Ï’A fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
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A Victorian mahogany cased set of portable diamond scales De Grave, Short and Company, mid 19th century With sculpted metal pivoted beam incorporating pointer within the suspension armature over hemispherical brass pans contained within a fitted box incorporating lidded compartment enclosing weights calibrated in carats, the lid applied with a paper label entitled A table by which may be Calculated the Value of any Weight of Diamonds incorporating BY DE GRAVE, SHORT & COMPY., (Late M. De Grave & Sons), continuing with 59. ST. MARTIN LE GRAND, LONDON, the exterior with brass tweezers contained within a slot to the lower rear right hand corner, with caddy-moulded lid and canted angles flanking brass plate push button clasp to front 17.5cm (6.75ins) wide; with another Victorian cased set of portable diamond scales, De Grave, Short & Fanner, London, mid 19th century, the form the same as the larger of the first two but incorporating BY DE GRAVE, SHORT & FANNER within the paper label applied to the inside of the lid, 12.5cm (5ins approx.) wide, (2). The De Grave family were well known as scientific instrument makers specialising in weights and measures throughout the 19th century. The first member to set up business was Charles De Grave who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working in St. Martins le Grand, London from 1780. The business traded as De Grave, Short and Fanner from 59 St. Martins Le Grand 1845-71 and was eventually absorbed by W. and T. Avery and Co. Ltd in the early 20th century.
Sully Henry REGLE ARTIFICIELLE DU TEMPS, TRAITE Chez Gregoire Dupuis, rue S. Jacques, a la Couronne d’Or, Paris 1737, edited by Julien Le Roy with three additional leaves between pages 274 and 275, engraved table and five folding plates, woodcut diagram and publisher’s catalogue at end, bookplate of Joseph Sternfeld, 12mo, full tan leather gilt spine with red label. Provenance: The horological working library of Charles Allix, sold in these rooms 22nd February 2012 (lot 108).
A George III mahogany table clock Bearing a signature for Benj, Gray, London, late 18th century The five pillar twin fusee bell striking movement with verge escapement and trip repeat, the backplate engraved with a Neo-Classical urn centred cartouche within delicate rococo scroll infill, the 6 inch cream painted Roman numeral break-arch dial with calendar aperture and bearing inscription Benj. Gray, LONDON to centre, with Arabic five minutes to outer track and pierced brass hands beneath STRIKE/SILENT selection dial to arch above, the bell-top case with hinged brass carrying handle and vase finials over complex top mouldings, the front door with brass fillet bordered glazed dial aperture and scroll-pierced upper quadrant frets, the sides with break-arch windows and the rear with break-arch glazed door, on cavetto moulded skirt base with brass ogee bracket feet, (pallets and pendulum assembly lacking), 43cm (17ins) high excluding handle. Provenance: Brocket Hall, Hertfordshire.
A German oxidised and lacquered brass theodolite Dennert and Pape, Hamburg, late 19th century The telescope with rack and pinion focus adjustment and fitted with a spirit level to top, mounted via a horizontal pivot with fine screw angle adjustment bar to the one side onto two pieced A-frame uprights over rotating table incorporating central bubble-level to upper surface, the spaotted lacquered brass canted rim with two opposing windows for viewing the horizontal silver Vernier scale each equipped with individual pivoted magnification lens and signed Dennert & Pape, Hamburg =Altona and numbered St., 1505 between, the circumference with fine screw adjustment and knurled scale locking screw, the whole raised on column upright issuing triform radial supports with screw feet, in original oak and pine box with hinged carrying handle to top, The box 46cm, (18ins) high. Dennert and Pape were founded in 1848 and worked from Altona district of Hamburg well into the 20th century.
An important Queen Anne ebonised eight-day longcase clock Michael Knight, London, circa 1705 The substantial five fully latched and crisply turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with long crutch, the backplate with apertures cut for the pallets and for viewing the countwheel locking detent, with finely detailed steelwork incorporating Tompionesque scroll terminals to bell stand and hammer spring feet, the 12 inch square brass dial with subsidiary seconds dial, ringed calendar aperture and winding holes to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed MICH KNIGHT, LONDINI FECIT to lower edge, with pierced steel hands and double-screwed gilt twin cherub and crown cast spandrels to angles with foliate scroll engraved infill to margins between, the ebonised case with gilt brass ball finials to the ogee shaped caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular sound frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 41.5 inch rectangular door, on ogee moulded plinth base applied with two-tier moulded skirt, 245cm (96.5ins) high excluding finials, 252cm (99.25ins) high overall. Michael Knight is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1659; he was apprenticed to Thomas Tompion (bound 1673/4 through Lionel Wythe) and took up his freedom of the Clockmaker’s Company after a warning to do so in 1681. Michael Knight took apprentices Thomas Day in 1682 (Freed 1691), Robert Youell (through Tompion - Freed 1697) and John Barnardiston in 1697 (Freed 1714). In 1697 Knight signed the Oath of Allegiance but little is known of him after 1699 when he stopped paying quarterage to the Clockmaker’s Company. The location of Michael Knight's workshop is indicated in an article by Evans, Jeremy MAINSPRING MAKERS OF LONDON AND LIVERPOOL - SOME OBSERVATIONS AND LISTS published in ANTIQUARIAN HOROLOGY Vol. XXVII, No. 1, Page 81 where reference under the entry for Micklewright indicates that the latter was believed to have been working in St. Sepulchres - 'in Red Cross Court next-door but one to Tompion's ex-apprentice Michael Knight'. Of Michael Knight only around ten surviving clocks are known listed in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS. Most of these examples demonstrate a very close working relationship with Tompion with at least two reflecting an aptitude for producing work equal to Tompion's finest products. The first of these is a fine half quarter-repeating ebony table clock of typical 'Tompion phase II' design illustrated in ANTIQUARIAN HOROLOGY Vol X, No. 7, on Pages 782-83. The second is an important eight-day longcase clock (in a private collection) complete with Tompion pull-quarter repeat mechanism and housed in a fine walnut case closely resembling that of the 'Drayton Tompion' (which now resides at the Fitzwilliam Museum, Cambridge and is illustrated by Evans, Carter and Wright on page 510). When considering the strong similarity of Knight's work alongside that of his former Master coupled with the fact that there are very few clocks signed by him (despite his long career) it most likely that he was primarily employed by Tompion. Indeed the complexity and accomplished nature of the two examples noted above would suggest that he assisted Tompion with his more complex commissions. The movement of the current lot is almost indistinguishable from Tompion's work exhibiting an abundance of features diagnostic of his workshop. These include the back cock casting (with distinctive chamfered feet), pallet and countwheel locking detent viewing apertures to backplate and distinctive scroll-shaped tails to the hammer spring and bell stand. As with Tompion's work the movement is fully latched with fine knopped and finned pillars and the wheelwork precisely executed with shallow domed collets. The escapement of the present clock is also particularly noteworthy as it appears to be a rare original survivor. The dial departs a little from 'standard' Tompion design having ringed winding holes and calendar aperture to the matted centre. The bold signature engraved in block capitals appears to be typical of Knight and can be compared to that of the ebony 'phase II' type table clock described above. The case again is essentially indistinguishable of those housing movements and dials by Tompion made at this time exhibiting the fine proportions and detailing for which his workshop was known. The current lot affords the prospective purchaser the opportunity to essentially acquire a clock that is essentially a 'Tompion' in all but name. Indeed from a documentary point of view it would be reasonable to suggest that this clock perhaps has more to offer than a comparable signed by Tompion.
A Bourne Denby terracotta teapot, sprigged in low relief with huntsman and hounds giving chase, 14cm high, impressed mark, early 20th century; a large assortment of later similar Bourne Denby Tally Ho pattern and Antique pattern hunting scene mugs, jugs, table lamp, casserole dish and cover, tobacco jar and cover, salt and pepper pots; assorted Denby cups and saucers, various patterns including Daybreak, Sandstone, Twilight, Summer Fields, others; etc (2 boxes)
A Louis XVI design giltwood console table base, rectangular top above a frieze applied with stiff acanthus interspersed with vacant geometric reserves, the substantial apron centred by a mask flanked by scrolling foliage and corolla, tapered square legs applied with bell husks, the shaped stretcher centred by an assemblage of flowers, spreading square scroll feet, 144cm wide
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1181627 item(s)/page