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Lot 342
Regency rosewood card table, with brass inlay, fold-over top with rounded corners, baize-lined interior, tablet frieze, tapering column, platform with four splayed legs, width 91cm, height 78cm.Condition report:The top is quite faded, one noticable split running across the top and a couple of smaller splits, brass inlay is good, hinges are sounds and baize lining is good, swivel action works, inlay to frieze lifting slightly but is sound, coumn is good, all legs have iron strap repairs but are now stable.
Lot 357
Early Victorian inlaid walnut card table, with banding and stringing (later), tooled leather inset, baize-lined interior, fitted with two frieze drawers, turned uprights, standard ends joined by a cross-rail, width 91cm, height 71cm.Condition report:The top is good, the stringing is later and now has an inset leather surface (good), hinges are sound ane the baize lining is good, the swivel action for the top is good, legs are sound with perhaps some repairs to the joints but all is well done and sound, casters work.
Lot 359
Victorian burr walnut and marquetry writing and work table, shaped oval hinged lid enclosing a ratcheted writing surface, pen tray, compartments, frieze drawer fitted with needlework compartments, tapering box under, turned legs and rail, carved scrolled legs, width 67cm, depth 42cm, height 73cm.
Lot 367
Victorian figured walnut and marquetry card table, serpentine foldover top with elaborate foliate marquetry enclosing a baize lined interior, turned and melon fluted column, four carved scrolled legs on casters, width 92cm, depth 46cm, height 71cm.Condition report:The top surface has some veneer bubbling to the left edge and rear right corner veneer repaired, marquetry to the top is good, the hinges are sound and the top encloses a blue baize lining which is in good condition, the inlay to the frieze is good, the column is in good condition but there is a conection rod that screws the column which is a little loose, one leg is slightly loose with some veneer cracks around the joint and this does require some attention.
Lot 375
A Sinhalese ebony and specimen marquetry occasional table, after designs by Thomas King, circa 1840, hexagonal top inset with radiating fan design, outlined in ebony, ivory and white metal borders, carved edging, single frieze drawer, raised on curved and carved supports on pediment, width 55cm, depth 47cm, height 72cm.Ivory Act 2018 Registration Reference; K1F1TYHA
Lot 378
Edwardian painted satinwood centre table, in the manner of Edwards & Roberts, oval top with central painted panel of frolicking cherubs, within a silk and floral border, similarly decorated frieze and square tapering legs, the top 85x56cm, height 78cm.Condition report:The top is in good condition, minimal marks and the paintwork in good condition, has been under glass (four brass catches drilled into the sides of the top - one catch damaged), the frieze is generally good, one small area of bubbling veneer, three of the legs have a small amount of movement in the joints, otherwise sound. Further images have been uploaded to the lot page on our website for you to view.
![[A H Payne], Payne's Orbis Pictus or Book of Beauty for Every Table, Dresden & Leipzig [1851], half calf, 4to, 28x23cm; T](https://cdn.globalauctionplatform.com/40ceccd6-0887-4c35-8763-aef901063ead/95274959-6d82-4243-b112-af0100bc1550/468x382.jpg)
Lot 65
[A H Payne], Payne's Orbis Pictus or Book of Beauty for Every Table, Dresden & Leipzig [1851], half calf, 4to, 28x23cm; The Vanity Fair Album, volume XII, 1880; Gleeson White (Ed), The Master Painters of Britain in four vols, circa.1900; and the Magazine of Art Illustrated, 1891, 1893, and 1894.Qty: 9
Lot 1
A PAIR OF REGENCY FIFTEEN-INCH LIBRARY GLOBESJ. and W. CARY, LONDON, 1820The terrestrial sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating circular cartouche inscribed CARY'S, NEW TERRESTRIAL GLOBE, Drawn from the most recent, GEOGRAPHICAL WORKS, shewing the whole of the New Discoveries, with the, TRACKS of the PRINCIPAL NAVIGATORS, and every improvement in Geography, to the present Time., LONDON: London. Published by J. & W. Cary, 181 Strand, Nov'r 24 1820., extensively annotated with fully graduated equatorial calibrated in minutes and degrees, ecliptic and meridians, the Pacific ocean with an analemma TABLE of EQUATION, many explorers' tracks and numerous notes and dates, Antarctica with no land shown but 71.10 the most South'n Latitude of Capt. Cook, Vast Islands and firm fields of ice and other notes, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief; the celestial with rectangular panel inscribed CARY'S, NEW CELESTIAL GLOBE, ON WHICH, are carefully laid down the whole of the, STARS AND NEBULAE, contained in the Catalogues of, Wollaston, Herschel, Bode, Piazzi, Zach & c., Calculated to the Year 1820, Made & Sold by J. & W. Cary 181 Strand London 1818, the axis through the celestial poles, with fully graduated equatorial and ecliptic with twilight zone, the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown to eight orders of magnitude with clusters and nebulæ and labelled; both spheres with engraved brass hour dials to the poles and pivoted within brass meridian circles divided for degrees, the hand-coloured engraved paper horizon rings with compass points and degrees in both directions, pictorial representations of the Zodiac, calendar scales and wind directions; each supported on a mahogany tripod stand incorporating four quadrants supporting meridian ring over baluster upright and downcurved supports terminating with tapered feet fitted with brass castors, (both unrestored with some historic damage).100.5cm (39.5ins) high, 52.5cm (20.75ins) diameter. The celebrated Cary family business of scientific instrument and globe makers was established by John Cary at Johnson's Court, Fleet Street, London in 1782 moving to a new address at 'Corner of Arundel Square', Strand the following year. He was primarily an engraver of maps, charts and globes who moved again in 1783 to 188 Strand. By 1791 he had entered into what appeared to be a relatively casual partnership with his brother, William; this partnership lasted until circa 1816 by which time William and John Cary had moved again to 181 Strand before finally settling in 86 St. James in 1820. The following year he was succeeded by his sons, John (II) and George Cary, who continued from the firm's 181 Strand address until 1851/2 when the business was acquired by Henry Gould.Condition Report: Terrestrial - The sphere is in original unrestored condition with good mellow yellowed finish to the varnish and printing clear. The Atlantic has a bump/bruise approximately 3 inches across which includes a couple of very small losses to the plaster and has three or four cracks radiusing out to around six inches form the centre of the bruise. There is also a concentric scuff towards the South pole. Sphere otherwise is in good condition with damage limited to slight movement/cracking at the top pivot and varnish rubbing/wear. Areas of old vanish rubbing/wear have taken on dark finish hence they exhibit as dark spots/patches, more recent varnish rubbing is noticeable around the equator. The brass ring and hour circles are present and undamaged but have oxidised to a dark chocolate brown colour. The stand is intact with no breaks or losses; a section of the horizon ring is a little loose with an angled crack through Sagittarius and the papers are fairly heavily worn between Aquarius and Gemini. The mahogany base is a little faded/dry in colour.Celestial - In similar condition to the terrestrial with a smaller bump (approx. 3 by 2 inches) to the left of Orion; this bump appears to be very localised with no noticeable more extensive cracking evident. Faults otherwise generally limited to historic varnish rubbing and grime including drip of paint (or something similar) to the upper hemisphere which most likely could be cleaned-off. The stand is in sound condition with overall patchy discolouration and dirt staining to the horizon papers; the ring itself is a loose on its joints but undamaged.Please see/request further images which form part of the condition report.Condition Report Disclaimer
Lot 138
A GEORGE III GREEN JAPANNED TABLE TIMEPIECETHE DIAL INSCRIBED FOR TIMOTHY PROSSER, MONMOUTH, LATE 18th CENTURYThe four finned pillar single fusee movement with verge escapement incorporating sprung 'silent' pallets regulated by short bob pendulum, the backplate engraved with generous asymmetric foliate scrolls around a basket of fruit within a repeating leaf border, the 7 inch white painted Roman numeral break-arch dial with false bob aperture to centre and with scroll pierced steel hands beneath arch inscribed Timothy Profser, MONMOUTH, The green japanned case with hinged brass carrying handle to the bell-top superstructure decorated in in raised gilt with pagoda pavilion within a garden landscape to front and with leafy sprays to angles, over double-cavetto top moulding painted with gilt bands with repeating leaf motifs, the opening front with glazed dial aperture within frame decorated with relief-work gilt floral sprays divided by trellis panels and incorporating scroll-cast brass fretwork inserts to upper quadrants, the sides with conforming painted infill around the glazed circular over concave-topped rectangular apertures, the rear also decorated and incorporating a break-arch window to the rectangular door set within the frame of the case, on ogee-shaped skirt base decorated with gilt leafy band to the cavetto top moulding and scrollwork to the cut-out shaped apron flanked by integral bracket feet, with a gilt line painted black japanned wall bracket, of tapered ogee form with projecting lip over gilt-line panels and conforming gilt repeating leaf decorated pendant, (2).The clock 51cm (20ins) high with handle down, 30cm (29.75ins) wide, 18cm (8ins) deep; the clock and the wall bracket 69cm (27.25ins) high overall. A Timothy Prosser is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Monmouth 1830-44. The current timepiece can be dated on stylistic grounds to around 1780 (from details such as the foliate engraved backplate and form of the green japanned case); hence the signature therefore must either relate to an earlier unrecorded maker of that name (perhaps father or uncle) or was added by the later maker prior to selling on.Condition Report: The movement is in clean working condition and appears all-original with no visible alteration or noticeable replacements. Spare holes in the movement frontplate would suggest that the present dial is a replacement (although the movement appears to be original to the case). The dial has been refinished hence we can offer no assurances as to whether Prosser was actually the maker of the timepiece. The present dial finish shows some slight wear to the signature and numerals.The case is in sound original unrestored condition however shows overall wear and grime build-up to the finish; the apron has some retouching to the gilt scrollwork. Both the front and rear doors retain their original locks and hinges but there are no case keys present. Faults are limited to bumps, scuffs, wear, grime build-up, discoloration/patination and other age-related blemishes. The bracket is later in date (20th century) and has some lifting/flaking to the finish most noticeably to the pendant at the base.There is no winding key or case key present with the current timepiece. Condition Report Disclaimer
Lot 143
AN AUSTRIAN OAK CASED TABLE CLOCK WITH TRIP-HOUR REPEATKOTL, VIENNA, THIRD QUARTER OF THE 18th CENTURYThe four baluster-pillar twin standing barrel bell-striking movement with verge escapement and silk pendulum suspension, the 6 inch brass break-arch dial with vestigial alarm disc, concentric band decorated winding holes and scroll-bordered shaped false bob aperture to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes beyond the arcaded minute ring and signed Kotl, Wien to lower margin, with pierced steel hands and winged cherub mask spandrels to angles beneath arch centred with a Schlagt/Nicht Schlagt selection dial flanked by leafy scroll engraved infill, the case with elaborate scroll cast hinged carrying handle to the inverted bell-top superstructure with brass flambeau urn finials to angles, over front door applied with repeating leaf decorated gilt gesso surround to the glazed dial aperture and with scroll pierced and engraved upper quadrant frets enclosing conforming gilt border to the dial mask behind, the sides with lozenge-shaped apertures over break-arch windows and the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base with disc feet, (alarm mechanism removed).44cm (17.25ins) high with handle down, 28cm (11ins) wide, 16cm (6.25ins) deep. Antoni Kotl (junior) is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Vienna during the 18th century with a striking and repeating bracket clock by him residing in the Feill collection.Condition Report: Movement is in working condition and appears complete and fundamentally original except for the alarm which is no longer present and will require a pendulum. The bell hammer is currently broken (but is present with the clock) and the strike/silent function appears to have been adapted and is not currently functioning correctly. The movement is somewhat dirty/discoloured hence a clean/service is advised. The dial has lost its silvering to the chapter ring and selection dial to arch and is generally dirty/tarnished otherwise is in sound original condition. The movement and dial are original to the case.The case is in sound original condition; the handle and horizontal top pad to the superstructure is currently detached (just requires gluing back on). The right hand side top mouldings are also detached with one having a small break - again all bits are present hence should be a straightforward repair. Otherwise faults to the case are very much limited to minor shrinkage, bumps, scuff and wear as well as some light historic worm damage (not particularly visible and long gone).Clock does not have a pendulum, however a case key and winder are present. Condition Report Disclaimer
Lot 150
A GEORGE III MAHOGANY TABLE CLOCKJOHN GREEN, LONDON, CIRCA 1775The five pillar twin chain fusee bell-striking movement now with anchor escapement regulated by lenticular bob pendulum, the 7 inch gilt brass break-arch dial with calendar and false bob apertures and applied with shaped silvered plate signed John Green, LONDON to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a subsidiary Strike/Silent selection dial flanked by conforming mounts, the mahogany bell-top case with hinged brass carrying handle to superstructure over double cavetto top mouldings and hinged front with raised mouldings around the glazed dial aperture and etched glass panel infill to the upper quadrants, the sides with circular over concave-topped rectangular apertures and the rear with break-arch glazed door incorporating conforming quadrant panels set within the frame of the case, on cavetto moulded skirt base incorporating shaped apron and integral bracket feet.47cm (18.5ins) high with handle down, 28cm (11ins) wide, 18cm (7ins) deep. Several makes with the name John Green are recorded in Baillie, G.H Watchmakers & Clockmakers of the World as working in London during the latter half of the 18th century, however the most likely maker of the current lot is one of that name listed as working from Goswell Street in 1799.Condition Report: Movement is complete. The going train has been converted from verge escapement with short bob pendulum to anchor escapement. The conversion has been done with minimal intervention to the plates hence re-conversion could be done leaving minimal evidence of the present configuration. The strike train appears complete, all-original and in sound condition although is presently fully wound and not operational through to being jammed. It is likely that this is due to the under-dial work requiring adjustment hence would probably not add significant cost to the expense of a clean/service which the movement requires as a matter of course. The movement and dial appear original to the case and is secured into the case by brass angle-brackets. The dial is in fine clean condition with faults limited to slight mellowing of the silvering. The case is generally intact and in sound structural condition. The handle is original with good strong gilt finish; the bell-top superstructure and top mouldings are in good condition with faults limited to a few small bumps and slight historic shrinkage. The front door is lacking the raised moulding bordering the aperture to the right-hand side including the small horizontal section abutting the arch. The curved section for the arch is currently detached but present with the clock. Both the front and rear doors retain their original locks and hinges. Both sides are in good condition. The rear door is missing the fillet moulding to the right hand upright bordering the aperture; there is no glass and the frame has some movement to the lower left hand joint of the frame. The etched/frosted glass panels are 19th century replacements; one circular panel is incomplete and detached. The bottom mouldings have slight bumps and bruises and the base skirting has losses to the veneer at the rear left corner. The front right corner also has a small loss. Generally a sound clock which will respond well to cost effective restoration. Clock has a pendulum but no winder or case keys. Condition Report Disclaimer
Lot 152
A GEORGE III BRASS MOUNTED MAHOGANY QUARTER-CHIMING TABLE CLOCK WITH FIRED ENAMEL DIAL INSERTSJOHN TAYLOR, LONDON, CIRCA 1780 The six pillar triple chain fusee movement with verge escapement regulated by short bob pendulum, striking the hour on a bell and chiming the quarters on a graduated nest of eight bells, the rococo scroll engraved backplate centred with an obelisk set on a pedestal within double-line border, the 8 inch brass break-arch dial plate applied with circular enamel Roman numeral circular centre with Arabic five minutes to outer track, with pierced and engraved brass hands set within rococo scroll engraved surround continuing up into the arch to envelop the subsidiary enamel Strike/Silent dial inscribed John Taylor, London to centre, the brass mounted bell top case capped with urn finials to the flame veneered superstructure and double cavetto top mouldings, over front door with inset gilt brass fillet moulding to the glazed dial aperture, rococo scroll cast upper quadrant frets flanked by canted angles adorned with fine female caryatid and tied rose drapery cast mounts, the sides with hinged handles over break-arch sunburst cherub mask and rococo scroll cast sound frets, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded shallow skirt base with generous leafy scroll cast feet.56cm (22ins) high overall, 35cm (13.75ins) wide, 24cm (9.5ins) deep. Several makers with the name John Taylor are recorded working in London during the late 18th and early 19th centuries, however the most likely maker of the current lot is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmaker's Company in 1796 and may be the same maker who is subsequently listed as working from Clerkenwell 1805-24.
Lot 154
A GEORGE II EBONISED TABLE CLOCKTIMOTHY VERNIER, LONDON, CIRCA 1740The five pillar twin chain fusee bell striking movement with verge escapement regulated by short bob pendulum incorporating scroll engraved apron to the backcock, the backplate with pendulum holdfast hook and boldly signed Tim:'y Vernier, LONDON within a generous herringbone engraved border, the 6 inch gilt brass dial with calendar and shaped false-bob apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll pierced steel hands and applied lambrequin decorated mask and scroll spandrels to angles beneath arch centred with a silvered boss engraved Tim:'y Vernier, LONDON within turned surround flanked by conforming Indian mask and scroll cast mounts, the inverted bell-top case with hinged bras carrying handle over ogee and cavetto top mouldings, the front with break-arch glazed door bordered with raised mouldings to the aperture and with scroll-pierced frets to the upper quadrants flanking the arch, the sides with stall break-arch windows edged with conforming raised mouldings and the rear with full-width door matching the front, on ogee moulded skirt base with block feet.40cm (15.75ins) high with handle down, 24cm (9.5ins) wide, 16.5cm (6.5ins) deep. Timothy Vernier is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working during the middle of the 18th century.Condition Report: Movement is in relatively clean working condition ad is fundamentally original. The verge escapement has a replaced (or re-pinioned) contrate wheel; the crownwheel appears original. The bell stand has been repaired. The dial has a casting crack at the junction with the arch which has been repaired by riveting a bracing plate to the rear. The hour hand appears to be a replacement otherwise dial appears to be in sound original condition albeit with overall discoloration/tarnishing. The case is in good original condition. The interior has some scooping-out of the side uprights at the rear to allow additional clearance for the pendulum swing. The front door retains original lock and hinges, the rear has its original hinges but the lock is missing, The quadrant frets are present but there is a small loss form one of those to the rear. The right-hand side window has replaced mouldings to the arch and rear edge (of incorrect profile). Faults to the case are otherwise limited to age related bumps, scuffs, shrinkage and surface wear giving the clock an overall patinated appearance. Clock has pendulum, winder but no case key. Condition Report Disclaimer
Lot 156
AN EBONISED TABLE TIMEPIECE WITH SILENT PULL-QUARTER REPEAT AND MOONPHASEUNSIGNED, PROBABLY DUTCH, THIRD QUARTER OF THE 18th CENTURYThe four pillar single fusee movement with verge escapement regulated by bob pendulum and pull-quarter repeat sounding the hours and quarters on a graduated pair of bells positioned vertically above the plates, the 6.5 inch brass break-arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and cast mask and scroll spandrels to angles beneath arch centred with a 'penny moon' providing a visual indication for the age of the moon within outer silvered ring calibrated for the lunar month flanked by conforming grotesque mask and scroll cast spandrels, the ebonised inverted bell-top case with generous hinged cast brass carrying handle over double cavetto top mouldings and brass fillet inset glazed dial aperture and upper quadrant panels to the front door, the sides with circular over concave-topped glazed apertures, the rear with brass fillet inset break-arch glazed rectangular door, on cavetto moulded skirt with squab feet.43cm (17ins) high with handle down 26cm (10.25ins) wide, 17cm (6.75ins) deep. The current lot will sound the hours and quarters on demand only hence is of a type traditionally described as a 'silent' pull quarter repeating clock. It is thought that such clocks were made for use exclusively in the bed chamber to allow the owner to establish the time during hours of darkness (by pulling the repeat cord) without having to go to the trouble of striking a light. Due to clocks and timepieces being very expensive at that time the original owner would have been a particularly wealthy individual to be able to afford a clock for use just in the bed chamber. Indeed many full hour-striking bracket/table clocks fitted with repeat-work have a facility to silence the strike train so that they can be 'taken upstairs' at night (thus negating the need to own more than one spring clock) this is why such clocks were traditionally made with a carrying handle.The design/layout of the repeat mechanism in the current lot is based upon the system first devised by Edward Barlow and/or Daniel Quare in around 1676 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).Condition Report: The movement is fundamentally in working condition however it is a little dirty/neglected hence a clean and overhaul is advised. The repeat work is a little lazy and presently out-of-sync with the hands. The going train is operational however the pendulum requires a silk line for suspension. The plates have a couple of filled holes which are most probably form 'rethinking' by the maker at the time the clock was made rather than being evidence of subsequent alteration. The calendar and moon phase linkages are present although the latter requires adjustment. The dial is in good original condition with pleasing overall slightly mellowed appearance. The hour hand is a replacement and the left-hand winding square is a dummy. The movement rests on what appears to be its original seatboard however one of the securing bolts (threaded into the lower pillars is missing)The case is generally in sound condition retaining old surface and mellow colour to the brass elements. At some point the superstructure has come apart on lifting the case; this is evidenced by some cracking to the veneers, visible re-setting of the angles and later metal strap bracing to the inside. The appearance of the veneer cracks (although they are by no means disfiguring) can probably be improved by a good finisher. Both the front and rear doors retain their original locks and hinges and are in good condition with faults limited to a small veneer loss the rear door (at the base of the arch) The sides are also in good condition with one small veneer chip only to the right-hand side (bordering the circular aperture). The rear has some historic worm damage to the frame just below the left-hand corner of the door (historic and non-structural). The base of the case has a blanked slot indicating that a pendulum with a larger bob was once fitted requiring a slot to be cut into the case (the present pendulum has a very small bob); we do not consider this evidence of the movement and dial being 'married' to the case. The rear edge has had a slight chafer cut between the two later block feet (the front feet appear original). Otherwise faults to the case are limited to minor age-related bumps, scuffs, shrinkage and wear.Clock has a pendulum but no case key or winder. Condition Report Disclaimer
Lot 169
A WILLIAM IV CARVED AND BRASS INLAID MAHOGANY BRACKET CLOCK WITH WALL BRACKETTURNER, LONDON, CIRCA 1830The five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob half-seconds pendulum with holdfast to the centre of the backplate, over engraved signature Turner, LONDON and serial number 591 to lower left hand corner, the 8 inch circular convex cream painted Roman numeral dial inscribed TURNER, Fenchurch St., London to centre and with blued steel moon hands set behind a hinged convex-glazed moulded cast brass bezel, the case with trefoil-shaped pediment upstand set on a horizontal tablet and fronted with stylised foliate relief-carved decoration within a moulded surround, over cavetto cornice and applied leafy sprays to the upper quadrants above the dial and conforming scrollwork beneath the dial, the front angles canted and inset with brass slips and the sides with brass cornucopiae ring handles over repeating gothic arch cast rectangular sound frets, the rear with rectangular glazed door, on cavetto moulded skirt base incorporating brass panel inlay to front; with original wall bracket with conforming line inlay to the front of the table over down-curved support further inlaid with a rosette over a tapered lozenge.The clock 49.5cm (19.5ins) high; the clock and wall bracket 69.5cm (27.25ins) high, 31cm (12.25ins) wide, 18.5cm (7.25ins) deep overall. Provenance: Property removed from 8 Great Pulteney Street, Bath. William Turner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a watch and chronometer maker working from Fenchurch Street 1825-40.Condition Report: Movement is in clean working condition with no visible evidence of alteration or noticeable replacements, The dial has been re-finished but to a high standard hence now presents very well. The case is generally in fine original condition with faults very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use. The bracket is in comparable condition to the case.Clock has case key but no winder. Condition Report Disclaimer
Lot 175
Y AN IMPRESSIVE GEORGE IV BRASS INLAID MAHOGANY QUARTER-CHIMING BRACKET CLOCK WITH WALL BRACKETFRENCH, LONDON, CIRCA 1825The substantial six pillar triple chain fusee movement chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, with anchor escapement regulated by lenticular bob pendulum with holdfast to the movement backplate beneath bold engraved signature French, Royal Exchangel, London to centre, the 9 inch slightly convex cream painted Roman numeral dial signed French, Royal Exchange, LONDON to centre, with minute track to outer margin and steel spade hands set behind a hinged convex-glazed caddy-moulded cast brass bezel, the case with large gilt brass pineapple finial to the transverse scroll-shaped crest surmounting the ogee gothic-arch outline superstructure applied with brass strung ebony band to upper edges, flanked by obelisk finials capped with further pineapple finials over front decorated with stylised foliate trails to pediment and lower quadrants, flanked by inset gilt brass free-standing Corinthian columns to front angles over apron panel inlaid with opposing lyre motifs, the sides with brass repousse cornucopiae ring handles over rectangular brass gothic tracery sound frets, the rear with demi-lune over rectangular glazed arched door set within the frame of the case, on skirt base inlaid with stylised leaf decorated panel to fascia over ball feet; the wall bracket with conforming inlaid decoration to the front of the table and to the down-curved square-section tapered support.The clock 79cm (31ins) high; the clock and wall bracket 105cm (39.5ins) high, 39cm (15.5ins) wide, 23cm (9ins) deep overall. Santiago James Moore French is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Royal Exchange and Sweetings Alley, London circa 1810-40.Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The movement rests on its original seatboard and is the movement and dial are definitely original to the case. The dial retains old surface but the black numerals and script have been retouched and the dial and has been cleaned/freshened-up. The case is in fine original condition with no significant faults; blemishes are very much limited to slight veneer shrinkage and a few light bumps and scuffs. The colour/finish is perhaps a little faded/dry hence would probably benefit from a polish. The bracket is original to the clock and is in similar condition albeit of slightly darker colour and some slight unevenness to the polish/finish.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer
Lot 177
A IMPRESSIVE GEORGE III GILT MOUNTED MAHOGANY TWELVE-TUNE MUSICAL TABLE CLOCK OF LARGE PROPORTIONSEARDLEY NORTON, LONDON, CIRCA 1780The massive eleven pillar triple chain fusee movement playing a choice of twelve tunes via a 14 inch pinned cylinder on thirteen bells with sixteen hammers transversely mounted across the top of the mechanism, before sounding the hour on a further larger bell vertically mounted between the T-shaped plates each measuring 11 inches high by 18.75 inches wide at the projections, the going train with deadbeat escapement incorporating pallets visible through an arched slot cut into the backplate and regulated by 11.75 inch lenticular bob pendulum with holdfast applied just below the signature Eardley Norton London, scribed within a rococo scroll-bordered cartouche within fine rococo scroll engraving covering the entire backplate and incorporating number 1022 stamped to the right hand projection, the 12 inch brass break-arch dial applied with circular slightly convex fired white enamel Roman numeral hour disc signed EARDLEY NORTON, LONDON to centre within inner concentric calendar and with Arabic five minutes beyond the outer minute track, with fine scroll-pierced steel hands and generous rococo scroll cast spandrels to angles, beneath arch applied with a further enamel plate incorporating subsidiary STRIKE/SILENT and CHIME/NOT CHIME selection dials set within fine gilt painted stylised neo-classical scrollwork infill and the upper margin with tune selection panels inscribed MINUET five times, MARCH three times, GAVOT, AIR, DANCE and HORNPIPE, the substantial gilt brass mounted mahogany case with generous pineapple finial over concave-sided platform fronted with a fine scroll-pierced and engraved gilt brass fret over drapery swag decorated upstand, with slender cushion-capped cavetto cornice and break-arch glazed front door bordered with brass fillet mouldings to the dial aperture and with conforming engraved gilt brass sound frets to the upper quadrants, the front angles with substantial brass stop-fluted Ionic columns with gilt caps and bases and the sides with large hinged carrying handles over rectangular panels bordered with complex mouldings and inset with brass fillet-edged arch-glazed apertures (the right hand side opening to access the movement), the rear with matching frets to the concave sided upstand and upper quadrants of the break-arch glazed door flanked by caddy moulded angles, on substantial ogee moulded skirt base applied with musical trophy centred gilt drapery swag mount to front over generous acanthus decorated bracket feet.96.5 (38ins) high, 66.5cm (26.25ins) wide, 37.5cm (14.75ins) deep. Eardley Norton was thought to have been born into a farming family from Rigsby, Lincolnshire, however he was apprenticed as a clockmaker 25 May 1743 to Robert Dawson of Alford. Latterly he moved to London where he is listed as working at 49 St. John's Street, Clerkenwell between 1760 and 1794. He was member of the Clockmakers' Company being freed in 1770 and remained a member until his death in 1792. He applied for a patent for a new type of striking mechanism for both clocks and watches on 31 August 1771. Norton enjoyed Royal patronage being perhaps best known for his silver mounted four-dial astronomical clock (made in collaboration with James Ferguson F.R.S.) commissioned by George III for Buckingham House (later Palace) which still remains in the Royal Collection (RCIN 30432). He married Mary Swinnerton of Oswestry and later retired to Stonegrove House (no longer existing), Little Stanmore, Middlesex, in the parish of Whitchurch. On his death, his business was taken over by the partnership of Gravell and Tolkien. He is buried at St. Lawrence's church in Little Stanmore. A related (albeit smaller) musical movement is illustrated and discussed in Ord-Hume, Arthur W.J.G. The MUSICAL CLOCK on pages 250-51 (plate XII/10) where it is noted that Eardley Norton was one of a small number of makers who utilised the 'carriage-change system' to select tunes whereby the entire bell and hammer assembly is moved along the barrel by a leaf spring, rather than the usual arrangement where the barrel being is shunted along beneath the hammers. The 'carriage-change system' was perhaps first used by Roger Dunster and then by John Ellicott junior and provincial makers such as John Taylor of Ashton.The impressive size and quality of the current lot would suggest that it was a one-off commission no doubt for a very wealthy client as a centrepiece for an important interior. Condition Report: Movement is complete and is in clean fully-working condition including the tune selection and chime/silent and strike/silent selection dials. The movement appears to be in its original format with no visible evidence of alteration however we are aware that work has been done hence it is likely that the musical work (train, barrel and hammer assembly/carousel) have been largely re-instated but to their exact original configuration/specification. Any work that has been done has been executed to the highest standard.The dial presents as in immaculate condition but again it is likely that the enamel panels have had some restoration undertaken (again to the highest standard).The movement and dial are original to the case which is in fine condition having been cosmetically restored. The cast pineapple finial and post are most likely additions and the slender cavetto mouldings bordering the top edge of the upstand have been replaced on both sides. The mask around the dial has had a repair (insert) to the right-hand side upright (behind the veneer overlap) however the size, arch profile etc of the aperture appears to be original hence this repair is not indicative of alteration (or suggestive that the movement and dial are not original to the case). The glazed dial aperture is about 1 inch larger than the mask aperture but this would appear to be an original feature. Faults to the case are otherwise limited to minor shrinkage, a few small veneer patch repairs, re-gluing of joints and replacements to some of the small lesser mouldings; and other minor bumps, scuffs and blemishes commensurate with age.Generally a very impressive fully operational example fully restored clean condition and is complete with pendulum, winder and case key. Condition Report Disclaimer
Lot 178
A FINE GEORGE III BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE CLOCKTHOMAS GRIGNION, LONDON, CIRCA 1760The substantial six pillar triple chain fusee movement with thick plates measuring 8 by 6.25 inches, chiming the quarters on a graduated nest of eight bells with eight hammers and sounding the hours on a further larger bell, the going train with verge escapement regulated by engraved lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension and pendulum holdfast hook to the backplate, finely engraved with a basket of fruit and symmetrical foliate strapwork around a central panel signed Tho's Grignion, Covent Garden, London, the 7 inch brass break-arch dial with calendar and shaped false-bob apertures to the finely mated centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer track, with fine pierced steel hands and rococo scroll cast spandrels to angles beneath arch with twin subsidiary dials for regulation and Strike/Silent selection within foliate engraved infill and applied with a silvered shaped nameplate Tho's Grignion, Covent Garden, London to upper margin between, the bell-top case with generous hinged brass carrying handle and brass fillet mouldings to superstructure flanked by cast pineapple finials over double cavetto top mouldings, the hinged glazed front with brass fillet mouldings to the dial aperture and fine foliate engraved upper quadrant frets, the front angles inset with moulded brass slips and the sides with circular over concave topped glazed apertures incorporating conforming brass mouldings, the rear with break-arch glazed door with mouldings and frets matching those to the front but set within the frame of the case, on cavetto moulded skirt base faced in brass over cast ogee bracket feet.47cm (18.5ins) high with handle down, 28.5cm (11.25ins) wide, 20.5cm (8ins) deep. Thomas Grignion was born in 1713 the son of the Huguenot clockmaker Daniel Grignion (born 1684). Thomas presumably trained under his father but neither gained their freedom of the Clockmaker's Company. Daniel Grignion was based close to the eminent Quaker clockmaker Daniel Quare and worked for him in some capacity (most likely some form of informal journeyman) hence after Quare's death in 1724 he made use of the goodwill associated with Quares name. Thomas joined in partnership with his father in around 1730 and then worked alone in the business from around 1750. Daniel Grignion died in 1763 and Thomas in 1784.Although relatively little is known about the Grignion family surviving examples of their work is generally of unusually high quality. Condition Report: Movement is in fine original working condition. The verge escapement appears unaltered and there is no evidence of the clock having being converted to anchor escapement at some point in the past. The wheel trains appear fundamentally all-original with no noticeable replacements or significant alteration. There are two very small pivot holes to the top of the quarter train suggesting that a smaller internal fly was originally considered but was most likely found to be insufficient hence movement was completed with the external adjustable fly by the maker. The frontplate also has a spare hole to the upper right this is most likely intended for the right dial pillar which, again, was re-thought at the time of making as would have found to have limited the travel of regulation rise/fall lever. The dial is original to the movement and is in good original condition with particularly fine matting. The functions of the subsidiaries (chime/silent and regulation) are connected and are operational. The silvering and finish to the brass components have mellowed slightly and the minute hand has been repaired.The movement rests on its original seatboard (although there is a loss to the rear left hand corner of the board next to the pendulum cut-out) and the movement and dial are original to the case. The case is generally in sound original condition but would benefit from sensitive cosmetic attention. At some point the inverted bell-top superstructure has become detached and has been re-glued; and the top section is also currently a little loose. The superstructure has been re-attached by screws inserted inside from beneath which have travelled to cause a slight lift to the veneer on each side of the exterior convex section. The front convex section has a horizontal shrinkage crack. The pineapple finials are 190th century additions and both sides of the case now have non-original concentric-pierced frets to the upper apertures (would benefit from replacement with glass or engraved brass frets). Both the front and rear doors retain their original locks, hinges and engraved brass quadrant frets and are in sound condition. The surface has relatively heavily applied ebonised 'polish' hence would benefit from the attention of a good finisher to flatten-out some of the somewhat gloopy texture. The brasswork is generally a little dull/tarnished. Otherwise faults to the case are limited to slight shrinkage, and other age-related bumps, scuffs and blemishes. Clock has pendulum, crank winder and a case key. Condition Report Disclaimer
Lot 181
A FINE REGENCY BRASS MOUNTED EBONISED QUARTER-CHIMING BRACKET CLOCK WITH INTEGRAL WALL BRACKETJOHN THWAITES AND COMPANY, CIRCA 1813The substantial six pillar triple chain fusee movement chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, with anchor escapement regulated by lenticular bob pendulum swinging within the wall bracket beneath and scroll border engraved backplate boldly signed John Thwaites & Co., Clerkenwell, London to centre, the frontplate stamped with serial number 5097 to lower right hand corner, the 8 inch slightly convex cream painted Roman numeral dial signed John Thwaites & Co. Clerkenwell, LONDON to centre, with minute track to outer margin and pierced steel hands, the ebonised break-arch case with hinged carrying handle to the brass fillet edged single pad top over slender complex cornice moulding and opening front incorporating crescent-shaped scroll pieced brass fret above convex glazed cast circular bezel to the dial aperture and conforming lower quadrant frets with raised half-round moulded surrounds, the sides with arched brass fish scale frets, the rear with arch glazed panel door set within the frame of the case, on cavetto moulded skirt base resting on original wall bracket with complex moulded border to the table over brass bound frieze incorporating a lock to secure the removable inverted concave section beneath terminating with an ogee moulded foot.The clock 40.5cm (16ins) high with handle down; the clock and wall bracket together 64cm (25.25ins) high, 30.5cm (12ins) wide, 20.5cm (8ins) deep overall. John Thwaites was the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. Ainsworth Thwaites was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade; John was born in 1757 and took over the business presumably on the death of his father in 1780 before moving to Bowling Green Lane. He entered into partnership with Jeremiah Reed in 1808 and he firm subsequently became well known for supplying all forms of clocks and movements either wholesale for others to retail or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton. Ronald E. Rose in his book English DIAL CLOCKS provides data allowing clocks by Thwaites to be dated from their serial number (Appendix III page 239); from this list the serial number of the current lot suggests that it was made around 1813. A very closely related example, albeit a timepiece only, signed for Thwaites and Reed, and with provenance indicating that it was supplied to the 'H.M. Government Committee of Transports Navy Office' Whitehall, was sold in these rooms on 20th September 2016 for (lot 80) for £5,000 hammer.Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The movement retains its original seatboard and its overall configuration confirms that movement and dial are original to the case. The dial has been fully restored to a high standard and is in fine condition having only a few very light surface scratches. The case is in fine original condition with faults very much limited to minor shrinkage and a few bumps and scuffs commensurate with age and use; the finish also shows a little wear/rubbing/fading. The bracket is in similar condition; the brass strip across the front has 'sprung' slightly hence would benefit from being reset. Clock has pendulum, winder and two case keys. Condition Report Disclaimer
Lot 184
A FINE AND RARE GEORGE II GILT BRASS MOUNTED EBONISED QUARTER-STRIKING TABLE CLOCKHENRY HINDLEY, YORK, MID 18th CENTURYThe six distinctive double-baluster turned pillar twin chain fusee movement with arched plates measuring 10.25 by 6 inches enclosing greatwheels fitted to the narrow ends of the fusee cones, the going train incorporating perpendicular contrate drive from the centre-wheel to the escapement positioned at the apex of the plates, now with deadbeat escapement incorporating Brocot-type pallets positioned between the dial and the front plate (behind a shaped bridge) and regulated by half-seconds lenticular bob pendulum swinging to the rear, the two-in-one quarter-striking train incorporating single rack for both hours and the quarters utilising a standard snail arrangement to set the count for the former, and a second three-tooth rack stop lever (acting on a pin set in the hour rack arm) to control the latter, sounding on a graduated pair of bells with the hour on the larger and the quarters on both via dedicated hammers (incorporating Hindley's distinctive 'L' shaped springs) driven by the same pin wheel with automatic positioning via lateral pump action facilitating disengagement of the quarter hammers and engagement of third single hour hammer leading up to the hour, the backplate applied with an additional second plate finely engraved with asymmetric scrolling foliage around a central circular cartouche signed Hen. Hindley, of YORK flanked by Ho-Ho bird, lion and grotesque mask inhabited strapwork, the 7 inch arched brass dial with richly matted centre within applied silvered Roman numeral dial with Arabic five minutes to outer track and signed H. Hindley, York to lower edge, with scroll-pierced steel hands and lambrequin mask centred scroll cast spandrels, the upper margin with Strike quar's/Hr/Silent selection beneath arch centred with a subsidiary seconds dial flanked by female sphinx inhabited scroll cast mounts, the plate further applied with raised ogee border mouldings incorporating architectural cavetto 'capitals' and keystone details, the ebonised bell-top case with hinged brass carrying handle and pineapple finials over complex top mouldings and arch-glazed hinged front incorporating generous gilt fillet moulding to dial aperture, foliate scroll cast gilt upper quadrant frets and applied with female term mounts to uprights, the sides with arched brass fish scale sound frets and the rear with rectangular glazed door set within the frame of the case, on stepped ogee moulded skirt base.48cm (19ins) high with handle down, 27.5cm (10.75ins) wide, 18.5cm (7.25ins) deep.Henry Hindley was born in Great Harwood, near Blackburn, Lancashire 1699, little is known about his early life, however by the mid 1720's he was making clocks in Wigan where he repaired the church clock in 1726. Hindley moved with his young family (including his son, Joseph born 1728) to the prosperous city of York where, after making clocks for the Mansion House and Guildhall, he gained his Freedom of the city in 1732. Hindley s talents were such that he equipped his workshop with tools of his own design including an important dividing and wheel cutting engine, a screw cutting lathe and a fusee engine. As well as domestic clocks Hindley received commissions for several turret clocks including York Minster and supplied a range of scientific instruments including two important equatorial telescopes for the Duke of Norfolk and William Constable. By the 1760 s Hindley s health had deteriorated to the extent that an ever-increasing proportion of the business was handled by his son Joseph. Henry died in 1771 with his son and successor Joseph unfortunately dying just three years later in 1774, before he had had the opportunity to stamp his own mark on the family firm. According to the late Rodney Law, of Hindley's work only around 15 'spring clocks' are known versus around 40 longcases (see Law, R.J. HENRY HINDLEY OF YORK 1701-1771, PART II - published as an excerpt by The Antiquarian Horological Society). Law writes that of the examples seen by him all except one have half-seconds pendulums, all but three seconds hands and the majority have maintaining power. All also have the same distinctive design of double baluster pillar following those possibly first seen on Hindley's longcase clock of 1742 suggesting that he did not start making spring clocks until after that date. The use of fusees with the large ends positioned frontwards was to reduce the degree of friction at the larger front pivot which, with the standard design, was most apparent after winding. Further refinements include 'kneed' springs (of right-angled 'L' form), and two-in-one quarter-striking using the same rack for both the quarters and the hours. Indeed it is noted by Rodney Law that the latter detail has similarities with French work suggesting that Hindley was either well-read, having studied the works of makers such as Thiout, or was kept abreast of French work by his 'ingenious Jesuit friend'The positioning of the escapement behind a bridge towards the apex of the arch of the frontplate (driven via a vertically pivoted arbor with contrate wheels), is again typical of Hindley's work and allows space for a half-second pendulum to be installed in a standard-sized table clock as well as the provision of subsidiary seconds to the arch of the dial. Indeed when fitted with his form of deadbeat escapement Hindley's table clocks would have been very good timekeepers, hence the provision of a seconds dial will be very worthwhile. In addition to these refinements the wheel train of the current clock is very finely executed with pinion counts of eight or above which, again, ensures fine accurate running. A clock by Hindley with very similar design and layout to the current movement is illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 150-53.The separately engraved backplate fitted to the present clock is highly unusual. The decoration is finely executed by an accomplished engraver and can be firmly placed within the category of 'vine engraving 1740-1770' discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on pages 337-358. Indeed the quality of the engraving, both in its up-to-date sophisticated design and highly accomplished execution, would suggest that it was executed in London. It is therefore most probable that Hindley sent the plate to London to be engraved as a separate entity from the movement and fitted it over the plain backplate on completion of the mechanism. PLEASE SEE THE ONLINE 'PAGE-TURNING' CATALOGUE FOR THE REMAINING TEXT OF THIS FOOTNOTE.
Lot 188
Y A FINE CHARLES II/JAMES II EBONY QUARTER-REPEATING TABLE CLOCK OF KNIBB 'PHASE III' TYPE SIGNED FOR HENRY MERRIMAN BUT ATTRIBUTED TO THE WORKSHOP OF JOSEPH KNIBB, LONDON, CIRCA 1685-90The five finned baluster-pillar fully latched twin fusee movement with verge escapement regulated by short bob pendulum incorporating single-footed backcock and steel holdfast hook to the symmetrical scrolling tulip engraved backplate signed Henry Merriman, London in a shallow downward curve across the centre, the strike train and quarter repeat mechanism with both racks positioned against the inside of the backplate and with typical 'Knibb' scroll design sculpted steel feet to the two bell-stands, the 6.25 inch square brass dial with matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with fine scroll-pierced steel hands and gilt winged cherub mask spandrels to angles, the upper margin with S/N strike/silent selection and the lower margin further signed in fine tightly executed engraved script Henry Merriman London, the case with later hinged scroll cast brass carrying handle and fruiting vine spray mounts to the domed caddy superstructure now elevated on a later cavetto skirt over caddy top mouldings, the hinged front with glazed dial aperture beneath elongated lozenge aperture to the upper rail now backed with gilt brass panel and applied with vine cast mount matching those to the uprights and lower rail, the sides with conforming lozenge apertures over rectangular windows and vacant slots to the lower front corners, the rear with rectangular glazed door applied with further vine-cast mounts set within the frame of the case, on stepped ogee moulded shallow skirt base now fitted with block feet.34cm (13,25ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep. Provenance: The Wrangel Family, Sweden thence by descent. Henry Merryman is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1655 and apprenticed in 1667 to Richard Bowen until 1676 although he was made free of the Clockmaker's Company in February 1674/5. He took-in eleven apprentices over the period between April 1676 and December 1703 and in 1695 he is recorded as a 'servant' in working in the parish of St. Catherine Coleman. Henry Merryman signed the Clockmaker's Company oath of allegiance in 1697 however he ceased paying quarterage in 1702. Loomes further notes (under the entry for Thomas Merriman) that a Mr. Merriman received the Clockmaker's Company Charity from 1715 until December 1717; it is not known whether this was Thomas or Henry Merryman. The movement and dial of the current lot can be directly compared (in practically every respect) with an example by Joseph Knibb, London illustrated in Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces from The Tom Scott COLLECTION pages 368-69. Both clocks have the same layout and specification as well as the same sized plates (6.75 by 4.75 inches). The location and design of the pillars match as do the latches and the decorated bell-stands. The strike and repeat mechanisms are to the same design utilising racks for each positioned inside the backplate. Both also show evidence (in the form of slots cut into the sides of the case near the front) of having push/pull bars for the quarter repeat mechanisms (a system often used by Knibb but few other makers). In addition to being of the same dimensions the backplates are also engraved with tulip designs that follow the same layout only differing in detail with regards to the alternation of the types of bloom used. It is very clear that both backplates are engraved by the same hand which is no doubt the same individual responsible for the backplate of another almost identical clock by Joseph Knibb illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800. Other typical 'Knibb' features present in the current lot include brass hammer stops terminating with scrolls worked to match those of the bell stands, and shaped stopwork irons with sculpted pivot blocks. The dial marches Knibb's work in that the centre is devoid of calendar or false-bob apertures and the chapter ting shares the same half-hour markers, the signature across the lower edge is beautifully executed and the upper edge is equipped with an aperture for a strike/silent selection switch which, again, follows Knibb practice. The case of the current clock has seen some very noticeable but relatively minor (ie. easily reversible ) alterations, however the proportions and design of the details mirrors those of Joseph Knibb's casemaker. From Brian Loomes's research there would appear to be very little known about Henry Merryman and there are hardly any clocks by him noted. The reason for this apparent lack of output probably lies in the fact that he is listed as a 'servant' in 1695. This suggests that he was working for someone else (as a journeyman) - with his workshop undertaking part of the clockmaking process, whether it be wheel-cutting, finishing etc., rather than producing complete clocks for clients. The presence of Merryman's signature on a table clock which clearly was made by Knibb would suggest that there was some form of business relationship between the two, however there is no known evidence to support this other than the existence of the present clock.Alternatively it may be that the clock was 'bought-in' outright from Joseph Knibb by Merriman to satisfy a particular order from a client. This possibility is perhaps supported by fact that it has been consigned by a descendant of the ancient Aristocratic Baltic Wrangel family of Sweden whose roots stretch back to well before the clock was made; from this it may be appropriate to speculate that it could well have been supplied to a member of the family when new. This possibility certainly becomes more likely when the power and influence of various members of the family, such as Carl Gustave Wrangel (1613-76), is considered. If the clock was destined for an overseas client when first made it may well be that there was a short lead-in time. Therefore the acquisition of a nearly finished clock, already held in the stock of one the most prolific makers of the time, may have been the most efficient way to complete the order (especially if the recipient of the commission normally only worked as a 'servant').The Swedish aristocratic roots of the clock will almost certainly account for the slightly idiosyncratic design of the later mounts to the case which, being cast as fruiting vine sprigs, suggest Continental origins. The fact that the cosmetic alterations to the case haven't been reversed is testament to the clock's long-term family provenance. Indeed the fine state of preservation of the movement is indicative of the clock which perhaps quietly resided in the corner of a Swedish slott for most of its life. The provenance of the present clock presents a good opportunity for further research as it may well reflect the extent and breadth of the healthy export trade enjoyed by London clockmakers during the last quarter of the 17th century. Investigation into the present clock's origins can therefore only serve to add to our knowledge of the complex nuances of the London clockmaking trade at that time.
Lot 189
Y A WILLIAM III GILT BRASS MOUNTED EBONY 'BASKET-TOP' TABLE CLOCKJOHN MONCREIFT, LONDON, CIRCA 1695The six finned pilar twin fusee bell striking movement with verge escapement regulated by short bob pendulum, the backplate finely engraved with husk swag decorated symmetrical foliate scrollwork around an oval herringbone bordered cartouche signed Jn'o Moncreift, London, the 7 inch square gilt brass dial with ringed winding holes and scroll-bordered false bob and calendar apertures to the matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers , Arabic five minutes beyond the outer minute track and signed Moncreift, London to lower margin, with fine scroll-pierced blues steel hands, applied gilt winged cherub mask spandrels to angles and vestigial N/S strike/silent selection switch at twelve o'clock, the case with Quare-type hinged foliate bud tied scroll-shaped carrying handle over later pierced gilt brass 'basket' superstructure cast with winged cherub masks flanked by putti riding cornucopiae above repeating leaf lower border and flanked by pineapple finials, with complex top mouldings over hinged glazed front, rectangular side windows and further glazed door set within the frame of the case to the rear, on conforming complex moulded skirt base with gilt brass squab feet, (formerly with pull-quarter repeat work - now removed).39cm (15.25ins) high with handle down, 27cm (10.5ins) wide, 18cm (7ins) deep. A John Moncrief is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1674 and apprenticed to John Bellard through Amos Wynch in 1688, but apparently did not gain his freedom of the Clockmakers' Company. One of this name signed the oath of allegiance for the Merchant Taylors' Company in 1697 and a record of the baptism of a child is recorded to a John Moncrief and wife Rebecca as taking place at St. Christopher le Stocks in 1704. Loomes notes a longcase clock and a clock-watch signed 'John Moncrief, London. Condition Report: As catalogued the movement was originally fitted with a pull-quarter repeat repeat train; this has been removed leaving a series of holes to the upper left-hand part of the mechanism. Otherwise movement has survived in good original condition with no evidence of alteration to the extant wheelwork. There is no visible evidence to suggest a previous conversion to anchor escapement; the present contrate wheel and potances appear original, the escape wheel has been re-pinioned. Movement is in clean working condition. The dial is in good relatively clean condition exhibiting a nice slightly mellow golden hue to the brass and satin silvering.The case is original to the movement and dial and is generally in eminently presentable condition however, as indicated in the catalogue description, the pierced gilt 'basket-top' superstructure and the finials are 19th century replacements (original would have been repousse rather than cast hence easily damaged); the handle is probably original. The mask around the dial (only visible when the front door is open) has losses to the veneer edge/overlap bordering the dial plate. The front door has evidence of having been fitted with mounts (filled pin holes). Both the rear and front doors retain their original hinges. Otherwise case is in good condition with faults limited to minor shrinkage, very slight bumps, scuffs and other age related blemishes. Clock has a winder but no case key. Condition Report Disclaimer
Lot 192
A FINE BRASS MOUNTED MAHOGANY QUARTER-CHIMING TABLE CLOCK WITH FIRED ENAMEL DIAL INSERTSMATTHEW DUTTON, LONDON, CIRCA 1800The substantial five pillar triple chain fusee movement with thick plates measuring 8.25 by 6.75 inches, chiming the quarters on a graduated nest of six bells with six hammers and sounding the hours on a further larger bell, the going train with half-deadbeat escapement regulated by lenticular bob pendulum incorporating transverse pivoted rise/fall regulation beam to suspension and pendulum holdfast to the backplate signed Dutton, London and numbered 340 to centre, the 8 inch brass break-arch dial plate applied with circular slightly convex white enamel disc with Roman numeral hour chapters and Arabic five minutes beyond the minute ring, with fine scroll-pierced blued steel hands within slender moulded surround to the disc and foliate scroll cast spandrels to angles, with S/N strike silent selection switch at twelve o'clock beneath subsidiary circular enamel regulation dial signed Matthew Dutton, London to centre within slender moulded surround and flanked by conforming scroll cast mounts to arch, the break-arch case with hinged brass carrying handle to the triple brass-fillet bordered pad top with complex cornice mouldings, over hinged glazed front with further brass fillet mouldings to the dial aperture and moulded slip inserts to front angles, the sides with arched brass diamond lattice sound frets and the rear with break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass squab feet.44cm (17.25ins) high with handle down, 30cm (11.75ins) wide, 20cm (7.75ins) deep. Provenance: The Kingshott Collection. Matthew Dutton is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as succeeding his father, William Dutton in 1794. William Dutton was an important maker who went into partnership with the eminent chronometer maker, Thomas Mudge, in Fleet Street in 1755. Mudge retired from the business (to pursue further work on the development of the marine chronometer) leaving the workshop in the hands of William Dutton until he was succeeded by his sons, Matthew senior and Thomas in 1794. The brothers worked together until 1804 and Matthew alone until 1815 when he went into partnership with his son of the same name which continued until 1825.The present clock is typical of the Dutton family's high-quality approach to clockmaking. The movement is particularly generous in its construction and finely finished. The restrained backplate, being engraved with only the finely executed signature, follows in the tradition of George Graham as does the beautifully balanced dial and well-proportioned but relatively restrained case. Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The dial is in fine condition with no visible faults to the enamel inserts and only slight mellowing to the brass elements. Movement and dial are original to the case.The case has a well-executed veneer patch repair across the rear left corner of the right-hand pad to the top. Otherwise is in extremely good condition with minimal age related blemishes. The brass mounts have mellowed/oxidised slightly and the finish is slightly faded overall.Clock is generally in extremely good condition and is complete with pendulum, winder and case key. Condition Report Disclaimer
Lot 194
A GEORGE III BRASS MOUNTED EBONISED BRACKET CLOCK WITH FIRED ENAMEL DIAL AND TRIP-HOUR REPEATUNSIGNED, CIRCA 1800The five pillar twin chain fusee bell-striking movement with verge escapement regulated by bob pendulum with holdfast hook to the movement backplate, the 7 inch circular fired enamel convex dial with concentric inner track for date of the month within chapter ring with vertical Arabic numerals, with fine loop-pierced steel hands and brass pointer for the calendar set behind convex glazed cavetto moulded hinged cast brass bezel, the break-arch case with single brass fillet-edged pad and complex top mouldings over front with inverted crescent-shaped brass fish scale fret over the dial and conforming quadrant frets beneath, the sides with hinged cast brass carrying handles over further arched frets and the rear with arch-glazed door set within the frame of the case, on cavetto moulded skirt base with brass disc feet; with a later purpose-made ebonised wall bracket decorated with brass cock beaded panels to the front of the table and the curved tapered foot.The clock 41cm (16.25ins) high, 27cm (10.5ins) wide, 14cm (5.5ins) deep, the clock and wall bracket 64cm (25ins) high overall.
Lot 2
A FINE PAIR OF GEORGE III TWELVE-INCH LIBRARY TABLE GLOBES WILLIAM BARDIN AND GABRIEL WRIGHT AFTER JAMES FERGUSON, LONDON, CIRCA 1782 The terrestrial sphere applied with twelve hand coloured printed gores incorporating rococo cartouche panel inscribed FERGUSON'S, TERRESTRIAL GLOBE, Improv'd by, G. WRIGHT, Wherein the new Discoveries, of the late Capt: Cook & other, eminent Navigators are, correctly laid down to, the Present Time, over text Made & Sold by W'm Bardin, N. 16 Salisbury Square, Fleet Street to North Pacific and the southern polar dial further inscribed Published according to the Act of Parliament by W. Bardin, extensively annotated with principal cities, towns, rivers, lakes, mountains and other significant topographical features, the oceans with islands, two wind roses, arrows for trade winds, and the tracks of Cook and Furneaux with innumerable notes, Antarctica with no land shown but notes such as Many Islands & Fields of Ice and a tentative Gerard's Land, Africa finely detailed with notes as to various tribes such as Jagas Anthorpophogai and HOTTENTOTS, China showing the Great Wall, North America with no northern coastline and much of the north-west without detail, with various notes such as North West Continent of America discovered by Capt. Cook, in 1780 in Alaska, and Middleton's Discoveries 1742 in Canada, Greenland with a note Here the Hills are said to be covered with Snow & the Weather temperate, the West Pacific with an analemma of the equation of time, and both the equator and ecliptic lines graduated in degrees; the celestial annotated with major constellations incorporating fanciful figural representations and stars graded in seven orders of magnitude, the equator and ecliptic both divided for degrees and the lower hemisphere with panel inscribed WRIGHT'S, New & Improv'd, CELESTIAL GLOBE, On which the Stars, are correctly laid down, from the Observations of, D. HALLEY, D. BRADLEY, & c., Made & Sold by W. Bardin, No 16, Salisbury Sqr Fleet Street, LONDON, with a note around the southern ecliptic pole Publish'd according to Act of Parliament by G. Wright & W. Bardin Jan.1.t.1782.; each sphere with poles incorporating printed hour rings and pivots for mounting within brass meridian circles divided for degrees, resting in wooden stands with matching hand coloured paper horizon rings each graduated in degrees 0-90 in two directions from both the East and West points of the compass within days-of-the-month and houses of the Zodiac with names and symbols, the stands each with four curved quadrant supports for the horizon ring over squat spiral-turned baluster upright issuing three cabriole supports.The globes and stands 62cm (24.75ins) high, 43cm (17ins) wide overall. The drawing of the present pair of globes have their origins with James Ferguson (1710-1776) who took-on the globe making business of Mary Sennex in 1755. Mary, in turn, had inherited the business from her late husband, the celebrated early English globe maker - John Sennex, on his death in 1740. James Ferguson died in 1776 and was succeeded by Benjamin Martin (worked 1738-1782) to whom Gabriel Wright was apprenticed. Wright stayed and worked for his master for eighteen years (presumably making globes) until around 1780, when he entered into an arrangement to work with the celebrated family firm of William Bardin and Son. Wright continued with, and outlived, William Bardin who died in 1798; Gabriel Wright subsequently died in 1803 leaving the business in the hands of William's son, Thomas Bardin and his sucessors.The cartouche from an earlier Ferguson globe is illustrated in Dekker, Elly and Van Der Krogt, Peter GLOBES FROM THE WESTERN WORLD where it is stated that the cartouche provides 'a neat summary of a piece of London globe history in a nutshell'. Indeed the tradition of globemaking that had been threaded down successive generations of makers from Senex to Bardin was something that Gabriel Wright was keen to trade on, hence why he labelled his updated globe of 1782 'Ferguson's terrestrial globe'.Condition Report: Terrestrial - The sphere has been restored with work undertaken to the central part of South America (probably to repair a bump/bruise) and filled/over painted cracks through the Caribbean and up into the East Coast of the USA. In addition there are a few slight repairs to the East Atlantic. The sphere has been cleaned hence is light in colour and has overall slight greying/foxing; the joints between the gores have lifted a little and have some varnish evident mostly near the equator as from the sphere rubbing against the horizon ring (as the globe can move/wobble within the ring). The Horizon ring is generally in good condition and of similar finish/colour to the globe; there is some localised restoration (overpainting) evident most notably to Taurus and the edge near July. The stand is in fine condition and of very nice colour and patination.Celestial - Is generally in better condition than the terrestrial with faults generally limited to rubbing and a couple of light cracks to the equator. The sphere has been cleaned but there is no obvious visible evidence of overpainting/restoration. The Horizon ring in comparable condition to the sphere and the stand is in fine condition and of nice colour.Please see/request further images which form part of the condition report. Condition Report Disclaimer
Lot 3
A RARE PAIR OF GEORGE III FIFTEEN-INCH LIBRARY TABLE GLOBESSOLD BY WATKINS AND SMITH, THE TERRESTRIAL DRAWN BY LEONARD CUSHEE, LONDON, CIRCA 1760The terrestrial sphere applied with two sets of twelve hand-coloured engraved split half-gores incorporating rococo cartouche inscribed A NEW, TERRESTRIAL, GLOBE, DRAWN, From the Best Authorities, over further panel applied with banner Sold by Watkins & Smith Opticians Charing, Cross LONDON to the North Pacific and extensively annotated with principal cities, towns, rivers, lakes, and other significant features, the oceans with all significant islands labelled, California is shown as a peninsula, north-west Canada labelled PARTS UNKNOWN, Australia and New Guinea shown as a single landmass and New Zealand labelled NEW ZEELAND with only a limited section of the west coast shown, the Pacific labelled the GREAT SOUTH SEA and with overlaid analemma of the equation of time, the Equator land Ecliptic lines graduated in minutes and the Meridian similarly divided; the celestial annotated with major constellations incorporating fanciful figural representations and stars graded in seven orders of magnitude, the Equator and Ecliptic both divided for minutes, with panel inscribed A NEW, CELESTIAL, GLOBE near the Equator and the upper hemisphere with panel inscribed NB The Stars on this Globe, are carefully laid down, from y'e accurate Observatio'ns, of Mr. Flamstead & Dr. Halley, each sphere with poles incorporating brass hour rings and pivots for mounting within brass meridian circles divided for degrees, resting in wooden stands with matching hand coloured paper horizon rings each graduated in degrees 0-90 in two directions from both the East and West points of the compass within days-of-the-month and houses of the Zodiac with names and symbols, the stands each with four curved quadrant supports for the horizon ring over squat ring-turned upright issuing three cabriole supports with pointed pad feet, (both spheres with historic damage and repair).The globes and stands 66cm (26ins) high, 51cm (20ins) diameter. The partnership between Francis Watkins and William Hill is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from Charing Cross, London, 1763-74. A 15-inch terrestrial globe by Leonard Cushee apparently identical to the present lot except for having his name within the lower part of the title cartouche (and now in a later stand) was sold at Bonhams, London The Connoisseur's Library Sale 15thnd February 2022 (lot 102) for £14,000. From this the terrestrial globe in the present lot can be attributed to Leonard Cushee no doubt supplied to Watkins and Smith for retail. Leonard Cushee appears to have predominantly supplied 2.5 inch pocket globes as examples in this size do appear at auction from time to time, however his full-sized table globes appear to be very rare. Leonard Compere Cushee is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as a 'globe engraver' working 'Opposite the Temple Gate, Fleet St.' London in 1761. He was apprenticed to the distinguished globe maker Nathaniel Hill who had a workshop at 'The Globe and Sun, Chancery Lane' and it is possible that he was either the brother or cousin of an E. Cushee who succeeded Hill at that address.The Celestial globe is probably an updated version of one drawn in the Cushee/Hill workshops at Chancery Lane, perhaps even by Nathaniel Hill's master, Richard Cushee (1694-1731), who is known to have produced both terrestrial and celestial globes in this size. Condition Report: Terrestrial - The sphere has had historic repairs to address heavy cracking/bruising around the equator. This includes noticeable filling above Australia and to the 'Great South Sea'. There is lesser filling and general unevenness to the surface where these repairs have been undertaken. The South pivot also has some cracking/filling and overpainting and the 'Eastern Ocean' has a pound coin-sized filled repair. Faults otherwise are limited to relatively minor bumps, scuffs and varnish wear; the colour is a nice light/golden brown hue and the printing nice and strong. The horizon papers are in good original condition however the angled joints in the frame are visible (in the form of angled lines). The stand is in sound original condition. Two of the quadrant supports have historic glued cracks near the base where they join the turned upright; as a the upper surface is fitted with an iron cruciform brace (as is the other stand) there are no structural issues. The stand has overall surface wear/rubbing hence would benefit from a good polish.Celestial - The sphere has had historic repairs including an area of filling/overpainting around 4 inches across near the top pivot (just behind Perseus); there is another much smaller filled section just above Hercules. The Horizon also has some historic cracking/movement which has been repaired - these cracks extend around one third of the circumference. The top pivot area has some filling/repair and the base pivot shows some slight cracking movement. Damage to the sphere is otherwise limited slight surface rubbing and other minor age-related blemishes. The horizon ring has cracking and some localised filling to the papers due to movement in the frame beneath. The stand is generally in sound condition although one of the legs has become a loose at some pint causing a small chip/loss to the shoulder and another to the lower edge; a section of the turning behind the joint has also been re-glued. As with the terrestrial the stand would benefit from a good polish. The turnings to the posts of the stands are made in two sections and have a central rod to allow the spheres to revolve; there is some slight variation in design between the two globes at this point.Generally an interesting and particularly rare pair of globes in honest 'country house' condition including historic repairs. Although they would probably benefit from further work to improve the appearance of some of these repairs they are probably best left as is.Please see/request further images which form part of the condition report.Condition Report Disclaimer
Lot 180
Damon Hill 1994 Williams-Renault FW16 French Grand Prix used wheel and tyre, now converted as a coffee table,the O.Z Racing titanium five spoke front wheel fitted with a Goodyear Eagle F1 slick tyre, the wheel also bearing a Williams 94 logo and hologram, the tyre stamped 00-E0006 and marked 'Set 24' in yellow chalk, now mounted with a clear glass coffee table top bearing a logo inscribed Grand Prix F1 Racing, diameter 64cm., height 30cm.; sold with a Damon Hill signed photograph showing this exact type wheel and tyre on the 1994 Williams-Renault FW16 car, framed and glazed 20 by 25cm.,; also with a 9 by 11in. photograph of the car in race action, (3)Lot can be collected in person by prior appointment from NN8 1RT.Provenance: purchased at Graham Budd Auctions, 9th November 2010, Lot 1147
Lot 109
VINTAGE HALLMARKED SILVER SCENT & OTHER DRESSING TABLE BOTTLES (3) - to include a cylindrical tortoise shell and silver banded example, London 1924, indistinct maker's mark, 7.5cms H, silver topped hobnail glass example, Birmingham 1911, 11cms H and a silver lidded glass jar, Birmingham 1922, Boots Pure Drug Company & Henry Perkins & Sons maker's marks respectively, 8.5cms H the latter
Lot 113
SILVER, WHITE METAL, COIN & OTHER COLLECTABLES GROUP to include a pair of wishbone sugar nips, Birmingham 1935, Maker possibly James Swann & Son, two silver spoons, Birmingham and Exeter hallmarks, rectangular glass dressing table pot with cherub embossed silver lid, Birmingham 1901, Maker Sidney & Co, three Victoria silver crowns dated 1889/91/93, Royal Worcester porcelain thimble in fitted case, four various white metal pill boxes, malachite egg and other collectable items
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