A Victorian rosewood four-glass table clock Dent, London, mid 19th century The five pillar bell striking twin chain fusee movement with anchor escapement and pendulum holdfast to backplate, the 8 inch square silvered brass Roman numeral dial signed DENT, London to centre, with fine scroll engraved infill to spandrels and steel Breguet style moon hands, the case with bevel-glazed rectangular aperture to the tablet upstand above cavetto cornice and silvered brass fillet bordered front door, the sides with further rectangular bevel-glass panels, on ogee outline apron base with shallow moulded skirt and squab feet, 37.5cm (14.75ins) high. Edward John Dent was a talented horologist who at the age of 17 transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1814 he was becoming well known as a watch and clockmaker receiving commissions from the Admiralty for a `Standard Astronomical Clock` and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks. In 1852 Edward Dent successfully tendered to make the Great Clock to be housed in St. Stephens Tower at the New Palace of Westminster. The clock was completed in 1859, apparently at financial loss to the firm, however it ensured that the Dent name became a household name synonymous with fine clockmaking. After his death in 1853 the firm was continued by his successors and was still trading well into the latter half of the 20th century.
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A French Louis XIV style boulle `religeuse` table clock Unsigned, mid to late 19th century The rectangular movement with outside countwheel hour strike on a bell mounted within the superstructure of the case, the 8 inch wide black velvet covered rectangular dial plate applied with part-burnished gilt Roman numeral chapter ring with cruciform half hour markers and with fine pierced and engraved brass hands above waisted foliate scroll strapwork cast apron mount, the case with drapery urn finials to the domed superstructure decorated with fine engraved brass and pewter foliate scroll marquetry on a red-stained shell ground above brass baluster gallery inset frieze incorporating projecting canted pedestals for the second tier of flambeau urn finials to angles, the front with raised gilt brass moulding for the 10 by 7 inch arched glazed dial aperture within fine brass and pewter scroll decorated surround flanked by full Corinthian columns with entwined leafy trail decorated shafts to the projecting canted angles, the sides with arched gilt brass edged glazed windows within conforming marquetry panel-divided borders, on shallow complex moulded ebony skirt base with foliate cast bun feet, 55cm (21.5ins) high.
An impressive French Charles X ormolu mounted amboyna and burr oak portico table clock Unsigned, circa 1830 The countwheel bell striking movement with large brass and steel `gridiron` pendulum with disc shaped bob and numbered 40 to backplate, the 6.5 inch circular engine-turned gilt Roman numeral dial with sweep calendar to inner track and Breguet style steel moon hands within repeating leaf cast and chased bezel, the case with anthemion decorated gilt scroll applied swan neck crest above architectural pediment with foliate cast ogee cornice and individual gilt scroll dentils above further gilt mouldings and dial set between pairs of tapered amboyna veneered columns with finely cast and chased stylised acanthus and anthemion cast caps and bases, on stepped burr oak plinth base with conforming cast ogee moulding to skirt and scroll decorated bracket feet, 74cm (29ins) high.
A Victorian figured mahogany table clock Unsigned, circa 1860 The five pillar twin fusee bell striking movement with 8 inch circular white painted Roman numeral dial with spade hands within a canted silvered brass bezel, in an unusual arched `table regulator` type case with hinged curved flap to top section above full height arch-glazed door applied with foliate scroll carved apron to inside beneath dial, the sides with hinged rectangular glazed panels, on deep cavetto moulded skirt base with compressed bun feet, 49.5cm (19.5ins) high.
A George III ebonised table clock John Green, London, circa 1770 The five pillar twin fusee bell striking movement with verge escapement and 7 inch brass break-arch dial with shaped false bob and calendar apertures and curved signature plaque John Green, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, the angles with foliate scroll cast and pierced spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell top case with brass carrying handle above front door with raised mouldings to dial aperture and sides with circular over concave-topped side windows, the rear with door matching the front set within the frame of the case, on cavetto moulded skirt base incorporating shaped apron, 48cm (19ins) high excluding handle. A John Green is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1737 and gaining his Freedom of the Clockmakers` Company in 1747.
A William and Mary style ebonised quarter striking basket top table clock F.W. Elliott, Croydon for Garrard, London, `The Golden Jubilee Clock` circa 1973 The four pillar two train movement ting-tang striking the quarters on two gongs and striking the hour on the larger gong alone, with platform lever escapement set between the plates and signed F.W. Elliott London beneath Reg No. 52 to the leafy foliate scroll engraved backplate, the 6.5 inch square gilt brass dial with applied repeat signature plaque to the plain centre within silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes, the angles applied with gilt winged cherub head spandrels within wheatear engraved outer border interrupted with further signature Elliott, London to lower margin, the ebonised case with hinged foliate cast carrying handle to the gilt chased and pierced winged cherub head, cornucopaie and putto decorated `basket` superstructure flanked by gilt acanthus decorated urn finials, the front door with cast lozenge-shaped fret to both rails and leaf cast dummy escutcheons to uprights, the sides with foliate pierced rectangular sound frets, on moulded shallow skirt base, 32cm (12.5ins) high excluding handle; with red velvet lined faux blue leather covered presentation box and paperwork including Certificate of Authenticity and Guarantee. The current lot is number 52 from a limited edition of 100 William and Mary style quarter striking table clocks made by F.W. Elliott of Croyden for retail by Garrard, The Crown Jewellers to commemorate the Golden Jubilee.
A fine engraved and patinated brass tripod table clock of month duration with aneroid barometer and mercury thermometer Thomas Cole, London, pre-numbered, circa 1845 The tapered two-tier movement with six-wheel train with five-spoke crossings between spotted plates, the upper section with four pillars retained by blued steel screws to backplate enclosing Vulliamy type deadbeat escapement and train as far as the centre wheel, the conforming deeper lower section containing spring barrel and 2nd wheel and with knurled hand setting screw to backplate, the 5.75 inch circular silvered Roman numeral dial with subsidiary seconds dial and small oval reserve signed THO`s COLE, LONDON to the lower margin of the fine engraved centre decorated with intense scrolling foliage on a hatched ground, with blued steel spade hands within slender moulded glazed bezel applied with foliate engraved shaped pendant cartouche incorporating winding square beneath, the dial and movement assembly resting on two turned supports fitted to the front two uprights of the tripod easel support and secured with knurled fixing screws to rear at top, the frame terminating with a disc applied with surmount cast as a curved bracket for hanging a small plumbline bob at apex and fitted with wide jaw for suspending the steel-alloy bob pendulum with fine screw adjustment to the spherical silvered brass bob beneath, the whole mounted on circular frosted gilt base with glazed demi-lune silvered barometer sector calibrated for barometric inches, with the usual observations and with gilt setting pointer set before an angled mercury Fahrenheit scale thermometer and pendulum beat scale rising to double-up as a pendulum holdfast within recessed field finely engraved with foliate scrollwork, the outer collar with conforming engraved panel infill between the supports incorporating oval repeat signature THO`s COLE, London to leading edge, on patinated brass cavetto moulded skirt base with ledge to take the original glass dome cover and with three screw-adjustable compressed bun feet, the clock 50cm (19.5ins) high; 53.5cm (21ins) high including dome, complete with original engraved gilt brass winding key. The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING. Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas. Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver `humpback` carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). The brothers then went their separate ways with James Ferguson going on to explore his technical abilities later developing a series of escapement designs including a `resilient` lever escapement (1830), a `double rotary` escapement (1840), a detached escapement calliper (1849) and an escapement with negative diameter (1859). Thomas Cole sought to specialise in small decorative timepieces of the highest quality. By 1845 he was advertising himself as a `designer and maker of ornamental clocks` and in 1851 submitted examples for display at the Great Exhibition, both under his name, and on the stands of other leading retailers such as Hunt & Roskel and Hancocks. He then went on to exhibit at the Paris Exhibition of 1855 where his entry warranted an `Honourable Mention`, and again at the British International Exhibition in 1862 where he was awarded a medal for `Excellence of taste and design`. Thomas Cole was elected to the Royal Society of Arts in June 1861; he died three years later of typhoid fever, at his home at 1 Westbourne Park Road, Paddington, leaving his second wife Charlotte and their three children (two boys and one girl). The originality and inventiveness of design coupled with the exceptional quality of finish ensured an enduring popularity for Thomas Cole`s work, mainly from the rising Nouveau Riche class of Victorians made wealthy from the Industrial Revolution. The current lot belongs to one of four designs of tripod clock produced by Cole from around 1840 to circa 1865. The engraving to the centre of the dial, with its horizontal line hatching, indicates that this timepiece belongs to his earlier phase of production (see Hawkins, THOMAS COLE.. pages 40-1), this coupled with the lack of serial number (numbering commenced circa 1846/7) would suggest a production date of around 1845.
A George II small table clock James Snelling, London, circa 1735 The six pillar bell striking twin chain fusee movement with verge escapement, rise/fall regulation and pendulum holdfast to the fine symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, the angles applied with fine unusual foliate scroll cast spandrels beneath arch with twin subsidiary Strike/Silent and regulation dials with applied shaped signature plaque James Snelling, LONDON between and fine foliate scroll engraved infill, the inverted bell top case now veneered in figured walnut with brass carrying handle above raised mouldings to the glazed dial aperture and scroll-pierced frets to the upper quadrants of the front door, the sides with circular over concave-topped rectangular foliate side frets, the rear with door conforming the front set within the frame of the case, on cavetto-moulded shallow skirt base with moulded squab feet, 38cm (15ins) high excluding handle. Provenance: purchased 15th June 1937 from James Oakes of 37 Bury Street, St. James`s, London, for £75. The purchase invoice together with further correspondence and an extract from the June 1951 edition of The Antique Dealer and Collectors` Guide featuring this clock is included with the lot. James Snelling is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as being admitted as an apprentice in 1703 and gaining his freedom of the Clockmakers` Company in 1712. He was appointed Master in 1736 and died 1751. Baillie notes him as an `eminent maker`.
A George I ebony table clock with `silent` pull quarter repeat on two bells Francis Gregg, London, circa 1725 The five finned pillar single chain fusee movement with verge escapement, rise/fall regulation via a snail shaped cam mounted to the rear of the dial and silent pull quarter repeat on two bells, the symmetrical foliate scroll and strapwork engraved backplate with central eagle motif above oval reserve signed FRA: GREGG, AT ST. JAMES`S the 5.75 inch brass break-arch dial with calendar aperture beneath XII over false bob aperture and shaped plate with repeat signature to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and drapery lambrequin cast foliate spandrels beneath arch centred with silvered regulation ring flanked by conforming spandrels, the case with generous hinged brass handle to the inverted bell top above front door with raised mouldings to the glazed dial aperture and upper quadrant frets, the sides with conforming break-arch windows, the rear with door matching the front set within the frame of the case, on cavetto moulded shallow skirt base with squab feet, 39.5cm (15.5ins) high excluding handle; with a later ebonised wall bracket with ogee mounded waist above cavetto moulded section terminating in an inverted ogee caddy, 18cm (7ins) high; the clock and wall bracket 47.5cm (22.5ins) high overall excluding handle. Francis Gregg is recorded in Loomes, Brian The Early Clockmakers of Great Britain as born circa 1677 and apprenticed to John Clowes in 1691 through to 1698, he is recorded working in Russell Street in 1711 and then in St. James`s 1714-29 when he was declared bankrupt. His work tends to be of high quality and distinctive with at least one longcase clock of month duration with annular calendar and equation of time of the type normally signed by John Topping known (illustrated in Robinson, Tom THE LONGCASE CLOCK page 232). 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 bed chamber; whilst striking clocks with quarter repeat facility were generally intended to be used 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 exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers and can be directly compared with another example by Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON`S CHOICE pages 78-9. The case is also of fine quality with generous handle, bold mouldings, break-arch side apertures and squab feet being reminiscent of those housing movements and dials by highly esteemed makers such as George Graham and Delander. An almost identical clock can be seen in the collection of the National Trust at Mompesson House, Salisbury.
A George III brass mounted fruitwood table clock with pull-quarter repeat Thomas Smith, London, circa 1770 The six pillar twin fusee bell striking movement with pull-quarter repeat on a nest of six graduated bells, the backplate engraved with asymmetric rococo foliate scrolls, the 7 inch brass break-arch dial with calendar and false bob apertures and arched silvered signature plate Thomas Smith, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with scroll cast spandrels beneath subsidiary silvered STRIKE/SILENT selection dial flanked by conforming mounts to arch, the inverted bell-top case with hinged brass carrying handle and subsidiary mouldings to the superstructure above front door with brass fillet inset glazed dial aperture and engraved brass upper quadrant frets, the sides with conforming fillet-inset circular over concave-topped rectangular fishscale sound frets, the rear with door matching the front set within the frame of the case, on cavetto moulded brass-bound shallow skirt base with cast ogee bracket feet, 49.5cm (19.5ins) high excluding handle. Several makers with the name Thomas Smith are recorded working in London during the third quarter of the 18th century, the current lot was probably made by the maker of the this name recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1763, gaining his Freedom of the Clockmakers` Company in 1770 and worked in Princes Street, Aldgate.
A George III brass mounted ebonised small table clock case Unsigned, late 18th century, the movement and dial later The current French eight-day bell striking movement with Brocot type pendulum suspension and stamped 968 to backplate, the 4 inch circular convex white enamel Roman numeral dial with blued steel hands and red Arabic numeral quarter hours within outer minute track, now fitted to the earlier brass mounted ebonised bell-top case with pineapple finial above radial gadroon cast cornice moulding and front door with convex bevel glazed brass bezel over shaped cast bead bordered panel to apron flanked by inset mouldings to angles, the sides with brass fillet bordered arched glazed apertures, on skirt base with foliate trail cast moulding and leaf decorated bracket feet, 27cm (10.5ins) high excluding finial, 32cm (12.5ins) high overall.
An unusual George III weight-driven hooded wall clock with automaton Unsigned, probably for the Chinese market, late 18th century The posted countwheel bell striking movement with verge escapement and square section corner posts, the rear of the movement fitted with secondary countwheel for operation of the automaton whilst the clock strikes via a mechanism mounted within the right-hand side of the frame, the 6.5 inch arched dial plate applied with square enamel panel centred with a circular white Roman numeral dial with Arabic quarters within blue ground green leafy spray decorated enamel to spandrels, the arch painted with a landscape incorporating shallow-arch niche enclosing portrait of gentleman in a red jacket which moves aside to now reveal a portrait bust of a Chinese courtier, the whole supported on ball turned feet onto cavetto moulded platform supported from a backboard and fitted with brass feet to resemble a table clock, now with break-arch ebonised hood with brass fillet edged arch-glazed front aperture (with restoration), 34cm (13.5cm) high. The dial of the current lot, with relatively plain Roman numeral centre within tight foliate decorated enamel spandrels incorporating `bright-cut` leaf decoration, is typical of the type often seen on clocks made by leading London makers for export to China. Indeed these features share stylistic similarities to those seen on a more elaborate clock by Perigal sold at Christies, King Street in their sale of MAGNIFICENT CLOCKS 15th September 2004 (lot 16), as well as another by Perigal offered in the same rooms sale of Important Clocks 13th December 2000 (lot 84). The automata is also a feature that would have appealed to the Chinese market and can perhaps be best described as an early English version of the cuckoo automaton seen on later Black Forest clocks.
A fine William III brass mounted ebony table clock Langley Bradley, London, circa 1700 The five finned pillar movement with verge escapement, pull-quarter repeat on a nest of six graduated bells and striking the hour on a further larger bell, the backplate signed Langley Bradley, LONDON within fine leafy scroll bordered cartouche to the symmetrical foliate scroll engraved backplate with herringbone border, the 7 inch square brass dial with canted herringbone border-engraved shaped false bob and calendar apertures to the finely matted centre within applied silvered Roman numeral chapter ring with sword hilt half hour markers, Arabic five minutes to outer track and signed L: Bradley, London to lower margin, with delicate pierced steel hands and winged cherub head cast spandrels to angles within herringbone engraved outer border incorporating S/N switch at twelve o`clock, the case with elaborate repousse double basket top surmount with fine twin cherub cast handle to the profile mask medallion scroll centred pierced upper tier flanked by small urn finials, the lower tier with relief panel of St. George slaying the dragon flanked by figural military trophies within a conforming cherub and scroll decorated field and flanked by unusual gilt urn finials with tall baluster spires, the front with unusual projecting scroll cast mounts incorporating putti holding hour-glasses and grotesque masks, the sides with rectangular glazed apertures overlaid with scroll pierced repousse panels with geometric panel bordered open centres, the rear with door matching the front set within the frame of the case flanked by conforming mounts to angles, on complex moulded shallow skirt base with fine scroll cast gilt brass feet, 44cm (17.35ins) high excluding handle. Provenance: The property of a private collector. Exhibited at The Luton Museum and Art Gallery Loan Exhibition of Art Treasures July to August 1949 (exhibit 120), subsequently with Biggs of Maidenhead and illustrated in their advert in ANTIQUARIAN HOROLOGY number 2 Volume 3, March 1960 (to rear cover). Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers` Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul`s Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton (see lot 177). Despite this embarrassment Sir Christopher Wren attempted to influence the Crown`s potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as `a very able artist, very reasonable in his prices` in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain`s response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. The current lot was clearly made to impress and was a product catering for the new fashion for elaboration made popular by the Williamite Court at the turn of the 18th century. Although double-basket top clocks do survive they are relatively scarce, perhaps due to the inherent fragility of the superstructure. The cast mounts applied to the angles of the current lot are highly unusual and depart from the usual repousse adornments often seen on basket top clocks. However these mounts do appear to be original and perhaps indicate a Continental influence, as similar configurations are sometimes seen on the last of the great German Augsberg-type table clocks dating to the third quarter of the 16th century. The incorporation of putti holding hour-glasses within the design is a horological reference which adds further credence to their originality.
A fine George III brass mounted mahogany quarter-chiming table clock with enamel dials Herman Diedrich Sporing, London circa 1765 The seven pillar triple fusee movement with rise/fall regulation to the verge escapement, chiming the quarters on a nest of six graduated bells and striking the hour on a further larger bell, the backplate engraved with delicate asymmetric foliate scrolls with pendulum holdfast hook to lower left hand corner, the 7 inch brass break-arch dial plate with applied circular convex white enamel dial signed HERMAN DIEDRICH SPORING, LONDON to centre and with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with two conforming subsidiary enamel dials for Strike/Silent selection and regulation within delicate foliate scroll engraved field, the bell top case with pedestal surmount capped with a pineapple finial above brass collar and four further finials to superstructure, over front with scroll cast upper quadrant frets and fillet inset glazed dial aperture to door flanked by cast female caryatid applied canted angles, the sides with generous hinged carrying handles above conforming concave topped rectangular side windows, on moulded shallow skirt base with foliate scroll cast bracket feet, 46cm (18ins) high excluding top finial and pedestal, 56cm (22ins) high overall. Herman Diedrich Sporing was Finnish by birth and was one of the `four gentlemen of the faculty` employed by Joseph Banks to accompany Captain James Cook (then Lieutenant) on his first voyage on H.M.S. Endeavour 1768-71. Born in Turko, Finland, 1733 Herman Diedrich Sporing was initially destined to follow his father (of the same name) by studying to become a physician at Turku University (where his father was Professor), before going onto Stockholm to continue his training. Whilst in Stockholm Sporing decided to go to sea (1755) which lead him to settle in London where he trained as a watch and instrument maker (although it appears that he never gained his freedom of the Clockmakers` Company). It was at this time that he befriended Dr. Daniel Solander, a Swede of the same age who also had medical training, who in turn introduced Sporing to Joseph Banks. It was through Banks that both Solander and Sporing were enlisted on H.M.S. Endeavour, with Sporing taking the position of Assistant Naturalist to Banks. The primary official purpose of Cook`s voyage was to ensure that the astronomer, Charles Green, was able to undertake observations of the transit of Venus from Tahiti which was due to take place on 3rd June 1769. The Endeavour landed at Tahiti in plenty of time allowing Lieutenant Cook to construct `Fort Venus`, an elaborate fortified structure from which the observations can be made. Unfortunately, shortly before the event was due to take place, the astronomical quadrant (supplied by Bird) was stolen by local islanders and disassembled. Fortunately all of the parts were recovered by the party of men sent out charged with the task and Sporing (as a trained watch and instrument maker) reassembled the instrument. On the day of the transit Sporing was detailed along with Dr. Jonathan Monkhouse to accompany Lieutenant Gore and Banks to proceed to nearby York Island (Moorea) where Sporing and Monkhouse were to undertake secondary observations. Lieutenant James Cook, a trained astronomer in his own right, clearly found Sporing to be useful at this time; no doubt his abilities as a watch and instrument maker were also crucial to his purpose, as the inventory of instruments was extensive and included a portable longcase regulator by John Shelton. The observation data gathered was eventually transferred to the Admiralty for dispatch to the Astronomer Royal Neville Maskelyne (during the ill-fated stop-off at Batavia on the return leg of the voyage). This data, along with other observations of the same event taken around the globe, were used by Thomas Hornsby to calculate a fairly accurate approximation of the distance of the Earth from the Sun. After the observations had taken place Lieutenant Cook opened sealed orders from the Admiralty which instructed him to seek the position of the great Southern Continent. Charged with these instructions H.M.S. Endeavour proceeded to eventually find New Zealand. During the seven month circumnavigation of the islands Sporing`s primary role was to produce drawn records of fauna and flora (most of the surviving drawings are now held in the British Museum). On the 2nd November 1769 the Endeavour was assaulted by Maori war canoes whilst off Motuhora Island (Whale Island). During this attack Sporing drew details of the canoes and the Maori`s themselves, these drawings along with those of the previous month depicting the arched rock at Tolaga Bay are the earliest images of Maori culture recorded by a Westerner. In recognition of Sporing`s efforts Lieutenant Cook named a small island after him (in Tolaga bay near present day Gisborne) which has now quite rightly reverted back to its Maori name `Pourewa`. Leaving New Zealand H.M.S Endeavour proceeded onto Australia with the `first landing` at Botany Bay taking place on 29th April 1770. During the eight-days spent at Botany Bay Sporing was extremely busy recording the overwhelming quantity of new fauna and flora. Perhaps the best known of Sporing`s drawings from Botany Bay are those of a stingray and banjo shark which were observed from fresh specimens. From Botany Bay Cook headed northwards, up the Eastern Coast of Australia, until H.M.S. Endeavour was seriously holed on the Great Barrier Reef. The vessel was skilfully beached by Cook for repairs near a small river outlet, now called The Endeavour River, near modern day Cooktown in Queensland. It was during these two months of being laid-up that the first kangaroos were seen; on the 14th July one was shot by Lieutenant Gore and examined by Sporing and his fellow Naturalists. Once the vessel had been successfully refloated Cook proceeded (beyond the Great Barrier Reef) northwards until he eventually landed at Batavia on 10th October 1770. By this time H.M.S Endeavour was somewhat worse for wear so was docked for repairs. By 7th December she was ready to depart for the home leg of the voyage and left on Christmas Day 1770 bound for the Cape of Good Hope. Unfortunately whilst at Batavia the crew had been exposed to disease, such as malaria and dysentery, which resulted in disastrous outbreaks. No less than 26 members of the crew succumbed, with Banks, Solander, Green and Sporing also falling ill. Herman Diedrich Sporing died at sea on 24th January 1771 with the astronomer Charles Green dying five days later. When H.M.S. Endeavour finally landed off Deal on 12th July 1771 she had been absent for three years and had lost 38 eight from her compliment of 100 men. The current lot can be fairly accurately dated between circa 1760 and 1768 as it would have been made during Sporing`s time in London after he had undergone training as a Watch and Instrument maker. The dial, with its applied enamel centre beneath twin subsidiaries, echoes the work of Justin Vulliamy and can be closely compared to an example by him illustrated in Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 on page 138 (colour plate 18). As the current lot is believed to have (up until recently) spent all its life in Sweden, it is probable that Herman Diedrich Sporing supplied it direct to a client in his home country of Finland - possibly his own family. This historically interesting and apparently unique clock has survived in fine unrestored condition and requires only gentle conservation to bring it back to full original working condition.
An impressive George III green chinoiserie japanned quarter-chiming table clock Thomas Eastland, London, mid 18th century The substantial six pillar triple fusee movement with verge escapement, chiming the quarters on a graduated nest of eight-bells and striking the hour on a further larger bell, the symmetrical foliate scroll and strapwork engraved backplate signed Tho:s Eastland, London to centre, the 7.5 inch brass break-arch dial with calendar and false-bob aperture signed Tho Eastland London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes and unusual fine foliate cast and pierced gilt spandrels to angles beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the elaborate case with gilt pineapple finial to the bell-top upstand decorated in raised polychrome and gilt with oriental figures conversing above gilt blind fret infill and four further finials to the break-arch cornice, the front with figural panels within trellis borders to door surround flanked by finely cast and chased bare-breasted female terms with fabric drapery and scroll terminals issuing inverted floral sprays to the canted angles, the sides with brass handles over concave-topped rectangular windows, the rear matching the front, on floral panel centred gilt trellis decorated concave moulded skirt base incorporating shaped apron and bracket feet, 58.5cm (23ins) high excluding top finial; 63.5cm (25ins) high overall. Thomas Eastland is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1744-51.
A George III ebonised musical quarter-chiming table clock Thomas Green, Bristol Hotwell, dated 1789 The six pillar triple fusee movement with original anchor escapement, chiming phrases for the quarters on a graduated nest of eight-bells and completing `Queens` melody on the hour before striking hour on a larger bell, the delicate open foliate-scroll engraved backplate signed Thomas Green, Hotwell, BRISTOL, 1789 to centre and with holdfast for the original lenticular bob pendulum, the 8 inch convex white painted Roman numeral dial with repeat signature Tho. Green, BRISTOL HOTWELL to centre, with Arabic five minutes to outer track and fine pierced and engraved gilt brass hands, the inverted bell-top case with hinged brass handle and neoclassical urn finials above rectangular front door applied with cast brass convex-glazed bezel flanked by canted angles and enclosing STRIKE/SILENT switch above dial, the sides with break-arch brass fishscale sound frets, the rear with rectangular glazed door, on moulded shallow skirt base with cast brass bracket feet, 51cm (20ins) high excluding handle; with a contemporary ogee-outline front sliding wall bracket with applied brass detail to the complex table edge, waist and base mouldings, 18cm (11ins) high; the clock and wall bracket 69cm (31ins) high overall excluding handle. Thomas Green is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. The current lot is illustrated by Moore on page195.
A good 1920's oak dining room suite comprising drawleaf refectory table, eight chairs with upholstered needlework backs and seats, a breakfront sideboard, a two drawer buffet, and a three door glazed book case, each piece with carved pineapple mounts and raised on block feet.
VICTORIAN TIFFANY & CO SILVER CHRISTENING SET comprising a table fork, spoon, knife, and napkin ring, the terminals with sunflowers and acanthus leaf design, import marks for London 1897, stamped `Tiffany & Co. Sterling Pat. 1880.M, approximately 207g in total, the knife 18cm long The spoon shows evidence of an abrasive polish. Remaining items in good condition.
FIVE SILVER TABLE SPOONS AND A SILVER LADLE the table spoons with shell pattern terminals, maker CJ, London 1906, approximately 396g in total; the ladle with Edinburgh 1806, approximately 214g Spoons are undamaged, the ladle has several small dents to the bowl and the marks are very slightly rubbed
ART NOUVEAU SILVER DRESSING TABLE TRAY embossed with a scene of swans in a pond, in a surround of stylised foliate designs, Chester 1902, 27cm wide; along with a silver backed brush, similarly embossed with swans, Birmingham marks The brush is perforated through polishing in several places; the tray is undamaged, the marks are slightly rubbed though legible
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