replacement.Clock has pendulum (X2), a case key but no winder. Condition Report Disclaimer
A FINE GEORGE III BRASS MOUNTED EBONISED TRIPLE-PAD TOP TABLE CLOCK WITH SILENT VERGE ESCAPEMENT JOHN FLADGATE, LONDON, CIRCA 1775The six pillar twin fusee bell striking movement with verge escapement incorporating stretched gut lines for the pallets and regulated by lenticular bob pendulum with pivoted rise-fall regulation to suspension, the backplate engraved with symmetrical foliate strapwork scrolls around a central signature John Fladgate, London and pendulum holdfast, the 6 inch brass break-arch dial with shaped false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with delicate pierced steel hands and rococo cast spandrels to angles beneath arch with twin subsidiary regulation and Strike/Silent selection dials within foliate scroll engraved infill and with recessed shaped silvered plate signed John Fladgate, London to upper margin between, the triple-pad top break-arch case with hinged brass carrying handle to the brass fillet-bordered central top panel over generous ogee and cavetto arch mouldings and hinged front door inset with conforming brass fillet surround to the glazed aperture and with brass mouldings to front angles, the sides with arched brass-bordered windows and the rear matching the front, on brass bound cavetto moulded skirt base fitted with generous ogee-shaped cast bracket feet.37cm (14.5ins) high with handle down, 25.5cm (10ins) wide, 19cm (7.5ins) deep. Provenance:Purchased at Nigel Ward and Company, Pontrilas, Hereford sale entitled Special September Auction of Miscellaneous Objet d'Art, Collectables, Porcelain, Glass, Antique & Country Furniture 10th September 2016 (lot 1303) for £7,200 hammer. John Fladgate is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1743 and first working in partnership with Richard Wilder until the firm was dissolved in 1775. Fladgate subsequently worked alone until his death in 1781 with the business continued by his widow until 1793. The engraving on the backplate of the present clock conforms to 'Style E' design of 'Fruit and Flower Baskets' as categorised by Sunny Dzik in ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass; Dzik illustrates a related backplate executed for another clock by Fladgate on page 306 (Figure 17.13). The silent escapement is a relatively rare feature and is achieved by stretching gut lines between steel tines to form the pallets. This removes any sound that would normally be generated by 'metal-to-metal' contact whilst the escapement is beating. The provision of this refinement suggests that the original owner may well have intended the clock to be used in a bed chamber. Condition Report: Movement appears complete and all-original (including the escapement) with no visible evidence of alteration or noticeable replacements. The movement is in full working order however it is somewhat dirty/dusty hence a gentle clean/service will be required. The dial is in fine original condition albeit with some patchy oxidation to the silvered finishes. The case is in very good original condition retaining its original locks and hinges with faults very much limited to slight historic shrinkage/movement and a few light bumps and scuffs. The ebonised finish has overall slight edge rubbing and some unevenness in places; the brass mounts have commensurate discolouration/light patination.Generally a fine original clock in very good overall condition. Clock has winder and a case key. Condition Report Disclaimer
† A VERY FINE GEORGE I BURR WALNUT EIGHT-DAY LONGCASE CLOCKGEORGE GRAHAM, LONDON, NO. 662 CIRCA 1725The five latched knopped pillar two train bell striking movement with thick plates measuring 7.625 inches high by 6 inches wide stamped 662 to the lower edge at the rear, the going train with bolt-and-shutter maintaining power, deadbeat escapement with inverted Y-shaped pallets, and regulated by the original brass-rod seconds pendulum with calibrated rating nut reading against a brass nib-piece to the lenticular bob, the rack strike train with finely worked steelwork and extensive use of cocks for the pivots incorporating distinctive sculpted feet screwed to the frontplate, the 12 inch square brass dial with narrow subsidiary seconds ring, shuttered winding holes, calendar aperture incorporating pin adjustment and oval plate signed Geo: Graham, London to the finely matted centre, within applied silvered Roman numeral chapter ring with diamond lozenge half hour markers and Arabic five minutes beyond the minute track, with scroll-pierced blued steel hands and double-screwed fine gilt Indian mask and scroll cast spandrels to angles with foliate strapwork engraved infill to the margins between, the right-hand edge with slotted lever for the bolt-and-shutter maintaining power and the lower edge engraved with repeat signature Geo: Graham, London, the movement and dial with original seatboard and secured via a brass T-bracket applied to the inside of the backboard behind the movement, the case with moulded upstand to the domed caddy surmount set on shallow mounded box upstand with cavetto moulded upper edge, over ogee moulded cornice, foliate scroll fretwork frieze and hinged front with glazed dial aperture flanked by three-quarter columns with crisply cast gilt brass capitals and bases to the front angles, the sides with fine scroll-pierced frets and conforming quarter columns set against bargeboards at the rear continuing up past the frieze to meet the underside of the lintel, the trunk with concave throat moulding over 40 inch rectangular door fronted with fine book-matched figured veneers within a slender herringbone border and complex cavetto cross-grain edge mouldings, the interior of the door with remnants of the original paper equation table beneath ivorine service label for CAMERER CUSS and various inventory numbers, the left hand top edge of the door punch stamped 662, the sides veneered with twin herringbone bordered panels within crossbanded surrounds, the plinth base with cavetto top moulding over herringbone bordered book matched veneered front and conforming single panel veneered sides, on cavetto moulded skirt.224cm (88.25ins) high, 49.5cm (19.5ins) wide, 26cm (10.25ins) deep. Provenance:The property of a central London financial institution; acquired prior to 1925 to form part of a collection housed in a purpose-built prestigious Georgian style office building.George Graham was born in around 1673 in Kirklinton, Cumberland, but by 1688 he had moved to London and entered into an apprenticeship with Henry Aske. Graham gained his freedom of the Clockmakers' Company in 1695 and went to work for Thomas Tompion, whose niece, Elizabeth, he married at St. Mary le Bow in September 1704. After the Tompion's failed partnership with Edard Banger Graham was trusted to become his successor with the two makers entering into a formal a partnership in 1711. On Tompion's death in 1713 George Graham inherited the business 'on the corner of Water Lane in Fleet Street' and continued there until 1720 when he relocated to 'the Dial and One Crown' further up Fleet Street, nearer Fleet Bridge.George Graham maintained the same exacting standards as his former master and also continued the serial numbering system established in around 1680/81. In 1722 he served as Master of the Clockmakers' Company and went on to establish himself as one of the most important clockmakers of his generation. Amongst his achievements was the further development of the deadbeat escapement, invention of the mercury compensated pendulum and the cylinder watch escapement. As well as clocks and watches George Graham was also a highly accomplished maker of scientific instruments with perhaps his most famous creation being the planetarium made for Charles Boyle, Earl of Orrery. He also produced the great mural quadrant for Edmund Halley at Greenwich observatory, also a fine transit instrument and the zenith sector used by James Bradley in his discoveries. Through his observations in testing his very highly regarded compasses Graham also discovered the diurnal variation in the terrestrial magnetic field in 1722/23.George Graham also became an ardent supporter of John Harrison in the development of his marine chronometers to the extent that he forwarded an interest free private loan of £200 to Harrison to facilitate the building of H1. George Graham died in 1751 and was buried next to his former master in Westminster Abbey, leaving the business in the hands of a former apprentices, Samuel Barclay and Thomas Colley. George Graham's legacy is perhaps best reflected by the subsequent work of another former apprentice, Thomas Mudge, who went on to continue in the development of the marine chronometer after Harrison, and to invent the lever watch escapement. The present clock is a fully-developed 'textbook' example of George Graham's highly refined design of longcase clock produced from just prior to 1720 until around the time of his death in 1751. Very much following in his former master's footsteps the fully latched movement incorporates bolt-and-shutter maintaining power, very finely finished delicate steelwork and extensive use of cocks for the under-dial motion and strike work. The escapement is of 'Graham' deadbeat type however this design of escapement was first used by Tompion for two regulators for Greenwich observatory in 1776. The original pendulum is a nice, relatively rare survivor and allows precise adjustment via the calibrated rating nut reading against a nib-piece applied to the large lenticular bob. The dial is beautifully finished with engraving between spandrels executed by Tompion's engraver 'G515' (see Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 page 224). The case is beautifully proportioned with sophisticated mouldings and very well chosen tight-grained veneers laid to exhibit their fine figuring to best effect. The extensive use of fine scroll-pierced frets is a Tompion/Graham trait and details such as herringbone bordered crossbanded panels to each side of the plinth demonstrate an attention to detail beyond any other maker of the period. Amongst George Graham's surviving walnut longcase clocks, number 661 (the preceding serial number to that of the present clock) was offered at Bonham's, London, sale of Fine Clocks 9th December 2008, (lot 141 - with no caddy superstructure present) for £80-120,000; and was more recently sold (with a restored caddy) by Ben Wright, Tetbury for an undisclosed sum. Number 681 is known as 'The Cay Graham' as it still retains its original record of sale to Robert Cay (1649-1754) in 1728...TO READ MORE, PLEASE CLICK HERE
A CHARLES II STYLE FIGURED WALNUT TABLE CLOCK OF JOSEPH KNIBB 'PHASE III' DESIGNUNSIGNED, LATE 20th CENTURYThe five distinctive baluster turned pillar movement with verge escapement regulated by short faceted-bob pendulum incorporating knife-edge suspension to the single-footed backcock, the strike train with crossed-out external countwheel for sounding the hours on a bell mounted above the plates, the 6.5 inch brass dial with matted centre within applied silvered Roman numeral chapter ring with typical Knibb pattern fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll-pierced blued steel hands and applied winged cherub mask cast spandrels to angles, the figured and burr-walnut veneered and cross-grain moulded case with distinctive foliate-bud tied hinged brass carrying handle to the domed caddy surmount, above ogee moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the glazed front door, the sides with rectangular side windows and the rear with rectangular door set within the frame of the case, on conforming ogee moulded shallow skirt base.31cm (12.25ins) high with handle down, 23.5cm (9.25ins) wide, 15cm (6ins) deep. The present lot is a well-executed homage to Joseph Knibb replicating a circa 1685 'phase III' clock as classified by Ronald Lee in The Knibb Family * Clockmakers on page 70. A visually very similar clock by Knibb (albeit with double six hour striking) is illustrated by Lee on page 87 (Plate 83).
A GEORGE III MAHOGANY TABLE CLOCKJOHN HIGDON, LONDON, CIRCA 1775The five pillar twin fusee bell striking movement with anchor escapement regulated by disc bob pendulum and asymmetric rococo-scroll engraved backplate, the 7 inch gilt brass break-arch dial with calendar aperture and fan-shaped recessed silvered plate signed John Higdon, London to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced blued steel hands and scroll cast spandrels to angles beneath arch centred with a Strike/Silent selection dial flanked by conforming mounts, the flame-figured mahogany veneered bell-top case with hinged brass carrying handle, brass pineapple finials and double cavetto top mouldings, over hinged front with raised mouldings bordering the glazed dial aperture and rocaille scroll cast brass upper quadrant frets, the sides with circular over concave-topped rectangular scroll-pieced sound frets, and the rear with rectangular break-arch glazed door applied with conforming raised mouldings set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.46cm (18ins) high with handle down, 28.5cm (11.25ins) wide, 19cm (7.5ins) deep. A clockmaker with the name John Higdon appears not to be recorded in the usual sources as working in London during the latter part of the 18th century, however it is most probable that he was connected to the Higdon family of clockmakers who were active in Somerset from around 1760. Condition Report: The movement is in fully working condition however is a little dirty/neglected hence a gentle clean/service is advised. There is no visible evidence of the clock ever having verge escapement however we are inclined to believe that it has been converted from verge with short bob to anchor escapement but done in a manner as not to leave any visible evidence of the original arrangement. The pendulum is a little long for the case requiring a slot to be cut in the baseboard to allow clearance for the bob; a blanking panel is applied to the underside. The dial is in fine original condition and is particularly well finished with fine matting and gilding to the plate and spandrels. The silvering is a little tarnished/discoloured. The case is in sound original condition but would benefit from some cosmetic attention. The polish is a little 'bloomed' in places most noticeable to the base mouldings. All four finials are present (one is detached). The right-hand side is faded and has a small veneer loss to between the lower hinge and the fret aperture as well as a similarly sized historic patch repair adjacent to the upper hinge. The frets are 19th century replacements and the left-hand side main fret is cracked with a couple of small losses; the silk backing has also degraded. The front door hinges are replacements otherwise locks and hinges appear original. The skirt base has a small chip/loss to the front and a small veneer loss towards the rear left hand edge. Faults are otherwise limited to minor age-related bumps, scuffs shrinkage and other minor blemishes.Clock has a winder but no case key. Condition Report Disclaimer
A PAIR OF DECORATIVE SMALL TABLE GLOBES ON ALABASTER AND MARBLE COLUMN STANDSTHE TERRESTRIAL PRINTED AFTER GERADUS MERCATOR, LATE 20th CENTURY, THE COMPOSITE STANDS LATE 19th CENTURYThe 4.25 inch spheres applied with twelve printed gores and polar calottes pivoted via the poles within brass half-meridian rings, each mounted on top of alabaster columns with moulded capitals, notable entasis to the shafts and Tuscan-style bases, the plinths with gilt fluted black marble cavetto top mouldings and roundel-centred skirts incorporating shaped aprons.Each 70cm (27.5ins) high, 12.5cm (5ins) wide, 11cm (4.5ins) deep. The terrestrial globe on the current lot is a reduction printed after the 1541 original by the early Flemish cartographer Geradus Mercator (1512-94) for Nicholas Perrenot (possibly of de Granvella, Prime Minister to Emperor Charles V).
A GEORGE III MAHOGANY SMALL TABLE/BRACKET CLOCK WITH SILENT VERGE ESCAPEMENT AND ALARMJOHN TAYLOR, LONDON, CIRCA 1800The five pillar twin fusee bell striking movement with verge escapement incorporating sprung pallets regulated by lenticular bob pendulum with holdfast to the backplate, the alarm powered via a line-wound external standing barrel applied to the upper left hand corner of the movement and sounding via a vertically pivoted hammer on the hour bell, the geometric border engraved backplate signed John Taylor, London to an oval cartouche to centre, the 6 inch single-sheet silvered brass arched Roman numeral dial with alarm setting disc and signed John Taylor, LONDON to centre within Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands beneath subsidiary foliate trail decorated STRIKE/SILENT selection dial to arch, the break-arch case with hinged brass carrying handle over dupont and cavetto top mouldings and arch-glazed front door incorporating brass fillet mouldings to the aperture and rounded brass stringing to leading edges, the sides with arched brass fish scale sound frets and the rear with arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.33cm (13ins) high with handle down, 24.5cm (9.75ins) wide, 18cm (7ins) deep. Several makers with the name John Taylor are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working around 1800 including one apprenticed in 1796 and another working in Clerkenwell 1805-24. The provision of an alarm together with a 'silent' escapement indicates that the present clock was most likely made principally for use in a bed chamber. Traditionally table or bracket clocks were made the intention to be used upstairs at night and then taken downstairs during the day. This is the reason why carrying handles are normally fitted and repeat-work often incorporated (to allow the time to be ascertained during hours of darkness). Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements, The dial is in fine condition; the hands are possibly well-made replacements. The case is in very good condition with noticeable faults limited to some minor front-to-back shrinkage cracking to the curved top, and some historic small patch repairs to the veneer overlap of the rear door as well as to the lower edge of the left hand side fret aperture. Faults otherwise appear to be very much limited to minor shrinkage and a few historic bumps and scuffs etc.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer
AN UNUSUAL GEORGE III/REGENCY MAHOGANY SMALL TABLE/BRACKET CLOCK WITH BALL-SPORTS AUTOMATONUNSIGNED, EARLY 19th CENTURYThe four pillar twin fusee bell striking movement with anchor escapement regulated by disc bob pendulum, the 6 inch white painted break-arch Roman numeral dial with Arabic quarters beyond the minute track, with steel spade hands and gilt foliate scroll painted spandrels, beneath arch painted with a garden landscape before a picturesque Gothic ruin incorporating cut-out to reveal a figure holding forth a ball gesturing forwards (approximately every five minutes) towards a second automaton feature releasing in sequence (incomplete), the break-arch case with hinged brass carrying handle over complex top mouldings and break-arch glazed door inset with brass fillet mouldings to dial aperture, the sides with arched brass fishscale sound frets and the rear finished flush with arch-glazed door set within the frame of the case, on moulded skirt base with brass ogee bracket feet.35.5cm (14ins) high with handle down, 25cm (9.75ins) wide, 17cm (6.75ins) deep. Although the current lot appears to be unsigned the bell is cast with bold text G. AINSWORTH, WARR. to upper surface. George Ainsworth is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'pinion maker' working in Warrington, Cheshire circa 1807. The automaton feature of the present clock is unusual in that it is activated by cams attached to the end of the second wheel arbor of the going train rather than via the striking mechanism or escapement. There are two cams present, the first was made to operate the figure to the left of the dial aperture and the second operates another linkage which terminates just right of the centre lower margin - most probably for a second figure which is no longer present. Due to the incomplete nature of the automata it is difficult to ascertain the action that it was intended to depict, however, from the extant elements, it would appear that the action was relates to some form of ball-sports such as bowls or possibly a batting sport.
A PRUSSIAN GILT AND SILVERED BRASS HORIZONTAL TABLE CLOCK WITH PUSH-BUTTON REPEAT AND ALARMFR. SIEDE, DARKEHM, THIRD QUARTER OF THE 18TH CENTURYThe movement with four cylindrical pillars pinned through the backplate, the fusee going train with verge escapement regulated by sprung three-arm balance with Tompion type regulation, the rack strike train with standing barrel and striking on a bell fitted within the bottom plate of the case, the alarm also with standing barrel and sounding on the same bell, the backplate with symmetrical radial scroll pierced and chased balance bridge set beside a regulation disk with lattice engraved centre and steel pointer for adjustment between R and A annotations beneath engraved signature Fr. Siede, Darkehm to upper margin, the 2.5 inch square brass dial with Arabic numeral alarm setting disc to the matted centre within applied Roman numeral chapter ring incorporating large Arabic five minutes to outer track, with rococo scroll pierced blacked brass hands and radial foliate spandrels incorporating push-repeat button to upper right, the rear of the dial engraved with initials H.S., the case with serpentine outline Dupont moulded edge over scroll-bordered rectangular side windows applied with shaped silvered bezels with canted monopodia to angles between, the base with conforming serpentine outline stepped ogee moulded edge over hinged baseplate fitted with the hour bell to centre and generous canted Baroque S-scroll feet to angles.10cm (4ins) square, 8cm (3.125ins) high. The maker of the present clock does not appear to be recorded in the usual sources however the form and layout of the movement is comparable to an example signed for Johann Ernest Weichenthal, Danzig (Gdansk) which was sold at Andrew Smith and Son, Arlesford, Classic and Contemporary Interiors Auction 13th December 2022 (lot 984) for £4,400. The engraved location name 'Darkehm' is almost certainly a shortened version of Darkehmen, which is the former German name for the town of Ozyorsk located in the Kaliningrad district of modern-day Russia. During the 18th century Darkehmem was part of the Insterburg district of Eastern Prussia and is positioned almost exactly between Gdansk and Vilnius in Lithuania. The strong similarities between the current lot and the example by Johan Ernest Weichenthal of Danzig is notable in that it suggests that a Polish/Prussian regional style had been adopted during the mid to late 18th century. Condition Report: Movement is complete and fully working with no evidence of alteration or noticeable replacements with the probable exception of the bell hammers which may be later. The mechanism is fairly clean and retains gilding to the plates but with some slight bruising/scuffing around the pillar securing pins and overall edge wear etc. The chapter ring was probably originally silvered dial otherwise is in good original condition. The case is in good original condition retaining its original gilding albeit with overall moderate rubbing and wear. The silvered highlights are tarnished/oxidised bur exhibit minimal wear.Generally a good original example in relatively clean working condition. There is no winding key present. Condition Report Disclaimer
A REGENCY BRASS MOUNTED SMALL TABLE/BRACKET CLOCKVESPER, LIMEHOUSE, CIRCA 1825The five pillar twin fusee bell striking movement with arched plates and anchor escapement regulated by lenticular bob pendulum, the geometric border engraved backplate signed Vesper, Limehouse within an oval cartouche to centre, the 5.75 inch circular convex cream painted Roman numeral dial signed Vesper, Limehouse to centre, with pierced steel baluster arrow-shaped hands and N/S strike/silent selection switch to top edge, the break-arch case with hinged brass carrying handle to the curved top applied with central raised pad bordered with brass fillet mouldings, over complex top mouldings and hinged front applied with cast convex-glazed cavetto moulded circular brass bezel over pair of brass scroll pierced lower quadrant frets flanked by moulded brass inset front angles, the sides with arched brass fish scale sound frets and the rear with break arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.31cm (12.25ins high) with handle down, 24.5cm (9.75ins) wide, 18.5cm (7.25ins) deep. Two clock makers with the surname Vesper are recorded in Baillie, G.H. Watchmakers & Clockmakers of the as working during the early 19th century. The first, William Vesper, is listed as being in London 1763-1824, and the second, J. Vesper, again in London, during the early 19th Century. Loomes in Volume 2 notes further makers with this surname working from 1828 onwards. Limehouse is a district in London just north-east of the City in the modern-day Borough of Tower Hamlets (E14). Condition Report: Movement is in clean fully working condition with no visible evidence of alteration or any noticeable replacements (other than the bell and possibly the pendulum); there are two small holes to the backplate indicating that a pendulum holdfast was previously fitted which is no longer present. The dial is in fine condition with some evidence of well executed re-touching to the winding holes and probable 'strengthening' to the numerals and signature, the minute hand has been repaired. The case is in very fine condition and of very nice colour with faults limited to very slight shrinkage and a few negligible age-related blemishes.Clock is complete with a pendulum, crank winder (handle damaged) and a case key.Condition Report Disclaimer
A WALNUT TABLE CLOCK WITH PULL-QUARTER REPEAT ON SIX BELLSHENRY HURT, LONDON, CIRCA 1750, THE CASE LATERThe five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull quarter-repeat sounding on a nest of six graduated bells, the symmetrical interlaced foliate scroll engraved backplate with pendulum holdfast hook and signed Henry Hurt, London to centre, the 6 inch brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with scroll-pierced steel hands and Indian mask and scroll cast brass spandrels to angles, beneath arch with Strike/Silent selection dial flanked by conforming applied grotesque mask and scroll cast mounts, now in an inverted bell-top case with hinged brass carrying handle over cross-grain double cavetto top mouldings and break-arch glazed front door with fillet mouldings to dial aperture and foliate scroll pierced upper quadrant frets, the sides with break-arch glazed windows and the rear with conforming glazed door, complete with upper quadrant frets, set within the frame of the case, in cavetto moulded skirt base with stepped ogee squab feet.39.5cm (15.5ins) high excluding handle, 24cm (9.5ins) wide, 16.5cm (6.5ins) deep. Henry Hurt is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1713 and gaining his freedom of the Clockmakers' Company in 1721. He worked from St. Paul's Churchyard, London, until 1745 then Ludgate Hill where he presumably remained up until his death in 1758. The style of engraving executed on the backplate of the current lot closely compares to 'vine' designs illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 338-40. Condition Report: The movement is complete, in working condition and is presented in its original form. The repeat work retains its original train however the under-dial work has been partially renewed; the pulley wheel, hammer block and bells are also replacements although the quarter-bell stand appears original. There is no visible evidence of the escapement being converted form verge to anchor; the escape wheel top potance has been repaired and the pallet front pivot block has been replaced. The back cock apron has also been replaced although the backcock itself appears original. The movement generally is a little dirty/discoloured hence a gentle clean/service is advisable. The dial is generally in fine original condition and is nicely finished. A calendar ring (and driving wheel) is present however the ring is an unengraved replacement hence requires engraving with date of the month. The silvered finishes are a little tarnished/rubbed otherwise presents in good relatively clean condition. As catalogued the case is later than the movement and dial - most likely mid to late 20th century and appears to be constructed using period veneers which exhibit some historic bruising scuff and chips. The mouldings are cut cross-grain as per the originals and the frets are reasonably well-executed. The case is in sound condition but the colour is a little uneven hence may benefit from the attention of a good cabinet maker to even-out the colour.Clock has a winder but no case key. Condition Report Disclaimer
A GEORGE II/III TABLE CLOCK MOVEMENT AND DIALTHOMAS GARDNER, LONDON, MID 18th CENTURYThe five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum, the backplate with scrolling rococo foliage within a double-line border, the 7 inch brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Thomas, Gardner, Lon,don to lower margin, now with steel moon hands, the angles applied with rococo scroll cast spandrels beneath arch centred with a silvered STRIKE/SILENT selection ring flanked by conforming mounts, now in a 19th century rectangular box-form case with break-arch glazed hinged front panel and rectangular brass grille inset door set within the frame of the case to the rear, on simple stepped skirt base with turned brass feet.35cm (13.75ins) high, 24cm (9.5ins) wide, 15cm (6ins) deep. Thomas Gardner is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Complete 21st Edition as working 'In the Minories', London 1740-70. Condition Report: Movement is in relatively clean working condition and appears fundamentally original with no visible alteration The escapement top potance has been repaired and the pendulum rod and bob are probably replacements. The dial is in sound condition; the hands are replacements. The case is not original but is in presentable condition with age related bumps, scuffs shrinkage and other minor defects.Clock does not have a winding key . Condition Report Disclaimer
A FINE RARE GEORGE III TWELVE-TUNE MUSICAL BRASS MOUNTED MAHOGANY TABLE CLOCK WITH DOUBLE AUTOMATON THOMAS MONKHOUSE, LONDON, CIRCA 1775The substantial eight pillar triple fusee movement sounding the hours on a bell positioned behind the automaton above the T-shaped plates each measuring 8.25 inches high by 12 inches wide at the top before playing a choice of twelve tunes via an 11 inch pinned cylinder on thirteen bells with twenty-four hammers transversely mounted across the top of the mechanism, the going train with verge escapement regulated by short bob pendulum with holdfast hook to the symmetrical foliate scroll engraved backplate signed Tho:'s Monkhouse, London to centre, the 9 inch arched brass dial painted with an English arcadian landscape with figure tending sheep before a lake and castle and with recessed shaped signature plate engraved Tho's Monkhouse, LONDON to upper margin to centre, within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced blued steel hands and rococo scroll cast spandrels to angles with the upper two interrupted by polychrome floral painted subsidiary Strike/Silent and Chime/Silent selection dials, the arch with fine painted scene of a quintet incorporating triple-action automaton features to simulate playing of string instruments, set on a gallery over recess painted with backdrop of a crowd with two companion male a female automata figures with articulated waists appearing from each side and moving to simulate dancing whilst the music is in play, flanked by curtain-draped columns within arch applied with curved silvered plate engraved with tune selections Cassino, Minuet, Cicely Badger, Sukey bids Me, Minuet, Scots Bonnet, March, Berks of Abergeld, The Waterman, Langolee, Air de Jolie and The Egg Hornpipe with scroll-pierced steel selection pointer pivoted from the centre of the lower edge, the figured mahogany veneered inverted bell-top case with brass flambeau urn finials over double cavetto top mouldings and rectangular front door with brass fillet bordered glazed dial aperture and scroll-cast brass upper quadrant frets, flanked by canted angles applied with generous cast brass female terms, the sides with substantial hinged brass carrying handles over concave-topped rectangular brass fish scale sound frets within fillet surrounds, the rear with break-arch glazed door incorporating scroll-pierced upper quadrant frets flanked by canted angles applied with conforming female terms, on generous cavetto moulded skirt base with moulded brass squab feet.71cm (21ins) high, 43cm (17ins) wide, 27.5cm (10.75ins) deep. Provenance:Purchased at Bonhams, London sale of FINE CLOCKS 19th June 2019 (lot 41) for £17,562.50. Thomas Monkhouse is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Complete 21st Century Edition as working in London circa 1760. Although very little is known about him Thomas Monkhouse was clearly a very skilled maker who appeared to specialise in the production of musical and chiming clocks. The tunes played by the current clock aid to dating with the most relevant being 'The Waterman', which is from a comic opera of 1774 by Charles Dibdin. Amongst the other melodies 'Scots Bonnet' also known as 'Blue Bonnets Over the Border' was first registered in 1857; 'Cicely Badger' relates to a character in Samuel Richardson's 1753 Novel 'The History of Sir Charles Grandison'; 'Cassino', registered in 1770, was a country dance tune popular in both England and America; and 'Sukey Bids Me' was a country dance printed in 'The Universal Magazine of Knowledge and Pleasure in 1749. Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The dial is also in fine condition with minimal rubbing/wear around the winding holes; the painted finish appears original with some slight touching-in in places. The tune selection pointer appears to be a well-made replacement, the other hands are original and in good condition. Both automata are operational - the upper with the band playing is connected to the escapement hence operates whilst the clock is running; the lower dancing figures whilst the music is playing.The case is in fine condition with only minor repairs/restoration evident. The mask around the dial has been 'strengthened' by adding thin timber plates/packing to the inside around the arch and to the lower corners. The rear door hinges where attached to the carcass of the case have been strengthened by applying filler paste to consolidate the timber at that point. The front door has a veneer patch repair to the lower right-hand corner, otherwise faults to the case are very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use.Clock is complete with case key and a winder. Condition Report Disclaimer
A FINE AND RARE PAIR OF GEORGE III MINIATURE THREE-INCH TABLE GLOBESJ. AND W. CARY, LONDON, THE TERRESTRIAL PUBLISHED 1791Each comprising twelve hand coloured gores, the terrestrial annotated with equinoctial graduated in degrees and hours and ecliptic graduated in days, prime meridian labelled Meridian of Greenwich and the principal land masses outlined in colour and annotated with major rivers and mountain ranges, the oceans with islands labelled and printed with dotted lines for Captain Cook 1773 and other circumnavigations complete with dates a vessels named, the South Pacific region incorporating circular printed title cartouche CARY'S, Pocket, GLOBE, agreeable, to the latest, DISCOVERIES, LONDON, Pub'd by J. & W. Cary. Strand. Apr. 1. 1791; the celestial with constellations labelled and edged in blue/green over dotted lines, the equinoctial and ecliptic graduated in degrees and the stars and nebulae indicated in varying degrees of magnitude, with a printed oblong label NEW, CELESTIAL GLOBE, Pub'd by J. & W. Cary. Strand. just above VIRGO; each pivoted via the poles within a brass meridian ring divided for degrees, and set within engraved paper horizon ring with compass points and degrees in both directions, Zodiac and calendar scales, the stands comprising four delicate ebonised baluster turned supports united by conforming cross-stretchers over bell-shaped feet.Each 13.3cm (5.25ins) high, 10.8cm (4.25ins) diameter overall. Provenance: Consigned as part of a group of items mostly originally the property of Harry Taft Hayward (1868 - 1930) and Edith Wires (1872 - 1962). Members of the Boston elite, they had two daughters, Mary Elizabeth Hayward (1906-1976) and Harriet Taft Hayward (1907-1968), both painted by the artist John Lavery. They latterly lived at Oakwald, Franklin, Massachusetts; Harry Taft Hayward was cousin of William Howard Taft, 27th president of the US from 1909-1913. Mary Elizabeth married the Chilean born Henry Bernard Arthur de Bruyne and eventually came to live in England at Skyring House, Worthing from circa 1929 until 1939 when the house was commandeered by the British Army. After World War II they moved, Hurstpierpoint, Sussex. Thence by descent. The celebrated Cary family business of scientific instrument and globe makers was established by John Cary at Johnson's Court, Fleet Street, London in 1782 moving to a new address at 'Corner of Arundel Square', Strand the following year. He was primarily an engraver of maps, charts and globes who moved again in 1783 to 188 Strand. By 1791 he had entered into what appeared to be a relatively casual partnership with his brother, William; this partnership lasted until circa 1816 by which time William and John Cary had moved again to 181 Strand before finally settling in 86 St. James in 1820. The following year he was succeeded by his sons, John (II) and George Cary, who continued from the firm's 181 Strand address until 1851/2 when the business was acquired by Henry Gould. The terrestrial globe in the present lot is most often seen presented as a pocket globe within a ray-skin covered folding two-part case with celestial representations pasted to the inside surfaces. The celestial globe is much rarer as was generally only supplied as either part of a more extensive 'set' (with both globes in shagreen cases) or presented as a pair of miniature table globes as is the case with the current lot. An essentially identical terrestrial globe on stand was sold in these rooms 15th March 2006 (lot 1) for £3,800 hammer. Condition Report: Terrestrial- old unrestored surface with overall moderate browning to varnish, no visible cracks or bruising. Faults limited to a few light surface scuffs most noticeably to the Gulf of Mexico and to the South Pacific and overall age-related minor wear. The meridian ring is in fine original condition with mellow patination. Stand has overall slight to moderate varnish rubbing a wear to the horizon papers but with no losses. The ebonised frame is in fine original condition with some age-related wear to the finish. Celestial- old unrestored surface with moderate browning noticeable to upper hemisphere, no visible cracks or bruising. Faults limited to some darkening to the gore joints and light bubbling near 'Indus' and overall very slight age related wear. The meridian ring is in fine original condition with mellow patination. Stand has overall very slight to moderate varnish wear to the horizon papers but with no losses. The horizon ring has at one time split apart at the cut-outs for the meridian ring and been re-glued. The ebonised frame is in fine original condition with some age-related wear to the finish. Please see/request images as these form an integral part of the condition report. Condition Report Disclaimer
Y A REGENCY BRASS INLAID MAHOGANY BRACKET CLOCK RICHARD MACKEY, LONDON, EARLY 19th CENTURYThe five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by half-seconds geometric border-engraved lenticular bob pendulum, the conforming border decorated backplate with N/S strike/silent selection lever to upper left over central oval lozenge signed Richard Mackey, LONDON and pendulum holdfast, the 7 inch circular convex cream painted Roman numeral dial with steel moon hands set behind hinged cast brass convex glazed bezel, the arched case with ebony strung edge and line-outlined shaped panel to fascia beneath the dial, the sides with foliate cast gilt ring handles over brass fish scale sound frets, the rear with arch glazed door set within the frame of the case on cavetto moulded skirt base with brass ball feet, with a brass inlaid mahogany wall bracket, with brass rosette and line decorated fascia to table over lozenge-centred decorative line-bordered down-curved foot, (2). The clock 34.5cm (13ins) high, 23.5cm (9.25ins) wide, 16cm (6.25ins) deep; the clock and wall bracket 50cm (19.75ins) high overall. A clockmaker with the name Richard Mackay does not appear to be recorded in the usual sources as working in London during the early 19th century. However, included in the current lot is an indenture admitting William Henry Mackey as an apprentice Waterman and Lighterman under a Richard Mackey dated 26th September 1812. This document may or may not relate to the name that appears on the movement of the present clock but, may be of some historical interest.
A RARE ITALIAN WALNUT TABLE CLOCK WITH PULL QUARTER-REPEAT ON TWO BELLSUNSIGNED, PROBABLY NORTH ITALY, CIRCA 1700The five knopped pillar twin chain fusee countwheel bell striking movement with verge escapement for regulation by short bob pendulum, the strike train with decorative concentric ring-turned countwheel positioned to the upper right of the backplate and sounding on the larger of the two vertical bells set above the movement, the 7.75 inch square fire-gilt copper dial with ringed winding holes and shaped false bob aperture to the matted centre within applied pewter Roman numeral chapter ring with stylised foliate half hour markers and Arabic five minutes beyond the minute track, with scroll pierced steel hands and applied cast and chased winged cherub head spandrels to angles, in a case with domed caddy surmount and baluster gallery incorporating canted projecting plinths at the angles to superstructure, over architectural entablature and hinged glazed door flanked by free-standing Solomonic twist columns, the sides with rectangular windows and the flush rear with rectangular panel door, the base with apron drawer later veneered with a conch shell flanked by conforming projecting angles over ogee moulded skirt and brass ball feet.57.5cm (22.75ins) high, 41.5cm (16.25ins) wide, 21.5cm (8.5ins) deep. Although unsigned details within the movement of the present clock, such as relatively straight tapered (very shallow concave) fusees cut for thick chains, finely executed turning to some of the arbors, thick concentric turned countwheel, and decorative scroll feet to the thickly cast backcock, are all indicative of Italian work. Furthermore, as often is the case with Italian clocks, the movement has survived in fine original condition with minimal wear. The design of the repeat work employed is relatively simple and well thought-out using a rack to govern the quarters and a stepped cam pulley-stop for the quarters. Similar systems are discussed and illustrated in section 2 of Dzik, Sunny and Still, Roger BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-25 pages 154-59.
Y A FINE AND RARE FRENCH LOUIS XIV BOULLE 'RELIGIEUSE' TABLE CLOCKCOUPE 'ANGLOIS HORLOGEUR DU ROY', PARIS, CIRCA 1675-80The two-train going barrel movement with plates measuring 5 by 5.75 inches united by five shouldered baluster pillars pinned at the rear and enclosing five-wheel trains and twin large diameter going barrels, the going train with verge escapement regulated by disc bob pendulum incorporating silk suspension, and the strike train with decorative scroll-pierced sculpted steel detent gates and high-position numbered countwheel for sounding the hours via a vertically pivoted hammer on a bell mounted behind the pediment of the case, the 10.25 by 8 inch engraved gilt brass dial with calendar aperture to the finely matted centre within silvered Roman numeral chapter ring with stylised leafy half hour markers and every minute numbered to the outer track, with scroll pierced sculpted steel hands and fine leafy flowering scroll engraved infill to the upper spandrel areas and lower margin flanking a boldly executed lambrequin panel signed Coupe Anglois Horlogeur, du Roy, Paris, in a case with three gilt brass flambeau finials and arched pediment incorporating complex mouldings bordering the tympanum faced in contra-parti marquetry with female mask flanked by Berianesque acanthus scrollwork executed in red shell and pewter into a brass ground, above conforming ebonised cornice and rectangular glazed front door applied with bead cast gilt brass surround within marquetry leafy scroll border, flanked by canted angles applied with full-height Corinthian pilasters further decorated with interlaced strapwork panels and leafy pendants to shafts and with cast multi-piece acanthus capitals, the sides with slender break-arch windows within pewter outlined panel decorated infill, the rear flush with rectangular panelled door, on complex ogee moulded shallow skirt base with brass bun feet.50cm (19.75ins) high including finials, 35cm (13ins) wide, 14.5cm (5.75ins) deep. James Cowpe is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as becoming a Free Brother of the Clockmakers' Company in September 1654; he worked in the Vauxhall area of London and took an apprentice, Edward Worthington, in 1655. James Cowpe is noted as 'gone away' by 1662 and did not sign the oath of allegiance in 1697; although he appeared in the Company quarterage list in 1698 he was recorded as not paying quarterage for 39 years. An Edward Cowpe, (most likely James's son) is recorded as becoming a Free Brother in January 1688 but is believed to have left soon after. James or Jacques Coupe is recorded as being clockmaker to the King in Paris in 1680 and Edward Coupe similarly in 1683. From this it would appear that during the 1660's James moved to Paris and possibly sent his son, Edward, to London to become a Free Brother of the Clockmakers' Company in 1688 before returning to Paris to probably continue working in his father's footsteps. James also has a daughter, Elizabeth, who also became a clockmaker with Loomes noting that she signed her clocks 'Coupe Horlogeuse a Roi A Paris'. Loomes notes that some of the work of James Cowpe resembles that of Edward East suggesting that it is possible that he worked for East at some time. With this in mind it is perhaps interesting to note that the particularly fine and attractive dial engraving exhibits shows notable similarities to that of a longcase clock movement and dial by Edward East sold at Bonhams, London Fine Clocks 6th July 2016 (lot 103); and again, with the dial of an East table clock illustrated in Dawson, P. G., Drover C.B. and Parkes, D.W. Early English Clocks on page 85 (Plate 104). The bold signature lambrequin is also reminiscent of those seen on clocks on clocks by various London makers during the 1670's. The design and layout of the movement, however, is commensurate with those made by Parisian clockmakers from around 1675; a comparable movement by Gaudron Paris dating to around this time is illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700 on page 69, (Figure 121). The five-wheel trains are delicately executed and allow the clock to run for at least eight-days, the strike train incorporates finely worked scroll pierced strike detent gates typical of the best Parisian work of the period. When considering the 'English' style of the dial engraving alongside with the specification and layout of the movement a date of 1675-80 would seem most likely hence it is most probable that they were made by James Cowpe, rather than Edward. Although the pattern for the marquetry for the case does not appear to match other examples analysed in Plomp, Reinier Early French Pendulum Clocks, 1658-1700, two clocks by Thuret, both with matching elements within the marquetry (most notably to the column shafts), are illustrated in Tardy LA PENDULE FRANCAIS, I're Partie, De l'Horloge Gothique a la Pendule Louis XV on page 97. Condition Report: Movement is in fine clean fully working condition and is presented in its original form. A couple od spare holes to the plates near the reception suggest that the escapement may well have been converted to Brocot type recoil/anchor and subsequently reconverted. If the escapement is a re-conversion it has been executed to very high standard perfectly replicating the original. The frontplate has two holes (to the right of the escapement) suggesting that the hour bell was once supported on a stand screwed to the movement hence the present configuration with the bell mounted on the top of the case is a reinstatement of the original configuration. The dial is in fine original condition with some slight mellowing to the finishes only. The case is in fine fundamentally original condition with no problematic lifting or losses to the marquetry. There is some evidence of cosmetic restoration in the past (re-securing lifting to the marquetry and small veneer patch repairs/replacements to the pewter stringing to the sides. The movement and dial appear original to the case (there is no evidence of any other movement ever being fitted), the turn-latches that secure the movement in position (to the rear of the dial mask) have been re-positioned due to their original holes screw becoming worn.Clock is complete with pendulum, case key and winder. Condition Report Disclaimer
† A GEORGE III EBONISED BALLOON-SHAPED TABLE/BRACKET CLOCK WITH FIRED ENAMEL DIALJ. LEROUX, LONDON, CIRCA 1795The five knopped pillar twin fusee bell striking movement with rounded angles to the rectangular plates and anchor escapement regulated by long bob pendulum with an effective length of approximately 11.5 inches, the backplate signed J. Leroux, London to centre over pendulum holdfast to lower edge, the 7 inch circular slightly convex fired white enamel Roman numeral dial signed LEROUX, CHARING CROSS to centre, with fine pierced steel hands and Arabic five minutes to outer track, the waisted case with brass pineapple to the concave sided pyramidal upstand over drum housing the movement applied with hinged convex glazed cast brass bezel to front and brass carrying handles to sides, over hipped concave-sided section forming the base and the rear with keyhole shaped door incorporating fine scroll-pierced sound fret set within the frame of the case, on generous cavetto moulded skirt base incorporating break-arch recess to apron and with ogee bracket feet.35.5cm (21ins) high, 28cm (11ins) wide, 18cm (7ins) deep. Provenance:The property of a central London financial institution; acquired prior to 1925 to form part of a collection housed in a purpose-built prestigious Georgian style office building. John Leroux is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as an 'eminent maker' who worked from Charing Cross 1781-1808. He was particularly well known as being one of the first makers to incorporate the lever escapement within his watches and was succeeded by James Rigby. A very similar clock by Leroux is illustrated in Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 page 147 (plate IV/95). Condition Report: Movement is in fine clean working condition with no visible evidence of alteration or noticeable replacements. The dial has some shallow chipping to the left hand winding hole and a couple of miniscule chips to the right hand hole, otherwise appears free form visible damage (has not been removed form caser for inspection). The minute hand has probably been repaired. Case is in sound original condition with faults limited to historic veneer shrinkage cracking to the drum-shaped section; veneers however appear stable and the cracking is not disfiguring. The keyhole to the left-hand side has had a patch repair to the veneer around the hole to restore its shape. Otherwise faults are very much limited to minor historic bumps, scuffs wear etc.Clock is complete with pendulum, a case key and winder. Condition Report Disclaimer
A VICTORIAN GOTHIC REVIVAL CARVED WALNUT QUARTER-CHIMING BRACKET WITH ORIGINAL WALL BRACKETEDWARD WATSON, LONDON, CIRCA 1870The substantial five columnar pillar triple chain fusee movement with anchor escapement regulated by half-seconds lenticular bob pendulum, chiming the quarters on a graduated nest of eight bells and sounding the hour on a coiled gong, the 7.5 inch wide stepped-arcade topped arched cream painted Roman numeral dial signed EDW'D WATSON, London to centre, with steel trefoil hands and stylised leafy trail painted infill to spandrel areas with the upper continuing to envelope a Strike/Silent selection dial positioned at the apex of the arch, the triangular gabled case with three generous spire finials incorporating foliate caps and projecting arch bases divided by stepped cresting with shallow running arcade mouldings beneath, the glazed ogee-arch shaped front door finely carved with stylised foliage over conforming arcade mouldings mirroring the stepped canted silvered bezel insert set behind the glazed aperture framed by triple-baton mouldings to the sides and base, the canted front angles with quadruple cluster columns and the sides with lancet-shaped apertures decorated with foliate-trellis fretwork, the rear with triangular top door inset with brass grille sound fret, on stepped skirt base with blind Gothic arcade and projecting front angles over leaf carved ogee mouldings; the original wall bracket with conforming projecting angles to the moulded table over twin scroll-shaped cabriole supports with foliate carved knees and feet.The clock and bracket 95cm (37.25ins) high, 52cm (20.5ins) wide, 31cm (12.25ins) deep. Two generations of clockmaker with the name Edward Watson are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume II as working in London during the 19th century; Edward senior 1828-63, then in partnership with his son in 1869, and finally Edward Junior working alone in 1881. Condition Report: Movement appears all-original with no visible evidence of alteration or noticeable replacements and is in working condition although a precautionary gentle clean/service is advised, the pendulum holdfast screw is also no longer present. The dial has had some strengthening/overpainting to the numerals, signature and spandrel infill; the surface is also crazed with some localised lifting in places. The winding holes show some wear and there is a scratch adjacent to the right-hand hole. The case is generally in very good original condition. The top surfaces have some very light shrinkage cracking and the arched recess section forming the base of the right hand spire finial has a loss where it meets the right hand side panel. The right-hand sound fret is also pushed-in/distorted with a couple of small losses to the fretwork towards the lower right-hand corner. The front has a small veneer chip to the fascia at the lower right-hand corner of the front door aperture. The rear door lock is missing. Otherwise faults to the case are very much limited to very slight shrinkage, and a few minor age related bumps and other blemishes. The condition of the bracket mirrors that of the clock.Clock has pendulum and a winder but no case key. Condition Report Disclaimer
Y A GEORGE I EBONY TABLE TIMEPIECE WITH SILENT PULL-QUARTER REPEATUNSIGNED, LONDON, CIRCA 1720The five finned pillar single fusee movement with verge escapement regulated by lenticular bob pendulum and silent pull quarter repeat on two bells, the fine symmetrical Ho-Ho bird and honey bee inhabited foliate strapwork scroll engraved backplate incorporating eagle head masks over central winged figure of a heroic angel sounding a trumpet whilst holding a sword, the 6 inch brass break-arch dial with calendar and shaped bob apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with pierced blued steel hands and Indian mask and scroll cast spandrels to angles beneath arch centred with a vestigial subsidiary regulation dial flanked by grotesque mask cast mounts, the inverted bell top case with generous hinged brass carrying handle over double cavetto top mouldings and opening front with fine complex raised mouldings to the break-arch glazed dial aperture and the scroll pierced upper quadrant frets, the sides with scroll-pierced break-arch sound frets bordered by conforming raised mouldings and the rear with rectangular door incorporating break-arch glazed aperture and upper quadrant frets set within the frame of the case, on cavetto moulded skirt base with block feet.41cm (16ins) high with handle down, 24.5cm (9.75ins) wide, 17.5cm (6.75ins) deep. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism itself can be compared to that on a timepiece by William Webster described in Dzik, Sunny and Still, Roger BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-25 pages 109-112; and again on an example by Francis Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 78-9. This system is notable in that it features a relatively simple 'all-or-nothing' device, and an unusual wedge-shaped quarter-strike controller to both provide pump count control to the quarter hammer, and to act on a sleeve fitted to the hour hammer arbor to control disengagement of the hammer tail. The engraving to the backplate of the present timepiece can be compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass pages 265-71. Of particular note is the inclusion of honeybees, scrolls terminating with eagle heads and a Classically rendered figure to the centre. This style of engraving has roots in French Huguenot immigrant work and Dzik illustrates a walnut clock by Simon DeCharmes (page 267, Figure 15.6) exhibiting many similar features in both the design and execution of the backplate and detailing within the dial and case of the present clock. The dial of the current lot has evidence (filled hole) indicating that a signature plate was fitted at some point; with the above in mind, it would be highly likely the name that would have been on this plate would have has strong connections with the Huguenot community of London clockmakers who were a very important contributors to the clockmaking trade from during the latter years of the 17th century. Condition Report: The movement is in fine original working condition with no visible evidence of alteration or noticeable replacements. The escapement appears original however the pivoted 'rise/fall' regulation beam is missing (the adjustment cam applied to the rear of the dial is present). The repeat work appears entirely original and is operational however is currently out of sync with the hands and prone to slight errors with its 'counting' hence adjustment/fine tuning is required. The dial is in sound original condition however the plate has a wash of gilt paint applied o the matting and beneath the spandrels in an attempt to mask a filled hole just above the winding square to take a signature plate which is no longer present with the clock. The silvering to the chapter ring and subsidiary regulation ring is heavily worn/discoloured. The spandrels retain old gilt finish albeit with noticeable wear to high spots. As catalogued the case is veneered in ebony with ebony mouldings and is original to the movement and dial. The seatboard is original although there is an additional slot cut through the centre securing hole and an another hole drilled for no apparent purpose. The baseboard of the case has four additional holes with evidence of wood-screw threading indicating that the case was once screwed to a wall bracket. The case has been cosmetically restored hence the frets are almost certainly relatively recent replacements and the finish is very good. The mouldings are particularly fine and the front and rear doors retain their original locks and hinges.Clock has a case key but no winder. Condition Report Disclaimer
Y A FINE SWISS FIGURED WALNUT INTERCHANGEABLE CYLINDER MUSIC BOX ON TABLEUNSIGNED BUT PROBABLY BY NICOLE FRERES, GENEVA, CIRCA 1870Each 12.75 inch pinned cylinder with a choice of six tunes playing on a 122 tooth comb, set within a gilt painted steel bed with large ratchet-crank wound going barrel, governor, and start/stop mechanism to the left hand end opposing tune selection shunt mechanism to the right, with pivoted screw clamps for the barrel arbor pivots (to allow removal/changing of the cylinders), set beneath a glazed hinged cover with REPEAT/CHANGE and PLAY/STOP operating levers to right hand side, the hinged lid applied with card sheet listing each of the six tunes per cylinder including Le Talisman, William Tell and La Traviata to cylinder no. 3; Home Sweet Home, Auld lang syne, The blue bells of Scotland and God save the Queen to no. 4; and On the beautiful blue Danube and La Polka des Oiseaux to no. 6, the lower margin of the sheet inscribed No. 23694, G'me 34 within the decorative line borders, the box with tulipwood banded top over conforming front applied with elaborate grotesque mask and scroll cast escutcheon and gilt scroll handles to the conforming side panels, the table with ebonised moulded edge to the conforming banded top incorporating rounded angles, over central panelled frieze drawer containing two additional cylinders over further lambrequin-shaped apron drawer containing the three further cylinders, on part-ebonised faceted tapered supports with inverted baluster-shaped feet, complete with a printed card instruction sheet.94cm (37ins) high, 106cm (41.75ins) wide, 61cm (24ins) deep. Condition Report: Mechanism is complete, original and in working order with no visible damage or loses to the comb (including the resonator weights). The only fault is the start-stop lever connection requires attention. The brass shows overall light to moderate discolouration and the gilt bed has ben re-painted at some point. The spare cylinders are all present and appear to be in good original condition with no visible damage.The case is in very good original condition with faults very much limited to very slight movement/lifting to the veneers (no losses) and some slight rubbing/wear to the ebonised finish. The ebonised interior of the drawers have some slight marks/bruises but are generally in very good original condition. Table has a key for the drawers. Condition Report Disclaimer
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