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Click here to subscribeA Staffordshire pottery spill vase, late 19th Century, modelled in the form of a horse before a tree trunk spill (restored), together with five Staffordshire dogs and a Dixon, Phillips & Co. Sunderland lustre circular bowl, printed with `The Sailor`s Return` and other verse and pictures (cracked and repaired).
A Regency mahogany bowfronted cistern tube stick barometer. Barrauds, London, early 19th century. With cavetto moulded caddy upstand above glazed rectangular silvered vernier register, annotated and calibrated in inches, with mercury Fahrenheit thermometer and signed Barrauds, LONDON to upper right corner, the trunk with ivory vernier adjustment disc and ebony line inset edges above ebonised urn-shaped cistern cover to the rectangular base with ebony line inlaid canted angles and cavetto moulded underside, 99cm high. Paul Philip Barraud is recorded in Baillie G.H Watchmakers & Clockmakers of the World as working 1796-1820, he, in partnership with W. Howells and G. Jamison, was charged with making Mudge’s marine timekeepers. The firm was continued by his sons becoming Barraud and Lund in 1839.
A George III parquetry strung mahogany bulb cistern tube stick barometer. Keate, circa 1810. With broken pediment above shaped engraved brass scale with vernier, alcohol tube Fahrenheit thermometer and signed KEATE, FECIT to upper margin, above caddy edge-moulded trunk with exposed tube flanked by angled-grain veneers and parquetry strung borders, with domed cistern cover to the rounded base, 97cm high
A rare Queen Anne walnut cistern tube stick barometer with Royal Society scale thermometer. In the manner of John Patrick, London, Unsigned, circa 1710 and later. The ogee caddy top pediment with three turned brass finials above cavetto moulded break-arch cornice and arched herringbone border and foliate scroll engraved silvered scales with brass setting pointer and annotated for summer and winter conditions and inscribed Fair if Rise and Foul if Fall, flanked by pilasters with brass capitals and bases above cavetto moulded throat moulding, the trunk applied with alcohol thermometer with (replaced) silvered scale calibrated from 5 at the top down to 95 and with annotations from Extream Cold to Extream Hott flanked by vertical cross-grain cavetto mouldings to sides and with half dome above waisted cylinder turned cistern cover also enclosing thermometer bulb and with gilt brass pendant finial to base (some restoration, thermometer scale replaced), 105cm high. A closely related example is illustrated and described in Claxton Stevens, Christopher and Wittington, Stewart 18th CENTURY ENGLISH FURNITURE, THE NORMAN ADAMS COLLECTION, page 463. The Royal Society scale thermometer was devised by Robert Hooke in 1664 and was calibrated to every degree representing an increase of 1/500 in volume of the thermometer liquid. The scale used the freezing point of water as the fixed point and was scaled from high to low with the increase of temperature. As the rate of expansion of the alcohol varied between instruments, each scale had to be individually made . For the instrument. The current Lot has a replacement silvered scale as the original paper scale had probably become to worn and discoloured to read. Hooke’s original thermometer was adopted and became known as the standard of Gresham College and used by the Royal Society until 1709.
A Regency mahogany drop-dial wall timepiece. Unsigned, early 19th century. The four-pillar single fusee movement with anchor escapement and 12 inch circular convex white painted Roman numeral dial within a cast brass bezel and turned surround above fan carved ears and shaped lenticle to the marquetry rosette inlaid drop-trunk, the rounded base with pendulum adjustment flap, 57cm high.
A Victorian mother of pearl inlaid rosewood drop dial wall clock. Alexander Barrett. Whitchurch, mid 19th century. The five-pillar twin fusee bell striking movement with 12 inch circular white painted Roman numeral dial signed Alex, Barrett, WHITCHURCH to centre within a cast brass bezel and foliate trail inlaid octagonal rosewood surround above later carved ears and oval lenticle to the mother of pearl inlaid trunk, with pendulum adjustment flap to the conforming rounded base, 73cm high. An Alexander Barrett is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Whitchurch circa 1879.
A mahogany eight-day longcase clock with rocking ship. Unsigned, probably Bristol, early 19th century. The four-pillar rack and bell striking movement with 13 inch white painted Roman numeral break-arch dial with arched calendar aperture and subsidiary seconds dial to centre, polychrome foliate scroll painted spandrels to angles and ship rocking back and forth to the motion of the pendulum within maritime painted scenery to arch, the case with shaped outline arched crest above twist turned Corinthian pilasters and wavy-edge door aperture to hood above rectangular panel-inlaid trunk door flanked by conforming columns on plinth base with moulded skirt, 217cm high.
A George III mahogany eight day longcase clock. Edward Bilbie, Chewstoke, circa 1765. The four-pillar rack and bell striking movement with 12 inch square brass dial with subsidiary seconds dial and calendar aperture to the basket of flowers and foliate trail engraved centre within an applied Roman numeral chapter ring with Arabic five minutes, fleur-de-lys half hour markers and signed ‘Edward Bilbie, Chew Stoke’ to lower edge, the angles with foliate scroll cast spandrels, the case with swan neck pediment and fluted pilasters to hood above long shaped-top trunk door flanked by fluted canted angles, on plinth base with integral bracket feet 234cm high. This clock was made by the third member of the highly regarded Bilbie clock making dynasty to bear the name Edward. He is thought to have been brought-up and taught clockmaking by his uncle Thomas. Edward III set up business as a clockmaker and bell founder in Chew Stoke around 1745 and worked until his death in 1768. The current lot is very typical of his later work with fine engraved decoration to the dial centre, however the high-style Bristol Mahogany case is unusual suggesting that the clock was ordered by a discerning client.
A mahogany eight day longcase clock. Charles Blanchard London circa 1770, the case later. The five-pillar rack and bell striking movement with 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and silvered oval plaque signed Chas: Blanchard, LONDON to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and mask and scroll spandrels to angles, the arch with Strike/silent ring flanked by dolphin cast mounts, now in an early 19th century Bristol area case with break-arch pediment, spiral twist pilasters and wavy edge door aperture to the hood above rectangular trunk door flanked by canted angles, on line inlaid plinth base with bracket feet, 203cm high.
A George III ebonised 30-hour longcase clock. John Hathaway, Westminster, mid 18th century. The posted countwheel bell-striking movement with anchor escapement and 11 inch brass break-arch dial with single hand to the matted centre within an applied silvered Roman numeral chapter ring with lozenge half-hour markers and female mask and scroll cast spandrels to angles, the arch with herringbone-bordered silvered boss signed John Hathaway, Westminster flanked by dolphin cast mounts, the flat-top case with ogee moulded cornice above integral pilasters to hood door, concave throat moulding and rectangular door to trunk, on plinth base with moulded skirt, 207cm high. Provenance: The case bears a label This clock was in the vestry at St. John’s, Smith Square, 1886. Now the property of a private collector. John Hathaway is recorded in Baillie, G.H Watchmakers & Clockmakers of the World as apprenticed to Chas. Davis in 1756. The utilitarian nature of this clock suggests that it was originally made for ‘backstairs’ use in large London house or supplied to an owner of more modest means. The label applied to the case leads rise to a theory that it may have possibly been supplied to St. John’s Church, Smith Square, which was designed by Thomas Archer In 1728. Known as ‘Queen Annes Footstool’ St John’s was bombed out during the war and has know been refitted as a concert hall. The fact that the clock was inscribed Westminster rather than London with the makers name supports the idea that it made for a client in the immediate locality.
A Queen Anne walnut longcase clock. Asselin, London, early 18th century. The four-pillar inside countwheel bell-striking movement with 12 inch square brass dial with calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes, stylised fleur-de-lys half hour markers and signed Asselin, London to lower edge, the angles with twin cherub and crown pattern spandrels, in a case with moulded cornice and foliate fretwork frieze above integral columns to hood door, concave throat moulding and rectangular quarter veneered door centred by a brass lenticle to trunk, on a rebuilt plinth base with moulded skirt, 217cm high. Probably Stephen Asselin who is recorded in Loomes, BrianThe Early CLOCKMAKERS of Great Britain as working circa 1700-20.
A George III mahogany longcase clock case. Lancashire, late 18th century. With swan-neck fronted box upstand above 18.25 x 13 inch glazed aperture flanked by applied and free-standing fluted columns to hood, with concave throat moulding and shaped-top door flanked by further fluted quarter columns to trunk, on shaped raised-panel fronted plinth base with reduced ogee bracket feet, 231cm high.
A George III mahogany crossbanded oak eight-day longcase clock with moonphase. Thomas Richardson, Weaverham, late 18th century. The four-pillar rack and bell striking movement with 13 inch brass break-arch dial with subsidiary seconds dial, shaped signature cartouche Tho’s Richardson, WEVERHAM and sweep calendar to the foliate scroll engraved centre, within an applied Roman numeral chapter ring with Arabic five minutes and scroll cast spandrels to angles, the arch with rolling moonphase inscribed HE APPOINTED THE MOON FOR CERTAIN REASONS to upper margin, the swan neck pedimented case with reeded columns to hood above crossbanded shaped-top door flanked by conforming quarter columns to trunk, on raised panel-fronted plinth base with canted angles, 219cm high. Thomas Richardson is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in Weaverham circa 1795.
An inlaid oak and mahogany eight-day longcase clock with moonphase. William Parr, Liverpool, circa 1785 and later. The four-pillar rack and bell striking movement with 14 inch brass break-arch dial with sweep calendar hand, applied silvered signature plaque W’m Parr, LIVERPOOL and subsidiary seconds dial to the foliate-scroll engraved hatched centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and calendar to inner track, the angles applied with scroll-cast spandrels beneath rolling moonphase to arch inscribed TIME SHEWS THE WAY TO LIFES DECAY to upper edge, now in a case with swan neck pediment and reeded columns to hood above parquetry banded throat panel and conch-shell centred short shaped-top door flanked by reeded quarter columns to trunk, on a raised-panel fronted plinth base with canted angles and bracket feet, 225cm high.
A Scottish rosewood crossbanded mahogany eight-day longcase clock Charles Low, Arbroath, circa 1840. The four-pillar rack striking movement (lacking bell) with 13 inch circular white painted Roman numeral dial with subsidiary calendar and seconds dials to centre and signed Cha’s Low, Arbroath to lower edge, the case with break-arch pediment above brass bezel to hood, shallow inlaid panel to throat and shaped-top crossbanded trunk door flanked by line-inlaid quarter columns to trunk, on panel banded plinth base with splayed bracket feet, 200cm high.
A mahogany eight-day longcase clock with moonphase Josiah Bartholemew, Sherborne, circa 1800. The five pillar rack and bell striking movement with T-shaped frontplate and 12 inch brass break-arch dial with scroll engraved calendar aperture and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating landscape and globe engraved lunettes and signed IOSIAH BARTHOLEMEW-SHERBORNE to a curved silver plate to upper edge, now in a break-arch case with dentil carved cornice and integral columns to hood above rectangular door flanked by canted angles to trunk, on plinth base with bracket feet, 210cm high.
A rare Queen Anne ebonised thirty-hour longcase clock. Robert Rouch, Bristol, early 18th century. The posted countwheel bell-striking movement with anchor escapement and 11 inch square brass dial with herringbone border engraved calendar aperture incorporating pinhole adjustment and rectangular silvered signature plaque Rich’d Rouch, Bristol to the matted centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and stylised fleur-de-lys half hour markers, with original pierced steel hands and gilt female mask and scroll cast spandrels to angles, the case with silvered wood ball finials and domed caddy to the blind fret fronted box upstand, above moulded cornice with conforming fret to frieze and integral columns to hood door, the trunk with concave throat moulding and lenticle-centred rectangular door, on plinth base with moulded skirt, 220cm high. Provenance: the property of a private collector. Robert Rouch is recorded in Bellchambers, J.K. Somerset Clockmakers as working in Bristol circa 1725-55, where he is listed as ‘a fine maker’. A single-handed clock by Dennis Chambers of Pucklechurch with identical engraved half-hour markers is illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks Origin & Development 1600-1800 on page 145. The calendar has the unusual feature of pin-hole adjustment for advancing the date at the end of shorter months, a feature normally associated with the workshop of Thomas Tompion and his successor George Graham. The case is a rare survivor and is in good original condition considering its pine construction, and was made by a cabinet maker who successfully captured the feel and proportions of a high-end London case of the period.
A mahogany eight-day longcase clock. Francis Rowbotham, Hampstead, 18th century. The four-pillar rack and bell striking movement with calendar aperture and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes and signed Francis Rowbotham, HAMPSTEAD to lower edge, the angles with twin cherub and crown pattern spandrels beneath STRIKE/SILENT dial flanked by dolphin mounts to arch, now in a case with dentil cornice to the break-arch pediment above fluted pilasters to hood, break-arch trunk door and plinth base with moulded skirt 205cm high.
A George III mahogany eight-day longcase clock. William Peterson, London, late 18th century. The five-pillar rack and bell striking movement with 12 inch single sheet brass break-arch Roman numeral dial with subsidiary seconds and calendar dials and signed W’m Peterson, London to centre within chapter ring with Arabic five minute outer track, and foliate spray engraved lower spandrels, the arch with STRIKE/SILENT dial flanked by festoon decoration continuing down to the upper spandrels, the case with reduced pagoda pediment above break-arch trunk door flanked by brass stop-fluted quarter columns, on shaped raised panel fronted plinth base with shallow moulded skirt (generally distressed) 211cm high.
A William and Mary walnut and marquetry eight-day longcase clock. John Clowes, London, circa 1690. The five finned-pillar outside countwheel bell striking movement with tall plates and 11 inch square gilt brass dial with foliate engraved calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and stylised sword hilt half hour markers, the angles with cherub head and foliate scroll cast spandrels, and boldly signed Jo’n. Clows, Russell Street, Covent Garden to lower edge, in a case with moulded cornice and foliate fretwork frieze above ebonised spiral twist pilasters to hood and convex throat, the trunk with rectangular door centred with a circular lenticle and inlaid with three bird inhabited floral decorated marquetry panels on an ebonised ground, on a rectangular plinth base with conforming decoration and ebonised bun feet, (case with restoration), 198cm high. John Clowes is recorded in Loomes, Brian, . The Early CLOCKMAKERS of Great Britain as working in London 1673-1713.
A William III walnut and marquetry eight-day longcase clock. Charles Gretton, London, circa 1700 and later. The five finned-pillar inside countwheel bell-striking movement with 11 inch square brass dial with foliate-scroll bordered calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes, stylised sword hilt half hour markers and signed Cha Gretton, London to lower edge, the angles wth twin cherub and crown pattern spandrels, the case with moulded cornice and fretwork frieze above twist turned pilasters and foliate marquetry surround to the hood the trunk with concave throat above rectangular door profusely decorated with bird inhabited foliage on an ebonised ground within delicate scrollwork surround, on a rebuilt plinth base with bun feet, case with restoration, 214cm high.Charles Gretton is recorded in Baillie G.H. WATCHMAKERS & CLOCKMAKERS OF THE WORLD as working 1672-1733, and is generally regarded as a fine maker.
An Important burr walnut longcase clock of three month duration with pull quarter-repeat on six bells. Simon DeCharmes, London, with movement and dial supplied for the clock by Claude DuChesne, dated 1717. The substantial eight finned-pillar rack and bell striking movement with five-wheel trains, rise/fall pendulum regulation and pull-quarter repeat on six bells, the 24 hour wheel inscribed Claudius Du Chesne Londini, 24th May 1717, the 12 inch gilt brass break-arch dial with calendar aperture, turned collets for the winding holes, pierced steel hands and silvered subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the outer track, the angles with gilt cast mask-and-scroll spandrels, beneath arch with central domed silvered boss boldly signed Simon DeCharmes, London, flanked by subsidiary strike/silent and regulation dials with matted centres and within conforming foliate scroll relief infill, the case of impressive proportions and fine colour, with tall ogee domed caddy applied with three cast brass ball-and-spire finials above blind fret break-fronted box upstand incorporating ogee moulded break-arch frieze with conforming fret infill, the hood door with applied half-round gilt brass dial surround flanked by integral columns with gilt caps and bases, the sides with brass-edged large rectangular windows and dressed with quarter columns backed onto bargeboards to the rear edges, the trunk with book-matched veneers to the concave throat and unusual applied break-arch mouldings above herringbone banded finely figured trunk door, on conforming banded panel plinth base with double skirt, 253cm excluding finials, 271cm high overall. Provenance: The property of a Lady. Claude DuChesne and Simon DeCharmes were both of French Huguenot immigrant extraction. DuChesne originated from Paris and was made Free of the Clockmakers Company in 1693, De Charmes was made a Free brother in 1691. Both specialised in producing very distinctive high quality clocks usually of complex specification, often playing music or with astronomical features, many for export to Northern Europe. When the work of both makers is compared it becomes apparent that they must have had a close working relationship. A good example illustrating the similarities of both makers work, can be seen when comparing two japanned musical table clocks sold at Sotheby’s in 2006/7. The first example, by DuChesne, sold in London on 14/12/06 (lot 66) the second, by DeCharmes, also sold in London, on 25/04/07 (lot 81). Both these clocks are of similar specification and are in near identical cases, only differing slightly in detail. The dial layout of the current lot with two subsidiary dials beneath a central feature (either signature plaque or third dial) appears to have been the favoured format of DuChesne at this period. This coupled with the use of fitted disc collets around the winding holes (also favoured by DuChesne) and the fact that the 24 hour wheel is signed by him confirms that the movement was supplied by DuChesne to DeCharmes for use in this clock, complete with the finished dial to which he had only to add a signed boss. The case on the other hand exhibits details which appear to be unique to DeCharmes, most noticeably the unusual break-arch moulding above the trunk door. This feature (coupled with directly comparable caddy configurations and break-arch detail immediately above the arch of the case) can be seen on two other examples by DeCharmes. The first (now with later marquetry) was sold by Sotheby’s, London on 19/12/00 (lot 335) the second also sold by Sotheby’s in London on 23/03/99 lot 252. The case can also be compared with a marquetry example housing a grande sonnerie movement by Quare (number 145) illustrated in Robinson, Tom The LONGCASE CLOCK pages144-5 which Robinson dates to 1716-18. The brass half-round moulding applied to the front door and side windows of the hood is also a feature often found on examples by Quare. Clocks of three month duration are extremely rare, especially example which also strike the hours due to the enormous power reserve required to operate for a full three months. To tackle this problem Joseph Knibb developed Roman striking, (a coded form of hour notation on two bells one representing the ‘I’ on a dial the other ‘V’) in order to reduce the amount of power required. The current lot however, in addition to striking the full hours for the entire three-month period also has reserve built into the hour train to allow reasonable operation of the pull-quarter repeat over that period. Both . The movement and case are of suitably substantial construction to accommodate the strains and stresses created by the heavy driving weights. The extraordinary specification of the movement coupled with the complex dial layout and impressive proportions of the case suggests that this magnificent clock was made for an extremely wealthy client who wished to express his high status in the most appropriate manner.
A fine George III mahogany quarter-chiming eight-day longcase clock with moonphase. Sadler, Norwich, late 18th century. The substantial five-pillar triple train movement chiming the quarters on a nest of six bells and striking the hour on a further bell, the 13 inch brass break-arch dial with sweep calendar hand and flush-fitting silvered subsidiary seconds dial to the finely engraved ho-ho bird inhabited rococo scroll decorated matted ground within an applied silvered Roman numeral chapter ring with sweep calendar to inner track, Arabic five minutes and signed Sadler, Norwich to lower edge, the angles applied with cherub-head and foliate cast spandrels beneath rolling moonphase to arch, the case with foliate-capped verre eglomise fronted pagoda upstand and swan neck pediment above reeded columns to hood above swollen frieze to throat and shaped-top double book-matched flame figured mahogany veneered door flanked by quarter columns to trunk, on a shaped raised-panel fronted plinth base with ogee bracket feet 251cm high. Provenance; ex Caister Castle, Great Yarmouth.A Thomas Sadler is recorded in Baillie G.H. WATCHMAKERS & CLOCKMAKERS OF THE WORLD as working in Norwich 1752-84
A fine Queen Anne ebonised eight-day longcase clock. John Knibb, Oxford, early 18th century. The fully-latched five finned-pillar inside countwheel bell-striking movement with separate shaped-cock for the pallet arbor and backplate cut for the pallets, long crutch and 11.75 inch square gilt brass dial with delicate border engraved calendar aperture, silvered subsidiary seconds ring and blued-steel hands to the finely matted centre within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes and signed John Knibb, Oxon to lower edge, the angles applied with gilt twin cherub and crown pattern spandrels, the case with Knibb type button-capped giltwood centre finial flanked by conforming brass examples to the domed caddy upstand with blind fret infill beneath, with moulded cornice with conforming fret to frieze and integral columns with gilt brass caps and bases to hood door, the trunk with concave throat moulding and lenticle-centred rectangular door, on plinth base with moulded skirt, 229cm high excluding top finial, 241cm overall. Provenance: The property of a private collector. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took-on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Throughout the latter three decades of the 17th century John and Joseph worked in parallel, however when the products from both workshops are examined, it is evident that they had a close working relationship. Joseph Knibb retired in 1697 selling-up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb continued in business until his death in 1722. The movement of the current lot is fully latched and has the feature of separate cock for the pallet arbor (and cut-out for the pallets in the backplate) normally found on earlier clocks by Joseph with butterfly-nut pendulum regulation, however the casting for the pendulum hanging cock differs from those found on earlier clocks and the use of internal countwheel for striking the hours certainly dates it towards the end of the century. From these observations one could speculate that the movement of the current lot may well have been acquired by John from Joseph’s stock when he retired in 1697 or even on his death in 1711 before finishing and fitting with a dial. The fine proportions of the case closely echoes London work of the period. Despite being provincially made (probably Oxford) the case does exhibit features such as the distinctive spherical finials with button-shaped caps (which are often seen on other longcase clocks by the Knibb family) which set it aside from other provincial examples of the period.
A mahogany longcase clock, early 19th century, the hood with flared cornice and gilt capped pilasters enclosing the brass dial with applied spandrels and monthly subsidiary dial, signed Geo Quinton, Downton, the eight day bell striking movement contained within a mahogany case with full length trunk door upon box base, height 187 cm.
A 19th century Staffordshire figure group of Romeo & Juliet, with rhyme to base `Jul: O, think`st thou, we shall ever meet again? Rom: I doubt it not; and all these woes shall serve, for sweet discourse in our time to come` to base, height 27.4cm (crazed) and a 19th century Staffordshire flat back spill vase, depicting two figures stood in front of a tree trunk, entitled `Winters Tale`, height 30.3cm.
A pair of late 19th century Continental porcelain figural candlesticks, with faint painted blue cross factory marks, with label to base marked John and Jean, with flared lipped sconce atop tree trunk column, height 22.7cm, also a smaller Continental pottery hand painted figure group of a couple on shaped gilt base and a Capo De Monte miniature figurine of a naked boy fighting a large wasp, on circular moulded gilt base (4).
A 19th Century mahogany-veneered long case clock with an eight-day movement, the hood with a twin swan-neck pediment enclosing a 15" broken arch painted dial with moon-phase, Roman chapters, subsidiary seconds and date dials, bears indistinct signature "W. B.... Dudley", the trunk of the case further detailed with pilaster supports, some damages, 236cm high.
A George III oak and mahogany eight-day longcase clock, maker Peter Sharp of Coldstream, the hood with swan neck pediment and spiral fluted brass capped columns, the arched enamel dial with Arabic numeral chapter, subsidiary seconds dial and arched date aperture, the trunk with serpentine door on a plinth base and bracket feet, 207cm high x 47cm wide
Herman Saftleven (1609-1685) Extensive river valley with a goatherd near a tree and a village below Signed with monogram on the tree trunk Oil on panel 36.5 x 54cm; 14 x 21 1/4 in This subtle and panoramic landscape is typical of Saftleven’s earlier style which owes much to his master Jan Van Goyen to whom this work was incorrectly attributed in the inventory of 1848 (see literature below) Provenance: Samuel Day of Hinton House Hinton Charterhouse (1757-1806) Mary Day his widow till 1846 Thomas Jones (1788-1848) who inherited the estate from her Edward Talbot Day Jones (1837-1911) and thence by descent to the present owner Literature: Inventory of all the Household…including Paintings at Hinton Charterhouse the Property of the Late Thomas Jones made August 23rd-28th 1848 by English and Sons Bath referred to as: Hilly Landscape with Shepherd and Sheep 14 inches by 21 Van Goyen + + Good condition would be enhanced with very light surface cleaning. Small re-touchings visible under u.v.
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