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Lot 168
A fine George III mahogany table clock Matthew Dutton and Son, London A fine George III mahogany table clock Matthew Dutton and Son, London, circa 1795 The substantial five pillar twin fusee bell striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to suspension, the backplate engraved with script signature Dutton & Son, London above serial number 347 and pendulum holdfast , the 7 inch single sheet silvered brass break-arch Roman numeral dial with repeat signature M. Dutton & Son, London over calendar aperture to centre and Arabic five minutes to outer track, the arch with N/S strike selection switch and subsidiary rise/fall regulation adjustment dial, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over brass fillet inset glazed front door and arched brass fishscale grille inset side apertures, the rear with glazed break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with cast brass squab feet, 38cm (15ins) high excluding handle. Matthew Dutton and Son are recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1815-25. Matthew Dutton's father, William (worked 1746-94), was an important maker who in went into partnership with Thomas Mudge at Fleet Street in 1755, later succeeding him in 1771 when Mudge retired from the business to pursue the development of his marine timekeepers (see previous lot). Matthew worked with his father until 1794 then in partnership with his brother, Thomas until 1804, and with his son, also called Matthew from at least 1815 until his death in 1825. The current lot is a textbook example of the fully developed form of 'triple pad top' top table clock made popular by Mudge and Dutton during the third quarter of the 18th century. When compared with the previous lot the subtle evolution of this type of case can be seen; indeed the principal differences are the use of brass fillet mouldings to the dial aperture and full-arch side frets on the current lot opposed to raised mahogany mouldings and break-arch side panels on the previous example. These differences demonstrate how the Dutton workshop introduced subtle updates to their case design, to ensure that their products appeared up to date and 'modern', without compromising the distinctiveness of their product.
Lot 138
An ebony small table timepiece with silent-pull quarter-repeat on two bells... An ebony small table timepiece with silent-pull quarter-repeat on two bells The movement and dial by Benjamin Wright, London, circa 1690, the case later The four finned and knopped pillar movement with verge escapement regulated by short bob pendulum and silent-pull quarter-repeat sounding the hours and quarters on two bells mounted above the plates, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Benjamin Wright, Londini Fecit to a lambrequin cartouche to centre, the 6.125 inch square gilt brass dial with single winding hole and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles with foliate scroll inlaid infill to margins between, now in an ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the domed caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll mounts to jambs, the sides with conforming rectangular windows beneath lozenge-shaped foliate scroll pierced sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow moulded skirt over ebonised disc feet, 31cm (12.25ins) high excluding handle. Benjamin Wright is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1664, apprenticed to Abraham Prime in April 1678 and gaining his freedom of the Clockmakers' Company in July 1685. He is believed to have worked from Bell Alley, Coleman Street, London and died before January 1709 when his widow, Mary, is recorded taking George Wright as an apprentice. 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 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 have to have been extremely wealthy to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is essentially based on the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7.
Lot 1
A German ebonised cased pair of coin scales Johann Caspar Mittelstenscheid A German ebonised cased pair of coin scales Johann Caspar Mittelstenscheid, Lennep, early 19th century With filed steel beam fitted with central knife-edge pivot incorporating vertical pointer within arched armature to centre and loops for attaching the brass pans suspended via three cotton lines to each end, in ebonised pocket case with a selection of various weights named with their numismatic equivalent and applied with trade label to lid inscribed Deife geachte Waag und Gewicht, macht, Ibro Churfurftl. Durchl., zu Pfalz-Bayern, gnagigft privilegirter und, gefchworner, JOHANN CASPAR MITTELSTENSCHEIDT, in der Bergifchen Hauptftadt Lennep, 18.. the exterior of the case with caddy moulded edge to top and two hinged securing clasps, (two weight apertures vacant), 18cm (7ins) wide; with a German simple portable lacquered brass table-top sextant, Polytechniker Brandegger, Ellwangen, mid 19th century, the folding frame with cylindrical section lower rail drilled to take adjustable tripod supports and fitted at one end with pivoted arched scale calibrated in degrees, the other end with angled upper frame member drilled for a plumb bob at the apex and central adjustable arm stamped Brandegger fitted with pin-hole projection sight and steel pointer for the elevation scale, in original scumbled pine box with wooden rule and printed with trade label inscribed Taschen-Sertant, .. Stellung der Uhr, nach der Sonne, von, Polytechniker Brandegger, in Ellwangen , the box 23cm (9.125ins) long, (2). Johann Caspar Mittelstenscheid was born in 1764 and trained under his uncle Peter Braselmann, in Wichlinghausen. He specialised in producing coin scales and died in 1819.
Lot 149
A rare George II ebonised grande-sonnerie striking table clock The dial... A rare George II ebonised grande-sonnerie striking table clock The dial signed for John Wood, Grantham, mid 18th century The substantial seven knopped and ringed pillar triple chain fusee movement with plates measuring 8.75 by 7.25 inches and chiming the quarters on a nest of six graduated bells followed by full hour strike on a further larger bell every fifteen minutes, with trip quarter repeat, verge escapement regulated by lenticular bob pendulum and backplate engraved with symmetrical foliate scrolls around a vacant matted oval cartouche within herringbone decorated border, the 8 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, with pierced steel hands and female mask and scroll cast gilt brass spandrels to angles beneath arch centred with a circular silvered boss with engraved signature John Wood, GRANTHAM flanked by subsidiary Hours/Hours & Quarters/Silent all and Repeat/Silent strike selection dials with applied foliate cast infill mounts to upper margin between, the ebonised case with inverted bell-top superstructure and brass urn and spire finials to the foliate fretwork fronted box upstand over break-arch cornice, plain frieze and glazed dial aperture to the front door, the sides with hinged cast brass handles over slender break-arch windows, the rear with glazed door matching the front set within the frame of the case, on shallow cavetto moulded skirt base incorporating bracket feet, 53.5cm (21ins) high excluding finials. John wood is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Grantham 1753-97. Grande sonnerie striking table clocks are particularly rare mainly due to the technical challenges of making an hour striking train appropriately geared to sound the hours every fifteen minutes for eight days. Due to the technical skill required such clocks were generally the preserve of the leading London makers such as John Ellicott; with this in mind the movement of the current lot was probably 'bought-in' from one of the leading London workshops - this would certainly account for the matted-over cartouche to the backplate.
Lot 163
A George III mahogany table clock with pull-quarter repeat on six bells... A George III mahogany table clock with pull-quarter repeat on six bells William Glover, Worcester, circa 1780 The five pillar twin fusee bell striking movement with pull-quarter repeat sounding on a graduated nest of six bells and verge escapement regulated by lenticular bob pendulum with pivoted rise/fall regulation to suspension, the backplate engraved with intense symmetrical foliate strapwork, the 7 inch brass break-arch dial with shaped false bob and calendar apertures to the Ho-Ho bird and oriental mask inhabited rococo scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced blued steel hands and applied rococo scroll cast spandrels to angles beneath twin subsidiary Strike/Silent selection and regulation dials set within a foliate scroll engraved field and incorporating a recessed shaped signature plate engraved William Glover, Worcester to arch, the bell top case with hinged brass carrying handle and four pineapple finials to superstructure over front door with brass fillet inset glazed dial aperture and scroll pierced upper quadrant frets, the sides with full-height arched glazed apertures and the rear with conforming break-arch glazed rectangular door incorporating further upper quadrant frets and set within the frame of the case, on cavetto moulded skirt base with brass bracket feet, 44.5 (17.5ins) high excluding handle. A William Glover is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1751 until his retirement in 1758. Another with the same name (believed to be a nephew) is also recorded as coming from London to Worcester in 1758; he opened a shop in Tewkesbury in 1764 and worked until at least 1767. Finally Baillie also notes a third record of a William Glover Working in Worcester 1764-71 who also opened a shop in Tetbury in 1764, it is possible that this is a record of the same nephew. The current lot is very much in the London style but with perhaps a little more engraved decoration than would normally be found on a London clock - this is perhaps to be expected for a clock made in the provinces by a maker trained in the capital.
Lot 112
A fine North Italian bone inlaid architectural night timepiece Geo Pietro... A fine North Italian bone inlaid architectural night timepiece Geo Pietro Callin, Genoa, circa 1685 The small circular rear winding single fusee movement with inverted verge escapement regulated by short disc bob pendulum and four baluster pillars pinned through the backplate signed G eo. Pietro Callin to centre, the mechanism mounted on a scroll-pierced arched crossmember positioned behind the dial and with pivot to the apex of the frontplate for the revolving hour disc driven by motionwork and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer band of the principal disc, the 13.5 by 10.5 inch rectangular copper dial finely painted with a landscape incorporating Chronos to the left passing Roman numeral hours up to the arched aperture for the revolving hour disc painted with cherubs in flight and pierced with numerals I, II and III for the quarters to upper margin, the opposing side of the dial painted with Death as a skeleton holding a sithe receiving the Roman numeral hour discs and placing them into a stone sarcophagus inscribed ALTERMINE COMVNVS SIATUT ORA, the finely detailed Baroque case with open arch pediment centred with a small upstand inlaid with two foliate scroll panels capped with scallop shell carved shallow arch tympanum flanked by scroll-carved infill over lintel with plain frieze and tight cornice mouldings, the front with rectangular door applied with raised mouldings to the dial aperture flanked by generous hipped carved side scrolls, the conforming breakfronted base incorporating key drawer fronted with a pair of panels each inlaid in bone with symmetrical scrolls around a vacant cartouche over deep cavetto moulded skirt fitted with six bun feet, 52cm (20.5ins) high. A Pietro Calim is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as 'German Keeper of clock on Palazzo delle Compere' 1677-85; although little else appears to be known of Callin a few clocks signed by him are known including; An impressive ebonised tall alter clock with allegorical dial painted by Giovanni Battista Gaulli, The Poldi Collection, Milan. An ebonised night clock with dial painted with a Saint at prayer, Cambi, Genova, 18th November 2014, lot 136. An ebonised table clock with silent-pull quarter repeat included in this sale as the following lot. In addition to the above another night clock almost certainly from the same workshop but signed 'Giovanni Carlo Calin' was offered at Christies, New York THE ABBOTT GUGGENHEIM COLLECTION , 27th January 2015, lot 118. This example is particularly relevant as it exhibits similarly composed dial decoration of Chronos and Death passing the hours to the current lot. Finally a table timepiece of noticeably similar design to the following lot (and with almost identical dial) but signed 'Giovanni Battista Batta Callin' is illustrated in Tardy LA PENDULE FRANCAIS. 3'eme Partie, Provinces et Etranger on page 417. The Italian preference for this design of night timepiece (where the time is displayed by shining a light source through moving apertures in the dial) is thought to have come about via the Campani brothers in Rome who were apparently first asked to produce such a timepiece (with silent escapement) for pope Alexandre VIII in 1665. Indeed it appears that, despite the obvious impracticalities and inherent fire risk, their popularity endured until the end of the century - long after most of the rest of Europe had adopted pull quarter-repeating as a more practical solution for telling the time during the hours of darkness. The case of the current lot is particularly finely proportioned and detailed with crisp architecturally correct mouldings indicating that it was made by a specialist craftsman familiar with the principals of Classical architecture and Palladianism. The use of ebony for the veneers and mouldings coupled with the unusual bone inlaid panels indicate that the present clock would have been a particularly expensive model when made. Due to inherhent similarities in form and detail it is possible thatt the case of the present timepiece was made in the same workshop as that housing the following lot.
Lot 113
A fine and rare North Italian ebonised architectural table timepiece with... A fine and rare North Italian ebonised architectural table timepiece with silent-pull quarter-repeat on two bells Gio Pietro Callin, Genoa, circa 1680 The rectangular movement with four baluster turned pillars pinned through the backplate signed Gio Petro Callin AGenoua to the lower margin, the going train with spring barrel and verge escapement regulated by short pendulum with silk suspension and cycloidal cheeks, the early Knibb type silent-pull quarter-repeat train striking the hours and quarters on demand only via twin vertical hammer arbors sounding on a graduated pair of bells mounted within the pediment of the case, the 8 by 7 inch faded salmon silk covered iron dial applied with silvered Roman numeral chapter ring with tied asterisk half hour markers and Arabic five minutes within the outer minute track, the angles applied with foliate scroll pierced chased gilt brass spandrels with the lower two continuing down further to flank a cartouche cast as en entwined pair of serpents enclosing silvered signature plate engraved Gio Petro Callin AGenoua , the finely detailed Baroque case with open arch pediment centred with a small panel upstand capped with triangular tympanum flanked by scroll-carved infill over breakfronted lintel with plain frieze and tight cornice mouldings, the front with rectangular door applied with raised mouldings to the glazed dial aperture flanked by generous hipped carved sides scrolls, the conforming breakfronted base incorporating key drawer and deep cavetto moulded skirt, on six bun feet, 52cm (20.5ins) high. A Pietro Calim is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as 'German Keeper of clock on Palazzo delle Compere' 1677-85; although little else appears to be known of Callin a few clocks signed by him are known including; An ivory inlaid ebonised night clock with fine painted dial depicting chronos and death passing the hours, offered in this sale as the previous lot. An impressive ebonised tall alter clock with allegorical dial painted by Giovanni Battista Gaulli, The Poldi Collection, Milan. An ebonised night clock with dial painted with a Saint at prayer, Cambi, Genova, 18th November 2014, lot 136. In addition to these another night clock probably from the same workshop but signed 'Giovanni Carlo Calin' (also with fine painted dial depicting chronos and death passing the hours) was offered at Christies, New York THE ABBOTT GUGGENHEIM COLLECTION , 27th January 2015, lot 118. Finally a further ebonised table timepiece of noticeably similar design to the current lot (and with almost identical dial) but signed 'Giovanni Battista Batta Callin' is illustrated in Tardy LA PENDULE FRANCAIS. 3'eme Partie, Provinces et Etranger on page 417. The movement of the current lot closely resembles that of an early French 'Pendule Religieuse' but with the additional provision of a 'silent-pull' quarter repeat mechanism. The positioning of the going train between the plates and the design of movement pillars can be directly compared to an hour-striking movement by Nicholas Hanet dating to around 1675 illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700 pages 66-7 Figs. 115-7. Both the movement by Hanet and that of the current lot are arranged with the strike/repeat trains offset to the right to allow room for vertical planting of the going train to the centre. In addition to having offset strike trains both movements also share essentially the same configuration of double-footed backcock (fitted with cycloidal cheeks) and similar crown wheel top cock casting (each incorporating pallet arbor front pivot). From these details it would be logical to suggest that the current lot was made around the same time (or marginally later) as the clock by Hanet, and that the maker was clearly strongly influenced by contemporary French practice. The 'French influence' within the current lot is not confined to the movement as the use of fabric-covered iron for the dial plate incorporating signature cartouche doubling-up as a pendulum bob access flap are also classic features seen on early French pendulum clocks. The design of 'silent-pull' repeat mechanism used in the current lot is of the earliest type which is believed to have been invented in around 1676 by Edward Barlow and/or Daniel Quare which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 343-4). This mechanism will sound the last hour and quarter on two bells on demand only and is thought to have been devised 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. The presence of this mechanism on the current lot would suggest that the maker was well versed with English practice as well as French. Indeed the dial also exhibits possible subtle English influence in the chapter ring (with Arabic five-minute annotations within the outer minute track) and use of cast spandrels to angles. In England, prior to the invention of quarter-repeat work, the only clocks available to assist with telling the time after dark were night clocks. English night clocks are rare as they were quickly superseded by repeating clocks/watches, hence it seems that none were made after around 1680. Conversely in Italy night clocks seemed to be the preferred solution with the form almost becoming standardised by the Campani family of Rome during the 1670's. The case of the current lot is particularly finely proportioned and detailed with crisp architecturally correct mouldings indicating that it was made by a specialist craftsman familiar with the principals of Classical architecture and Palladianism. The inherent smaller proportions of the case are also quite pleasing when compared with larger night clocks which can be somewhat imposing.
Lot 167
A fine and rare George III mahogany table timepiece William Dutton, London A fine and rare George III mahogany table timepiece William Dutton, London, circa 1780 The substantial five pillar single fusee movement with bolt-and-shutter maintaining power and anchor escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to suspension, the backplate engraved with script signature Will'm Dutton, London above pivoted pendulum holdfast bracket , the 7 inch brass break-arch dial applied with circular silvered Roman numeral centre incorporating shaped false bob aperture over repeat signature Will'm Dutton, London , and calendar aperture within Arabic five minutes to outer track, with fine pierced blued steel hands and rococo scroll cast and pierced spandrels to angles beneath arch centred with silvered subsidiary rise/fall regulation adjustment dial flanked by conforming mounts, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over glazed front door with raised mouldings to the aperture and conforming blind break-arch panels to sides, the rear with further glazed break-arch door set within the frame of the case, on cavetto moulded skirt base with squab feet, 38cm (15ins) high excluding handle. William Dutton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to George Graham in 1738 and gained his freedom of the Clockmakers' Company in 1746. In around 1750 he went into partnership with Thomas Mudge, another former apprentice and successor to George Graham, and worked from 148 Fleet Street, London, where the business was to remain through successive generations of the Dutton family. William Dutton was elevated to Liveryman in 1766 and alongside Mudge developed the lever escapement for watches in 1771; shortly after which Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew. The work of William Dutton can be characterised by its distinctive originality, high quality and attention to detail which one would come to expect from a clockmaker who, alongside Thomas Mudge, succeeded George Graham who in turn had succeeded Thomas Tompion. The current lot is a textbook example of the fully developed form of 'triple pad top' top table clock made popular by Mudge and Dutton during the third quarter of the 18th century. When compared with the following lot the subtle evolution of this type of case can be seen; indeed the principal differences are the use of raised mahogany mouldings and break-arch side panels on the current lot opposed brass fillet mouldings to the dial aperture and full-arch side frets on the following example. These differences demonstrate how the Dutton workshop introduced subtle updates to their case design, to ensure that their products appeared up to date and 'modern', without compromising the distinctiveness of their product.
Lot 130
A fine George III ebonised table clock with pull-quarter repeat on six bells... A fine George III ebonised table clock with pull-quarter repeat on six bells John Jefferys, London, circa 1750 The six pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull quarter repeat sounding on a graduated nest of six bells followed by the hour on a single larger bell, the symmetrical foliate scroll engraved backplate signed John Jefferys, London beneath a stylised basket of fruit to centre, the 7 inch brass break-arch dial with shaped false bob aperture backed with silvered name plate engraved Jn'o Jefferys London and calendar to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast brass spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, the inverted bell top case with hinged brass carring handle over brass fillet inset break-arch glazed dial aperture and fine foliate scroll engraved and pierced upper quadrant frets flanked by caddy moulded angles to the full-width front door, the sides with further engraved brass circular sound frets over concave-topped brass fillet inset rectangular glazed apertures, the rear with door set within the frame of the case with break-arch window and further scroll pierced ebonised upper quadrant frets, on cavetto moulded skirt base with squab feet, 44.5cm (17.5ins) high excluding handle. John Jeffrys was an important clock and watchmaker (through his association with John Harrison) who was born in Midgham, Berkshire in 1701. In November 1717 he was apprenticed to in London to the watchmaker Edward Jagger gaining his freedom of the Clockmakers' Company in 1726. In 1735 Jeffrys took Larcum Kendall as an apprentice followed by another named Jethro Tull in 1739. In 1751-2 Jeffrys was commissioned by John Harrison to make a watch for his personal use mainly to assist with astronomical observations and interval timing. In order to satisfy Harrison's needs the timepiece was specified to incorporate features such as maintaining power, centre seconds and bimetallic strip temperature compensation for the modified balance. On completion the watch performed beyond expectations leading Harrison to focus his attention on watch-based technology to create a suitably accurate marine timekeeper. John Jeffrys died in 1754 leaving his workshop in the hands of his former apprentice, Larcum Kendall, who continued to assist John Harrison with the development of H4 before producing his own versions (K1 and K2) of Harrison's design in order to satisfy the requirements of the Board of Longitude. The current lot is one of only a small handful of clocks known by Jeffrys and is notable in that the repeat work operates with a slight but precise action which befits the description of him being a 'Repeating motion maker'. In addition to this the signature is executed in the same manner as that of his famous watch further leaving little doubt that it originated from his workshop.
Lot 172
A fine George III brass mounted figured mahogany quarter chiming table clock... A fine George III brass mounted figured mahogany quarter chiming table clock Thomas Wagstaffe, London, circa 1770 The substantial six pillar triple fusee movement chiming the quarters on a graduated nest of eight-bells and striking the hour on a further large bell, with verge escapement regulated by short bob pendulum and holdfast to the fine asymmetric chinoiserie rococo scroll engraved backplate, the 8 inch square single sheet silvered brass dial with fine pierced blued steel hands, calendar aperture to centre within Roman numeral chapter ring with Arabic five minutes to outer track and signed Thomas Wagstaffe, LONDON to lower edge, the shallow break-arch case with generous hinged brass carrying handle and single crisply moulded rectangular pad to top over bird inhabited foliate pierced and engraved brass sound frets to the arched frieze, the full front door incorporating cast brass bezel to the glazed circular dial aperture and conforming brass fillet-bordered lower quadrant frets flanked by brass strung angles, the sides with scroll pierced frets to frieze over generous brass handles and further concave-topped rectangular brass fillet-edged sound frets, the rear again with fretwork frieze over glazed break-arch door set within the frame of the case, on generous cavetto moulded skirt base with cast brass squab feet, 46cm (18ins) high excluding handle. Thomas Wagstaffe is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Carey Street and 33 Grace-church Street, London 1756-93. Originating from Banbury in Oxfordshire Thomas Wagstaffe and his brother James were fine makers who appeared to have strong connections with the American market - perhaps due to belonging The Quaker Society of Friends. A watch by Thomas Wagstaffe previously owned by Benjamin Franklin was sold by Cowan's Auctions, Cincinnati, on June 17th 2006 (lot 118) for $34,500.
Lot 109
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.
Lot 107
A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped... A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped with initials M L , mid to late 16th century The posted twin fusee movement with pinned iron-capped brass spring barrels concealed between two horizontal plates in the base beneath posted frame with four fine slender double baluster turned uprights, the going train now with verge escapement regulated by short bob pendulum swinging to the rear, the strike train set behind the going train incorporating twin-arbor warned release and sounding the hours via a vertically pivoted hammer on a bell mounted on top of the clock, the exterior with moulded cornice and geometric panel decorated frieze over twenty-four hour dial with stylised bird and fruiting foliage engraved centre within punch-stamped Arabic numeral chapter ring with touch pieces to the moulded outer margin, set over a shaped scribed panel enclosing further scrolling foliate and centred with a winding square, the sides with twin panel doors engraved with standing figures of Adam and Eve to the right and a pair of allegorical females to the left, the angles with conforming vertical geometric bands and the rear engraved after Hans Sebald Beham with Christ standing on a globe and holding the standard of the crucifixion beneath dove emblematic of the Holy Spirit, the lower margin with small panel decorated with a reclining female, the plinth base with complex moulded dado over foliate engraved panels centred with roundels featuring four profile busts to the sides and indistinct armorial crest to the front incorporating the stamped initials M L , on conforming moulded skirt incorporating leaf engraved ogee moulded foot, (alarm mechanism removed), 22cm (8.625ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The current lot can be compared to an example illustrated in Tardy LA PENDULE FRANCAIS, 3'me Partie: Provinces et Etranger on page 314. The hexagonal form echoes that of contemporary French examples however differs in the that trains are laid out with the strike behind the going rather than the usual French system of having one above the other. The use of iron for the wheelwork would indicate a date prior to 1580 although the inclusion of brass for the walls of the spring barrels would suggest that the clock was made closer to 1580 than 1550. The strike train also incorporates twin-arbor warning which although is known to have been in use by around 1480 (see Leopold, J. H. The Almanus Manuscript ) seems to have been rarely adopted until the introduction of the English lantern clock in its fully developed form in around 1600. The rear of the clock incorporates an engraved view of Christ standing on a globe holding the standard of crucifixion with a dove emblematic of the Holy Spirit above. Typically such decoration was often copied from a contemporary engraved source - in this case an engraving executed by Hans Sebald Beham in 1546. The panels to the sides of the case are probably also copied from similar sources however these have yet to be identified. The base also incorporates an armorial crest to the front panel, unfortunately wear and degradation to the surface now renders this crest indistinct however closer examination and specialist research may result in the family for whom the clock was made to be identified.
Lot 22
A rare Spanish brass portable equinoctial compass sundial Unsigned A rare Spanish brass portable equinoctial compass sundial Unsigned, dated 1622 The square case with recessed copper compass plate engraved with sixteen-point rose and retained by a square brass friction collar beneath fitted glass cover, the hinged open hour circle set within a pierced square frame engraved with hatched border decoration and pivoting against a folding brass arm locating into corresponding graduated slots calibrated for degrees of elevation to the side of the instrument, the hour ring engraved V-XII-VII and fitted with pivoted needle to centre, the inside of the lid engraved with table entitled Gra dosdelas ciudades infra escriptas giving the respective latitudes of thirty countries and cities including Acapulco. 17, Alexandria. 31, China 17. a. 48, Guatimala. 15, Iapon 31. a. 37, Madrid. 40, Mexico. 20 and Roma. 41 the exterior of the lid engraved with a cruciform motif within circular border and leafy spandrels, the front engraved with the text Yoxic. August. Iap and the left hand side dated Anno Dni 1622 beneath the elevation scale, the right hand side, rear and base decorated with engraved foliate designs, (compass plate a replacement, suspension post/ring lacking), 4.5cm (1.75ins) 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.
Lot 117
A French Louis XV Boulle clock bracket Anomynous A French Louis XV Boulle clock bracket Anomynous, mid 18th century Of ogee outline with applied repeating leaf cast mount to edge of the table over cut brass and brown shell stylised foliate scroll marquetry veneers to front and sides interrupted by elaborate cast mounts to angles, and with conforming pendant mount to base, the top 33.5cm (13.25ins) by 16.5cm (6.5ins); 24.5cm (9.75ins) high.
Lot 79
A Black Forest carved wood cuckoo table clock Attributed to Johann Baptist Beha A Black Forest carved wood cuckoo table clock Attributed to Johann Baptist Beha, Eisenbach, circa 1870 The wooden framed twin fusee movement with anchor escapement regulated by short pendulum with heavy brass-faced bob, the hour strike train with outside countwheel and linkages to two bellows and a cuckoo automaton who appears from behind the door above the dial to announce the hour with a two-note call followed by hammer sounding on a gong fitted to the inside of the rear case panel, the circular wooden dial carved with a rosette to centre within chapter ring applied with Gothic style bone numerals, with leaf carved and pierced bone hands and narrow moulded bezel, the gabled case with fine bird-in-flight centred vine trail carved fascia over naturalistic facade incorporating cuckoo automata and entwined leafy trail bird inhabited uprights flanking dial, the base with conforming apron set behind a carved and pierced picket fence apron panel applied with further vine leaves and terminating with a horizontal log and squab feet, the sides with small rectangular doors over conforming picket fence, the rear with lift-out panel fitted with a coiled gong to inside surface and applied with incomplete paper trade label for Camerer Cuss, London, 45cm (17.75ins) high. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father, Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert.
Lot 108
A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.
Lot 121
A George III fruitwood table clock Unsigned A George III fruitwood table clock Unsigned, circa 1760 The five pillar twin fusee bell striking movement with fine Ho-Ho bird and grotesque mask centred foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and shaped false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and pierced steel hands within applied rococo scroll cast brass spandrels to angles beneath arch centred with rosette engraved subsidiary Strike/Silent selection dial flanked by Indian mask and scroll cast infill mounts, the bell top case with hinged brass carrying handle over front door with applied raised mouldings bordering the glazed dial aperture flanked by caddy moulded angles, the sides with blanked-off circular over concave topped rectangular apertures, the rear with door matching the front, on moulded skirt base (formerly ebonised), 46cm (18ins) high excluding handle.
Lot 134
A rare George II ebonised table clock with moonphase Thomas Hatton, London A rare George II ebonised table clock with moonphase Thomas Hatton, London, mid 18th century The six pillar twin fusee bell striking movement with Ho-Ho bird inhabited foliate scroll engraved backplate centred with a basket of flowers, the 7 inch brass break-arch dial with calendar and shaped false bob apertures and vestigial alarm disc 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 and pierced steel hands, the angles with applied Indian mask and rococo scroll cast brass spandrels beneath rolling moonphase calibrated for age of the moon and times for high water to the outer edge of the disc over leafy rosette engraved lunettes and with deep herringbone border to the arch, the bell top case with hinged brass carrying handle over foliate scroll pierced upper quadrant frets to the glazed front door, the sides with conforming shaped frets over break-arch glazed apertures, the rear with door matching the front set within the frame of the case, on moulded skirt base with later bracket feet, (movement with losses), 45cm (17.75ins) high excluding handle. 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. Thomas Hatton is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working from Old Bailey, London from before 1757 until 1774. In 1773 he published the work Introduction to the Mechanical part of Clock and Watch Work.
Lot 124
An Irish George II mahogany table timepiece Phil An Irish George II mahogany table timepiece Phil. Cusack, Wexford, mid 18th century The four pillar single fusee movement with verge escapement incorporating sprung 'silent' pallets regulated by short bob pendulum, the 7 inch brass break-arch dial with shaped false bob aperture to centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Phil. Cusack, WEXFORD to lower margin, with pierced steel hands and angles applied with rococo scroll cast spandrels beneath arch centred with silvered calendar ring flanked by Indian mask and scroll cast infill mounts, the inverted bell top case with hinged brass carrying handle over complex mouldings to leading edges, the front with full width break-arch glazed door incorporating caddy moulded angles, the sides with break-arch windows and the rear with conforming glazed rectangular door set within the frame of the case also flanked by caddy moulded angles, on shallow moulded skirt base with brass ball feet, (movement with losses), 46cm (18ins) high excluding handle. Phil. Cusack of Wexford appears not to be recorded in the usual sources.
Lot 170
A George III brass mounted ebonised table clock John Holmes, London A George III brass mounted ebonised table clock John Holmes, London, circa 1790 The five pillar twin fusee bell striking movement with anchor escapement regulated by by lenticular bob pendulum with 'T' bar suspension, the backplate signed Holmes, London to centre, the 7 inch single sheet silvered brass dial with calendar aperture and repeat signature Holmes, London to centre within Roman numeral chapter ring with Arabic five minutes to outer track and subsidiary STRIKE/SILENT selection dial to arch above, the break-arch brass edged triple pad top case with brass fillet inset front door flanked by brass edged front angles and arched brass fishscale sound frets beneath hinged brass handles to sides, the rear with conforming arch-glazed door, on cavetto moulded shallow skirt base with brass ogee bracket feet, 37cm (14.5ins) high. John Holmes was born circa 1728 and is believed to have been apprenticed circa 1743-50 to Henry Hindley of York. By 1754 he had moved to London and was working from Hard Court, Holborn before setting up at 156 Strand, by Somerset House, circa 1762. In around 1779 he supervised the construction of the clock at Greenwich Hospital by Thwaites, and in 1791 he was appointed by a House of Commons Select Committee as one of the experts to assess Mudge's marine timekeepers. The current lot can be compared to a related example by Holmes which was sold at Christie's, King Street IMPORTANT CLOCKS AND MARINE CHRONOMETERS Wednesday 20th February 2008, lot 98 (for £6,875). The restrained but elegant design of both the dial and the case of the current lot is reminiscent to those produced by Mudge and Dutton at this time. This similarity in approach is also often evident when comparing longcase clocks originating from these two workshops during the latter decades of the 18th century.
Lot 118
A burr birch cased table clock The movement and dial by Charles Cabrier, London A burr birch cased table clock The movement and dial by Charles Cabrier, London, mid 18 th century, the case later The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and fine symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with shaped false bob and calendar apertures and shaped signature plate engraved Cha: Cabrier, LONDON to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, now in a Biedermeier period burr birch veneered case with brass carrying handle and scallop shell carved crest to the ogee shaped line panel bordered superstructure over complex wriggle-cut cornice, the front with conforming moulded decoration to the line-bordered hinged glazed dial aperture flanked by scroll-shaped sides and incorporating stylised scroll inlaid motifs to upper quadrants, the sides with inset break-arch windows, the rear matching the front, on conforming line-bordered generous cavetto moulded base with shaped apron and squab feet, (movement with losses), 52cm (20.5ins) high excluding handle. Charles Cabrier senior was probably a Huguenot immigrant who is recorded in Loomes Brian CLOCKMAKERS OF BRITAIN 1286-1700 as admitted by redemption into the Clockmakers' Company in 1697/8. He is thought to have worked in Lombard Street and had a son of the same name who was apprenticed to him in 1717. Charles junior gained his freedom of the Clockmakers Company in 1726 and possibly worked with his father until the latter's death in around 1736. He served as Warden of the Clockmakers' Company in 1750 and was appointed Master in 1759. Records suggest that Charles junior worked ¾hind the Royal Exchange' and had a son who he also named Charles who was made free of the Clockmakers' Company by patrimony in 1756 and is believed to have worked until his death in 1777. The Cabrier dynasty were fine makers who supplied clocks for various export markets including Russia and France. Perhaps their most famous surviving work is a magnificent pair of ormolu mounted japanned musical automaton table clocks reputedly made for the King of Nepal in around 1770 (illustrated in Barder, Richard, The Georgian Bracket Clock 1714-1830 page 161, colour plate 27). The movement and dial of the current lot were probably supplied with an appropriate case for export to central Europe when first made in the mid 18 th century. The clock would have then been re-cased locally in the early 19 th century in order to 'update' the appearance of clock in the fashionable Biedermeier style which was at its height during the second quarter of the 19 th century.
Lot 89
A brass inlaid mahogany bracket clock Unsigned A brass inlaid mahogany bracket clock Unsigned, first half of the 19th century The four pillar twin chain fusee gong striking movement with anchor escapement regulated by starburst decorated lenticular bob pendulum, the backplate engraved with circular starburst motif over floral spray flanked by leafy pendants, fitted with an 8 inch circular cream painted convex Roman numeral dial with pierced steel hands set within slender cast brass convex glazed hinged bezel, in an arched case with ebonised cavetto cornice over dial and brass fillet edged recessed shaped apron panel centred with inlaid lozenge flanked by stylised fleur-de-lys motifs, the front angles with full height brass line decorated slender strip uprights and the sides with brass floral basket ring handles over rectangular fishscale sound frets, the rear with arched door now with baize-covered brass grille insert to aperture, on ebonised fluted band decorated skirt base with brass ball feet, 46.5cm (18.25ins) high; with a later mahogany wall bracket with arcade border to table and curved support, the clock and wall bracket 68cm (26.75ins) high overall, (2).
Lot 91
A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London, circa 1830 The five pillar twin fusee movement with anchor escapement regulated by small disc-bob pendulum and striking the hour on a bell fitted to the shouldered backplate over pendulum holdfast bracket and engraved signature Dwerrihouse, Ogston & Bell to lower margin, the 4 by 6 inch cream painted Roman numeral arch dial with blued steel spade hands over husk bordered oval signature cartouche inscribed Dwerrihouse, Ogston & Bell, DAVIES STREET to lower margin, the ebonised case with shallow hipped chamfer pediment and cavetto cornice over silvered brass fillet inset arch glazed front door with canted angles, the sides with rectangular brass fish scale sound frets, the rear with rectangular glazed door with conforming canted angles, on moulded skirt base with brass bun feet, 25cm (9.75ins) high. The partnership of Dwerrihouse, Ogston and Bell are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working at Davies Street, London in 1832.
Lot 141
A fine George I ebony quarter-repeating table clock in the manner of Tompion... A fine George I ebony quarter-repeating table clock in the manner of Tompion and Graham Daniel Quare and Stephen Horseman, number 226, circa 1720 The six finned pillar twin fusee bell striking movement with verge escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall rate adjustment beam to suspension, the pull-quarter repeat train sounding the hours and quarters on a graduated pair of bells on demand, the fine backplate engraved by 'G.515' with basket of flowers and Ho-Ho bird inhabited symmetrical foliate strapwork around a central scroll-bordered reserve signed Dan: Quare & , Ste: Horseman, LONDON beneath serial number 226 flanked by winged figures over eagle-headed scrolls to lower margin, the 7.5 by 6.625 inch rectangular gilt brass dial with shaped false bob and calendar apertures to the finely matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and gilt Indian mask and foliate scroll cast spandrels to lower angles, the upper margin with conforming cast infill interrupted by subsidiary Strike/Silent and regulation dials flanking repeat signature Daniel Quare & , Stephen Horseman, London No. 226, the ebony inverted bell-top case of typical Tompion 'phase III' design with generous hinged gilt brass carrying handle over double cavetto top mouldings and full-width front door applied with raised mouldings to the glazed dial aperture and with foliate scroll pierced lozenge sound fret to the upper rail, the sides with break-arch windows applied with conforming raised mouldings, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base now fitted with brass ogee bracket feet, 42cm (16.5ins) high excluding handle. Daniel Quare is an important maker who is recorded on Loomes, Brian The Clockmakers of Great Britain 1286-1700 as born in Somerset circa 1647/8; by 1671 he had moved to London as he was admitted as a Free Brother to the Clockmakers' Company in April of that year. Quare initially worked in St. Martin's Le Grand, London (where he married in 1776) later moving to Allhallows, Lombard Street in 1681, before finally relocating to Exchange Alley where he is believed to have taken-on the former premises of Robert Seignior in around 1686. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1717/18 he is believed to have taken his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European Royal and aristocratic clients. As a committed Quaker he refused to sign the Oath of Allegiance in 1697, however as a much respected maker, he was still able to discreetly supply the court of William III. Daniel Quare is believed to have started numbering his clocks and barometers in around 1704 (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology - Masterpieces from The Tom Scott Collection page 308), this numbering sequence continued into Quare's partnership with Stephen Horseman with the last known clock in the sequence being number 299 - a walnut eight-day longcase clock which was sold in these rooms on Wednesday 20th February 2013, lot 152. The current lot can be best described as a Quare and Horseman version of the standard Tompion/Graham 'phase III' design of table clock as illustrated and categorised in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS on page 155. Indeed the case is basically identical to a table clock signed by both Tompion and Graham (number 537) illustrated by Evans, Carter and Wright on pages 187, 189 and 368-9. From this it can be deduced that Quare and Horseman sought to obtain the case of the current lot from Tompion's casemaker in order to produce a clock very closely resembling that of their competitor. In addition to obtaining a 'Tompion' case Quare and Horseman also employed one of his engravers to execute the decoration on the backplate as well as the dial. Indeed the elements of symmetrical foliate strapwork on the backplate can be closely compared with that on Tompion and Graham number 537, although the current lot goes further with its decorative motifs by incorporating winged angel figure terms and eagle heads bordering the elaborate signature cartouche. It is perhaps interesting to note that the current lot departs from Quare's preference for break-arch dials which he adopted almost unanimously for his table clocks from circa 1704 onwards (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces from the Tom Scott COLLECTION page 278). Perhaps the reason for this was to satisfy the specific request of a client who favoured the rectangular dial layout characteristic of Tompion's work at this time. The fact that Quare and Horseman were able to employ Tompion's case maker and engraver to complete the clock demonstrates a mutual business relationship between the two competing workshops. This 'relationship' is further supported by the existence of a group of seven table clocks signed by Quare which employ movements made in Tompion's workshop which are comprehensively discussed by Garnier and Carter, pages 286-95. The overall quality of the movement of the current lot is of the best Quare and Horseman workmanship with precisely cut steelwork and use of scroll-shaped cocks for some of the underdial work. The clock also appears to have survived in fine original condition with no evidence of alteration or significant restoration.
Lot 68
Subbuteo table soccer Continental Club edition game in original box together with other Subbuteo table soccer games including Club edition, together with a Subbuteo England 00 scale team in fitted box and Cluedo and Carpet Golf vintage board games. (8) CONDITION REPORT: Condition report on request but not checked if complete.
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