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Lot 125
A FINE FRENCH NAPOLEON IIII GILT BRASS FOUR-GLASS MANTEL CLOCK IN THE LOUIS XVI TASTEDELAFONTAINE, PARIS, CIRCA 1860The circular eight-day two train bell striking movement with anchor escapement regulated by gilt sunburst mask bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped E.M above serial number 10852 to upper left over JAPY FRERES Et CIE, G'DE MED, D'HONNEUR roundel to centre and further number 5 2 to lower edge, the slightly convex circular white enamel Roman numeral dial inscribed DELAFONTAINE, Fab't de Bronzes, PARIS to centre and with Arabic five minutes beyond the minute track, with scroll-pierced gilt brass hands set behind hinged convex-glazed bead-bordered cavetto moulded cast brass bezel, the rectangular Neoclassical bevel-glazed case with twin handled husk-swag decorated vase surmount to the concave acanthus cast upstand, over front with bevelled glass panel applied with further husk swags draped over the dial and symmetrical acanthus scroll cast apron mount to the panel beneath, the sides with lion's mask handles and the rear with hinged glazed door, on leaf-cast ogee moulded skirt base projecting at the angles over generous foliate cast tapered feet.44.5cm (17.5ins) high, 21cm (8.25ins) wide, 16.5cm (6.5ins) deep. Maison Delafontaine were a leading firm of Parisian bronze founders who were established in the late 18th century by Jean-Baptiste-Maximilien Defontaine (1750-1820). He was appointed managing agent for the 'Communaute des foundeurs, doreurs, graveurs' in 1787 and is credited for executing the bronze Corinthian capitals for the Arc de Triomphe Carrousel (located in a courtyard between the Louvre Museum and Tuileres) during the early 19th century. The business eventually passed to his grandson, Auguste-Maximilien Delafontaine (1813-92), and was the main competitor to the Barbidienne factory which was active in Paris at this time.Condition Report: Movement is in clean fully working condition with no visible evidence of alteration or noticeable replacements. The dial has a very faint small hairline crack above 12 o'clock (only visible on close examination with the bezel open) otherwise dial is in fine original condition. The case is in fine condition with no visible chips to the glasses and minimal wear/discolouration to the gilding.Clock is complete with a pendulum and winding key. Condition Report Disclaimer
Lot 183
A CHARLES II MINIATURE BRASS LANTERN TIMEPIECE WITH ALARMSIGNED FOR JOHN KNIBB, OXFORD, CIRCA 1680The going train with verge escapement regulated by short bob pendulum swinging outside of the frame to the rear and motionwork for two hands, the rear with alarm mechanism incorporating verge crown wheel driving vertically pivoted yoke-shaped hammer fitted to the backplate and sounding on the inside of the bell mounted above, the dial with rose-decorated alarm disc within a band of engraved scrolling flowering foliage issuing from a three-petal bloom to the lower margin to centre, within applied Roman numeral chapter ring with squat fleur-de-lys half hour markers and punched dot minute marks to outer track, the frame with one-piece corner castings formed as Doric columns beneath vase finials with collar-turned shoulders, the front and sides applied with symmetrical pierced cast and engraved brass dolphin pattern frets with the front incorporating inscription John Knibb to the lower margin, beneath domed bell bearer capped with a conforming vase finial, with brass side doors, twin iron hanging hoops and spurs to rear, on integral ball-shaped feet, (with probable restoration).23cm (9ins) high, 9cm (3ins) deep, 10.5cm (4.5ins) deep. 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 took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. 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 became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph's larger concern in London. The strong similarities between John's best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The present lot would appear to conform with the earlier group of miniature lantern clocks produced both during Joseph's time in Oxford (up to around 1671) and subsequently by John Knibb. These clocks are generally characterised by their one-piece corner castings incorporating well-detailed vase finials decorated with a distinctive incised band just beneath the shoulder. Latterly (perhaps from around 1680) the Knibb workshops generally adopted different castings which incorporated simple small concave sided projections for the finials and button feet. Several examples with the 'earlier' type of frame are illustrated in White, George English Lantern Clocks on pages 257-58 (Figures V/108-11) and again in detail on page 261 (Figure V122), whilst an example of the later type is featured on the front cover of Hana, W.F.J. English Lantern Clocks. Although the current timepiece appears to utilise the earlier type of castings they have perhaps been more tightly turned/finished a little less generously than usual.In conjunction with the vase finial frame castings the Knibb workshops invariably used dolphin pattern frets which are described by George White as a being 'wafer thin' and, more often than not, carried the signature along the lower border. The frets on the current lot can certainly be described as thin, delicate castings. The engraving to the dial centre is very close to that of the later-type frame example illustrated by Hana, however the squat fleur-de-lys half-hour markers appear identical to those on a clock, this time with the earlier vase finial frame castings, by John Knibb illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on page 162 (Plate 176). From these details it would be perhaps appropriate to suggest that the present timepiece was made as the earlier vase finial castings were being phased-out in favour of the later simpler frame.The two-handed configuration of the present timepiece is unusual but not unheard of with regards to Lantern clocks in general. Indeed two-handed clock (albeit quarter chiming) Lantern clock by John Knibb is illustrated by George White on page 260 (Figure V/117). This clock also has 'dot' minute markers (as part of the outer track). There is a possibility that the present clock has been converted to two-handed configuration, if this is the case then it has been executed to a very high standard. Finally, when the considering the present the clock as a whole, other details typical of those originating from the Knibb workshops can be seen; most notably the shaping of the escapement top potance and backcock, as well as the presence of two hanging eyes fixed to the rear of the top plate.Condition Report: Movement is in relatively clean working condition with delicate wheelwork commensurate with the Knibb workshops. The pivot holes show no evidence of re-bushing or noticeable wear; the pinions also exhibit little in the way of wear. Due to the lack of wear evident we cannot rule-out whether the train is a restoration however it is not unusual for such timepieces to exhibit little use as historically they were often only used occasionally (whilst travelling). There is no obvious evidence that the greatwheel arbor has been modified to allow combined hour and minute gears to be fitted (rather than just having a square for the pinion of report) hence it would appear that the train was made for two-handed motionwork. The alarm mechanism is in similar condition to the going train - ie. complete and well-made but shows negligeable wear.The dial is in fine original condition and, as catalogued, conforms with those seen on other examples emanating from the Knibb workshops. The alarm disc is most likely a restoration. The hands are very well made but are somewhat 'clean' in appearance. The 'dot' minute markers to the outer edge of the chapter ring do not appear to have been added recently hence there is a strong argument that they were executed at the time the chapter ring was made. The frame is in sound original condition however the shaft to the front left hand upright has an inserted section around 1.5 inches long let-in. This is most likely to repair a casting fault at the time of making and is mostly obscured by the chapter ring and side door. The rear left hand finial is a replacement. The top and bottom plates exhibit no evidence of alteration. The frets appear original although the left-hand side fret is not fully finished. The bell bearer is probably a replacement and the bell itself has been repaired (although it rings fine). The side doors appear correct, the left-hand door has a slight casting fault. The hanging hoops and spurs appear a little 'clean' hence may be restorations although the threads securing the spikes are correctly hand cut and show signs of age (slight corrosion and wear). Timepiece is complete with rope lines and weights. Condition Report Disclaimer
Lot 181
A FINE AND HOROLOGICALLY SIGNIFICANT JAMES I 'FIRST PERIOD' LANTERN CLOCKWILLIAM BOWYER, LONDON, CIRCA 1620The separately wound trains with iron-cheeked pulleys to the great wheels, the going train with reinstated verge escapement regulated by horizontal balance oscillating above the frame top plate, the strike train sounding the hours on a lugged bell mounted above the frame via an iron countwheel with overlift provided by an iron-walled hoop wheel cut with a single slot, the dial finely engraved with a large chrysanthemum bloom over twin entwined stalks set within a field of scrolling flowering foliage to centre, within applied narrow silvered Roman numeral chapter ring incorporating floating asterisk half hour markers and concealing fine signature William Bowyer of Lon Fecit engraved in a downward curve to the plate behind the lower part, with fine sculpted steel hand and foliate engraved infill matching that of the centre occupying the upper quadrants and the lower margin, the frame with finely turned generous Doric column corner posts beneath distinctive ovoid vase finials with banded waists, the front and sides applied with symmetrical scroll pierced cast brass frets with the front incorporating foliate engraved detail, beneath domed iron bell bearer capped with a conforming vase finial incorporating pinned plinth upstand for securing the lugged bell, with brass side doors and the rear with iron hanging hoop over spurs applied to the brass backplate, on collar-turned ball feet.40cm (15.75ins) high, 15cm (6ins) wide, 18.5cm (7.25ins) deep.William Bowyer is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as the son of Ralph Bowyer (yeoman of Warfield Berkshire) who is believed to have been married to Alice Mansworth in 1590. William was probably born around this time and by 1616 was a member of the Pewterers' Company when he took-in Thomas Taylor (son of Ralph Taylor, a milliner from Halesowen, Shropshire) as an apprentice. Bowyer took-in no less than five further apprentices prior to the formation of the Clockmakers' Company in 1631, including John Pennock (son of William Pennock of Guisborough, Yorkshire) in 1620. Although he subscribed £5 towards its charter and was made free of the City in 1630, William Bowyer did not apparently join the Worshipful Company on its establishment the following year.Bowyer is thought to have been first married to Margery Barlow of Litchfield, Staffordshire, however, by 1631 he was married to Prudence with whom he had five children (three of which sadly died in infancy). By 1638 Bowyer was living in the parish of St. Andrew Undershaft, he took-in Joseph Jackson (through Thomas Dawson) as apprentice that year and during the following decade took-on at least four more, this time through the Clockmakers' Company. One of these apprentices was Nathanial Allen (probably around 1641/2); Allen subsequently married a Phillipa Bowyer in 1646 hence became related to William through marriage.In 1640 William Bowyer was invited to become an Assistant of the Clockmakers' Company, however it appears that he was reluctant to serve the Company as in July 1642 he gave 'a great chamber clock' in return for excusal from any further duties. Nevertheless he became an Assistant in 1651 and a Warden in 1653 the year of his death.The present clock belongs to a group of less than half-a-dozen surviving particularly early examples made by Bowyer either just before or around 1620. Of the others the first (dated 1617) was sold at Bonhams, London sale of Fine Clocks 11th July 2018 (lot 60 for £43,750) and the second is illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 79 (Figures 7.1-4). Another is illustrated in White, George English Lantern Clocks onpage 101 (Figure II/125 showing movement only), and possibly a fourth on page 113 (Figure II/145).All of the above examples share the same frame castings which are very closely related to those used by the earliest of English Lantern clock makers, brothers Robert and Thomas Harvey. These frames are characterised by having well-proportioned Doric column corner posts surmounted by slightly shouldered ovoid vase finials each decorated with a ring around the waist beneath a disc knop. The ball feet are also cast with a collar matching that of the finials. Indeed when the frame of the present clock is compared with that of an example by Thomas Harvey illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers it can be seen that the castings differ only in very slight detail.In addition to sharing the same design of frame castings it has been noted by Brian Loomes in his article William Bowyer, an exciting and important discovery published in 'Clocks' magazine, June 2018 (pages 9-12) that the movement pivot bar castings follow the same form as those used by Robert and Thomas Harvey. This suggests that these castings may have a common source, most likely the Harvey workshop. It is therefore likely that, during his formative years, William Bowyer had some form of connection with this very important workshop. From the images available it can be seen (with the possible exception of the last clock illustrated by White on page 113) that this group of clocks are all essentially identical with regards to the layout and detailing of the movements. All have iron countwheels, iron-walled hoopwheels, straight hammer checks and iron cheeks to the pulleys (where the originals survive). They also share the same frets hence only essentially differ in the treatment of the dials, and whether an alarm was originally fitted. These inherent similarities suggest, that even at this very early date, a degree of standardisation was being adopted mostly through the use of common castings.The present clock is noticeably well finished with each of the cruciform movement pivot bars having decorative scroll-shaped detailing just above the hammer arbor pivots. This attention to detail is carried forward to the dial which exhibits fine albeit unusual foliate decoration to the entirety of the dial centre. It is perhaps interesting to compare this decoration with that of Bowyers celebrated 'Memento Mori' great chamber clock of 1623 illustrated in Bruce, W.F. EARLY ENGLISH LANTERN CLOCKS 1600-1700 (2013) on page 17. Although the decoration of this larger clock lacks a large flowerhead (or any other large single element) the foliate infill has a similar feel to that of the present clock, albeit in a perhaps slightly more developed form incorporating scrolls and loops to the design.Please see the page-turning catalogue to continue reading the final part of this footnote.
Lot 19
A RARE LACQUERED BRASS AND MAHOGANY HAWKSBEE-TYPE DOUBLE-ACTION DEMONSTRATION VACUUM PUMPW. LADD, WALWORTH, MID 19th CENTURYWith twin vertical cylinders formed as squat Doric columns set between further slender column uprights beneath break-arch shaped laminated mahogany superstructure secured with substantial brass screws, enclosing twin racks for the pistons operated via a single pinion mounted on the crank handle arbor, with vase-shaped brass finials and the front with recessed silvered plate engraved W. LADD, Penton Place, Walworth, the base with valve for the take-off pipe running backwards beneath a square stage raised on four Doric column supports centred with a circular brass platform incorporating central fitting fed to the pipe, the rear edge with additional lower smaller platform also connected to the same pipework, on moulded platform base incorporating bracket feet; in original oak box with accessories comprising a Magdeburg sphere, a glass bulb with valve, a syphon gauge, a small stage with central needle-shaped feed, and a manual hand pump with valve, (lacking glass bell-jar).The pump 40.5cm (16ins) high, 40.5cm (16ins) wide excluding crank handle, 26.5cm (10.5ins) deep; the box 40.5cm (16ins) high, 59.5cm (23.5ins) wide, 31cm (12.25ins) deep. William Ladd is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from several addresses in London 1839-72 including 10 Cleaver Street, Kennington (near Walworth) 1846-47. The design of the present lot was developed by Francis Hawksbee (1660-1713) in around 1705 with the twin cylinder arrangement based upon a pump by Denis Papin (1642-1712) who first devised this arrangement (albeit operated by pulleys and foot treadles) in 1674.
Lot 184
A WILLIAM III BRASS LANTERN CLOCK JONATHAN GREENHILL, MAIDSTONE, CIRCA 1695The posted countwheel bell striking movement with Huygens's endless winding and later anchor escapement regulated by seconds pendulum swinging outside of the frame of the clock to the rear, the dial with leafy scroll engraved concentric band issuing from a rose bloom at six o'clock to centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, signed Jn'o Greenhill, at Maidstone to lower margin and with engraved leafy infill to angles, the frame with column-turned corner posts beneath dolphin inhabited foliate pierced frets, vase finials and domed bell bearer, the sides now with japanned metal doors and the rear with hanging hoop over conforming backplate, (originally with verge escapement regulated by pendulum swinging between the trains, alarm removed and lacking feet).36cm (14.25ins) high, 17cm (6.75ins) wide, 19cm (7.5ins) deep. John Greenhill is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 (noting research by Michael Person) as born in Maidstone in 1655 and gaining his freedom in 1674. As well as a clockmaker he was also a gunsmith, he married Alice Harris (sister of the clockmaker Walter Harris) in 1680 and died in 1712. Loomes notes several longcases are known and two lantern clocks including an example signed 'Johannes Grennell de Maidston fecit'.Condition Report: The trains have been re-pinioned and the escapement converted from verge with centre-swinging pendulum to anchor with long pendulum swinging at the rear. The alarm mechanism has also been removed otherwise movement is in good original condition but is very dirty/dusty and running with chains. The dial has been cleaned in the past hence has lost its silvering to the chapter ring; the alarm disc is also no longer present otherwise appears to be in good original albeit dirty condition. The frets appear original although the right hand is missing a securing lug and both lugs have been repaired on the left-hand fret. Frame is missing its feet otherwise is in good original condition; the rear panel and side doors are replacements. Clock has pendulum and a weight. Condition Report Disclaimer
Lot 9
AN EARLY VICTORIAN TWELVE-INCH TERRESTRIAL FLOOR-STANDING LIBRARY GLOBEPUBLISHED BY S.S. EDKINS SUCCESSORS TO T.W. BARDIN, SOLD BY J. SOUTER, LONDON, CIRCA 1837The sphere applied with two sets of twelve hand-coloured engraved gores and polar calottes incorporating circular panel inscribed THE, NEW TWELVE-INCH, BRITISH, Terrestrial Globe, REPRESENTING THE, ACCURATE POSITION OF THE PRINCIPAL, KNOWN PLACES OF THE EARTH., FROM THE DISCOVERIES OF, CAPTAIN COOK, AND SUBSEQUENT CIRCUMNAVIGATORS, TO THE PRESENT PERIOD, 1837 over applied curved label J. Souter, School Library, 151 Fleet St. London to North Pacific, with extensively annotated and fully graduated equatorial and the Pacific ocean with THE ANALEMMA for the equation of time, the oceans with many explorers' tracks and numerous notes and dates, Antarctica with no land shown except for Enderby's Land dated 1833, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief, pivoted via the polar axis within brass meridian circle divided for degrees and with brass hour circle to North pole, set within hand coloured engraved paper horizon ring with compass points and degrees in both directions, Zodiac, calendar scales and wind directions, in a stand with four down-curved quadrant supports cradling the globe over vase-turned upright and three outswept supports united by glazed compass stretcher inset with paper printed with elaborate thirty-two point rose within outer scale divided for degrees, terminating with ball feet.88cm (30.5ins) high, 43cm (17ins) diameter overall. The present globe is a known edition by S.S. Edkins (successors to T.W. Bardin). The lower margin of the roundel is applied with Souter's address over the original printed text 'Manufactured by S.S. Edkins Son in Law and Successor to the late T. M. Bardin Salisbury Square London'. William Bardin (1783-98) was a freeman of the Leatherseller's Company who starting making globes in around 1780. His first globes were 9 and 12 inch diameter published in collaboration with Gabriel Wright on 1st January 1782. Wright was a mathematical instrument maker who had previously worked for Benjamin Martin who, in turn, had acquired the plates of Senex's celebrated globes from James Ferguson. William's son, Thomas Marriott, is recorded in Clifton, Gloria Directory of Scientific Instrument Makers 1550-1851 as a globe maker apprenticed to his father, in 1783 with whom he went into partnership in 1790. Bardin and Son initially worked from 4 Hind Court, Fleet Street, London before moving to 16 Salisbury Square in 1975. William Bardin died in 1795 leaving the business in the hands of Thomas Marriott. The firm was taken-on by Thomas's daughter, Elizabeth Marriott, after his death in 1820 and then by her husband, S.S. Edkins. on their marriage in 1832. They took a son into partnership in 1848 and the business continued until shortly after S.S. Edkins's death in 1853. J. Souter appears not to be recorded in the usual sources however online sources suggest that they were specialist publishers and retailers of books and maps for educational purposes and were established before 1820.Condition Report: The glove is generally in good original condition with no visible cracks or noticeable losses/infilling to the gores. The gores have noticeable opening between the sections with some noticeable related staining to the edges. Otherwise notable faults are essentially limited to some historic mottling, greying/blooming to the upper surfaces. The current varnish appears relatively recently applied and is quite 'shiny'. Although the standi is contemporary to the globe we cannot offer any assurances that it is original to the globe. The meridian papers are quite light in colour but in sound condition with minor wear and some visible shrinkage to the ring beneath visible through the papers. There is no brass mount for the meridian ring (just a raised slot in the top of the columns) and one foot has a small spliced repair to the tip. The compass appears in good condition although the paper has probably been 'washed'.Please note additional images are available which form an integral part of the condition report. Condition Report Disclaimer
Lot 182
A CHARLES II BRASS LANTERN CLOCKWILLIAM HOLLOWAY, STROUD, DATED (16)78The separately wound trains with brass cheeked pulleys now running with chains, the going train with reinstated verge escapement regulated by short pendulum incorporating anchor-shaped flutes to the bob swinging within the frame at the rear, the strike train sounding the hours on a bell mounted above the frame via a countwheel, the dial with vacant circle within concentric band of engraved scrolling foliage issuing from a flowerhead to the lower margin and interrupted by engraved signature William Holloway, of Stroud '78 to the upper edge, within applied silvered Roman numeral chapter ring incorporating wheatear half hour markers, with sculpted steel hand and radial leaf engraved infill to the corners, the frame with one-piece corner castings formed as Doric columns beneath vase finials with acorn shaped caps, the front and sides applied with symmetrical scroll pierced cast brass frets with the front incorporating foliate engraved detail, beneath domed bell bearer capped with a vase finial, with original concentric ring decorated brass side doors and iron hanging hoop to rear, on integral inverted acorn shaped feet.41cm (16.25ins) high, 16.5cm (6.5ins) wide18.5cm (7.25ins) deep. William Holloway is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as the son of the clockmaker John Holloway born in 1732 at Market Lavington, Wiltshire. In 1658 he moved, along with his father and younger brother Richard, to Stroud in order to take-on the workshop of the recently deceased John Snow. Holloway was married to Hester Hieron in 1664 and continued working until his death in 1694. William Holloway had three sons one of which, John, continued the business in Stroud after his death; the other two, William and Arthur, moved to London to pursue the trade in the capital. William Holloway was a confident, accomplished and relatively prolific maker who used distinctive castings for his frames which appear almost unique to the Holloway family. His early clocks (1661 to circa 1680) used castings loosely based on the London second period style but were one-piece (i.e. finials and feet were cast integral with the posts) with tall slender finials capped by distinctive acorn turnings. Three examples by Holloway with this type of frame are illustrated in White, George English Lantern Clocks on page 246 (Figures V/78-80). The second type of frame used was much more akin to the standard London third period pattern but again employed one-piece castings and appeared to be short-lived as they are only seen on clocks dating to the first five or six years of the 1680's (see White, page 247, Figure V/81). The third pattern was again based on London third period practice but was much more generous with distinctly bulbous swellings to the finials and feet, two clocks with this type of frame are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 207 and 209 Figures 13.8 and 13.13. Other traits of Holloways work include the continued use of separate winding for each train long after most other makers had adopted Huygens' single-weight endless rope system. Clocks with separately wound trains are characterised by having hour bell hammers positioned to the right hand side of the movement. Loomes suggests that Holloway may have continued this practice as it allowed straightforward disablement of the strike train by simply removing or not winding the strike weight. Another unusual feature peculiar to Holloway was that he often used four wheel trains in order to give a longer duration. The current lot is a typical of Holloway's first phase of work with one-piece castings incorporating acorn-shaped feet and caps to the finials. Indeed the clock can be very closely compared to another example by Holloway dated 1674 illustrated by George White on page 246 (Figure V/79).Condition Report: As catalogued the movement has been re-converted to its original configuration of verge escapement with short pendulum having previously been converted to anchor escapement regulated by long pendulum swinging outside of the case to the rear. The re-conversion has been executed to reasonable standard however the contrate and escapewheel are noticeable replacements due to having slightly different feel (mostly in their weight) to remaining original wheelwork. The potances are well-executed and appear to utilise the original holes; the anchor-shaped pendulum bob is probably a little heavy and has been re-attached using solder. The top plate has spare holes to the rear edge from the previous anchor long pendulum backcock and an enlarged slot beneath the escape wheel to provide space for the previous anchor pallets escapement. The going train second wheel arbor (original) has ben thinned adjacent to the pinion to allow additional clearance for the previous anchor escape wheel. In addition to the above evidence of previous conversion to anchor escapement to long pendulum there is an additional pair of pivot holes (towards the top of the front and centre movement bars) the indicating that the clock may have also been fitted with an anchor escapement with short pendulum (facilitated by increasing the train to four wheels). It is possible that the pendulum for this configuration utilised the same space as the present pendulum which would account for the slot cut in the bottom plate beneath the anchor-shaped bob to allow additional clearance for slightly longer pendulum. The backplate is no longer present and was most likely removed along with the alarm mechanism which would have been mounted to the exterior of the plate at the time of conversion to long pendulum. The original hanging hoop is still present; the corresponding spurs would have most likely been fitted to backplate hence it is most probable that the clock was housed in a tall 'pencil case' type longcase after conversion to long pendulum.Except for the escapement both trains appear to be entirely original and in good order; the pulleys probably originally ran with rope lines. Although the clock is in working order a gentle service/lubrication is advised. The dial is in good original condition with some historic scratching, wear and surface casting texture to the vacant centre where the alarm disc would have been (removed at time of conversion to long escapement); the hand appears original and is nicely made. The frame is in fine original condition and the frets appear original. The bell is a replacement (domed support appears original); the top finial is also a replacement. The side doors are rare original survivors.Clock has two lead weights. Condition Report Disclaimer
Lot 164
Y A FINE DUTCH BRASS MOUNTED EBONY GRANDE-SONNERIE STRIKING TABLE CLOCK WITH MOONPHASE AND CALENDARJACOB HASIUS, AMSTERDAM, CIRCA 1740The four pillar movement with thick plates measuring approximately 8.75 by 6.375 inches enclosing fusee for the going train with verge escapement regulated short bob pendulum, the hour and quarter trains both with standing barrels secured to the frontplate and sounding the quarter followed by the hour on a graduated pair of bells every quarter hour, the backplate finely engraved with a sunburst mask flanked by foliate scrollwork incorporating ribbon-tied martial trophies over grotesque mask surmounted foliate strapwork bordered signature cartouche engraved Jacob Hasius, Amsterdam Fecit to lower margin, the 8 inch square brass dial with scroll-bordered shaped cartouche further signed IACOB, HASIUS, AMSTERDAM and incorporating date-of-the month aperture to the upper part of the matted centre, over twin shaped chamfer-cut sector apertures revealing month-of-the-year and day-of-the-week indications labelled in Dutch and engraved with their respective deities, within applied silvered Roman numeral chapter ring with stylised trident half hour markers, with scroll-pierced steel hands and lambrequin mask centred scroll cast spandrels to angles within a herringbone engraved border to the edges of the plate, the silvered arch with rolling moonphase set within very finely engraved surround incorporating lunettes and overall inhabited with Classical deities including Poseidon and Zeus together with other allegorical figures and trumpeting putti flanking an aperture for age of the moon to the apex, the ebony veneered bell-top case with scallop-shell centred scroll-engraved hinged shaped brass carrying handle and fine foliate scroll strapwork pierced and engraved fretwork overlay to both the convex upper and the tall concave lower sections of the superstructure incorporating central grotesque masks, urns and dolphins to the latter, over complex top moulding applied with fine chiselled brass vase finials above opening front incorporating brass fillet moulding bordering the glazed dial aperture and engraved winged cherub mask and scroll upper quadrant frets, the sides with circular over concave-topped scroll-engraved brass sound frets incorporating Classical portrait bust-centred cartouches, the rear matching the front, on cavetto moulded skirt base bound with strapwork scroll engraved brass over finely detailed hairy lion's paw feet.51.5cm (20.25ins) high with handle down, 31.5cm (12.5ins) wide, 20.5cm (8ins) deep. Provenance:Purchased at Christies Amsterdam sale of EUROPEAN AND NOBLE COLLECTIONS 14th December 2011 (lot 60) for 34,600 Euros. Previously the property of a Dutch private collector; with H. Brokke, Amsterdam in 1966, and the Dreesman Collection, circa 1928. Jacob Hasius is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working 1682-1747. He had a workshop in the Jan Roodenpoortstorenteeg and is listed in the 'Register of Good Men' in 1704 and 1716. The specification of grande-sonnerie striking, triple calendar indication and moonphase, coupled with the exceptional dial engraving and the profuse use of pierced and engraved brass mounts to the case suggest that the present clock was made as a 'statement piece' most likely for a member of the wealthy Amsterdam merchant class.Condition Report: Movement is complete, fundamentally original and is in relatively clean working condition. The grande-sonnerie striking is operational however is prone to either counting the hours incorrectly or not tripping now and again suggesting that a gentle service is probably due. All the underdial-work for the calendar indications are present and operational but will most likely require some adjustment and synchronisation. The dial is in fine original condition with exceptional engraving to the arch. The centre hole (for the hands) has a correction (from the time of making) in the form of a filled part-circle beneath the present hole otherwise faults are very much limited to a visible rivet mark (for a calendar wheel carrier post) to the matting near three o'clock. The case has a vertical veneer patch repair to the left hand upright (bordering the brass fillet moulding for the gazed aperture) of the back door otherwise is in fine original condition with faults very much limited to minor bumps, scuffs, shrinkage and other age-related blemishes. The brass frets are complete and of fine quality with good strong engraved detail throughout.Clock is complete with integral bob pendulum and a winding key. Condition Report Disclaimer
Lot 85
Pair of 19th century Continental gilt metal and painted porcelain four branch candlesticks, with scrolling candle arms and portrait painted vase columns on stepped plinth bases, 50cm highBoth in sound original condition, one urn chipped and one cast acanthus leaf broken off and missing. Both very dirty and in need of cleaning and consolidation.
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