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Live
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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Fine Clocks, Barometers and Scientific Instruments
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Auction dates
Mar 25, 2025 10:30 AM GMT
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Mar 21, 2025 10:00 AM - 04:00 PM GMT
Mar 22, 2025 10:00 AM - 03:00 PM GMT
Mar 23, 2025 10:00 AM - 03:00 PM GMT
Mar 24, 2025 10:00 AM - 04:00 PM GMT
Mar 25, 2025 09:00 AM - 10:30 AM GMT
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Featured lots
There are 214 lots within this auction
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A GEORGE III CHINOISERIE DECORATED BLACK JAPANNED TAVERN WALL TIMEPIECE
SIGNED FOR COWLEY, LONDON, CIRCA 1780
The four pillar weight-driven movement with five-wheel train, anchor escapement regulated by seconds pendulum and tapered plates, the circular cream painted slightly convex wooden Arabic numeral dial with Arabic five minutes beyond the outer minute track and decorative scroll-pierced brass spade hands, within a black and gilt stepped ogee moulded surround and secured to the drop-trunk case with pegs, the case with side doors behind the dial over gilt signature Cowley, OXFORD STREET flanked by gilt floral trail painted scroll-outline ears, over concave-topped rectangular door decorated in varying shades of gilt with raised oriental figure within a garden trellis landscape framed within double-line border, the surround with chevron and leafy trail banded borders, the sides with oversize floral sprays and the base of stepped ogee profile decorated with further conforming foliate decorated panels, (finish with restoration).
139cm (54.75ins) high, 58.5cm (23ins) wide, 18cm (7ins) deep.
A clockmaker with the surname Cowley does not appear to be recorded in the usual sources as working in London during the late 18 th century.
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AN UNUSUAL GREEN CHINOISERIE JAPANNED FUSEE DIAL WALL TIMEPIECE
THE DIAL INSCRIBED FOR JOHN TAYLOR, LONDON, LATE 18 th CENTURY
The four pillar single fusee movement with tapered plates measuring 7.25 high by 4.5 inches wide at the base and verge escapement regulated by short bob pendulum, the 12 inch circular cream painted Roman numeral dial bearing inscription John Taylor, London to centre and with fine pierced steel hands, in a green chinoiserie japanned 'saltbox' type case with alternating gilt trellis and foliate panel decorated hinged glazed wooden ogee moulded bezel applied to a conforming moulded surround further painted with gilt repeating lappet leaves, the rear box case with hinged doors to both sides over shaped rear pendant apron decorated in raised black line and gilt with Oriental pavilion within an arcadian landscape, (dial refinished, case decoration probably later and with restoration).
39cm (15.5ins) diameter, 16cm (6.25ins) deep.
Condition Report:
Movement is in relatively clean working condition with no visible evidence of alteration however the train may have been re-pinioned to counter wear at some point in the 19 th century. The dial has been refinished hence we cannot offer any assurances that the signature on the dial reflects the original; there is some very slight stress cracking around the dial feet. The carcass of the case is made from mahogany (rather than pine to be expected for a japanned clock) hence decoration may well be later (20 th century). The bezel is in good condition with lock (no key) with relatively slight wear to decoration. The turned surround is also in good condition. The box case has a replaced vertical section to the right-hand side - between the rear of the dial surround and the door), the adjacent crescent-shaped slip to the applied to the rear of the surround is also a replacement/restoration. Both side doors are also probably replacements and bracing blocks have been applied internally to each of the corners. The decoration to the pendant back panel has seen some re-touching around the drilled hole otherwise is in good condition; otherwise faults to the case are very much limited to age related shrinkage, wear etc.
Timepiece does not have a winder or case key.
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AN EIGHT-DAY QUARTER-CHIMING LONGCASE CLOCK
THE MOVEMENT AND DIAL BY WILLIAM BARROW, LONDON, CIRCA 1720, THE CASE LATER
The substantial six finned pillar inside countwheel bell striking movement with plates measuring 7.75 inches by 6.5 inches and anchor escapement regulated by seconds pendulum, the quarter train with external countwheel and sounding on a graduated nest of six bells, the 12 inch brass break-arch dial with star decorated subsidiary seconds dial and calendar aperture to the Ho-Ho bird decorated matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the outer minute track, with scroll pierced steel hands and mask and scroll cast spandrels to angles within a herringbone engraved outer border, the arch with silvered boss signed William Barrow, LONDON within conforming herringbone-banded border flanked by dolphin cast mounts, now in a brass mounted mahogany case with shaped scroll-pierced brass fret fronted removable concave-sided 'pagoda' pediment, over break-arch cavetto cornice, conforming arched brass fretwork frieze and hinged glazed dial aperture flanked by free-standing stop-fluted Corinthian columns with brass caps and bases, the sides with rectangular brass sound frets and quarter columns set against bargeboards at the rear, the trunk with concave throat moulding over break-arch flame-figured door applied with complex edge mouldings and flanked by Corinthian quarter columns also with bras caps and bases, on plinth base with conforming concave top moulding over shaped panel outlined front and moulded skirt.
237cm (93.25ins) high including removable pediment, 215cm (86ins) high with pediment removed; 52cm (20.5ins) wide, 25.5cm (10ins) deep.
William Barrow is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1700 and gaining his freedom of the Clockmakers' Company in 1710. It would appear that he supplied clocks for the Swedish market with a lacquer longcase residing in the Nordiske Museum, Stockholm and three more longcase clocks in the National Museum, also in Stockholm.
Condition Report:
Movement is in fine clean working condition with no visible evidence of alteration or noticeable replacements although it is likely that a movement of this age will have has some minor service replacements. There is some evidence of historic rebushing and light peening of the backplate corresponding to some of the movement pillars are attached. The dial is in fine clean condition with the only noticeable faults being a small loss to the upper right-hand corner of the plate and a small casting fault (hole) behind the lower right-hand spandrel. The minute hand is probably a replacement. The movement retains what appears to be its original seatboard. The case is not original to the movement and is of later date (mid to late 18 th century). The concave-sided pediment is removable and has saw marks along the lower edge together with two small veneer chips. The arch of the hood is now fitted with a curved top board onto which the pediment rests (if desired) - due to the thickness of this top board the pediment does not rest snugly. Case otherwise is in good original condition with faults limited to minor shrinkage cracking, other movement, minor bumps and scuffs, other slight age-related blemishes including a small loss to the base skirt moulding to the right-hand side.
Clock has pendulum (probably non-original), two brass cased weights, a third lead weight, winder and a case key.
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A GEORGE II BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE/BRACKET CLOCK WITH TRIP REPEAT
JOHN ELLIOTT, EXETER, MID 18 th CENTURY
The substantial five (formerly six) pillar movement with plates measuring 8.25 by 7 inches, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, now with anchor escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension, the backplate engraved with a basket of fruit within symmetrical foliate vine scrollwork centred by a large gadroon-bordered shaped cartouche signed John Elliott, Plymouth , the 8 inch brass break-arch dial with shaped false bob aperture 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 ring, with scroll-pierced steel hands and applied female mask and scroll cast spandrels to angles with the upper interrupted by subsidiary Strike/Silent selection and regulation adjustment dials, the arch further date of the month dial flanked by strapwork scroll cast mounts, the ebonised case with five brass disc-and-spire finials to the inverted bell-top superstructure incorporating brass mouldings at the junction between each section, over brass-edged double cavetto top mouldings and opening front inset with brass fillet mouldings to the glazed dial aperture and scroll pierced and engraved upper quadrant frets flanked by brass bound rounded angles, the sides with hinged cast brass handles over concave-topped rectangular scroll pierced and engraved sound frets centred with a basket of flowers over a stylised lions mask within brass fillet surround, the rear with conforming rectangular break-arch glazed door set within the frame of the case, on two-tier cavetto moulded skirt base edged in brass over generous cast ogee bracket feet.
57.5cm (22.75ins) high, 35cm (13.75ins) wide, 23cm (9ins) deep.
Very little of John Elliott of Plymouth is known with only his marriage, in November 1732, being recorded. As was the tradition for clockmakers to marry after completing their apprenticeship this would suggest that he was born in around 1710.
The engraving to the backplate of the present clock broadly conforms to designs illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 pages 301-03 (Figures 17.8-17.10) which would date the present lot to around 1740-50.
Condition Report:
Movement is complete and in good original condition with the only noticeable replacements being the escapement and the going train third wheel. The going train will run however both the strike and quarter trains are presently not functioning. Both of these trains appear intact, unaltered and will wind; they will just about operate with manual assistance but will not trip/run when hands are advanced. As the movement is somewhat dry/dusty a gentle clean/service and some adjustment will be required before it can be put to use. The movement is generally well made/finished and generally exhibits minimal wear or rebushing etc.; there is no trip-repeat line fitted at present. The dial is generally dull/discoloured with mellowing to the castings and patchy oxidation to the silvering. The centre has two smallish plugged holes within the matting (near the IIII and VIII numerals) almost certainly left over from fixing an arched silvered signature plate which is no longer present. As with the movement the dial is of good quality and well finished. The case is generally in good original condition. The caddy superstructure has some slight veneer shrinkage only, as does the front door which opens to reveal only a couple of small losses/repairs and cracking to the veneer overlap of the mask bordering the dial. Both sides have some shrinkage cracking with the most notable being to the rail beneath the fret aperture to the left-hand side; otherwise are in good original condition although the frets are somewhat tarnished/discoloured. The rear door, surround and skirt base are all in good original condition with only slight wear and other age-related blemishes evident.
Generally a well made clock in very sound original condition (except for the escapement) which has a pendulum, case key and a winder.
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A GEORGE II BURR WALNUT EIGHT-DAY LONGCASE CLOCK
ISAAC DU HAMEL, LONDON, CIRCA 1735
The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and applied arched signature plate engraved Isa: Du Hamel, LONDON to the matted centre, within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the outer minute track, with scroll-pierced steel hands and applied female mask centred scroll cast spandrels to angles, beneath arch with STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a case with architectural cornice over break-arch glazed hood door flanked by free-standing columns with brass caps and bases, the sides with break-arch glazed apertures and quarter columns set against bargeboards at the rear, the trunk with book-match burr veneered concave throat moulding over break-arch door also fronted with book-matched burr veneers within a triple-line edged border and with complex edge mouldings, the surround with conforming line-edged panels to upper quadrants and the side veneers divided into two panels within crossbanded borders, the plinth base with cavetto top moulding and further line-bordered book-matched burr veneers to fascia over a moulded skirt.
229cm (90.25ins) high, 52cm (20.5ins) wide, 25.5cm (10ins) deep.
Isaac DuHamel is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1731-55. It is most likely that he was of French Huguenot heritage and, as such, would have most probably had connections with the extensive network of Huguenot clockmakers working in London during the first half of the 18 th century which included Claude DuChesne and Simon DeCharmes.
Condition Report:
Movement is essentially in working condition with no visible evidence of alteration or noticeable replacements but is very dirty/oily hence a precautionary gentle service/lubrication is required before putting into long-term service. The frontplate shows evidence of an hour trip-repeat lever being fitted at one point which is no longer present. The dial is in good original albeit dirty condition. The spandrels retain old gilt finish but with discolouration and wear and most of the silvering has been rubbed-off. The plate retains old discoloured lacquer finish; the hands appear most likely original. The movement is attached to a later pine seatboard which rests on packing pieces applied to the upper surfaces of the cheek uprights indicating that the movement and dial are not original to the case. The case is generally in sound condition with good veneers. The hood would have originally had a caddy superstructure which has been removed and the top applied with a later board. The upper lip moulding of the cornice is a replacement and the quadrants beneath the cornice would have originally been pierced fretwork (hence the present plain panels are later replacements). The dial mask (behind the hood door) has some chips/losses to the overlap as well as some cracking to the veneers. The rear quarter columns are lacking their caps and bases otherwise faults to the hood are very much limited to minor bumps, scuffs, scratches, and shrinkage commensurate with age as well as some historic worm trail damage. The trunk and base are in sound condition although the left-hand throat moulding has lifting and losses to the veneer. The trunk door is now secured by an unsightly turn-catch as the lock is missing and there are two sections of poorly matched patching to the burr veneers. The sides have some slight wear/blemishes to the rear edges and are also very slightly bowed. The plinth has some losses to the edge banding to the lower right corner of the fascia as well as some holes/perforation losses to the burr veneers in general. The rear left-hand edge has some chipping/wear otherwise faults to the base are essentially limited to historic bumps, scuffs, shrinkage and other relatively minor age-related blemishes. The skirt is a replacement.
Clock has two weights and a pendulum only (no winder or case keys).
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A VICTORIAN INLAID EBONISED FUSEE DROP-DIAL WALL TIMEPIECE
JOHN HARRIS, TRURO, CIRCA 1850
The four pillar single fusee movement with anchor escapement regulated by lenticular bob pendulum, the 12 inch circular cream painted Roman numeral dial inscribed JOHN HARRIS, TRURO to centre, with blued steel spade hands set behind hinged bevel-glazed caddy moulded cast brass bezel incorporating canted fillet to interior, applied to a conforming ebonised turned wood surround secured via pegs to the rear box case incorporating door to right hand side, short drop trunk fronted with leafy trail inlay to fascia over hinged pendulum access flap to the curved underside, (dial finish restored).
41cm (16ins) high, 37cm (14.5ins) wide, 14cm (5.5ins) deep.
Provenance:
A Private International Collection.
John Harris is recorded in Loomes, Brian Clockmakers & Watchmakers of the World, Volume 2 as working in Truro, Cornwall in 1847.
Condition Report:
Movement is in working condition but would benefit from a gentle clean/service; there is no visible evidence of alteration or noticeable replacements. Dial has been restored but most likely replicating the signature to the original. There are some very slight cracks near the dial feet attachment points as well as slight wear around the winding holes and a couple of other very slight surface blemishes. The case has a crack to the wooden dial surround at two o'clock (simple glue repair required), The lower rear edge of the case has a shallow recess to the backboard (from a previous brass hanging plate being attached) - there is some slight veneer wear/cracking around this point as well as to the leading edge of the left-hand side towards the front corner. Case is missing one securing peg and another is non-matching, otherwise faults to the case are very muck limited to minor shrinkage, bumps, scuffs, wear and other age-related blemishes.
Timepiece has a pendulum and a winder (no case key required).
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Y A VICTORIAN FIGURED MAHOGANY DROP-DIAL FUSEE WALL CLOCK
GEORGE ROBINSON, LIVERPOOL, MID 19 th CENTURY
The five knopped pillar twin fusee gong striking movement with anchor escapement regulated by steel-rod lenticular bob pendulum with an effective length of approximately 13.5 inches, the 13.5 inch circular convex cream painted Roman numeral dial signed GEORGE ROBINSON, LIVERPOOL to centre, with pierced blued steel hands set behind hinged convex-glazed caddy moulded cast brass bezel applied to the circular wide cushion-moulded wooden surround, secured via pegs to the front of the drop-trunk box case with lift-out panels to each side behind the dial, over ebony line bordered flame-figured front flanked by fan carved ears, the quarter-round base incorporating hinged pendulum flap to the curved front.
69cm (27ins) high, 47cm (18.5ins) wide, 20cm (8ins) deep.
Provenance:
Private collection.
A George Robinson is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Liverpool in 1828.
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A GEORGE III MAHOGANY TABLE/BRACKET CLOCK WITH TRIP-HOUR REPEAT
EDWARD SCALES, LONDON, CIRCA 1775
The five pillar twin chain fusee bell striking movement with verge escapement regulated by short bob pendulum, the backplate engraved symmetrical foliate scrollwork with a scribed line border, the 7 inch brass break-arch dial with calendar aperture and recessed shaped silvered signature plate Edw Scales, London to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll-pierced steel hands and applied rococo scroll cast spandrels to angles, beneath arch centred with subsidiary Strike/Silent selection dial flanked by conforming mounts, the case with hinged brass carrying handle and brass pineapple finials to the 'inverted bell-top' superstructure over double cavetto top mouldings and hinged front incorporating raised mouldings bordering the glazed dial aperture and scroll pierced frets to the upper quadrants, the sides with circular over concave-topped rectangular scroll-pierced sound frets and the rear with rectangular break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with squab feet.
47.5cm (18.75ins) high with handle down, 26.5cm (10.5ins) wide, 18cm (7ins) deep.
Edward Scales is recorded in Britten, F.J. Old Clocks and Watches and Their Makers as working from 33 Strand, London circa 1775-80.
The engraving to the backplate of the present clock broadly conforms to a backplate of a clock by John Scott, London illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 page 361 (Figure 20.5).
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A DUTCH WALNUT AND FLORAL MARQUETRY MONTH DURATION LONGCASE CLOCK WITH MOONPHASE AND ALARM
JAN GOBELS, AMSTERDAM, THIRD QUARTER OF THE 18 th CENTURY
The five pillar rack striking movement with five- wheel trains and pin-wheel deadbeat escapement regulated by seconds pendulum, the strike train sounding the hours in the Dutch manner both at the hour then again on the half hour on a smaller bell, the right hand side of the plates applied with a transverse alarm mechanism incorporating verge-type crownwheel engaging with a pallet arbor fitted with a T-shaped hammer for sounding on the larger hour bell positioned above the plates, the 13 inch brass break-arch dial with alarm setting disc, subsidiary seconds dial, calendar aperture and ringed winding holes to the scroll engraved matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes beyond the outer minute track and signed Jan Gobels, Amsterdam to lower margin, with scroll-pierced steel hands and cast figural 'four seasons' spandrels to angles within a herringbone engraved outer border, beneath arch incorporating rolling moonphase engraved with age of the moon to the edge of the disc set behind a pair of scroll-engraved lunettes to lower margin beneath a herringbone border to the arch, the case with carved giltwood Atlas and trumpeting nymph figural finials set on the bell-shaped caddy superstructure inlaid with floral trails, over break-arch cornice centred with a foliate carved crest and with blind fret frieze over integral three-quarter columns applied to the foliate trail inlaid hinged glazed dial aperture, the sides with break-arch scroll-pieced sound frets within conforming borders and quarter columns set against bargeboards at the rear, the trunk with leaf decorated concave throat moulding over break-arch caddy moulded door inlaid with urn set on a pedestal issuing flowering foliate around a central lenticle, with scroll detailed edge mouldings and butterflies to upper quadrants within a chevron band flanked by canted angles decorated with foliate trails, the sides further inlaid with urns issuing bird inhabited foliage, the ogee-shaped plinth base with cavetto cop mouldings, canted angles and overall conforming floral marquetry decoration, on inlaid cavetto skirt base with lions paw front feet.
255cm (100.5ins) high excluding finials, 290cm (114ins) high overall; 57cm (22.5ins) wide, 32cm (12.5ins) deep.
Jan Gobels is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Amsterdam in 1767.
Condition Report:
Movement is in relatively clean condition and appears to be in working order with no visible evidence of alteration or noticeable replacements. The escapement may be a slightly later 'upgrade' however there are no spare holes etc so could well be original. The alarm is complete except for rope line and driving weight. Movement is a little dusty hence a precautionary gentle clean service is advised. Dial is in good clean condition with only slight mellowing to finishes and there is no visible evidence of alteration or notable replacements. The seatboard appears original and rests on cheek uprights of the case with no visible evidence of adjustment hence we are of the belief that the movement and dial are original to the case. The case is generally in sound original condition. The finials are intact except for the fingers of one angel which are missing; the wings are currently detached bit present with the clock. There are three holes to the top of the arch moulding suggesting an alternative lower position for the finials or that the clock has other additional finials at some point. There is some lifting to the fretwork in the arch and both hood side frets have been pushed-in a little hence are now bowed with a couple of minor losses. The side panels of the plinth show movement hence opening of the joints to the top edges, there are also some light cracks etc to each. Case otherwise is in very sound original condition with faults very much limited to relatively minor shrinkage, wear, a few age-related bumps and scuffs, some historic consolidation/gluing and other blemishes. The colour is a little dry faded.
Clock has pendulum, pair brass-cased weights, crank winding key and a case key.
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A DUTCH PROVINCIAL WALNUT THIRTY-HOUR LONGCASE CLOCK
D. DEN HARTOG, NYMEGEN, THIRD QUARTER OF THE 18 th CENTURY
The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch brass break-arch dial with foliate scroll engraved centre within applied silvered Roman numeral chapter ring with spear half hour markers, Arabic five minutes beyond the outer minute track and signed D.den Hartog, Nymegen to lower margin, with scroll pierced steel hands and female mask and scroll cast spandrels to angles beneath arch with polychrome painted rocking figure of male deity set before a starry sky beneath rococo scroll engraved upper margin, the case with figural giltwood finials modelled as Atlas flanked by a pair of trumpeting angels set on a fretwork fronted box upstand, over ogee-arched cavetto moulded pediment with further fretwork infill above the break-arch hinged glazed dial aperture, the sides with break-arch scroll-pierced sound frets, the trunk with ebonised concave throat over narrow shaped-top door centred with a cast brass rococo scroll bordered lenticle incorporating Europa riding a bull, within deep crossbanded borders and ebonised moulded edges flanked by canted angles, over base with conforming ebonised top moulding and book-match veneered front panel flanked scroll-outline angled projections, on integral shaped feet with floating ebonised skirt between.
269cm (106ins) high, 48.5cm (19ins) wide, 28cm (11ins) deep.
Condition Report:
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A BRASS QUARTER-CHIMING LANTERN CLOCK
THE FRAME AND DIAL BY WILLIAM RAYMENT, STOWMARKET, CIRCA 1700, THE MOVEMENT SECOND HALF OF THE 19 th CENTURY
The four columnar pillar triple chain fusee movement with anchor escapement regulated by short lenticular bob pendulum, sounding a choice of two tunes for the quarters on a graduated nest of eight bells set above the top plate, and the hour on the large bell mounted within the superstructure, fitted behind the earlier dial signed W. Rayment, Stow Market over symmetrical acanthus scrollwork to centre, within applied Roman numeral chapter ring with cruciform half hour markers, now with two sculpted steel hands and the angles with leafy motif engraved infill, the frame with column-turned corner posts beneath dolphin and foliate scroll pierced frets, vase finials and domed bell bearer surmounted by a further finial, the sides and rear with hinged doors, on four ball feet.
40.5cm (16ins) high, 18cm (7ins) wide, 16.5cm (6.5ins) deep.
William Rayment is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as probably related to Richard Rayment, and notes his marriage to Rebecca Richardson in Coombs, Suffolk, in 1706. He later moved to the nearby village on Onehouse, where he was buried in December 1760.
Condition Report:
Movement is complete but in dirty/neglected condition. The going train is running, the quarter train will just about run but is very lazy/prone to stopping and the strike train will not operate unless further force is applied to the train. The mainspring appears to have tension but there are two bent teeth on the strike train greatwheel which will either require strengthening or replacing. Movement requires a clean/service and repairs to the teeth of the strike greatwheel as a minimum, but no other damage or losses are apparent with a visual examination. The dial and case are in good overall condition with no apparent breaks or repairs to the castings however the clock is generally very dirty/oxidised throughout.
Clock is complete with pendulum and a winding key.
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A WILLIAM AND MARY BRASS LANTERN CLOCK
UNSIGNED, LONDON, CIRCA 1690
The posted countwheel bell striking movement with Huygens' endless chain winding, space between the trains for the previously fitted centre-swinging pendulum and later anchor escapement for a long pendulum swinging at the rear, the dial with concentric band of stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and scroll-pierced iron hand within applied 6.25 inch Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the standard London third period frame with column turned corner posts beneath dolphin inhabited foliate pierced and engraved front fret, vase finials and domed bell bearer, the sides are rear with brass panels and the top plate fitted with an iron hanging hoop to the rear edge, on ball-turned feet, (lacking pendulum, weight and side frets).
33.5cm (13.25ind) high, 16cm (6.25ins) wide, 17cm (6.75ins) deep.
The engraving to the dial centre of the present lot can be closely compared to a clock by Francis Stemper illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 147 (Figure 9.49).
Condition Report:
As catalogued the movement has been converted from verge escapement regulated by short pendulum swinging between the trains to anchor escapement for a long (seconds) pendulum swinging at the rear. Thbis conversion was probably undertaken in the early to mid 18 th century and the trains show evidence of repinioning to all wheels above the greatwheels (except possibly the strike hoop wheel) probably undertaken at the same time. Although very dirty/dusty the trains will run when motive power is applied. As catalogued the side frets are missing; there are also spare holes to the top plate left over form the previous verge escapement. The dial was originally fitted with an alarm disc (alarm would have originally been on the frame backplate but dispensed with when the clock converted to long pendulum); the hand is a replacement. The rear right hand leg of the bell bearer is missing and the top finial has been cut off (probably so that the clock could be housed in a case at some point). The brass side panels are later (new secured in place by pins set into the rear column caps and bases) and the rear plate is also a replacement.
There is no pendulum or weight included with the clock.
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AN UNUSUAL BRASS MINIATURE LANTERN CLOCK
THE DIAL SIGNED FOR JOHN VALE, MOSTLY MID TO LATE 18 th CENTURY
With a four pillar two train weight-driven outside countwheel bell striking movement with plates measuring 3.25 by 2.5 inches and verge escapement regulated by short bob pendulum, the hour striking train with linkage connecting to a separate pivoted hammer assembly incorporating leaf spring and stop applied to the frame top plate for sounding on the bell mounted within the superstructure, the dial with matted centre within applied silvered Roman numeral chapter ring with stylised wheatear half hour markers and inscribed Jno Vale, London to lower margin, with steel scroll hour and minute hands and leaf-engraved infill to angles, in a frame with column-turned corner posts beneath scroll pierced frets (the front engraved) flanked by vase finials beneath domed bell bearer capped with a conforming finial, the sides with doors incorporating apertures to allow for the swing of the pendulum and the rear with further conforming door, on ball-turned feet; with a later oak wall bracket.
The clock 23cm (9ins) high, 10cm (4ins) wide, 9cm (3.5ins) deep; clock on bracket 39.5cm (15.5ins) high overall.
A John Vale is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1790.
This curious miniature lantern clock departs from the conventional posted arrangement for the movement and utilises a miniature plated movement set behind the dial within the frame of the case. The lack of minute markers to the chapter ring together with four small spare holes to the dial plate would suggest that the clock has been composed from period elements. However, the consistent gauge and colour of the dial, movement and case plates as well as the overall relatively pleasing feel of the clock are perhaps indicative of it being originally made in its present form. No doubt opinions will vary as to whether the present clock has been 'made-up' or not, but notwithstanding this the movement itself is particularly pleasing in its scale, originality of the wheelwork and detailing.
Condition Report:
Movement is in working condition but will probably require a little fettling whilst setting-up. The escapement appears unaltered; the top potance has been repaired, a precautionary gentle clean/service is probably advisable. As noted in the description the dial has four additional small holes behind the chapter ring. The purpose of these is not obvious but may be indicative of dial being fitted with a different plated movement at some point. The dial has some discolouration/tarnishing otherwise is in fine condition. Case has overall mellowing to the brass and one finial has been repaired but otherwise is in sound condition.
Clock has a brass cased weight.
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A VERY RARE EARLY FRENCH LANTERN CLOCK PROBABLY CORRESPONDING TO ENGLISH 'FIRST PERIOD' WORK
TOUSSAINCTS FLEUTRY, PARIS, CIRCA 1645
The separately wound trains with iron-cheeks for the click side of each pulley fitted to the greatwheel arbors, the going train now with verge escapement set above the top plate for regulation by a short pendulum swinging behind the frame to the rear, the strike train sounding the hours on a later bell cast with signature DUBOIS ROBERT AUPUY to rim mounted above the frame, via a countwheel with overlift provided by a hoop wheel cut with a two slots, the dial finely engraved with a central rosette beneath fine winged angel flanked by stylised scrolling tulip blooms to upper section opposing generous curved signature Toussaincts Fleurtry AParis to the lower, within applied narrow Roman numeral chapter ring incorporating arrow half hour markers, with fine heavy sculpted steel hand and flowerhead engraved infill to the quadrants, the frame with finely turned generous Doric column corner posts beneath integral distinctive shouldered vase finials, the front applied with symmetrical strapwork scroll-pierced brass fret with fine foliate engraved detail, the left hand side now fitted with an engraved brass fretwork figure of in 17 th century style dress incorporating pivoted right arm with a hammer intended to simulate striking the bell as the clock sounds the hour, mounted bedside the domed iron bell bearer capped with a vase finial, with brass panels to the sides and the rear, and on integral ball-turned feet, (no lines and weights).
39cm (15.25ins) high, 15cm (6ins) wide, 15cm (6ins) deep.
Toussaincts Fleutry is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS as being married in Paris, 1644 at the age of 28.
Another closely related clock by Toussaincts Fleurty, Paris, is illustrated and described in Loomes, Brian LANTERN CLOCKS & Their Makers pages 88-89 (Figures 7.33-37).
The present lot is particularly noteworthy in that it shares many similarities with examples made during the formative years of the English 'first period'. Most obvious amongst these details is the pattern of fret used, which conforms to those seen on clocks mostly dating to the 1630's by London makers such as William Bowyer, James Stevens, Francis Foreman and John Cattle (see White, George English Lantern Clocks page 74, Figures II/69 and 70). The dial engraving is particularly fine in its execution complete with winged angel which was a theme that was popular with London first period makers; the hand is also of an early pattern and is beautifully sculpted. The accurate rendering and quality of the turning to the pillars reflects those on the best early London-made examples whilst the one-piece frame castings are more typical of those subsequently used by French as well as West-Country makers. The movement is very robustly constructed with heavy steelwork and tapered arbors, which again reflects English work from the 'First Period'. The use of steel for the ratchet side of the pulley cheeks is a feature also seen on early English examples. Indeed, a particularly early lantern clock (possibly by William Sellwood) with this feature was sold in these rooms FINE CLOCKS, BAROMETERS & SCIENTIFIC INSTRUMENTS 21 st April 2021 (lot 151) for £18,000 hammer.
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A QUEEN ANNE WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK
JOHN DREW, LONDON, CIRCA 1705
The six finned and latched pillar inside countwheel bell striking movement with plates measuring 7.5 by 5 inches and anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and herringbone border engraved calendar aperture to the finely 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 Jn'o Drew, Johnfons Court, Fleet Street, London to lower margin, with scroll-pierced steel hands and applied gilt twin cherub and crown cast spandrels to angels incorporating fine leafy trail engraved infill to margins between, in a case with stepped superstructure, ogee cornice and plain frieze over floral marquetry trail decorated hinged glazed front and rectangular side windows, the trunk with concave scrolling floral trail inlaid throat moulding over 42 inch rectangular door centred with a glazed lenticle and overall decorated with bird inhabited scrolling foliate marquetry designs within a continuous overlapping leaf banded border, crossgrain edge mouldings and a further leaf banded surround, the sides veneered with two line-outline panels within crossbanded borders, the base with ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on later moulded skirt.
234cm (92ins) high excluding finials, 50cm (19.75ins) wide, 28cm (11ins) deep.
John Drew is recorded in Loomes, Brain The Early Clockmakers of Britain 1286-1700 as born around 1663 and apprenticed to Joseph Knibb for eight years from September 1676 until 1684. He worked out of a shop in Johnson Court, on Fleet Street and is believed to have married Eleanor Ferentine in 1688. John Drew took-on eight apprentices during his career none of which appeared to continue in the trade. He signed the Clockmakers 'oath of allegiance' in 1697 and, in 1712, was appointed Beadle of the Company, taking over from the deceased Richard George, an engraver who had held the position for over a decade. The official description of a Livery Beadle's duties was to attend every official Livery function, maintain the peace during meetings, look after robes, etc. Unofficially, at this time, the role was usually given as a source of income to members who had fallen on hard times. He was succeeded as Beadle on his death on 1713 by Christopher Gould, and his wife continued receiving charity from the Company until her death in 1715.
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A QUEEN ANNE SILVER PAIR-CASED VERGE POCKET WATCH WITH CHAMPLEVE DIAL
THOMAS WINDMILLS, LONDON, CIRCA 1705-10
The gilt full plate fusee movement with four Egyptian baluster pillars pinned through the backplate, scroll-pierced stop-iron block and verge escapement regulated by sprung three-arm steel balance with Tompion type regulation, the backplate with fine symmetrical foliate scroll pierced and engraved balance cock with female mask at the apex opposing grotesque mask at the junction with the conforming pierced and engraved foot, flanked by silvered regulation disc set within adjacent applied scroll engraved panel infill opposing signature Tho: Windmills, London , the silver champleve dial with pair of relief chased curved panels engraved WINDMILLS, LONDON to the finely matted centre, within Roman numeral chapter ring incorporating relief-chased fleur-de-lys half hour markers and cartouche Arabic five minute numerals to outer track, with fine blued steel beetle and poker hands, the inner case applied with suspension post and bow at twelve o'clock and the outer case with moulded rim to circumference, both cases with makers initials W.I over stamped number 3028 .
The pillar plate 4.1cm (1.625ins) diameter, the inner case 5cm (2ins) diameter; the outer case 5.8cm (2.25ins) diameter.
The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737 . Joseph joined the Clockmakers' Company as a free Brother on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at 'Swan Court, Mark Lane End, next Tower Street' by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; shortly after 1700 the firm became a partnership which lasted until Joseph's death in 1724. Thomas continued the business at Tower Street but his attendance at Court was sporadic due to 'being out of town'. During the latter years of his career Thomas Windmills entered into loose partnerships with makers Bennett, Elkins and finally William Wightman who continued the business after the death if Windmills in 1736.
Neale lists (in Table B pages 290-306) all the Windmills watches known to him at the time of writing (1999). The present lot is not included on the list with nearest timepiece being number 3135 (retained in the collection of The Museum of London). Of interest is the fact that very few dates (from Hallmarks) are noted by Neale with the nearest being 3743 which is dated 1709. Another observation is that from around number 2500 Windmills watches are generally signed by Thomas alone, continuing up until around watch number 9000 (dating to around 1730). Of all the watches listed around 60 are signed for Thomas Windmills alone, which would seem to equate to around 40% of all the known watches originating from the Windmills workshop. Although Joseph Windmills lived until 1724 it would seem that Thomas essentially took-on the watchmaking side of the business prior to 1710; this observation is noted by Neale on page 169.
Condition Report:
Movement is in original condition and is working order, there is no visible evidence of alteration or noticeable replacements except for the possibly the escape wheel. The mainspring barrel has slight some solder deposits visible within the wall of the mainspring barrel suggesting that the barrel cap has required re-fixing at some point. Movement is generally a little dirty with very minor rubbing/scratching to the gilding in places hence would probably benefit from a gentle clean/service. Dila is in fine condition although one of the loops of the minute hand is bent/compressed. Inner case has overall moderate denting and wear; there are also two small holes drilled to the outer edge (at six and eight o'clock) otherwise is in sound original condition. The outer case is lacking its clasp hook and has overall moderate denting and light wear, otherwise is in sound original condition.
There is no key with the watch.
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Y A WILLIAM III SILVER MOUNTED EBONY TABLE CLOCK
THOMAS HERBERT, LONDON, CIRCA 1695
The six finned and latched twin chain fusee movement now with anchor escapement and later system of 'three-in-two' quarter striking on two bells, sounding ting-tang for the quarters and single blow on the larger bell at the hour, the backplate finely executed and attributed Tompion's engraver 'Graver -155' with symmetrical foliate scrollwork incorporating festooned bell-flower swags over a shaped cartouche signed Thomas Herbert, LONDINI within a broad engraved laurel band outer border, the 6.25 inch square brass dial with finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced sculpted steel hands, applied cast silver winged cherub mask spandrels to angles and N/S strike/silent selection switch at twelve o'clock, the ebony veneered case with foliate-bud tied hinged silver carrying handle to the domed caddy surmount applied with silver repousse foliate scroll pierced mounts to front and sides, over double ogee top mouldings and silver foliate scroll pierced repousse lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll decorated silver escutcheon mounts, the sides with conforming lozenge repousse sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case applied with further matching escutcheon mounts, on ogee moulded shallow skirt base with moulded squab feet, (formerly with verge escapement and hour striking with pull-quarter repeat work).
33cm (13ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep.
Thomas Herbert is recorded in Loomes, Brian Clockmakers of Britain 1286-1900 as born around 1651 and becoming a Free Brother of the Clockmakers' Company in 1676, having possibly previously gaining his freedom of the Needle Makers' Company. In 1676 Thomas Herbert was appointed 'Watchmaker and Clockmaker in Extraordinary' to the King (Charles II), and Married Sarah East (daughter of the clockmaker Edward East) at Knightsbridge Chapel in December of that year. He is subsequently noted as the 'King's Clockmaker' when he took as an apprentice Evan Herbert in 1680; and then as the 'Queen's Clockmaker' when accepting John Okey as an apprentice in 1693. In 1699 Thomas Herbert petitioned to the Crown for payment of his account for watches 'furnished for the Pages of the Bedchamber' and was paid £9 15s 6d for work undertaken at Hampton Court in 1702. Three years later Thomas Herbert was awarded £100 per annum 'in lieu of such bills as he did annually make for mending, cleaning and taking care of her Majesty's clocks and watches...'. Further requests 'in regard of his great poverty' were made on 1708, and in 1713 a telling record notes 'to be paid to Thomas Herbert for half a year's salary due Midsummer 1701, as clockmakers to King William III, by general letters of privy seal'. Loomes does not record his date of death, but it is likely that it was fairly soon after this date due to his advancing years.
The engraved decoration to the backplate of the present lot can be closely compared to the backplates of 'The Selby Lowndes Tompion' (no. 217) and 'The Medici Tompion' (no. 278) illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 239-40 (Figures 13.24 and 13.25). Most notable is the strong similarities within the rendering of the foliate scrollwork with 'larger more luxuriant leaves' than often seen, as well as the delicate bell-flower festoon swags. The Signature script also has strong similarities especially within the calligraphy for 'LONDINI'.
Although the movement of the present clock has had historic alteration to the mechanism it does present as a very attractive scarce silver mounted example by a fine and rare maker, which could be brought back to working condition in its present form without a great deal of expense. Or, conversely, presents as a tantalising project for restoration back to its original specification.
Condition Report:
As catalogued the movement has been altered in the 19 th century from hour-striking with pull-quarter repeat to 'three-in-two' ting-tang quarter striking; the strike train has also been converted form verge escapement regulated by short bob to anchor regulated by lenticular bob. Hence, due to these alterations, all wheelwork above the fusee for both trains has been changed/renewed. In addition to this there are a series of filled holes to both plates as well as additional filled slots to the frontplate. The going train is currently not running as the fusee chain is detached at the fusee end; the chain however appears not to be broken and the train itself free form visible damage. The spring will 'tighten' when the barrel is rotated however we cannot vouch for the overall integrity of the mainspring. The strike train is in working condition but is a little lazy and will probably require some adjustment. Two of the movement pillars have lost their latches (one is pinned and the other has been filed flush with the frontplate) and the strike-side lower pillar has some slight marking from the chain becoming detached from the fusee. The dial is in good original condition with no visible evidence of notable alteration except for al, the feet now being pinned rather than latched and the hour hand being repaired at its tip. The chapter ring has overall oxidation/mellowing. The case is generally in sound original condition. The caddy superstructure has some noticeable cracking within the veneers visible within the front and rear surfaces. The interior of the caddy also has brass reinforcements to the handle fixings, hence it is possible that the caddy has become detached at some point. The corners have neatly filled holes to the top edges suggesting that finials were fitted at some point. The mask around the dial (behind the front door hence only visible when door is open) has some shrinkage cracking and veneer patch repairs to the overlap. The lower right-hand joint of the front door is also a little loose. The right-hand side has some veneer cracking and wear around the upper fret aperture and the left hand has similar cracking and a small veneer patch repair. The rear door has a veneer patch repair adjacent the key escutcheon mount and the lower rail has been scooped-out (along with a small amount to the surrounding frame beneath) to allow clearance for the swing of the larger later lenticular pendulum bob. The rear edge of the seatboard is also cut with a slot for the same purpose. The front right hand corner of the seatbaord and the base of the case is cut with a slot aperture most likely to allow for a pull-quarter repeat lever which is no longer present. The silver mounts are all in good condition. The locks and hinges appear original however the feet are replacements. Faults to the case are otherwise very much limited to crack in the left-hand side glass, minor bumps, scuffs and shrinkages.
Clock has a case key but no winder.
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A WILLIAM III WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK
RICHARD FENNELL, KENSINGTON, CIRCA 1695
The four finned and latched pillar inside countwheel bell striking movement with plates measuring 6.75 by 5 inches and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the concentric 'button' decorated 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 Rich. Fennell, Kensington to lower margin, with fine scroll-pierced sculpted blued steel hands and applied winged cherub mask and scroll cast spandrels to angles, in a case with ogee moulded cornice and plain frieze over floral marquetry trail decorated hinged glazed dial surround applied with three quarter columns to angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear, the trunk with floral bloom decorated convex throat moulding over 42 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground, with half-round edge mouldings, the sides veneered with twin panels within crossbanded borders, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on a moulded skirt base.
210cm (82.5ins) high, 47.cm (18.5ins) wide, 25.5cm (10ins) deep.
Provenance:
Private collection. Inherited by Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent to the vendor.
Richard Fennell is recorded in Loomes, Brian The Early Clockmakers of Britain 1286-1700 as born in about 1656 and began his apprenticeship with Matthew Crockford in 1669. He then transferred to Thomas Bagley and finally gained his freedom of the Clockmakers' Company after ten years, in 1679. He is believed to have married Ann Hedderil at St. Duke's Place in 1693 but did not sign the Clockmakers 'oath of allegiance' in 1697. He worked in the outskirts of the city in Kensington and is known for longcase, lantern and table clocks including a small series of miniature brass table timepieces - an example of which was exhibited in the 'Horological Masterworks' Exhibition held at The Museum of the History of Science, Oxford, 29 March - 22 June 2003 (item number 48). Clockmakers Company records suggest that he was in arrears for his quarterage in 1705 and is believed to have worked in Kensington until at least 1715.
Condition Report:
Movement is in clean working condition having the appearance of being recently cleaned/serviced. There is no visible evidence of alteration or obvious replacements with the exception of the escapement pallets which are probably 'service' replacements. The backplate has some punch marks around the pivot holes to tighten them as well as at the location of one of the movement pillars where it is interference fitted to the backplate. The dial is in good condition with some mellowing to the silvering evident. The minute hand is a replacement and the hour has been repaired. The movement is fitted with a replacement seatboard however it rests directly onto the cheek uprights of the case with no visible evidence of adjustment to the latter hence we are inclined to believe that the movement and dial are most likely original to the case. The case is generally in relatively untouched original condition and of good colour. The hood has a replacement top board (but no evidence of ever being fitted with a caddy superstructure) and the front frieze would have almost certainly been faced with fretwork (is veneered in walnut). The hood columns are also replacements. The rear top cornice mouldings have been cut at an angle to rear (to allow the case to stand in the corner of a room) otherwise faults are limited to minor bumps, scuffs, shrinkage and couple of small veneer repairs commensurate with age and use. The trunk and base are generally in sound original condition. The throat moulding has bumps/chips to the rear left-hand corner and a corresponding small veneer patch to the left. The clamp to the top of the trunk door is dislodged but still just attached and leaning forward due to movement of the crossgrain edge mouldings. There are some localised losses to the marquetry along the join of the crack. The lower clamp has a crack along the join and the joint is loose (but no significant losses to the marquetry) and there is general lifting/curling to the edge mouldings. The plinth appears to retain its original structure and veneers but with additional blocks etc glued to the inside to brace the structure; the skirt is a later addition. The front has a horizontal crack albeit with minimal losses. Otherwise faults to the case are limited to relatively minor historic bumps, scuffs, bruises, shrinkage, wear and a couple of minor localised veneer repairs.
Clock has pendulum, two weights and a crank winder, but no case key.
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A FINE AND RARE CHARLES II EBONISED TABLE CLOCK OF THE 'EDWARD EAST' SCHOOL
WILLIAM CRAYLE, LONDON, CIRCA 1665-1700
The substantial twin fusee movement with plates measuring 8.25 by 7 inches united by six heavy double-knopped pillars pinned through the frontplate and secured with large cross-headed steel screws to the rear, and an additional seventh square-section pillar secured in a similar manner to the centre at the base, the trains with large diameter barrels incorporating pinned flanged caps and fat fusees, the going with reinstated verge escapement regulated by short bob pendulum incorporating knife-edge suspension to the single-footed backcock, the strike train with external rosette-centred numbered countwheel set on the fusee arbor, distinct cocked external locking detent and sounding the hours on a vertically orientated bell supported above the plates via an unusual serpentine-shaped stand screwed to the frontplate, the 8 inch square fire-gilt brass dial engraved with a central nine-petal rose bloom within a concentric band of intense tulip and other flowering foliage alternating with matted infill and incorporating a burnished pendant panel signed William Crayle, Londini at six o'clock, within applied narrow silvered Roman numeral chapter ring with very small stylised wheatear half hour markers and Arabic five minutes within the outer minute track, with scroll-pierced sculpted blued steel hands and the spandrel areas finely engraved with a symmetrical arrangement of radial leafy tulip blooms flanked by foliate floral sprays filling the quadrants continuing to meet and provide infill to the margins around the chapter ring between, the rectangular case finished with thick hand-cut ebonised veneers with substantial tied foliate bud cast hinged carrying handle to the flat top, within projecting cushion edge mouldings painted in various shades of brown to simulate repeating acanthus marquetry over complex moulded cornice moulding, plain frieze and conforming tightly cut architrave painted with a band of laurel leaves, the hinged front panel with glazed dial aperture opening to reveal veneered mask bordering the dial, the sides with tall rectangular windows and the rear with rectangular glazed door set within the frame of the unveneered flush fascia, on quarter-round and fillet moulded skirt base further painted with a larger band of laurel leaves to front and sides over bun feet.
41cm (16.25ins) high with handle down, 28cm (11ins) wide, 16cm (6.25ins) deep.
Provenance:
The property of a private collector. Previously Sold at Christie's New York sale of THE CONNOISSEUR'S EYE - PROPERTY FROM THE ABBOTT-GUGGENHEIM COLLECTION 2 nd June 2015, Lot 254, for $22,500.
William Crayle is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as probably the son of Richard Crayle. He was a watchmaker and a member of the Blacksmiths' Company in 1651, who took an apprentice, John Chatfield, in 1659; and another, Thomas Penn, in 1661. Loomes records his marriage to Elizabeth Alkin at St. Peter Paul's Wharf in 1658 and note that he was working in Fleet Street in 1662. The London Gazette posted in their 13 th July 1676 issue a reward notice for a lost watch referencing 'Mr. William Crayle a Watchmaker at the Black Boy in the Strand, near the Savoy', and in 1683, his daughter, Francis, was married to William Rymer at St. Mary Savoy. He did not sign the oath of allegiance in 1697 so is thought to have died by then; although a watch signed 'William Crayle in Fleete Street, London' was raffled by Andrew Brown in Edinburgh the following year. Loomes notes that only one or two watches by him survive, hence it is most likely that the present clock is the only example by him known.
The dial engraving of the current clock is amongst the finest that is likely to be seen on a clock of this date and can be closely compared to that seen on an important early architectural longcase clock (in an oyster laburnum case) by Edward East which was sold at Christie's, London sale of PROPERTY FROM THE COLLECTION OF A NOBLEMAN 23 rd May 2012 (lot 350) for £313,250. The intense but symmetrically laid-out tulip engraving to the spandrel areas are very close in their composition and are clearly executed by the same hand. The engraved signatures also match stylistically (most evident in the script for 'Londini'). Two others dials for clocks by Edward East, also exhibiting closely related engraving, are illustrated by Richard Newton in his article Dismantling the 'East School' - Edward East and the clock trade in seventeenth-century London printed in the June2024 issue of ANTIQUARIAN HOROLOGY (pages 176-196) on pages 181 (Figure 7) and 182 (Figure 8). In the footnotes for the text (14) Richard Newton indicates that, with the exception of one anonymous example, this type of engraved spandrel pattern appears unique to Edward East. The engraved central rose and foliate ring decoration to the matted centre also appear in dials by makers of the 'East School', most notably for a clock by Samuel Haley illustrated by Newton on page 177 (Figure 1.).
The layout of the movement with symmetrical arrangement of seven pillars, large flanged spring barrels and fat fusees can be compared to a grouping of three clocks (two by John Hilderson and the example by Samuel Haley) illustrated by Newton on pages 177-78 (figures 2 and 4). The principal differences between this group and the present lot are the design of pillars used in the movement, and the positioning of the countwheel on the end of the strike fusee arbor (rather than towards the top right-hand corner of the backplate). Richard Newton surmises (for reasons outlined on page 179) that movements of this type are most likely to have been made in the Hilderson workshop, with some supplied to Edward East and other makers for finishing and retail. John Hilderson died of the plague in 1665, hence it is thought that some of his unfinished movements may have formed the basis of a few 'hybrid' clocks completed by East shortly thereafter (see Newton page 181 and Figure 7). The presence of a centrewheel (rather than remote 'floating' motionwork for the hands) would suggest that the present lot is more akin to this category of 'hybrid' clock, but completed by William Crayle rather than Edward East.
The unusual design of the movement pillars of the present movement, coupled with the method of fixing via pins at the front and large steel screws at the rear, is unusual but not unique. Indeed a table clock engraved with signatures for Edward East (in a later case) incorporating square-section double-baluster pillars affixed in this manner, was sold at Hutchinson Scott The New Year Fine Interiors Auction 24 th January 2025 (lot 1119). From this it may be appropriate to suggest that for some ex-Hilderson workshop clocks, the movement pillars were substituted prior to completion, perhaps in order for the maker to add some of their own individuality to the movement.
The case of the present clock is interesting in that it has a flush back and has no veneers applied. The flush rear is a feature seen on the earliest architectural table clocks by Edward East and others (see Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 154, Plate 201; 158 Plate, Plate 206, and 160 Plates 207 and 209). Continue reading ...
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A WILLIAM III WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK WITH TEN-INCH DIAL
JAMES MARKWICK, LONDON, CIRCA 1695
The six finned and latched pillar inside countwheel bell striking movement with slender tall plates measuring 7.375 by 5 inches and anchor escapement regulated by seconds pendulum, the 10 inch square gilt brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the finely matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, small Arabic five minutes beyond the outer minute track and signed Jacobus Markwick, Londini to lower margin, with fine sculpted scroll-pierced steel hands and applied gilt winged cherub mask and scroll cast spandrels to angels incorporating leafy trail engraved infill to margins between, the case with ogee moulded cornice and fretwork frieze over floral marquetry trail decorated hinged glazed dial surround applied with Solomonic twist-turned three quarter columns to front angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 42 inch rectangular door centred with a circular brass-framed lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground within applied half-round crossgrain edge mouldings, the sides veneered with two line-outline panels, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on bun feet.
197cm (77.5ins) high, 46cm (18ins) wide, 27cm (10.5ins) deep.
James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1656 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East.
Condition Report:
Movement is in fine clean fully working condition having been given a gentle service prior to consignment. There is no visible evidence of alteration or noticeable replacements and there is minimal pinion wear evident. Some of the pivot holes have slight punching (historic repair to counter wear) and the top left of the backplate has two vacant threaded holes for a bracket to secure the movement into the case - the bracket is no longer present although there is a steel counterpart secured to the case backboard at the appropriate height. The bottom two pillars are very slightly bent in a downward curve from tightening the movement onto the seatboard.
The front of the dial plate has been regilded however appears free form any visible evidence of alteration or noticeable replacements and faults limited to some oxidation spotting and light patchy discolouration to the chapter ring, and a repair to the minute ring. The movement rests on an old seatboard which sits directly on the cheek uprights of the case with no apparent evidence of alteration and in-line with a scribed-line to the case backboard. This would suggest that the movement and dial are original to the case.
The case is generally in very good original condition with no visible evidence of alteration or significant restoration/replacements. The hood top board may be an old replacement and the fret to the frieze is most likely a restoration, otherwise the hood appears to be in fine original condition with faults limited to historic movement and shrinkage to the cross-grain mouldings and veneers. The hood appears to have been originally made with a front door - there is no evidence to suggest that it has been converted from a rising hood with fixed front. The trunk and base are in similar condition with the backboard retaining its original height with splitting to both the upper and lower sections which may benefit from being secured. The trunk door has had fillet repair to hinge side of the panel at the rear which continues for the full height between the upper and lower 'clamps'. This in most likely to address historic worm damage to the edge of the board as evidence some of this is visible just beyond the join in places. The door veneers are in good condition having only one small loss (to the ebonised ground only) towards the lower margin at the join between the clamp and the vertical section of board forming the trunk door. There is also some small localised repairs to the marquetry along the rest of this joint and to the corresponding joint at the top of the door (but to a much lesser degree). The sides have noticeable slight bowing, a few minor veneer patch repairs to rear edge and some cracking/movement to the veneers. The case appears to retain its original structure veneers except for some replacement to the fascia crossbanding to the lower left-hand corner. The right-hand side has a horizontal crack and there are small patch repairs to the lower front corners. The carcass of the box has horizontal joins in the front and side panels about an inch up from the lower surface - however the backboard continues down past these joints and the veneers appear largely undisturbed hence we are inclined to believe that the slips forming the lower edge of the front and sides of the box carcass are an original feature. The bun feet are replacements and there is historic evidence of past minor worm infestation which has long gone. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age, The colour is generally good but would benefit from a little attention from a furniture finisher to revive it a little.
Clock is complete with pendulum, two brass-cased weights, two case keys and a winder.
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A FINE AND RARE CHARLES II EBONISED THIRTY-HOUR LONGCASE CLOCK
CHARLES GRETTON, LONDON, CIRCA 1680
The four finned pillar outside countwheel bell striking movement with tall plates measuring 7.375 by 5 inches and anchor escapement regulated by seconds pendulum, the 10 inch square brass dial finely engraved with a symmetrical arrangement of leafy tulip, anemone and narcissus blooms over a drapery lambrequin signed Charles Gretton in, Fleete Streete, London to centre, with fine sculpted pierced steel hand within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, the spandrel areas further engraved with opposing leafy anemone blooms within a scribed line outer border, in an ebonised pine case with rising hood surmounted by a scallop shell and leafy scroll carved swan neck crest, over ogee cornice and architectural lintel fronted with a foliate scroll pierced blind fret frieze, with fixed glazed dial aperture flanked by applied Solomonic twist three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 41 inch rectangular door centred with a glazed lenticle within half-round edge mouldings, on plinth base with stepped ogee top moulding and bun feet.
213cm (84ins) high, 43cm (17ins) wide, 25.5cm (10ins) deep.
Provenance:
The property of a private collector.
Charles Gretton is documented in Radage, Dennis; Warner, Meinen and Radage, Laila CHARLES GRETTON, THROUGH THE GOLDEN AGE as born in Clayplole, Lincolnshire in 1648. By 1662 he had moved to London entering into an eight-year apprenticeship under Humphrey Downing on the 30th June of that year (turned over from Lionell Wythe); Downing died in 1666 but it is thought that Gretton continued his apprenticeship under his widow, Cordelia, gaining his freedom of the Clockmakers Company in 1672 and se-up business in Fleet Street.
In 1677 Charles Gretton married Mary Phillips and established himself at the sign of the 'The Ship' in Fleet Street (either number 174 or 175 next to Fetter Lane). Gretton was appointed an Assistant of the Clockmaker's Company in 1889 and then Warden in 1697; the same year he signed the 'oath of allegiance'. In 1700 Charles Gretton served as Master as well marrying his second wife Lucy Uffman (his first wife Mary died in 1694). In 1701 he put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members and was nominated to serve again as Master in 1705/06. Lucy, his second wife died before 1711 as this is the year that Charles Gretton married his third wife, Dorethea Wilson shortly after which he moved to his newly acquired second premises at two Chancery Lane. At this time his premises at 'The Ship', Fleet Street was passed onto the management of his nephew, Thomas Moore who paid taxes on the building until 1723. In 1716 Charles and Dorothea moved again to Chancery Lane where they remained until Dorothea's death in 1727. By this time Charles Gretton had retired from active clockmaking and went to go and live with his daughter, Ann, in Milk Street where he remained until his death in 1731.
During his career Charles Gretton He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. By the time of his death and internment at St. Dunstan's in the West Gretton had become a wealthy and highly respected figure within the City of London as well as the clockmaking community. His Will mentions no less than nine properties as well as £1,300 deposited in the Bank of England contributing the £2,600 monetary component of his legacy.
The engraved dial centre of the present clock can be compared to that of a key-wound thirty-hour longcase clock by Thomas Tompion illustrated in Robinson, Tom The Longcase Clock on page 62 (Figure 4/13). Another dial with closely comparable engraved decoration, this time for a posted thirty-hour movement by Andrew Prime, is illustrated in Dawson, P.G, Drover, C.B. and Parkes, D.W. Early English Clocks on page 224 (Plate 299). Indeed, the design and feel of the engraving also conforms to that seen on table clocks of the period as described by Sunny Dzik in ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 67-99. Of particular interest are two backplates for clocks by Joseph Knibb illustrated on page 74 (Figure 6.9) which, as well as exhibiting closely related foliate decoration, are most likely signed by the same hand that engraved the name on the dial of the current lot.
The case of the present lot is a notably rare survivor being of ebonised pine that has not succumbed to rot, notable worm infestation or other significantly detrimental ravages of age. Nor has it been subjected to 'enhancement' by veneering in walnut at a later date, a fate which many surviving ebonised cases have been subjected to. Indeed, the finish best displays the fine, pleasing proportions and detailing, which are essentially perfect for a case of this type.
Although not recorded by Radage, Meinen and Radage, the present clock is a particularly early survivor of Gretton's work that can be placed amongst the first half dozen or so known examples by him; it is certainly his earliest surviving thirty-hour longcase clock.
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A GEORGE II SMALL BRASS MOUNTED EBONISED BRACKET/TABLE CLOCK WITH PULL-QUARTER REPEAT ON TWO BELLS
JOHN PYKE, LONDON, CIRCA 1750
The six pillar twin fusee bell striking movement with pull-quarter repeat on a graduated pair of bells before sounding the hour on the larger hour bell, and now with anchor escapement regulated by lenticular bob pendulum, the 5 inch gilt brass break-arch dial with shaped false bob aperture and applied signature plate engraved Jn'o Pyke, LONDON to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll pierced steel hands and the angles applied with unusual leafy scroll cast spandrels, beneath arch centred with a subsidiary calendar dial flanked by conforming leafy mounts, the break-arch case with hinged brass carrying handle to a single wide brass-fillet moulded pad to top over generous ogee and cavetto top mouldings, the opening front with brass fillet-edged glazed dial aperture, the sides with break-arch windows bordered with conforming brass fillet mouldings and the rear matching the front, on brass bound ogee moulded skirt base with brass block feet.
30cm (11.75ins) high with handle down, 20cm (8ins) wide, 14cm (5.5ins) deep.
John Pyke is recorded in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1672-1725 (page 453) as apprenticed to Richard Westwood in 1710 and gaining his freedom of the Clockmakers' Company in 1720. He worked in Holborn and later 'the corner of Bedford Row'. He is thought to have specialised in musical clocks and likely finished Charles Clay's masterpiece musical clock titled 'The Temple of the Four Great Monarchies of the World' at Kensington Palace after Clays death. John Pyke's only son, George, followed in his footsteps to became a clockmaker and organ builder. John Pyke enjoyed a relatively long career and died in 1762.
It would appear that John Pyke produced a small series of clocks to this design with an essentially identical clocks selling at Christies, King Street sale of Important Clocks, Watches and Marine Chronometers 25 th November 1998 (lot 304) for £5,750. Another example was also sold at Tennants, Leyburn The Three Day Spring Catalogue Sale 2 nd April 2009 (lot 1353) for £3,400 hammer. The 'dual' rack system of quarter-repeat mechanism utilised for the current lot can be broadly compared to that of another clock by John Pyke described and illustrated by Dzik on pages 453-54. This other example sounds on a nest of six bells and differs mostly in the flirt-arm and quarter rack hook arrangements, otherwise the fundamental layout is the same as that for the present clock.
Condition Report:
Clock is in full working condition however the calendar advances at around 8 o'clock (hence requires adjustment) and the strike train is prone to mis-counting (losing one hammer blow) during one operation. This again is probably due to adjustment and the strike mainspring being particularly strong. The going train has been converted from verge regulated by short bob pendulum to anchor escapement hence all wheel above the centre wheel are replacements, the strike train appears all-original except for the wheel driving the fly. The repeat work has seen some restoration with at least one wheel replaced (adjacent to the fly) but is largely original and in working condition. Although the mechanism is working it is somewhat dirty/discoloured hence a clean and overhaul is advised. The dial is in good clean condition with only light wear/rubbing to the plate evident and slight oxidation only. The minute hand has been repaired. The case is generally eminently presentable. The top has some front-to back shrinkage cracking to the pad as well some very slight movement to the surrounding structure (none of which is deemed problematic). The front door and dial mask are in fine condition; the left hand side has some slight veneer cracking and a small amount of wear (including one small chip) to the veneer bordering the aperture. The right-hand side has lesser cracking and only one small chip. The rear has one very small chip to the upper moulding at the knee of the break-arch (just above the right-hand corner of the rear door) otherwise is in fine condition including the door. Internally the base board has been cut with a slot to allow for the larger lenticular bob pendulum. The lower rail of the rear of the case as well as that of the back door has been thinned to provide extra clearance for the bob. Otherwise faults to the case are very much limited to minor bumps, scuffs. Shrinkage and other age-related wear/blemishes.
Clock has a pendulum but no case key or winder.
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AN GEORGE III VERGE FUSEE DIAL WALL TIMEPIECE
THE DIAL INSCRIBED DAVID DAVIS, LONDON, LATE 18 th CENTURY
The four pillar single fusee movement with tapered plates measuring 7 high by 5 inches wide at the base and verge escapement regulated by short bob pendulum, the 12 inch circular silvered brass Roman numeral dial signed David, Davis, London to centre and with scroll pierced steel hands set behind a heavy hinged glazed cast brass cavetto moulded bezel, in a mahogany 'saltbox' type case with slender caddy moulded surround fixed to the rear box incorporating hinged door to right-hand side, ogee shouldered crest to backboard and conforming shaped pendant apron (case with restoration).
36cm (14.25ins) wide, 46cm (18ins) high, 16cm (6.25ins) deep.
A David Davis is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working form Strand, London 1802-04.
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A FINE AND RARE GEORGE III SMALL SATINWOOD BANDED MAHOGANY LONGCASE REGULATOR OF ONE-MONTH DURATION
THOMAS WRIGHT, LONDON, CIRCA 1785-90
The substantial six knopped pillar movement with thick plates incorporating rounded upper angles measuring 7.75 by 5.5 inches, enclosing a five-wheel train with Harrison's maintaining power, five-spoke wheel crossings and terminating with a Graham-type deadbeat escapement, regulated by large lenticular bob seconds pendulum with T-bar suspension, Hindley-type cranked crutch arrangement and Wright's patent stirrup-frame type compensation to the bob, incorporating a pair of horizontal bimetallic bars, calibrated rating nut and a secondary small spherical fine-adjustment bob beneath, the 10 inch heavy-gauge silvered brass break-arch dial with subsidiary seconds and signature over conforming Roman numeral hour dial to centre, within outer minute ring incorporating Arabic five minute annotations, with blued steel hands beneath a shallow semi-elliptical arch signed WRIGHT , the heavy satinwood crossbanded case constructed in the manner of Gillows with shaped panel upstand to the moulded swan-neck pediment, over break-arch architrave and glazed hinged dial aperture with crossbanded border to the frame and flanked by crisply executed free-standing fluted Roman Doric columns, the sides with rectangular glazed apertures and half columns applied adjacent to the rear edge, the trunk with concave throat moulding and plain frieze over ogee-break-arch door fronted with flame-figured veneer within a satinwood border and astragal edge moulding, flanked by tall fluted full Roman Doric columns set on banded plinths, the plinth base with stepped ogee top moulding over conforming shaped crossbanded astragal-bordered panel to fascia and ogee bracket feet.
216cm (85ins) high, 46cm (18ins) wide, 26cm (10.25ins) deep.
Literature:
Illustrated in Symonds, R.W. A Book of English Clocks page 79 (Plates 68B and 70).
The inside of the door applied with a manuscript table (to assist with the regulation the timepiece from astronomical observations) further inscribed in ink;
The stars make 36 revolutions from any point in the universe to the same point again in 365 days & one minute and therefore they gain a 365th of a revolution in every 24 hours of mean solar time, near enough for regulating any clock or watch. This acceleration is at the rate of three minute and fifty-five seconds, fifty three thirds, fifty nine fourths, in twenty four hours or in the nearest round number three minutes fifty six seconds, by which quantity of time every star comes round sooner than it did on the day before.
With further note beneath:
This timepiece was purchased from Miss Wright, daughter of the maker Mr. Wright Watchmaker to the King George the third. G. Hurt bought this clock in September 1795 for twenty guineas .
Thomas Wright was born in London in 1736 and gained his Freedom of the Clockmakers' Company in 1770. He was a gifted watch and clockmaker who was appointed 'watchmaker to the King'; with a fine Matthew Boulton blue john and ormolu-cased quarter chiming table clock being one of his Royal Commissions - which resides at Buckingham Palace (see Jagger, Cedric ROYAL CLOCKS page 98, Plate 134). In 1781 Thomas Earnshaw sought Wright's opinion with regards to his design of detached watch escapement. Wright subsequently commissioned a watch incorporating the design from Earnshaw, which he then put on test for a year. The results were clearly impressive as Wright then assisted Earnshaw by overseeing the patenting of the design with his payment agreed in the form a royalty of one guinea per watch made with the escapement. The Patent (No. 1354) was granted on 1 st February 1783 and interestingly also included the ingenious design of compensated pendulum bob employed in the present timepiece. Thomas Wright died in 1792 it is highly likely that the present regulator was in his possession at that time and was passed down to his daughter.
In addition to the quality of the movement, dial and the innovative pendulum, the case is also notable in its quality - particularly in the crispness of the carving to the columns and mouldings. Indeed, the general design would appear to have more in common with the northern school of case makers (certainly with regards to the treatment of the pediment) hence it there is a possibility be that Wright may have ordered it from one of the leading north country case makers. The obvious candidate that springs to mind would be Gillows of Lancaster, and indeed the quality of the cabinet work would certainly add weight to this thought. One interesting feature the case has which further points towards an attribution to Gillows is the planting of half columns towards the rear edges of the hood, as it is known that Gillows preferred to use half columns rather than quarters to dress the rear edge.
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A FINE GEORGE III MAHOGANY DROP-DIAL FUSEE WALL TIMEPIECE OF MUDGE AND DUTTON 'PHASE II' DESIGN
WILLIAM DUTTON AND SONS, LONDON, No. 227 CIRCA 1794
The four knopped pillar single fusee movement with thick plates measuring 6.25 by 5 inches secured via large screws through the bottom pillars onto a seatboard forming part of the internal structure of the case, the train terminating with anchor escapement regulated by steel-rod lenticular bob pendulum with an effective length of approximately 15 inches, incorporating T-bar suspension, calibrated rating nut and stamped with serial number 227 to the rear of the bob, the 14 inch circular silvered brass Roman numeral dial signed Will'm Dutton & Sons, London to centre and with Arabic five minutes beyond the outer minute track, with pierced blued steel spade hands set behind generous hinged glazed cavetto moulded cast brass bezel applied to the circular cushion-moulded wooden surround, secured to the front of the substantially constructed drop-trunk box case with doors to each side behind the dial, over flame-figured panel within astragal moulded surround flanked by ogee-shaped ears, the base with angled cavetto over ogee moulded hinged flap to front.
66cm (26ins) high, 44.5cm (17.5ins) wide, 16cm (6.25ins) deep.
William Dutton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to George Graham in 1738 and gained his freedom of the Clockmakers' Company in 1746. In around 1750 he went into partnership with Thomas Mudge, another former apprentice and successor to George Graham, and worked from 148 Fleet Street, London, where the business was to remain through successive generations of the Dutton family. William Dutton was elevated to Liveryman in 1766 and alongside Mudge developed the lever escapement for watches in 1771; shortly after which Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew.
David Penney in Tobias Birch's 2019 exhibition catalogue THOMAS MUDGE AND WILLIAM DUTTON, A PERFECT PARTNERSHIP notes that the Mudge and Dutton dial clocks of 'Phase II' design were made between around 1780-1810 although relatively few surviving examples are known. From the serial number stamped on the pendulum of the present timepiece it can be dated to around 1794 hence would have been one of the last timepieces produced by the William Dutton and Sons before the death of William senior in November of that year.
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AN IMPRESSIVE GEORGE III GILT METAL MOUNTED MUSICAL AUTOMATON CENTRE SECONDS CALENDAR TABLE CLOCK
UNSIGNED, LONDON, CIRCA 1790
The substantial six pillar triple fusee bell-striking movement with plates measuring 8.75 by 7.25 inches and verge escapement regulated by lenticular bob pendulum incorporating unusual vertical rack slide regulation to suspension, the musical train playing a choice of six tunes on eleven bells with eleven hammers, via a 3.5 inch long 2.5 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with a delicate arrangement of symmetrical rococo scrollwork around a central small basket of flowers within a scribed-line outer border, the 8 inch arched dial with circular fired white enamel Roman numeral chapter disc with Arabic five minutes beyond the outer minute track, with pierced brass hands and blued steel arrow sweep centre-seconds hand set within a moulded bezel surround, the spandrel areas with four fired enamel subsidiary dials, FASTER/SLOWER opposing selection for six tunes HORNPIPE/SANDY OF THE LEE/HELEN MACHREE/ROBIN GRAY/MINUET/HORNPIPE to the upper quadrants, over date-of-the-month opposing STRIKE/SILENT to the lower, within polychrome floral spray decorated verdigris painted infill, beneath arch composed with a realistically painted pair of red-brick townhouses flanking an aperture revealing ten parading figures modelled as actors, musicians and acrobats passing back and forth in front of three panels of glass spinning rod 'waterfall' automata, incorporating curved niche profile to the central bay of the backdrop and set within naturalistic leafy surrounds, the apex of the arch also bordered with painted representation of gathered drapery, the gilt brass mounted ebonised case with large fire-gilt figural surmount cast and chased as Mars wearing a feather-plumed helmet, armour and a cape, stood with the three-headed Cerberus on an oval plinth flanked by two further smaller figures of Classical maidens, over repeating leaf draped capping to the bell-top superstructure applied with rams-head adorned martial trophy decorated festoon mounts and lions masks at the angles to the concave sections, raised over a repeating rosette decorated gilt brass diamond lattice sound fret frieze flanked by further figural finials cast as Mars opposing a king applied to the corners above the ogee over concave top mouldings, the opening front with leaf cast fillet moulding bordering the glazed dial aperture surmounted by mask-centred husk swag decoration and applied with a generous martial trophy mount to lower rail, flanked by lions masks issuing further pendant husks and martial trophy motifs over stags head mounts to the canted angles, the sides with generous hinged carrying handles over rosette decorated gilt diamond lattice pierced arched sound frets and martial trophy mounts to lower margins, the rear matching the front, on cavetto moulded skirt base with generous acanthus scroll cast and chased supports.
88cm (34.5ins) high, 35.5cm (14ins) wide, 28cm (11ins) deep.
Although unsigned, the present lot does exhibit strong similarities with examples from the workshop of Francis Perigal who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company on 1781, serving as Master in 1806 and dying 1824. Most notable amongst these features are the layout of the music work (transverse barrel set to the upper left of the backplate), use of fired enamel (both for the chapter disc and the subsidiaries), provision of sweep centre seconds set between the hour and minutes hands, and extensive use of glass-rod 'waterfall' automaton. Indeed, all of these elements can be seen in an example by Perigal sold at Christies, King Street, London sale of Magnificent Clocks 15 th September 2004 (lot 16). The 'vine engraving' on the backplate can be also be closely compared to that on a table clock by George Margetts illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 371 (Figure 20.4).
Amongst the tunes is 'Auld Robin Gray' which is a Scottish ballad written by Lady Anne Lindsay in 1772; 'Sandy o'er the Lee' is also noted as 'Mr Baird's Favourite Reel' in Niel Gow's A Second Collection of Strathspey Reels of 1788.
The extensive use of Martial motifs within the mounts of the present clock would suggest that it was originally supplied to a client with strong military connections; possibly for a regimental institutional or perhaps a wealthy member of the military class.
Condition Report:
CONDITION REPORT AVAILABLE ON REQUEST FROM THE DEPARTMENT
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A FINE GEORGE III GILT BRASS MOUNTED JAPANNED MUSICAL TABLE CLOCK MADE FOR THE 'OTTOMAN' MARKET
J. AND M. BROCKBANK, LONDON, CIRCA 1780
The six pillar triple chain fusee bell-striking movement with plates measuring 7.5 by 5.25 inches and verge escapement regulated by short bob pendulum, the musical train playing a choice of six tunes on eight bells with twelve hammers, via a 3 inch long 1.75 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with an arrangement of symmetrical rococo scrollwork around a central signature Brockbank, London beneath a small basket of flowers within a scribed-line outer border, the 6 inch arched dial with circular fired white enamel 'Turkish' numeral chapter disc signed J. & M., BROCKBANK, LONDON to centre and with conforming five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands, set beneath twin fired enamel subsidiary dials for CHIME/NOT CHIME selection and BENI SAIKIT/USCHAE DEUR/SABAC HAFIF/SAMAHE tune selection dials with fine engraved brass arrow-shaped pointers, set into a mid-blue painted background polychrome decorated with musical trophy and floral spray infill to spandrel areas and between the subsidiaries, the arched case brown japanned to resemble tortoiseshell and extensively applied with fine chased gilt brass mounts, with flambeau-urn finial to the domed superstructure applied with rosette decorated diamond lattice segment frets between floral scrolls over brass a fillet edged shaped skirt, set on a platform with gilt cavetto moulding and scroll-cast fret infill flanked by further flambeau urn finials set on projecting acanthus cast scrolls, the front with scallop shell-centred scroll crest and conforming shoulder mounts over hinged repeating lappet leaf cast gilt brass glazed door flanked by husk edged front angles, the sides applied with ribbon-tied swags to shoulders over fine scroll-cast break-arch sound frets set within half-round moulded frames and projecting outwards at the base to follow the profile of the swollen lower margins fronted by foliate cast mounts, the rear matching to the front except for having an arched wooded door inset with brass fillet moulding to the glazed aperture, on generous scroll cast bracket feet with leaf cast apron mount between.
52cm (20.5ins) high, 29cm (11.5ins) wide, 18cm (7ins) deep.
John Brockbank gained his freedom of the Clockmakers' Company in 1769 and immediately took his brother, Myles, in as an apprentice who subsequently gained his freedom in 1776. The brothers entered into partnership in around 1780, working from an address at Cowper's Court, London, which continued until the death of John Brockbank in 1806. The Brockbank brothers employed Thomas Earnshaw who, by 1780, had produced two watches with 'detached escapements...' as well as developing his famous bimetallic compensation balance. Indeed, through the employment of the likes of Thomas Earnshaw, Robert Best and James Petto, the firm of Brockbanks became one of the most important makers of marine chronometers during the early post-Harrison era.
In addition to marine chronometers Brockbanks also specialised in the making of clocks and watches for the Chinese and other export markets with several noted in Pagani, Catherine Eastern Magnificence and European Ingenuity: Clocks of the Late Imperial China . Amongst these was a 'magnificent Imperial gilt-bronze musical clock, signed by John Brockbanks and numbered No. 19 which formed part of a group ordered by a Guangdong official as a tribute to Emperor Qianlong; and a 'large gilt bronze vase of jewelled flowers set atop large rectangular base containing the clockface and having painted moving scenes, ca. 1770' by Brockbanks which is noted as being listed in Lu Zanzhen's Qinggong zhongbiao zhencang or Precious Collection of Qing Dynasty Palace Clocks on page 121.
After the death of John, Myles Brockbank took brothers Samuel and Elliott Atkins into partnership consequently the firm became known as Brockbanks and Atkins from circa 1815.
The present clock is unusual in that it plays tunes of Ottoman/Turkish origins rather than British compositions; and that the case has a japanned finish coloured to resemble red/brown tortoiseshell. The 'vine engraved' decoration to the backplate can be closely compared (except for the lack of a signature) to that of a clock by John Scott, London illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 361 (Figure 20.5).
Condition Report:
CONDITION REPORT AVAILABLE FROM THE DEPARTMENT ON REQUEST.
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A FINE GEORGE III BRASS MOUNTED FIGURED MAHOGANY MUSICAL TABLE/BRACKET CLOCK
PRINCE AND CATTLES, YORK, CIRCA 1800
The substantial six pillar triple chain fusee bell-striking movement with plates measuring 7.5 by 5.25 inches and verge escapement regulated by lenticular bob pendulum incorporating stirrup-type regulation adjustment to the rod, the musical train playing a choice of seven tunes on twelve bells with twelve hammers, via a 4 inch long 2.75 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, at every hour after the sounding of the hour bell, the backplate engraved with a continuous geometric border incorporating foliate spray spandrel decoration to the angles and fitted with a pendulum holdfast clip to lower margin, the 8 inch arched cream japanned Roman numeral dial with fine herringbone engraved gilt brass spade hands beneath arch with twin subsidiary CHIME/SILENT and TINK A TINK/EASTER HYMN/LIFE LET US CHERISH/BLUE BELL OF SCOTLAND/CARRY OWEN/LOVELY NANCY/GALLEY SLAVE tune selection dials with conforming engraved gilt brass pointers and with signature Prince & Cattles, YORK to apex between, the flame figured mahogany case with brass ball finial to the concave-sided pyramidal upstand set on a platform faced with brass fish scale sound frets, over complex break-arch top mouldings applied with four further brass ball finials at the corners, the break-arch hinged glazed front door inset with brass fillet mouldings to the edge of the aperture and flanked by brass stop-fluted canted angles, the sides with hinged brass carrying handles over rectangular brass fish scale sound frets, the rear matching the front and on generous cavetto moulded skirt base fitted with substantial cast brass ogee bracket feet.
64cm (25.25ins) high, 37.5cm (14.75ins) wide, 25.5cm (10ins) deep.
John Prince is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born in York in 1763. He was apprenticed to the scientific instrument maker and cutler Thomas Willans in 1778 and died in 1835. Robert Cattle was born in 1767, he was a watchmaker and silversmith who served as High Sheriff of York in 1816, was Lord Mayor in 1841, and died the following year in 1842. Prince and Cutler formed a partnership, alongside fellow clockmaker and gunsmith John Hampston, in around 1777 which continued up until around 1810.
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A GEORGE III EBONISED TABLE/BRACKET CLOCK
CHARLES CABRIER, LONDON, CIRCA 1770
The five pillar twin fusee bell striking movement now with anchor escapement regulated by lenticular bob pendulum, the backplate engraved with delicate symmetrical foliate scrolls within a scribed line border, the 6 inch brass break-arch dial with shaped silvered name plate engraved Charles Cabrier to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll 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 ebonised bell-top case with hinged brass carrying handle and pineapple finials to superstructure, over ogee above cavetto top mouldings and opening front incorporating inset brass fillet mouldings to the glazed dial aperture and scroll pierced upper quadrant frets, the sides with concave-topped rectangular glazed panels and the rear with glazed door set within the frame of the case, on cavetto moulded skirt base with moulded squab feet.
42cm (16.5ins) high with handle down, 24cm (9.5ins) wide, 16cm (6.25ins) deep.
Charles Cabrier senior was probably a Huguenot immigrant who is recorded in Loomes Brian CLOCKMAKERS OF BRITAIN 1286-1700 as admitted by redemption into the Clockmakers' Company in 1697/8. He is thought to have worked in Lombard Street and had a son of the same name who was apprenticed to him in 1717. Charles junior gained his freedom of the Clockmakers Company in 1726 and possibly worked with his father until the latter's death in around 1736. He served as Warden of the Clockmakers' Company in 1750 and was appointed Master in 1759. Records suggest that Charles junior worked 'behind the Royal Exchange' and had a son who he also named Charles who was made free of the Clockmakers' Company by patrimony in 1756 and is believed to have worked until his death in 1777. The Cabrier dynasty were fine makers who supplied clocks for various export markets including Russia and France. Perhaps their most famous surviving work is a magnificent pair of ormolu mounted japanned musical automaton table clocks reputedly made for the King of Nepal in around 1770 (illustrated in Barder, Richard The Georgian Bracket Clock 1714-1830 page 161, colour plate 27).
The engraving to the backplate of the current clock can be compared to two backplates (for clocks by Allam and Clements and John Ellicott respectively) illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 362 (Figure 20.6).
Condition Report:
The movement is in clean fully working condition however has been converted from verge escapement regulated by short bob pendulum to the present anchor escapement with lenticular bob pendulum. Otherwise movement survives its original form with only minor historic service replacements. The dial is in fine condition with minimal discolouration to the finishes only. The case is generally in very good original condition with notable faults limited to slight shrinkage cracking to the sides and relatively minor wear, bumps and scuffs to the surface as well as some minor historic worm damage (not active). The rail beneath the rear door has been scooped back slightly to allow additional clearance for the pendulum bob to the inside edge.
Clock has a pendulum, a winding key but no case key.
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A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCK
EDWARD GATTON, LONDON, CIRCA 1780
The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture and signed Edw'd Gatton London to the silvered centre, within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with fine scroll pierced steel hands and rococo scroll cast and pierced spandrels to angles, beneath arch centred with a subsidiary STRIKE/SILENT selection dial flanked by conforming mounts, in a figured mahogany case with concave-sided 'pagoda' superstructure fronted with a shaped diamond-lattice pierced fret over break-arch cavetto cornice and brass stop-fluted columns flanking the hinged glazed dial aperture, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk break-arch door fronted with flame figured veneers within complex mouldings flanked by brass stop-fluted quarter columns, the plinth base with concave top moulding over applied shaped panel to fascia, on moulded double skirt incorporating shaped apron to lower margin.
240cm (94.5ins) high excluding finials, 53cm (21ins) wide, 27cm (10.5ins) deep.
Edward Gatton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working before 1762.
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A GEORGE III MAHOGANY TABLE/BRACKET CLOCK WITH TRIP-HOUR REPEAT
JOHN LONG, LONDON, CIRCA 1780
The five pillar twin chain fusee bell striking movement now with anchor escapement regulated by foliate scroll engraved lenticular bob pendulum, the backplate engraved with an oval patera issuing symmetrical foliate scrollwork enveloping a Ho-Ho bird perched on a shaped rococo cartouche panel, the 8 inch brass break-arch dial with calendar aperture and applied arched silvered signature plate engraved JOHN LONG LONDON to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll-pierced steel hands and applied foliate scroll cast spandrels to angles, beneath arch centred with subsidiary STRIKE/SILENT selection dial flanked by conforming mounts, the case with hinged brass carrying handle and brass pineapple finials to the 'bell-top' superstructure over double cavetto top mouldings and hinged front incorporating raised mouldings bordering the glazed dial aperture and scroll cast brass frets to the upper quadrants, the sides with circular over concave-topped rectangular scroll-pierced sound frets and the rear with rectangular break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.
49cm (19.25ins) high with handle down, 30.5cm (12ins) wide, 18cm (7ins) deep.
John Long is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in London in 1767.
The engraving to the backplate of the present clock broadly conforms to a backplate of a red japanned clock by James Smith, London illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 page 360 (Figure 20.4).
Condition Report:
Movement is in working condition (will run and strike) however is somewhat dirty/dusty hence a gentle clean/service is advised. The escapement conversion has been executed very well with the pendulum bob engraved to match the backplate and minimal intervention to the plates. The dial plate is fairly heavily discoloured and the silvering has some patchy/streaky oxidation otherwise the dial is in good original condition. The case is in sound original condition with the most significant faults being heavy losses to the side frets with the larger ones missing a large proportion of the scrollwork. The inside of the back door has had some timber shaved-off the lower rail to allow for the larger pendulum bob. Faults to the case are otherwise limited to minor bumps, a few small veneer patch repairs, scuffs, scratches and other related blemishes.
Clock has pendulum, case key and a winder.
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A WILLIAM III EIGHT-DAY LONGCASE CLOCK
THOMAS STUBBS, LONDON, CIRCA 1700
The four finned pillar inside rack striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes beyond the outer minute track and signed Tho: Stubb, London to lower margin, with scroll pierced steel hands and the angles applied with unusual spandrels cast as opposing trumpeting angels within foliate scrollwork, in a case now veneered in walnut with ogee architectural cornice and scroll-pierced frieze over hinged glazed front applied with Solomonic twist three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex moulding over 42 inch door now applied with quartered veneers around a central brass lenticle and with applied half-round crossgrain mouldings to edges, on conforming plinth base with stepped ogee top moulding and bun feet, (the case formerly ebonised).
203cm (80ins) high, 51.5cm (20.25ins) wide, 28cm (11ins) deep.
Thomas Stubbs is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed to John Lyon of Warrington and was made a Free Brother of the Clockmakers' Company in 1685 as a 'great clockmaker' (maker of turret clocks). He did not sign the oath of allegiance in 1697 but paid quaterage until at least 1798; he died in 1738.
The movement and dial of the present lot demonstrate a high-quality approach both through the use of an internal-rack for the strike mechanism, and restrained detailing to the dial. Indeed the engraving to the chapter ring echoes the work of Thomas Tompion and the spandrel castings are particularly unusual, if not unique.
Condition Report:
Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements other than the escapewheel and pallets which look to be 19 th century service replacements which have necessitated the backcock to be moved downwards slightly. There is some historic rebushing and a gentle clean/service is advised if intending to put into long term service. The dial is in fine condition with only slight oxidation to the silvering; hands appear undamaged. The movement rests on what appears to the original seatboard (but with a loss to the board along the rear edge to one side of the pendulum cut-out). The movement rests at the correct level in the case (seatboard lines-up with scribed line on the backboard) however there are packing slips applied to the top edges of the cheek uprights indicating that adjustment has taken place in the past. As catalogued the veneers of the case are later and the carcass is pine with a dark stain suggesting the case was originally ebonised or scumbled. All mouldings are also later but are crossgrain. The applied cornice structure and the outer skins of the base are probably also replacements executed at the same time as the walnut veneers otherwise carcass appears 'period' and is in good condition. The case is generally very presentable but with some age-related bumps, scuffs, shrinkage and wear; the lenticle glass is cracked.
Clock has pendulum, two weights (one is missing its hook) but no case key or winder.
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A QUEEN ANNE EIGHT-DAY LONGCASE CLOCK MOVEMENT AND DIAL
THOMAS CARTWRIGHT, LONDON, CIRCA 1710, IN A LATER MAHOGANY CASE
The five finned pillar inside rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and foliate scroll border engraved calendar aperture 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 Tho Cartwright, Royal Exchange, Londini fecit to lower margin, with pierced steel hands and applied twin cherub and crown cast spandrels to angles within an wheatear engraved outer margin, now in a later 18 th century mahogany case with cavetto cornice over rectangular glazed dial aperture flanked by free-standing columns with brass caps and bases, the sides with arch-glazed apertures and bargeboards to the rear edges, over concave throat moulding and caddy moulded break-arch door to trunk, on plinth base with stepped ogee top mouldings and moulded skirt incorporating bracket feet.
204cm (80.25ins) high, 50cm (19.75ins) wide, 24cm (9.5ins) deep.
Thomas Cartwright is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being born circa 1679. He was apprenticed to Christopher Gould in 1693 gaining his Freedom of the Clockmakers' Company in 1700; he reputedly died in 1741.
The movement of the current lot is noteworthy in that it employs an internal rack for the striking mechanism - a feature normally reserved for high quality or month movements by the better makers. This feature perhaps demonstrates the influence of Cartwright's master, Christopher Gould, in his work.
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