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Live
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Dreweatts
Donnington Priory
Oxford Road
Newbury, Berkshire
RG14 2JE
United Kingdom
Fine Clocks, Barometers and Scientific Instruments
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A Legacy of Precision from Thomas Tompion | Find out more
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Auction dates
Mar 26, 2026 10:30 AM GMT
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AN UNUSUAL GEORGE III EBONISED FRAMED MANUAL REVOLVING WHEEL CALENDAR
UNSIGNED, THIRD QUARTER OF THE 18 th CENTURY
With 4.75 inch circular hand-annotated card disc with month of the year aperture over a polychrome decorated half-sunburst mask motif incorporating brass inset radial 'rays' to the right-hand half of the centre, set next to a list of the days of the week and adjacent sector revealing an adjustable scale of seven consecutive dates-of-the month interrupting the green brass zig-zag inset panel and foliate trail painted outer border, contained within a circular glazed double cavetto moulded ebonised wood frame with the back panel cut-away at the apex to allow adjustment of the concentric card discs.
19cm (6.25ins) diameter, 1.7cm (0.75ins) deep.
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A RARE BLACK FOREST INLAID MAHOGANY ORGAN CLOCK
THE ORGAN PROBABLY FRIEBURG AREA, EARLY 19 th CENTURY, NOW FITTED WITH AN ENGLISH MOVEMENT AND DIAL
The substituted English four pillar eight-day rack and gong striking movement with anchor escapement regulated by seconds pendulum, now fitted with a 12 inch circular brass dial with subsidiary seconds dial and scroll-border engraved blanked-off calendar aperture to the matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and engraved W'm Carter, Ampthill to lower margin, with scroll pierced steel hands, mounted on later blocks onto the front of the substantial wooden-framed organ movement, constructed with an upper tier comprising a 17.25 inch staple-pinned wooden cylinder of 6.5 inch diameter configured to play a choice of eight tunes every hour on an arrangement of eighty-two pipes via twenty-eight lifters, over lower tier with gear train to the left of the clock movement and large bellow assembly behind, the exterior of the mechanism with tune selection adjustment levers to right-hand side opposing three stop sliders the left, in a case probably of English construction with shallow break-ach cavetto moulded pediment over fluted frieze and a rectangular carved fretwork panel decorated with a musical trophy, above hinged convex glazed cast brass bezel set within panel moulded spandrels flanked by full height line inlaid pilasters, the sides with panelled doors, the full width trunk fronted with a line-bordered flame-figured panel door flanked by conforming pilasters, the base with moulded waist over further raised mouldings forming a geometric panel flanked by further pilasters, on shallow moulded skirt.
239cm (94ins) high, 72cm (28.25ins) wide, 51cm (20ins) deep.
Provenance:
The property of a private collector. A label pasted to the inside of the trunk door indicates that the present lot was formerly the property of R. Buller strode who purchased it from Thomas Jeeves Horder, 1 st Baron Horder (1871-1955), physician to Kings Edward VIII, George V and George VI.
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A COLLECTION OF 'DENT'S PORTABLE TELL-TALE' TIMEPIECES WITH FACTORY TOOLING AND PARTS
E. DENT AND COMPANY LIMITED, LONDON, CIRCA 1875 AND LATER
Including thirteen timepieces of varying dates and with serial numbers spanning from 39622 to 79277 , each in differing states of repair with going barrel movement incorporating shaped platform lever escapement regulated by sprung monometallic balance, the rotating dial plates overlaid with removable circular paper Arabic numeral hour discs, set behind locked covers each with porthole showing the hour beneath a slot to allow for a point in time to be recording by inserting a punch, the fronts variously inscribed RECORDING CLOCK over DENT triangular trademark along with serial number and respective addresses of the firm at the time of manufacture, together with three circular cast iron receptacles for fixed location punch stamping, two tooled steel punch assemblies for producing movement sub plates, a large quantity of printed paper hour discs, a significant quantity of escapement components including jewelled pallets and endstone plates, mainsprings, screws, bushes wheels etc., also included is a pair of steel punch stamp assemblies for producing hands for an unrelated design of timepiece, (qty).
The brass timepieces each 9cm (3.5ins) diameter, 5.5cm (2.25ins) deep.
Provenance:
Previously the property of a former workman of E. Dent and Company.
Edward John Dent was a talented horologist who at the age of 17 transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1817 he had become well known as a watch and clockmaker receiving commissions from the Admiralty for a 'Standard Astronomical Clock' and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks.
In 1843 the firm expanded taking on a second premises at 33 Cocksur Street, with the Strand premises moving down the road to number 61 by 1851. In 1852 Edward Dent successfully tendered to make the 'great clock' to be housed in Stephen's tower at the New Palace of Westminster. The clock was completed by 1859, apparently at a financial loss to the firm, however it ensured that Dent became a household name synonymous with fine clockmaking. Unfortunately Edward John Dent did not live to see the installation of the 'great clock' as he died in 1853. He was succeeded by his stepson Frederick Rippon Dent, who, in partnership with his brother Richard, continued to expand the business.
By 1862 the firm had added 34 Cockspur Street and 34 & 35 Royal Exchange to their list of addresses and, although having seen natural passage of ownership over the intervening years, the business still continues to trade today as Dent & Co.
Dent started numbering their clocks, watches and chronometers from 1876 starting at number 38,000.
The design for 'Dent's Portable Tell-Tale' timepiece was patented by Thomas Buckney 12 th May 1862 (No. 1431) and essentially takes the form of a noctuary that is carried by the watchman. A record of his rounds would be recorded by inserting the timepiece into a series of cast iron receptacles fitted with punches secured at various locations on his route. This system has the advantage of being more cost-effective than the previous method of having several individual timepieces spaced around his route.
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AN ENGLISH GEORGE III BRASS GARDEN SUNDIAL
INDISTINCTLY SIGNED, POSSIBLY CHESTER, DATED 1797
The 8.5 inch circular plate fitted with an angled gnomon set at 52 degrees 30 minutes and centred with an eight-point compass rose incorporating alternating radial and stylised leaf decoration to segments, annotated N, E, S and W to inner track, within IIII-XII-VIII chapter ring incorporating stylised trident half hour markers and outer minute track, indistinctly signed ... Chester(?) between the IIII and VIII numerals.
22.5cm (8.5ins) diameter, 14cm (5.5ins) high.
The gnomon is set at 52 degrees 30 minutes which is correlates to the approximate latitude of Birmingham.
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Ɵ MERCER, VAUDREY
THE FRODSHAMS, THE STORY OF A FAMILY OF CHRONOMETER MAKERS
The Antiquarian Horological Society, Ramsgate 1981, dj.
Provenance:
The Estate of the Late Dr. Gwyneth Flower.
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Ɵ EVANS, JEREMY; CARTER, JONATHAN AND WRIGHT, BEN
THOMAS TOMPION, 300 YEARS
Water Lane Publishing, Stroud 2013, dj, together with a copy of Van Den Ende; Van Kersen-Halbersma; Taylor, Dr. John C. and Taylor, Neil HUYGENS' LEGACY, THE GOLDEN AGE OF THE PENDULUM CLOCK Catalogue for exhibition held at Paleis Het Loo, Apeldoorn, 12th September-28th November 2004, Fromanteel Limited, Castletown, Isle of Man 2004, (rare hardback issue) dj, (2).
Provenance:
The Estate of the Late Dr. Gwyneth Flower.
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Y AN EDWARDIAN SILVER MOUNTED TORTOISESHELL MINIATURE CARRIAGE TIMEPIECE
RETAILED BY ASPREY AND COMPANY, LONDON 1902
The French rectangular eight-day movement with platform lever escapement regulated by sprung monometallic balance and with integral hinged winding key to backplate, the 1.25 inch circular white Roman numeral enamel dial inscribed ASPREY, BOND ST. to centre, with gilt spade hands set within a silver surround fitted with a convex glass, the rectangular tortoiseshell case surmounted with a hinged break-arch handle over rounded top and bottom edges to sides, the rear with full-width hinged door, on silver bun feet, Hallmarks for London 1902 maker HA for Harris Adelstein.
7.5cm (3ins) high with handle down, 5cm (2ins) wide, 4.5cm (1.75ins) deep.
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A GILT AND SILVERED BRASS CARRIAGE CLOCK
UNSIGNED, PROBABLY SWISS, MID 19 th CENTURY
The rectangular eight-day two train movement with silvered platform underslung lever escapement regulated by sprung gilt three arm monometallic balance, the backplate with external countwheel and pivoted brass hammer sounding the hours on a looped gong, the rectangular silvered Roman numeral dial with blued steel moon hands, the gilt case with hinged faceted carrying handle over recessed rectangular top glass and domed finials set on projecting rounded angles, with conforming angles to the plain frieze over bevel-glazed front and three-quarter Doric column-turned uprights to the angles, the sides with rectangular recessed silvered panels set within canted gilt surrounds and the rear with pin-hinged door fitted with a sprung button clasp, the base with conforming plain skirt over disc feet.
14cm (5.5ins) high with handle down, 9.5cm (3.75ins) wide, 7.5cm (3ins) deep.
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A FRENCH GILT BRASS ANGLAISE RICHE CASED CARRIAGE CLOCK WITH PUSH-BUTTON REPEAT AND ALARM
UNSIGNED, PARIS, CIRCA 1890
The eight-day two train gong striking movement with silvered platform lever escapement regulated by sprung bimetallic balance, the inside of the frontplate stamped S 83 to lower left-hand margin and the backplate with alarm winding to upper left over seral number 783 to lower left, the rectangular white enamel Roman numeral dial with blued steel moon hands over Arabic numeral alarm setting dial to lower margin, the bevel-glazed gilt brass anglaise riche case with reeded baton-centred geometric carrying handle, bevelled top glass and repeat button towards the front edge, over complex moulded cornice with fluted band to frieze and reeded three-quarter Corinthian columns to angles, the rear with pin-hinged door and on cavetto moulded skirt base with fluted band to upper edge and incorporating integral shallow block feet.
17cm (6.75ins) high with handle down, 10cm (4ins) wide, 9cm (3.5ins) deep.
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A FRENCH GORGE CASED GRANDE SONNERIE STRIKING CARRIAGE CLOCK WITH ALARM
RETAILED BY ELKINGTON AND COMPANY, LIVERPOOL, LATE 19th CENTURY
The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with large silvered platform lever escapement regulated by sprung bimetallic balance and alarm mechanism positioned between the plates at two-o'clock sounding on the smaller gong, the inside of the front plate stamped 606 and the backplate with serial number 1814 to the lower left corner beneath initials F D within an oval cartouche to the upper edge of the gong block, the rectangular white enamel Roman numeral dial inscribed ELKINGTON & Co., LIVERPOOL to centre and with blued steel moon hands over subsidiary alarm setting dial to lower margin, the satin-gilt brass gorge case with hinged carrying handle over rectangular top glass, trip-repeat button to front rail and channel-moulded uprights, the rear with pin-hinged glazed door over ogee-outline base with three-position selection lever annotated CLOCK/SILENT/QUARTERS to underside.
15cm (6ins) high with handle down, 10cm (4ins) wide, 9cm (3.5ins) deep.
The Liverpool branch of the celebrated firm of silversmiths, innovator of plated wares, retail jewellers and supplier of luxury goods is noted in Grace's Guide as being established by 1882. Subsequent adverts noted that they worked form 27-29 Lord Street up until at least the mid 1920's.
Condition Report:
CONDITION:
Movement is complete with no visible evidence of alteration or noticeable replacements. All functions are working correctly, and the clock is running however the strike is very lazy and the mechanism is generally tarnished with dry lubrication hence will require a gentle clean/service before putting into long-term service. The dial appears free from visible faults other than very slight rubbing to the 'LIVERPOOL' text to the centre. The case is generally in fine condition with no visible chips to the glasses or noticeable wear to the gilding although the surface does have some overall slight spotting.
Clock does not have a winding key.
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AN INTERESTING FRENCH LOUIS PHILIPPE PORTABLE MANTEL CLOCK WITH TWO-PLANE 'CHAFFCUTTER' ESCAPEMENT
PAUL GARNIER FOR RETAIL BY SILVANI, PARIS, CIRCA 1835
The circular eight-day two train movement with two-plane 'chaffcutter' escapement regulated by sprung three-arm monometallic balance set between the plates and countwheel striking the hours on a bell mounted on the backplate, stamped with P.G., Brevete trademark to upper left and applied with plate engraved SILVANI, AT PARIS beneath stamped 2II to centre, the 3.25 inch circular silvered Roman numeral dial with slightly recessed centre and blued steel moon variant hands, set within a generous gilt twist milled bezel surround surmounted by silvered lunette-shaped regulation dial engraved RETARD/ADVANCE , the movement and dial mounted on an ebonised ogee outline pedestal upright inlaid with an oval motif flanked by scrolls to fascia, set on a circular base channelled to take the bell-jar type cover, with the glass contained within a brass two-arm frame incorporating ring handle at the apex and is secured via two latches to the underside engaging with integral pierced lugs passing through the plinth.
23.5cm (9.25ins) high with handle down, 14.5cm (5.75ins) diameter at the base.
Paul Garnier is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development as born 1801 and studying under Antide Janvier before setting up his own workshops in 1825. Garnier was awarded Silver Medals in the Paris Exhibitions of 1827, 34, and 39; and gold medals in 1844 and 49. He worked from various addresses at Rue Taitbout, Paris and died in 1869 leaving the business to his son of the same name who was still exhibiting carriage clocks in the Paris Exhibition of 1889. In 1916 Paul Garnier's watch and clock collection was bequeathed to the Louvre. Garnier is generally credited for being the first maker to essentially standardise the 'petit pendule portative' which was in effect to become the prototype for the archetypal French carriage clock. The current lot utilises Garniers 'chaffcutter' escapement -the design of which is based on Sully and Debaufre's frictional rest watch/chronometer escapements.
Although Silvani is apparently not specifically recorded in the usual sources, many clocks stylistically dating to the period 1835-60 signed/inscribed for Silvani or J. Silvani are known. A carriage clock also made in the workshop of Paul Garnier but signed for Silvani et Cie is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their History and development on page 57 (footnote 22).
The current lot is an interesting example in that it is conceived for the movement to be seen unhindered by casework whilst still remaining functional as a form of portable timepiece. With this in mind it mat well be appropriate to speculate that it may have been made for exhibition or sales demonstration purposes.
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A FRENCH GILT METAL AND BLUE TRANSLUSCENT GLASS ANNULAR NIGHT TIMEPIECE
UNSIGNED, PROBABLY PARIS, LATE 19 th CENTURY
The horizontal circular single going barrel movement probably of thirty-hour duration with four-wheel train and verge escapement set on the frontplate regulated by perpendicular short bob pendulum passing through the plates, set in the base of the case and driving a rotating table fitted with a translucent mid blue glass cylindrical shade annotated with Roman hour numerals to waist reading against a fixed blued spade steel hand, the case with hinged scroll-outline carrying handle over ring carrying a pierced moulded cover and laurel twist decorated uprights framing the shade, on circular base with tied reed top mouldings and shaped foliate scroll cast panels incorporating integral shaped bracket feet, (shade with restoration).
18cm (7ins) high with handle up, 9.5cm (3.75ins) wide.
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A FRENCH GILT BRASS OVAL FOUR-GLASS MANTEL CLOCK
UNSIGNED, LATE 19 th CENTURY
The circular eight-day two train bell striking movement regulated by twin glass mercury capsule compensated pendulum incorporating Brocot type regulation to suspension, the backplate stamped with serial number 1274 to upper left margin and 5 8 at the base, the 3.75 inch circular two-piece white enamel dial with visible Brocot type anchor escapement to the recessed centre within Roman numeral chapter ring, with blued steel spade hands within a moulded surround, the oval section bevel-glazed frosted gilt brass case with stepped-ogee top moulding and cavetto cornice over pin-hinged bow-glazed front and rear doors, cockbead cast gilt uprights and conforming bowed glass side panels, on generous cavetto and stepped ogee moulded skirt base with integral bracket type feet.
30.5cm (12ins) high, 21cm (8.25ins) wide, 16.5cm (6.26ins) deep.
Provenance:
The Estate of the Late Dr. Gwyneth Flower.
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A FRENCH GILT BRASS FOUR-GLASS MANTEL CLOCK
DAVAU, PARIS, LATE 19 th CENTURY
The circular eight-day two train gong striking movement with anchor escapement regulated by gilt disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped DAVAU, PARIS beneath serial number 106 to upper left margin and 5 8 at the base, the 4 inch circular white enamel Roman numeral dial inscribed DAVAU, 32 BOUL'd Poissonniere 32, PARIS to centre and with Arabic five minutes beyond the outer minute track, with gilt brass moon hands within an ogee moulded gilt surround, the bevel-glazed frosted gilt brass case with cushion top moulding incorporating channelled detail at the angles over cavetto cornice, pin-hinged front and rear doors and moulded rounded angles, on generous cavetto moulded skirt base with conforming channelled detail to the rounded angles.
30.5cm (12ins) high, 20cm (8ins) wide, 15cm (6ins) deep.
Provenance:
The Estate of the Late Dr. Gwyneth Flower. Purchased from Bonhams London sale of CLOCKS, WATCHES & BAROMETERS 28 th June 2005 (lot 367) for £528.
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A VICTORIAN GILT CARRIAGE TIMEPIECE IN THE MANNER OF THOMAS COLE
UNSIGNED, PROBABLY LONDON, MID 19 th CENTURY
The eight-day single train going barrel movement with five-spoke wheel crossings and platform lever escapement regulated by sprung steel monometallic balance, the plates united by four delicate column-turned pillars pinned at the rear and the backplate stamped B 1831 to lower margin, the 2.125 inch wide rectangular silvered Roman numeral dial with fine matted ground asymmetric foliate rococo scroll decorated centre and conforming infill around the chapter ring incorporating regulation adjustment to upper margin, with blued steel spade hands and set within a gilt frame mask, the rectangular case with acanthus decorated scroll-shaped hinged carrying handle centred with a keystone motif over matted ground rococo decorated top panel flanked by ball finials, with stepped top mouldings over slightly projecting square section uprights to angles decorated with further rococo scrollwork, the front with hinged glazed door and the sides and rear with panels of additional matted ground foliate scrolls with the rear also incorporating diamond lattice work, on stepped skirt base with turned tapered feet.
12cm (4.75ins) high with handle down, 8.5cm (3.25ins) wide, 6cm (2.375ins) deep.
The design of the current lot can be compared to an example stamped and numbered by Thomas Cole illustrated in Roberts, Derek CARRIAGE and Other Travelling CLOCKS on page 276 (Figure 18-13 to the right of the image). Most notably the handle of the example signed by Cole follows a similar scroll profile and the frame has the same sequence of elements in its construction.
Condition Report:
Movement appears complete and all-original but is a little dry/tarnished. It is fully wound but the escapement will only beat for a few seconds before stopping. The escapement will keep running if a small amount of additional motive power is manually applied to the train hence a gentle clean/service is probably all that is required. The dial is in good original condition with faults essentially limited to slight wear to the numerals and overall light tarnishing to the silvering. The case is generally also in good original condition with faults limited to overall edge wear, tarnishing/dirt to the gilding and a few small bumps, scuff and scratches. The front door glass has tiny corner chips to three of the four corners which are only visible on very close examination.
There is no winding key included with this timepiece.
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A FINE VICTORIAN ENGRAVED GILT BRASS STRUT TIMEPIECE WITH MANUAL CALENDAR
ATTRIBUTED TO THOMAS COLE FOR C.F. HANCOCK, NUMBERED 643, LONDON, CIRCA 1850
The eight-day movement of rectangular form with the mainspring barrel and all wheels of the train positioned behind a backplate occupying the lower two thirds with four back-screwed pillars, the upper section with vertical gilt platform English lever escapement applied to the inside of the frontplate, regulated by three arm monometallic balance with jewelled endstone and SLOW/FAST regulation lever to the balance cock, the three inch wide rectangular silvered Roman numeral dial with elaborate scroll engraved H monogram to centre and fine blued steel hands, set within fine floral bloom and foliate scroll horizontal line-hatched ground infill, over a tabulated manual calendar panel providing columns for dates-of-the-month next to a revolving day-of-the-week cylinder adjusted via a square to the underside, the dial set within a slender shaped gilt mask engraved with floral sprays to the fretwork decorated spandrel areas, behind a bevelled glass panel with rounded top corners, the case with leafy scroll engraved hinged suspension loop pivoted between shaped bracket upstands also decorated with foliate motifs and continuing as abstract angular scrolls to drape over the rounded shoulders of the rectangular frame, the front applied with a horizontal line-hatched ground leafy trail engraved bezel framing the glass incorporating shallow projections to carry gilt securing nuts with canted edges between, the top and sides of the frame applied with a continuous foliate strapwork decorated raised band within angle-hatched borders, over blocks at the base issuing sculpted waisted feet with rococo scroll panel engraved rotating support to the centre between, the rear with raised panel incorporating drop-down flap engraved C.F. HANCOCK, a Successor of, STORR & MORTIMER, by appointment to, H.M. Queen Adelaide, H.I.M. the Emporer of Rufsia, 39 Bruton Street, London revealing the escapement and HANDS setting square, over pivoted shaped strut foot drilled for the winding square, the underside stamped 643 , with original engraved gilt brass winding key.
15cm (6ins high) overall standing on the central pivoted foot, 10cm (4ins) wide.
The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING . Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas.
Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver 'humpback' carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). The brothers then went their separate ways with James Ferguson going on to explore his technical abilities later developing a series of escapement designs including a 'resilient' lever escapement (1830), a 'double rotary' escapement (1840), a detached escapement calliper (1849) and an escapement with negative diameter (1859).
Thomas Cole sought to specialise in small decorative timepieces of the highest quality. By 1845 he was advertising himself as a 'designer and maker of ornamental clocks' and in 1851 submitted examples for display at the Great Exhibition, both under his name, and on the stands of other leading retailers such as Hunt and Roskel and C.F. Hancock. He then went on to exhibit at the Paris Exhibition of 1855 where his entry warranted an 'Honourable Mention', and again at the British International Exhibition in 1862 where he was awarded a medal for 'Excellence of taste and design'.
Thomas Cole was elected to the Royal Society of Arts in June 1861; he died three years later of typhoid fever, at his home at 1 Westbourne Park Road, Paddington, leaving his second wife Charlotte and their three children (two boys and one girl).
The originality and inventiveness of design coupled with the exceptional quality of finish ensured an enduring popularity for Thomas Cole's work, mainly from the rising Nouveau Riche class of Victorians made wealthy from the Industrial Revolution.
Charles Frederick Hancock was born in Birmingham in 1807. He was a partner in the famous firm of silversmiths, jewellers and retailers of luxury goods, Hunt and Roskell, who then went on to set-up on his own at 39 Bruton Street (as successor to Stoor and Mortimer) in 1849. In 1866 Charles Frederick Hancock partially retired hence the firm became Hancock Son and Company and then Hancocks and Company on his full retirement in 1870
This type of 'strut' timepiece is synonymous with Thomas Cole and were first introduced in around 1845. The earlier models were not numbered or signed by him but were often bore the names of retailers to whom he supplied. Hawkins notes that the earlier models also featured both the rotating central foot and hinged reap prop; whilst later versions dispensed with the rotating foot (see Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING page 48).
Condition Report:
Movement is in relatively clean working condition although a precautionary gentle clean and service is advised. There is no visible evidence of alteration or noticeable replacements. The dial has a few very light surface scratches and slight oxidation to the margins. The numerals are a little faded including to the calendar beneath. The calendar adjustment operates as it should. The case is in fine condition with good strong gilding exhibiting next to no wear, oxidation or spotting. Faults are very much limited to some slight edge chipping/nibbling to the lower right-hand corner of the glass and minor casting blemishes to the feet.
Timepiece is complete with engraved winding/setting key.
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A VERY RARE VICTORIAN ENGRAVED GILT BRASS DESK TIMEPIECE IN THE FORM OF A TAZZA
THOMAS COLE, LONDON, No. 1025 CIRCA 1855-60
The base with circular frosted gilt movement incorporating large diameter going barrel and second wheel set beneath a shaped plate with three cylindrical pillars secured by blued screws, applied with an external ratchet for the winding square and engraved THO'S COLE LONDON, No1025 along the outer edge, the third, fourth and fifth wheels set in-turn beneath a small sub plate driving an English lever escapement regulated by sprung gold three arm monometallic balance with jewelled endstone and S/F regulation lever to the backcock, with take-off for the remote horizontal 4 inch dished circular silvered Roman numeral dial, finely engraved with a repeating sequence of inter-looped foliate strapwork designs into a line-hatched ground to centre, with lozenge minute markers to outer track interrupted by text J.B. CIRERD LONDON at twelve o'clock and delicate blued steel fleur-de-lys hands, set behind a glass with silvered bezel insert, the frosted gilt tazza-form case with eight-sided shaped outline top engraved with foliate floral scrollwork infill into a line-hatched ground and an inner band of entwined leaves bordering the dial, the underside with shallow bowl over upright formed from a radial arrangement of six stretched-scroll outline supports spreading out at the junction with the circular platform base, with the upper surface engraved with repeating spade-shaped motifs to the segments between the uprights, over engraved fluted collar to circumference and crisply cast stepped ogee mouldings forming the junction with the bottom ring, further engraved with repeating S-scrolls and fitted with six downcurved shaped-panel feet decorated with bellflowers, the underside with disc incorporating central winding square beneath shuttered HANDS setting and FAST regulation adjustment apertures opposing stamped number 1025, 3 to lower edge.
10cm (4ins) high, 16.5cm (6ins) diameter.
The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING . Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas.
Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver 'humpback' carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). The brothers then went their separate ways with James Ferguson going on to explore his technical abilities later developing a series of escapement designs including a 'resilient' lever escapement (1830), a 'double rotary' escapement (1840), a detached escapement calliper (1849) and an escapement with negative diameter (1859).
Thomas Cole sought to specialise in small decorative timepieces of the highest quality. By 1845 he was advertising himself as a 'designer and maker of ornamental clocks' and in 1851 submitted examples for display at the Great Exhibition, both under his name, and on the stands of other leading retailers such as Hunt and Roskel and C.F. Hancock. He then went on to exhibit at the Paris Exhibition of 1855 where his entry warranted an 'Honourable Mention', and again at the British International Exhibition in 1862 where he was awarded a medal for 'Excellence of taste and design'.
Thomas Cole was elected to the Royal Society of Arts in June 1861; he died three years later of typhoid fever, at his home at 1 Westbourne Park Road, Paddington, leaving his second wife Charlotte and their three children (two boys and one girl).
The originality and inventiveness of design coupled with the exceptional quality of finish ensured an enduring popularity for Thomas Cole's work, mainly from the rising Nouveau Riche class of Victorians made wealthy from the Industrial Revolution.
The present lot is an extremely rare example of Thomas Cole's work and belongs to a group of relatively few designs for timepieces which follow the 'form' of other objects. Amongst these were extraordinary full-sized tilt-top tripod tables, an example of which was sold in these rooms, 15 th September 2015 (lot 170), for £60,000 hammer. Smaller models include bob-bon dishes, one of which was sold at Bonhams sale of FINE CLOCKS 13 th December 2017 (lot 62) for £10,000.
To the best of our knowledge the present lot is the only example of this design and has the complexity of the having the dial remote to the movement (requiring take-off work to be installed within the stem of the tazza). The large going barrel and five-wheel train to the movement would also suggest a duration of eight days.
The name 'J.B. Cirerd, London' inscribed to the top edge of the dial is most likely for the original retailer of the current timepiece, unfortunately no record of a retailer of this
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A RARE MEISSEN PORCELAIN-CASED MANTEL CLOCK DECORATED IN THE LIMOGES ENAMEL STYLE
THE FRENCH MOVEMENT UNSIGNED, GERMANY AND PARIS, CIRCA 1870
The circular eight-day two train bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped 1884 towards the left hand margin and 5 5 to lower edge, the 4 inch slightly convex circular blue-on-white enamel Roman numeral dial with large black Arabic five-minutes beyond the minute track and scroll-pierced gilt brass hands set behind a hinged convex bevel-glazed engine-milled bezel, in a rectangular architectural deep cobalt blue glazed porcelain case, with oval section twin handled urn surmount en grisaille enamel decorated in the Limoges enamel style with twin cherubs in flight and with generous gilt laurel band to the foot, over concave hipped superstructure further enamelled with panels enclosing gilt heightened Neoclassical scrollwork incorporating a winged muse to the front, and architectural cornice further decorated with Neoclassical motifs and with canted angles, the conforming front with scrollwork spandrel panel infill around the dial and to the canted corner panels, the sides with recessed panels finely enamelled with stylised Classical females over symmetrical scrollwork, the rear marching the front except for the lack of spandrel decoration to the centre panel and hinged circular glazed cover set into a shallow-arch recess, on gilt leaf moulded skirt base further decorated with panels of gilt-heighted Classical scrollwork over gilt leaf painted lobed bun feet, the underside with underglaze blue crossed swords mark.
39cm (15.25ins) high, 20cm (8ins) wide, 15cm 96ins) deep.
This type of decoration was developed under Ernst August Leuteritz who was a designer and subsequent Director of the modelling department at Meissen 1836-86. Leuteritz introduced this type of en grisaille enamelling in response to the popularity of Renaissance style Limoges enamel decoration at this time.
Condition Report:
Movement is intact and will run and strike, however is in dirty/neglected condition hence will require a clean/service. The square for adjusting the Brocot type regulation is missing from the front of the assembly. The hammer and bell-stand have solder repairs and the pendulum is non-original also with a solder repair. The dial has a filled enamel repair just beyond the III numeral and is erroneously retouched '45' rather than 15 beyond. There is also a small filled edge chip above twelve o'clock; the hands are in good condition. The movement and dial are secured in the usual way (via straps secured by screws to the rear bezel) to a shallow-arch plate set into a conforming recessed aperture to the rear. The moulding of the porcelain suggests that this rear panel was originally intended to be a hinged door with fixing points/holes for the clasp and hinges incorporated into the modelling of porcelain. It would appear that these holes were never used, hence the current configuration may well be how the clock was finished. However, because of this detail, we are not able to offer firm assurances that the movement and dial are original to the case.
The case generally appears to be in fine original condition with no notable/visible damage evident. The urn surmount now has a later gilt metal cover; it may have originally had a porcelain cover (or not). The urn appears free from damage or noticeable restoration. The rest of the case also appears to be in fine condition with no visible chips or noticeable restoration. There is some slight movement/distortion in the porcelain evident from firing/manufacturing causing the front a rear to have a slight concave profile. The gilding exhibits minimal wear but does have some built-up grime within the crevices/edges. The interior has some firing cracks which have taken-on the blue colouring of the cobalt glaze; none of these are structural or problematic in any way. The feet are in good condition with no visible evidence of being re-attached etc.
Clock has a pendulum and a winding key.
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A LOUIS XVI ORMOLU AND OXIDISED BRASS MANTEL CLOCK
SIGNED FOR LE CLERC, BRUSSELS, CIRCA 1790
The circular two train outside countwheel bell striking movement with anchor escapement regulated by disc bob with silk suspension, the 4.5 inch circular slightly convex white enamel Roman numeral dial inscribed LeClerc, a Bruxelles to centre and with Arabic fifteen minutes within the outer minute track, with blued steel moon hands and engine-milled bezel surround, the drumhead type case with large vase of flowers surmount issuing elaborate fruiting vine trails over the drum housing the movement and dial, supported on an out-swept cradle fronted with a panel cast with a Bacchante and attendant Putto, flanked by applied female masks to sides each adorned with fruiting vine and leafy spray surmounts, the rear with convex-glazed cover for the movement over a gilt panel, the skirt base applied with bead moulding to upper edges and inset with vine-leaf mounts to front and sides, on four engine-milled gilt toupe feet.
46.5cm (18.25ins) high, 32cm (12.5ins) wide, 11.25cm (4.5ins) deep.
A clockmaker with the name Le Clerc is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a maker of mantel clocks active in Brussels during the early 19 th century. A Jean Jacques Henri Le Clerc is recorded by Baillie as becoming a Master in Paris, 1787 hence it is possible that the present lot may be by him or another close relative who were perhaps displaced by the French Revolution.
Condition Report:
Movement appears complete with no visible alteration or noticeable replacements. The ratchet click for the going train wind is currently slipping hence needs attention, however the spring appears sound and the train will beat when motive force is applied to the train. The strike train is in working order. The movement is a little dull/tarnished hence a gentle clean/service is advised. The dial has fill-repaired chips around the winding holes and another to the edge at nine o'clock; these repairs are poorly matched hence would benefit from further work. The dial otherwise appears free from noticeable faults. The case is generally in very good original condition with faults limited to some slight denting to the left-hand side of the drum (at around ten o'clock) where the vine mount is secured as well as some slight rubbing and general discolouration/oxidation to the gilt finishes.
Clock has a pendulum but no winding key.
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A FRENCH EMPIRE ORMOLU MANTEL CLOCK
DARTOIS FILS, PARIS, CIRCA 1820
The circular two train outside countwheel bell striking movement with anchor escapement regulated by disc-bob pendulum incorporating silk suspension regulation, the 3.75 inch circular slightly convex white enamel Roman Numeral dial signed Dartois Fils, a Paris to centre, with blued steel moon hands within a repeating leaf cast bezel, the rectangular plinth-form case with figural surmount cast as a winged putto riding a lion over ogee top moulding, applied rose bloom upper quadrant mounts and further apron mount cast with a pair of flaming torches over a floral swag and further sprays of roses, the rear with circular aperture for the movement, on skirt base with repeating lotus leaf cast ogee top moulding over engine-milled bun feet.
40cm (15.75ins) high, 16cm (6.25ins) wide, 10cm (4ins) deep.
Dartois Fils were a leading firm of Parisian bronziers working alongside the likes of Thomire and Galle during the first quarter of the 19 th Century.
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A FRENCH EMPIRE STYLE SMALL ORMOLU MANTEL CLOCK
UNSIGNED, PROBABLY PARIS, EARLY 19 th CENTURY AND LATER
Now with circular eight-day countwheel bell striking movement with anchor escapement for regulation by a disc bob pendulum incorporating Brocot type regulation to suspension, with a 3.25 inch circular white enamel Roman numeral dial with steel moon hands set within repeating anthemion milled surround behind a hinged convex-glazed ropetwist decorated bezel, in an arched case with mount cast as fringed fabric draped over the top, and another cast a run of leather-bound books framed by conforming tied festoon curtains beneath the dial, the rear with circular hinged glazed cover, on skirt base with repeating leaf cast upper mouldings and rose wreath centred floral frond cast mount to front, over turned feet, (lacking pendulum).
21cm (8.25ins) high, 14.5cm (5.75ins) wide.
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A FRENCH EMPIRE ORMOLU AND PATINATED BRASS URN MANTEL CLOCK
LOUDRA, PARIS, CIRCA 1820
The circular two train outside countwheel bell striking movement with anchor escapement for regulation by a disc-bob pendulum incorporating silk suspension regulation, the 3.75 inch circular slightly convex white enamel dial signed Loudra a Paris to centre within chapter ring of vertically aligned Arabic hour numerals and an outer minute ring incorporating Arabic fifteen minutes, with steel moon hands set within a gilt engine-milled bezel, the shield-shaped case with gilt armillary sphere surmount to the concave-sided superstructure flanked by gilt pineapple finials to the shoulders, the sides with relief gadroons and the rear with circular glazed cover, the lower section applied with inverted anthemion mount to apron over a gilt cavetto foot edges with engine-turned mouldings, on stepped cavetto edged base applied with gilt bead mouldings and with leafy apron mount to front over bell-shaped feet, (lacking pendulum).
37cm (14.5ins) high, 14cm (5.5ins) wide, 11cm (4.25ins) deep.
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A FRENCH EMPIRE ORMOLU CLOCK CASE AND DIAL AND A PAIR OF CANDELABRA
THE DIAL SIGNED FOR LEPAUTE, PARIS, EARLY 19 th CENTURY AND LATER
Now with a mid to late 20 th century mains electric-driven timepiece movement, the dial with delicate concentric repeating graduated flowerhead cast gilt centre within white enamel Roman numeral chapter ring inscribed LEPAUTE, A PARIS to lower edge, with blued steel moon hands and conforming repeating flowerhead design cast bezel, the arched case with panel relief cast with a Classical female holding a substantial floral bouquet attracting butterflies to fascia, set within a repeating rose cast outer border incorporating slender scrolls fronted batons at the apex and shoulders, the rear with later hinged brass movement cover, the skirt base with repeating stylised lattice and fan cast ogee top moulding over butterfly-winged mask decorated block feet; with a pair of French Empire style ormolu twin-branch candelabra, circa 1870, each with pineapple surmount over leaf decorated collar applied with draped chains flanked by out-swept acanthus cast arms curving upwards and terminating with drip pans and candle sockets, set on a well-rendered fluted Tuscan column standing on a leafy trail panel inset D-ended plinth base, further applied with a putti with instruments over laurel cast disc feet, (3).
The clock 36cm (14.25ins) high, 18.5cm (7.25ins) wide, 10cm (4ins) deep; the candelabra each 35cm (13,75ins) high, 22cm (8.75ins) wide, 9cm (3.5ins) deep.
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A FRENCH LOUIS XVI STYLE GILT AND PATINATED BRASS MOUNTED FIGURAL MANTEL CLOCK GARNITURE
THE DIAL SIGNED FOR BRISCARD, PARIS, LATE 19 th CENTURY
The circular eight-day two train bell striking movement with anchor escapement regulated by rectangular bob pendulum with Brocot type regulation to suspension, the backplate stamped with a square-rigged sailing ship trademark over serial number 16282 , the 3 inch circular white enamel Roman numeral dial inscribed in puce Briscard, PARIS to centre and with Arabic five minutes beyond the outer minute track, with fine gilt scroll pierced and engraved hands set behind hinged engine milled convex glazed bezel, the case with a patinated figure of a standing winged cherub over brass disc bordered with gilt bead moulding set on a fluted column plinth with dupont top moulding over cast ribbon-tied floral trail draped over the dial, the rear with radial scroll pierced hinged brass cover, over gilt laurel base moulding set on a square tablet plinth inset with figural cast panel to front and rosette decorated guilloche scrolls to sides, on turned feet; matched with a pair of candelabra side pieces, late 19 th century, modelled as standing cherubs each holding forth twin Neoclassical scroll branches (one detached) terminating with leaf decorated drip pans and candle sockets, the base formed as a column plinth with bell-flower cast inserts to the flutes over twist gilt base moulding, on cavetto moulded square plinth base applied with gilt bead moulding and leafy trail mount to front over engine-milled feet, (3).
The clock 45cm (17.75ins) high, 15cm (6ins) wide, 16cm (6.25ins) deep; the candelabra 36cm (14ins) high, 21cm (8.25ins) wide, 15cm (6ins) deep.
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A RARE FRENCH LOUIS PHILIPPE ORMOLU 'TREE HOUSE' CLOCK
POTONIE AND CIE, PARIS, CIRCA 1840
The circular eight-day two train outside countwheel bell-striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension, the backplate stamped D. POTONIE & C., PARIS towards the left-hand margin and numbered 568 at the base, the gilt dial cast and chased to resemble weathered wooden boards applied with keystone-shaped blue on white enamel cartouche Roman numerals with the VI panel inscribed POTONIE, & CIE. PARIS , with pierced blued steel spade hands, the case cast in the romantic rustic style with moss covered canopy surmount set on four twig uprights over an ivy entwined log gable further draped in moss to the sides and applied with a perched bird to the left, the rear modelled as weathered wooden boards incorporating door for the movement pierced with a cruciform aperture, the movement and dial supported on bifurcated branch uprights cradling the movement and dial over an arched base naturalistically cast as a rocky outcrop incorporating a serpent.
36cm (14ins) high, 23cm 99ins) wide, 15cm (6ins) deep.
Louis Potonie is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history & development as working from 5 Rue Neuve Saint-Francois, Paris. They had a retail outlet at 20 Red Lion Square, London and exhibited many kinds of clocks including 'pendules de voyage' at the London 1851 Great Exhibition.
Condition Report:
Movement is in full working condition and appears complete and free from visible alteration or noticeable replacements. The mechanism is a little oxidised hence may benefit from a gentle clean. The dial is in very good condition with visible faults limited to a tiny corner crack to the XII numeral and small chip to the IIII numeral. The case is generally in very good original condition albeit slightly tarnished in places. The back door does not have a latch to hold it shut hence would probably benefit from having one made and fitted.
Clock is complete with a pendulum and a winding key.
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A FRENCH CHARLES X PATINATED BRONZE AND SIENA MARBLE 'ANIMALIER' MANTEL CLOCK GARNITURE
THE DIAL SIGNED FOR LACARRIERRE AND JACQUES, VIELLEVILLE, THE BRONZE BY PAILLY, PARIS, CIRCA 1830
The circular eight-day countwheel bell striking movement with anchor escapement regulated by a disc bob pendulum incorporating silk suspension regulation, the backplate stamped 426 to left hand margin and stamped Pailly, F'HERES towards the base, the 3.25 inch circular slivered Roman numeral dial with overall engine-turning resembling watered silk, signed V... Lacarrierre & Jacques to centre and inscribed VIELLEVILLE within the minute ring, with blued steel moon hands within a reeded surround set behind a hinged engine-milled convex bevel-glazed bezel, the rectangular case with bronze surmount cast as a stallion standing within a naturalistic setting, over repeating leaf cast cavetto cornice and stylised scroll cast mounts flanking the dial, the rear with circular glazed door, on skirt base adorned with generous repeating anthemion motif waist moulding over arcaded apron and stylised acanthus scroll feet, matched with a pair of candlesticks, each with lobed rim to the vase-shaped socket over tapered upright and triform lion's paw base, set on a shaped marble plinth, (3).
The clock 44cm (17.25ins) high, 26cm (10.25ins) wide, 11cm (4.25ins) deep; the candlesticks each 24cm (9.5ins) high, 10cm (4ins) wide.
Pailly is recorded in Tardy Dictionnaire Des Horlogers as a bronzier working from Rue Chapon, Paris during the early 19 th century. V... Lacarriers and Jacques do not appear to be recorded in the usual sources.
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A FRENCH EGYPTIAN REVIVAL BRONZE MOUNTED MARBLE MANTEL CLOCK GARNITURE
LAWSON AND SON, PARIS, LATE 19 th CENTURY
The circular eight-day gong striking movement with anchor escapement regulated by disc bob pendulum, the backplate stamped with serial number 12242 towards the left hand margin over 5 5 at the base, the circular slightly dished gilt on black marble Roman numeral dial with grey marble roundel and inscribed LAWSON & SON to centre, with gilt brass hands set within a foliate cast surround fitted with a hinged bevel-glazed brass bezel, the case surmounted by a patinated bronze recumbent winged female sphinx with gilt heightened headdress and chest panel, over cavetto cornice and rectangular panel for the dial incised with mythical winged figures to spandrel areas, flanked by variegated grey marble tapered rusticated side structures further profusely incised with pseudo hieroglyphs to front, the rear with brass cover for the movement, on tapered skirt base decorated with a large winged scarab beetle to front over gilt slip base; the garniture side pieces each formed as a grey marble obelisk decorated with a stacked series of pseudo hieroglyphs and symbols over plinth base matching the form of the clock, (3).
The clock 41cm (16ins) high, 38cm (15ins) wide, 16.5cm (6.5ins) deep; the obelisks 47cm (18.5ins) high, 18cm (7ins) wide, 11cm (4.25ins) deep.
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757
AN AUSTRIAN BRASS MOUNTED EBONISED AND GILTWOOD GRANDE-SONNERIE STRIKING MANTEL CLOCK WITH CALENDAR
UNSIGNED, PROBABLY VIENNA, CIRCA 1800
The rectangular four pillar triple standing-barrel two-day movement with anchor escapement regulated by disc-bob pendulum with silk suspension, sounding the quarters on a coiled gong followed by the hours on a second larger gong at every quarter hour or on demand via pull trip repeat function, the 5.5 inch circular convex white enamel dial with concentric calendar ring to centre within vertically aligned Arabic hour numerals and outer minute ring, with steel spade hands set behind hinged engine-turned brass convex glazed bezel, the case surmounted with a giltwood finial set on a cavetto moulded platform over drum housing the movement applied with brass leaf and scroll ornaments around the dial and with wooden disc shutter to the rear, raised via a block applied with brass mounts modelled as winged females over an ogee-arch aperture adorned with a male mask at the apex flanked by stylised scrollwork, set on carved giltwood supports modelled as opposing hippocampi with the looped tails continuing up towards the dial, over a stepped platform base applied with laurel spray mounts to fascia, on gilt lion's paw feet.
57cm cm (22.5ins) high, 34cm (13.5ins) wide, 15cm (6ins) deep.
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AN IMPRESSIVE FRENCH FAIENCE 'MAJOLICA' STYLE WALL CLOCK
THE MOVEMENT STAMPED FOR LE ROY AND FILS, PARIS, LATE 19 th CENTURY
The circular eight-day two train bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped LEROY & FILS, PARIS, 8199 to left-hand margin and with JAPY FRERES, EXPO'S, 1855, MEDAILLES, 1844 1849 over further number 918 to lower margin, the 6 inch circular blue glazed earthenware dial with stylised polychrome leafy rosette painted centre, white Roman numeral hour numerals and scroll-pierced white painted hands set within a gilt metal bezel surround, the circular mid-blue glazed case of concave profile, incorporating a large pair of figures modelled as opposing Classical females dressed in polychrome pastel-shade painted flowing robes passing a ribbon over the leafy rope twist decorated dial surround, the lower edge with baroque style strapwork panel decorated with a floral swag, the rear with hinged glazed cover for the movement and indistinct blue scripted mark for the potter.
51cm (20ins) high, 51cm (20ins) wide, 22cm (8.75ins) deep.
The firm of 'Le Roy and Fils' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883.
In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century. Such was the success of Le Roy and Fils that they were able to open branches in London, firstly at 211 Regent Street from mid 1800s to before 1885 when they moved to 57 Bond Street.
The 'Majolica' style case of the present lot follows very much in the Renaissance revival style made popular by the likes of Minton's and Della Robbia during the latter third of the 19 th century.
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A FRENCH TOLE PEINTE CIRCULAR WALL CLOCK
UNSIGNED, PROBABLY PARIS, MID 19 th CENTURY
The circular two train eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension regulation, the backplate stamped 7-2 over 576 and C towards the lower margin, the 6 inch circular slightly convex white enamel Roman numeral dial with blued steel moon hands set behind a hinged convex glazed egg-and-dart cast gilt brass bezel, the circular green japanned metal concave moulded case gilt painted with a generous continuous band of flowering foliage around the dial within a wheatear outer border, the rear with hinged cover and the top with an oversized gilt ball finial fitted with a suspension ring.
58cm (15ins) diameter, 44.5cm (17.5ins) high excluding ring.
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A RARE VIENNA BIEDERMEIER LOCHENASH 'DACHLUHR' WALL TIMEPIECE
UNSIGNED, PROBABLY VIENNA, CIRCA 1830
The four pillar single-weight driven movement with plates measuring 4.25 by 3.25 inches enclosing five -wheel train and deadbeat escapement, regulated by steel rod pendulum with large diameter brass-faced lenticular bob reading against a silvered beat-scale applied to the lower edge of the case backboard, the 6.75 inch circular two-piece silvered Roman numeral dial with concentric canted gilt band around the centre, delicate blued steel hands and fine gilt engine-milled surround, the movement and dial supported within the case via keyhole slots to the backplate engaging with corresponding posts fitted to a brass plate applied to the veneered backboard, the exterior with shallow triangular pediment incorporating canted mouldings, over conforming cornice and full-height hinged rectangular two-panel glazed front, the sides with a conforming arrangement of narrow glazed apertures, the base of tapered concave form capped with cavetto pendant moulding.
88cm (34.5ins) high, 27.5cm (10.75ins) wide, 11ins (4.25ins) deep.
Provenance:
The Estate of the Late Dr. Gwyneth Flower.
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761
Y AN INTERESTING GILT BRASS DESCENDING RACK TIMEPIECE OR 'SAGEUHR' IN THE LATE RENAISSANCE MANNER
UNSIGNED, MOST LIKELY SOUTH GERMAN OR AUSTRIAN, POSSIBLY INCORPORATING LATE 17 th OR 18 th CENTURY ELEMENTS
The rectangular four pillar movement with verge escapement set on an extension above the plates regulated by short disc bob pendulum swinging in front of the dial, the train with iron wheels up to the contrate, with the greatwheel incorporating winding clicks and arbor passing through the backplate terminating with a gear wheel to engage with the vertical 'saw tooth' rack, the 5.25 inch circular gilt brass dial engraved with twin birds perched within stylised flowering foliage to centre incorporating a penny moon aperture and pierced curved lunar calendar scale, within a concentric laurel band and infill divided into twelve segments annotated for signs of the zodiac over respective pictorial representations, within applied narrow silvered Roman numeral chapter ring with inner quarter-hour track and delicate stylised foliate motif half hour markers, the steel hand with fine leafy scroll pierced and engraved gilt brass tip, the case with small turned finial to an ogee scroll foliate carved crest over the dial issuing the potence for the front-swinging pendulum, the rear with D-shaped cannister enclosing the escapement engraved with a rosette to the top and cojoined male mask opposing a cockerel to sides, set on a gilt brass box enclosing the movement fitted with lift-out side panels retained by sprung clips and finely engraved with radial rosettes within symmetrical leafy trail infill, enclosing interior with silvered foliate engraved panels providing infill both in front and behind the plates, the upper surface with conforming foliate engraving around a rectangular slot for the rack, the back panel applied with a steel baton roller and enclosing an integral lead weight sandwiched to the movement backplate, the underside with respective slot for the rack to pass, mounted via a 38 inch steel 'saw tooth' rack secured via crisp double baluster posts onto a slender ebony veneered panel, incorporating architectural triangular pediment over caddy moulded edges.
The clock 17cm (9.75ins) high, 13.5cm (5.25ins) wide, 8cm (3.25ins) deep; the ebony panel 110cm (43.25ins) high, 12cm (4.75ins) wide.
Stylistically and technologically the present lot would appear to date from the last quarter of the 17 th century with the basic form following that of an Austrian 'zappler' type timepiece configured to be driven by its own weight as it descends down a 'saw tooth' rack. Although other clocks following the working design of the current lot are known they appear to mostly date from the mid 18 th century onwards (see Muhke, Richard and Vogel, Horand M. Alte Uhren... pages 172-74 for a group of such timepieces). Hence, at a glance, the present clock would appear to be a particularly early example of its type.
Interestingly a very elaborate four-dialled model (descending down a column) by Franceso Fillipini dated 1688 is illustrated in Brusa, Guiseppe L'ARTE DELL' OROLOGERIA IN EUROPA on page 380. This example also has a penny-moon and calendar aperture to the centre of the time dial. It also has a separate Zodiacal dial positioned at ninety degrees to the time dial with indication via a steel hand. The present lot is perhaps a little curious in that the concentric Zodiac band to the dial does not have a respective hand to provide indication, hence is essentially a decorative 'vestigial' detail. This feature, being purely decorative, would seem to depart from the principles of Renaissance clockmaking; thus it is possible that the present clock may well be a later finely made example faithfully executed in the late Renaissance style - perhaps constructed around an early movement.
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Y A FRENCH LOUIS XIV BOULLE AND PEWTER STRUNG EBONY 'RELIGIEUSE' TABLE CLOCK
JEAN VERDIER, PARIS, CIRCA 1690
The rectangular large twin going barrel movement incorporating plates measuring 5 by 5.75 inches united by five baluster-turned pillars pinned through the backplate and with five-wheel trains, the going train with verge escapement regulated by bob pendulum incorporating silk suspension with cycloidal cheeks, the strike train with high position countwheel, fine scroll-pierced sculpted steel gate and vertically pivoted hammer sounding on a bell mounted within the superstructure of the case, the backplate signed Jean Verdier AParis across the lower edge, the 9 inch rectangular black silk velvet covered dial with gilt winding hole collets to the centre, within applied gilt Roman numeral chapter ring with cruciform half hour markers and every minute numbered to the outer track, with shaped steel hands over ormolu mount cast and pierced with symmetrical foliate strapwork around a central boss engraved Verdier, AParis , in an architectural break-arch top case applied with a brass ball finial to the apex, over complex ebony mouldings and premier-parti red stained tortoiseshell ground brass and pewter strapwork scroll decorated marquetry infill to tympanum, flanked by conforming finials set on blocks, the front with full-height hinged door incorporating gilt guilloche-scroll cast moulding bordering the arch glazed dial aperture, with foliate scroll marquetry decorated infill to surround contained within pewter line borders and incorporating brass acanthus motifs to the lower angles, the sides veneered in ebony with pewter line-edged panels above and below the break-arch glazed apertures, and the rear with plain ebonised panel door set within the frame of the case, on ogee moulded shallow skirt incorporating a scroll marquetry decorated stylised scroll shaped apron over brass ball feet.
48cm (19ins) high excluding the later ball finials, 30.5cm (12ins) wide, 14cm (5.5ins) deep.
Jean Verdier is recorded in Tardy Dictionnaire des Horlogers Francais as working in Paris circa 1686. His son, Jean Jacques Verdier, is subsequently recorded in Britten, F.J. OLD CLOCKS & WATCHES AND THEIR MAKERS as becoming a maitre in Paris 1737, jure in 1773 and dying 1789.
The movement of the current lot can be compared to one by Antoine Gaudron (dated to circa 1675) illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700... on page 69 (plate 121) albeit with differing pillar turnings. The mechanism is well finished with fine cut and sculpted steel gates for the strikework. Both trains being five-wheel would also indicate a duration of longer than eight-days.
The case would appear to be from a transitional phase - with the design moving away from those with a rectangular dial aperture as illustrated in Plomp pages 66-70 (plates 115, 118-19, and 121), but yet to have applied pillars flanking the arch (as illustrated on page 72, Plate 125). The mount beneath the dial can be compared to that on a clock by Isaac Thuret circa 1690, illustrated by Plomp on page 94 (Plate 177); this example by Thuret also has a similar apron panel to the present clock. From this it would be reasonable to suggest that the current lot was probably made in around 1690
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Y A FRENCH LOUIS XIV BOULLE AND BRASS STRUNG TORTOISESHELL 'RELIGIEUSE' TABLE CLOCK
PIQUET, RENNES, CIRCA 1690
The rectangular large twin going barrel movement incorporating plates measuring 5 by 5.5 inches united by five shouldered baluster-turned pillars pinned through the backplate and with five-wheel trains, the going train now with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the strike train with high position numbered countwheel, fine scroll-pierced sculpted steel gate and vertically pivoted hammer sounding on a bell mounted within the superstructure of the case, the backplate signed Piquet ARennes across the lower edge, the 9 inch rectangular black silk velvet covered dial with gilt winding hole collets to the centre, within applied satin-gilt Roman numeral chapter ring with cruciform half hour markers and every minute numbered to the burnished outer track, with fine engraved scroll engraved and pierced gilt brass hands over ormolu mount cast as Apollo and Diana seated within a symmetrical arrangement of foliate strapwork incorporating mask of Hermes above crossed caduceus motifs beneath, flanked by brass plates engraved PIQVET and RIENNES , the architectural break-arch top case applied with a gilt brass flambeau urn finial to the apex over complex ebony mouldings and contra-parti red shell and pewter inlaid brass bird inhabited foliate scroll decorated infill to tympanum, flanked by conforming finials set on marquetry decorated blocks, the front with full-height hinged door incorporating gilt bead cast moulding bordering the arch glazed dial aperture, with foliate scroll marquetry decorated infill panels to upper quadrants and flanked by strip pilasters, each further inlaid with three repeating lozenge-shaped foliate strapwork motifs, the sides veneered in tortoiseshell divided into brass line-edged panels around gilt brass-framed rectangular glazed apertures, and the rear with plain ebonised panel door set within the frame of the case, on ogee moulded shallow skirt applied with generous stylised scroll cast draped lambrequin apron mount over inverted pineapple feet.
55.5cm (22ins) high, 32cm (12.5ins) wide, 15cm (6ins) deep.
A watchmaker named Piquet is recorded in Britten, F.J. OLD CLOCKS & WATCHES AND THEIR MAKERS as working in Rennes around 1700 (from the signature on a watch). A Louis XIV (circa 1690) gilt brass 'Oignon' watch by him was offered by Antiquorum, Geneva sale of Important Watches, Wristwatches & Clocks 12 th April 1987 (lot 519).
The movement of the current lot can be compared to one by Antoine Gaudron (dated to circa 1675) illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700... on page 69 (plate 121). The mechanism is well finished with fine cut and sculpted steel gates for the strikework. Both trains being five-wheel would also indicate a duration of longer than eight-days.
The case would appear to be from a transitional phase - with the design moving away from those with a rectangular dial aperture as illustrated in Plomp pages 66-70 (plates 115, 118-19, and 121) but yet to have applied pillars flanking the arch (as illustrated on page 72, Plate 125). The mount beneath the dial is unusual, with no other clocks illustrated by Plomp having one of this pattern; the lambrequin however is often seen on examples made during the early 1690's. From this it would be reasonable to suggest that this regional variant was probably made in around 1690.
Catalogue postscript added 03/03/2026 .
The rear of the case is fitted with hanging eyes to the top edge allowing the clock to both function as a wall clock or a table clock. This early feature adds adds to the versatility of the clock with regards to placing within a period interior.
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A FINE FRENCH LOUIS XV MEISSEN PORCELAIN MOUNTED ORMOLU MANTEL CLOCK
THE DIAL INSCRIBED FOR JACQUES PANIER, PARIS, THIRD QUARTER OF THE 18 th CENTURY AND LATER
The nineteenth century circular eight-day outside countwheel bell striking movement with anchor escapement regulated by lozenge-bob pendulum incorporating silk suspension regulation, the 5 inch circular convex blue-on-white enamel Roman numeral dial inscribed JACQUES PANIER, A PARIS to centre and with Arabic five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands set behind a hinged convex glazed bezel, the case modelled with an asymmetric foliate rococo scroll upright supporting the movement and dial encased in bands of iron-red ground porcelain, enveloped by leafy stems applied with nineteenth century polychrome highlighted hard paste Paris porcelain floral blooms executed in the manner of Vincennes, beneath a rocaille cast crest surmount applied with further blooms, the rear of the movement with glazed bezel matching the front and standing on an asymmetric generous rococo scroll cast base applied with standing later polychrome painted Meissen porcelain figures of a drummer and accompanying dancer in 18 th century dress, the latter with underglaze blue crossed sword marks to rear over large scale open scroll supports.
56cm (22ins) high, 33cm (13ins) wide, 24cm (9.5ins) deep.
The Meissen drummer figure applied to the current lot would appear to be based on a model for a drum and pipe player from the 'Cries de Paris' series modelled by J.J. Kandlers and/or P. Reinicke circa 1755.
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AN UNUSUAL LOUIS XVI GILT BRASS MOUNTED EMBOSSED LEATHER COVERED BRACKET CLOCK
THE MOVEMENT BY DAVID FREDERICK DUBOIS AND SIGNED FOR LE ROY, THE CASE BY BALTHAZAR LIEUTARD, PARIS, THIRD QUARTER OF THE 18 th CENTURY
The rectangular twin going barrel movement with four columnar pillars pinned through the backplate stamped K 1798 and DFDB to lower margin, beneath visible Swiss style strikework for ting-tang sounding every hour on a pair of graduated bells at the hour and again the at the half hour on a single bell, the going train with anchor escapement regulated by sunburst mask cast bob pendulum, the 7.5 inch circular convex white enamel Roman numeral dial inscribed Le Roy, APARIS to centre and with large Arabic five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands set behind hinged bead-cast convex glazed bezel, in a waisted case with cast twin handled urn surmount to the ogee-shaped superstructure applied with sculpted scroll-outline mounts to angles bordering applied leather covering embossed with carp and other fish onto a diamond lattice ground, the front with conforming decoration within applied conforming rococo scroll shoulder mounts flanking the dial over symmetrical leafy scroll bordered glazed lenticle, the sides with scroll-pierced brass sound frets set within lozenge-shaped leafy scroll cast frames over swollen base section, the rear ebonised incorporating a shaped panel door, on generous scroll cast feet terminating with block-shaped pads, the rear of the case indistinctly stamped B LIE..TAUD to rear lower right-hand corner, (the applied leather surface possibly later).
59cm (23.25ins) high, 33cm (13ins) wide, 16.5cm (6.5ins) deep.
David Frederic Dubois is recorded on The Royal Collection website as becoming a maitre 1780. He worked from rue Saint- Honore 1783-89 and then rue du Roule by 1830. A musical table clock by Dubois stamped to the backplate in the same manner as the present lot was offered at Bonhams sale The Classics Paris 30 th October 2024 (lot 296). Interestingly this other example incorporated a musical mechanism which was almost certainly of Swiss manufacture suggesting that Dubois made have outsourced some of his work to Swiss workshops. This may be the case with the present lot as the movement has features, such as the visible strikework to the backplate, which is indicative of Swiss practice. The example offered by Bonhams also had 'Dutch striking' (as well as Dutch provenance) suggesting that Dubois made clocks for the Dutch market.
The dial inscribed for Le Roy, Paris suggests that the present lot was perhaps retailed by either the celebrated Pierre LeRoy (who died in 1785), or more likely Basille Charles Le Roy who worked from at 60 Galerie de Pierre, Palais Royal, Paris from 1785. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845.
Balthazar Lieutaud was a leading Parisian master cabinet maker who became maitre in March 1749. He specialised in clock cases for the most eminent clockmakers of the time including Ferdinand Berthoud with this specialism no doubt inspired by his watchmaking cousin of the same name. He supplied to the Royal Court working first from rue de le Pelleterie then rue d'Enfer and employed the finest bronziers such as Caffieri, Edme Roye and Charles Grimpelle for the mounts. He died in 1780 although his widow kept the workshop going until 1784.
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A FRENCH LOUIS XV STYLE ORMOLU MANTEL CLOCK IN THER MANNER OF JOSEPH DE SAINT GERMAIN
THE MOVEMENT BY JAPY FRERES, PARIS, CIRCA 1870
The circular two train eight-day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped CH VCNE over 33969 to upper left and with JAPY FRERES & CIE, G'DE MED. D'HONNEUR roundel and number 22 to centre, the 4 inch circular twelve-piece blue-on-white enamel Roman numeral cartouche dial with swirling leafy trail cast centre, within C-scroll borders to the enamel hour numerals and outer minute track, with blued steel spade hands set behind a hinged convex bevel-glazed cast gilt brass bezel, the waisted rococo scroll cast and chased case with floral bloom and acanthus leaf surmount over generous scroll cast shoulders flanking the dial and shaped flowerhead lattice fret infill panel within leafy cast surround to apron beneath, the sides with scroll bordered arched lattice fret sound frets over leafy motif applied projecting lower panels, the rear with hinged domed gilt cover applied to a flush back panel, on generous scroll cast supports standing on an integral conforming rococo scroll cast open-work stand.
35.5cm (14ins) high, 23cm (9ins) wide, 15cm (6ins) deep.
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Y A FRENCH LOUIS XV STYLE GILT BRASS MOUNTED BOULLE MANTEL CLOCK
THE MOVEMENT BY ROLLIN, PARIS, LATE 19 th CENTURY
The circular two train eight-day countwheel bell striking movement with anchor escapement regulated by an engraved bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped ROLLIN, A PARIS over serial number 2013 to upper left and number 5 8 to centre, the 4.75 inch circular twelve-piece blue-on-white enamel Roman numeral cartouche dial with swirling rosette cast centre, within C-scroll borders to the enamel hour numerals and outer minute track, with blued steel trefoil hands set behind a hinged convex bevel-glazed cast gilt brass bezel, the waisted gilt brass mounted engraved brass and red shell marquetry veneered case with surmount cast as a putto holding a winged hour glass to the scroll panel veneered ogee-shaped upstand, over female mask and festoon swag cast crest and leafy trail marquetry veneers bordering the dial, continuing down to envelope the repeating leaf cast gilt framed shaped glazed pendulum aperture, applied with an openwork scroll mount over the glass and enclosing interior with geometric tile decorated floor and scroll marquetry veneered surface to the back door, the sides further decorated with symmetrical foliate scroll panel marquetry and centred with female mask mounts, the rear ebonised and with rectangular panel door, on scroll cast gilt feet with conforming leaf decorated apron between.
40cm (15.75ins) high, 22cm (8.75ins) wide, 13cm (5ins) deep.
Condition Report:
Movement is in relatively clean forking condition however a precautionary gentle clean/service is advised. The mechanism appears free from visible alteration or noticeable replacements. The dial has a small edge chip to the II cartouche numeral otherwise appears free from noticeable defects and is relatively clean and bright. The case is generally in very good original condition. There are some small brass and shell veneer losses to the top of the ogee superstructure (at the junction with the gilt moulding). The rear right-hand edge has a very small loss to the shell veneer, otherwise marquetry is very good with only slight localised bubbling to the shell and slight lifting to the brass in places. The brass within the marquetry is somewhat dull/tarnished however the mounts do retain most of their gilding hence appear much brighter. The interior of the case is in fine condition.
Clock retains its original numbered pendulum and has a winding key.
Condition Report Disclaimer
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A VICTORIAN GILT BRASS MOUNTED EBONISED QUARTER-CHIMING BRACKET CLOCK
HENRY BORRELL, LONDON, THIRD QUARTER OF THE 19 th CENTURY
The substantial four columnar pillar triple chain fusee movement chiming phrases from a choice of two tunes on a nest of eight bells with eight hammers every quarter and sounding the hour on a coiled gong, the going train with anchor escapement regulated by lenticular bob pendulum with pendulum holdfast to the backplate signed HENRY BORRELL, LONDON within a geometric oval lozenge to centre and with conforming outer border, the 6.25 inch arched gilt brass dial set with a canted silvered bezel surround with elaborate rosette engraved centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and leafy scroll and horizontal hatched field engraved infill to spandrels continuing up to envelope the twin subsidiary CHIME/SILENT and CHIME ON EIGHT BELLS/WESTMINSTER CHIMES selection dials, the break-arch case with domed surmount adorned with a later gilt finial and applied with repeating flowerhead cast lattice-panel overlay applied to a platform with ribbon cast moulding, over arched ogee and cavetto top mouldings incorporating projecting canted angles applied with pineapple finials, the front with hinged bevel-glazed repeating leaf cast arched bezel flanked by free-standing gilt brass Corinthian columns to the canted angles, the sides with stylised male term inhabited foliate strapwork cast frets and conforming projecting columns to the rear edge, the rear flush with break-arch glazed door, on stepped tall skirt incorporating projecting plinths for the columns and applied with acanthus cast mouldings over a classical figural cast frieze to front and generous scroll feet.
60cm (23.5ins) high overall, 46cm (18.25ins) wide, 27cm (10.25ins) deep.
Henry Borrell is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London by 1795. He was initially based at 8 Aldersgate Building in 1795 and then 15 Wilderness Row 1795-1840. Borrell specialised in producing musical clocks for the export market, most notably for the Chinese Imperial Court. Indeed a magnificent guilloche enamelled ormolu musical quarter-chiming automaton by Borrell was sold at Christie's sale of Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum Hong Kong 27 th May 2008 (lot 1511) for HKD 36,167,500 (£2,344,364). The present lot stylistically dates from the second half of the 19 th century hence is likely to have been produced by his workshop at the end of his career or even posthumously.
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A WILLIAM IV EIGHT-DAY 'HOOK AND SPIKE' WALL CLOCK
WHITEHURST AND SON, DERBY, CIRCA 1830
The four pillar weight-driven rack striking movement with sheet metal dust covers, separately wound trains and anchor escapement for regulation by a lenticular bob pendulum with an effective length of approximately 16 inches, the backplate stamped with serial number 4622 to centre and with triangular hanging hoop, the 9 inch circular engraved brass Roman numeral dial engraved Whitehurst, DERBY to the centre and with scroll-pierced steel hands.
12cm (4.75ins) deep.
Whitehurst (I) was born in Congleton, Cheshire in 1713, he was apprenticed as a clockmaker to his father (of the same name) before setting up business in Derby in 1736 - the same year he installed a turret clock to the newly completed Guildhall. He was an accomplished maker and scientist who had a particular interest in geology. He moved to London in 1780 in order to take up position at the Royal Mint as 'Stamper of the Money Weights' as well as pursue his scientific interests. He was founder member of the Lunar Society and was elected to the Royal Society in 1783.
John Whitehurst (I) died in 1788 leaving the Derby clockmaking business to his nephew also called John (II) who in-turn took his son of the same name (John III) into partnership in 1809. The firm traded as 'Whitehurst & Son' until 1834 when the business reverted to just 'Whitehurst' on the death of John (II). The business continued under the Whitehurst name until the death of John (III) in 1855 when it was sold to Roskell of Liverpool who subsequently wound-up operations in 1862. However, a former employee, John Smith, resurrected the business which is still trading today as 'Smith of Derby'.
The present lot can be compared an example by John Whitehouse III of Derby described and illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 pages 220-21.
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A REGENCY BRASS MOUNTED EBONISED LANCET-SHAPED QUARTER-STRIKING BRACKET CLOCK WITH ALARM
UNSIGNED, CIRCA 1820
The six pillar triple fusee movement with anchor escapement regulated by lenticular bob pendulum incorporating graduated stirrup-type screw regulation to shaft, ting-tang sounding the quarters on a pair of graduated bells mounted on the leafy scroll border-engraved shouldered backplate and striking the hours on a further bell mounted above, the alarm mechanism with standing barrel wound via a pull-cord and sounding on the inside of the hour bell, the 9 inch circular slightly convex cream painted Roman numeral dial with white enamel Roman numeral alarm setting disc to centre and steel moon hands, set behind a hinged cast brass convex glazed cast brass bezel concealing a Quarter/Strike/Silent selection switch at twelve o'clock, the lancet-shaped case with brass mouldings framing the arch over slender three quarter columns enclosing fascia with brass cockbead outline geometric panel infill around the dial, the sides with generous cast brass lion's mask ring handles over Gothic tracery pierced brass lancet-arch sound frets, the rear with lancet-shaped brass grille inset door set within the frame of the case, on stepped brass bound skirt base with generous brass ball feet.
54cm (21.25ins) high, 32cm (12.5ins) wide, 21cm (8.25ins) deep.
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A REGENCY HOUR-STRIKING DIAL WALL TIMEPIECE WITH FOURTEEN-INCH WOODEN DIAL
THOMAS LAKE, TAUNTON, CIRCA 1810
The five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum with holdfast to the shouldered backplate, the 15 inch circular white painted Roman numeral dial signed Tho's Lake, TAUNTON to centre and with blued steel spade hands, set behind a hinged glazed cast cavetto moulded bezel applied via a later wooden reeded collar onto a moulded mahogany surround, secured via pegs onto the rear box case with brass grille covered aperture to top, door to the right-hand side and pendulum access flap to the curved underside.
45cm (17.75ins) diameter, 16.5cm (6.5ins) deep.
Thomas Lake is recorded in Moore, A.J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as working in Taunton 1793-1847. He was based in East Street from 1822 and from around 1828 he variously signed his work in partnership with one or more of his sons.
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A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCK WITH ROLLING MOONPHASE
JOHN EDGECUMBE, BRISTOL, CIRCA 1790
The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch single sheet silvered brass Roman numeral dial with subsidiary seconds dial, scallop border engraved arched calendar aperture and signed John, Edgecumbe, BRISTOL to the foliate trail engraved centre, with pierced steel hands, Arabic five minutes beyond the dot minute track and rococo scroll engraved spandrel decoration, beneath arch with rolling moonphase incorporating maritime painted decoration to the lunar disc set behind landscape engraved lunettes and scale for age of the moon and HIGH WATER AT BRISTOL KEY to the circumference of the arch, the case with ogee mounded cornice to the break-arch entablature over wavy edge framed glazed hinged dial aperture flanked by free-standing fluted Corinthian columns with brass caps and bases, the trunk with concave throat moulding over shaped pointed arch top caddy moulded flame-figured door flanked by fluted canted angles, the base with cavetto top mouldings over shaped panel to fascia and incised bracket feet.
230cm (90.5ins) high, 51cm (20ins) wide, 24cm (9.5ins) deep.
John Edgecumbe is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from 15 Old Market, Bristol 1784-1834. He was the son of a brassfounder of the same name and became a Burgess in 1812. John Edgecumbe married Sarah Nash at St. James Church in October 1784 and entered into a partnership with Nathaniel Edgecumbe in 1826 which lasted until 1832.
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A VICTORIAN CARVED AND BURR WALNUT VENEERED QUARTER-CHIMING BRACKET CLOCK
J.H. ALLIS, BRISTOL, MID 19 th CENTURY
The substantial six tapered baluster pillar triple chain fusee movement with anchor escapement regulated by a heavy lenticular bob pendulum with an effective length of approximately 12 inches, chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the backplate engraved J.H. Allis, BRISTOL to centre over pendulum holdfast bracket, the 8 inch circular cream painted Roman numeral dial indistinctly signed J.H. ALLIS, BRISTOL to centre and with blued hands with the hour being of trefoil pattern, set within a canted silvered surround behind hinged cast brass bevel-glazed bezel, the ogee profile top case fronted with leafy scroll-carved crest incorporating rounded projections to the sides, over conforming scroll carved motifs to the lower corners of the fascia fronting tall ogee profile apron mouldings to sides, the rear flush with rectangular brass grille inset door, on ogee moulded skirt base with shallow pad feet.
56.5cm (22.25ins) high, 41cm (16.25ins) wide, 23.5cm (9.25ins) deep.
John Hagger Allis is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from Albion Chambers, Small Street, Bristol 1817-76. He was a notable maker who exhibited at the 1851 Great Exhibition a 'bracket regulator timepiece with a new description of compound pendulum, which vibrates seconds though less than half complete length of a usual seconds pendulum. Adapted for compensation against the effects of heat and cold.'.
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A GEORGE V 'GENERAL POST OFFICE' MAHOGANY TEN INCH FUSEE DIAL WALL TIMEPIECE
UNSIGNED, CIRCA 1930
The four double-screwed columnar pillar single chain fusee movement with anchor escapement regulated by lenticular bob pendulum, the backplate stamped with serial number 22782 along the lower edge, the 10 inch circular white painted Roman numeral dial inscribed with Royal GVR cypher over G.P.O. to centre and the rear with blue ink APPROVED, 162 backstamp, with blued steel spade hands set behind hinged glazed spun brass bezel applied to the moulded wooden surround, secured via pegs onto the rear box case with hinged door to right-hand side over pendulum access flap to the curved underside, the rear stamped BT '59/236, No 5 towards the upper edge.
33.5cm (13.25ins) diameter, 15cm (6ins) deep.
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Y A WILLIAM IV CARVED MAHOGANY EIGHT-DAY LONGCASE CLOCK WITH MOONPHASE
GEORGE STEPHENSON, WARMINSTER, CIRCA 1830
The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 13 inch single sheet silvered brass break-arch Roman numeral dial with subsidiary seconds dial, arched calendar aperture and signed Geo'e, Stephenson, WARMINSTER to centre, with blued steel spade hands and Neoclassical rosette and floral spray engraved decoration to spandrels, the arch with rolling moonphase incorporating engraved seascapes with small vessels to lunettes and THE MOONS AGE scale to the outer edge of the arch, the case with generous scallop-shell centred foliate scroll carved crest over break-arch mouldings, ebony line bordered frieze and hinged glazed dial aperture, flanked by spiral twist columns with leafy caps and bases, the sides with circular glazed apertures and shaped bargeboards set against the rear edges, the trunk with concave throat mouldings over short rectangular caddy-moulded door bordered with geometric ebony line detail and crossbanding, flanked by conforming twist half columns applied to the canted angles, the plinth base with cavetto top mouldings over conforming ebony-line panel to fascia, gadroon skirt moulding and bracket feet.
229cm (90ins) high, 52cm (20.5ins) wide, 30cm (12ins) deep.
George Stephenson is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Warminster circa 1830.
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A GEORGE III FIGURED MAHOGANY TABLE/BRACKET CLOCK WITH CONCENTRIC CALENDAR
HENRY LANE, BRISTOL, CIRCA 1780
The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum, the backplate engraved with a symmetrical arrangement of delicate rococo scrollwork within a line-scribed border, the 7 inch brass break-arch dial with recessed shaped silvered a nameplate engraved Henry Lane, Bristol to the finely matted centre within applied silvered Roman numeral chapter ring with date-of-the-month track to inner edge and Arabic five minutes beyond the outer minute track, with scroll pierced blued steel hands and applied brass rococo scroll cast spandrels to angles, beneath arch with subsidiary STRIKE/SILENT selection dial flanked by conforming mounts, the bell-top case with hinged brass carrying handle and later gilt ball finials over double cavetto top mouldings and hinged front with fillet mouldings bordering the glazed dial aperture and scroll pierced upper quadrant frets, the sides with arched windows and the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base with foliate scroll cast gilt brass feet.
48cm (19ins) high with handle down, 28cm (11ins) wide, 19cm (7.5ins) deep.
Henry Lane is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a watch and chronometer maker who worked from 58 On the Quay, Bristol 1775-1837. He married Hannah Brown at St. Stephen's Church in 1774 and was noted in the March 1 st Issue of the Bristol Mercury as a 'London watchmaker' suggesting that he was apprenticed there. He is known to have made fully developed pocket chronometers using Earnshaw detent and Arnold type balances.
The engraving to the backplate of the present clock can be stylistically compared to that of a clock by James Tregent, London, illustrated Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS on page 354 (Figure 19.17 top left).
Condition Report:
Movement appears complete and in original condition with no visible evidence of alteration or noticeable replacements including the escapement which appears to be original. There is a small threaded hole to the frontplate at around 11 o'clock which suggests that a trip repeat lever was once fitted; the backplate has another towards the right-hand edge probably from a later pendulum holdfast hook. The present hook is a replacement but in the original location. The movement is generally dirty/dusty; the strike train is in working order (including the strike/silent) function but is a little lazy; the going train will beat for a short period before stopping hence movement will require gentle clean/service. The dial is in relatively clean condition with the plate and spandrels being electro-gilded; the silvered surfaces have some patchy oxidation/mellowing. The hands appear original ands in good condition. The case is generally in very good albeit slightly neglected condition with notable faults limited to later finials and front door frets (poorly executed), a horizontal score line above the apex of the arch to the front door and a scuff to the left hand rear skirt moulding. The underside of the case has two holes (alternatives for trip repeat line to exit the case) towards the front left corner and another probably for a screw to secure the seatboard in the case. Otherwise blemishes are limited to minor bumps, scuffs, shrinkage and wear. All locks and hinges appear original, the front door escutcheon is later and the rear has witness marks suggesting a similar one was fitted which is no longer present.
Clock is complete with a crank winder and two case keys.
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A WILLIAM III EIGHT-DAY LONGCASE CLOCK MOVEMENT AND DIAL IN A LATER FRUITWOOD CASE
EDWARD CLEMENT, EXETER, CIRCA 1695, THE CASE 18 th CENTURY
The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 10.5 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll panel border engraved calendar aperture incorporating pin-slot adjustment to the 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 Edw Clement, Exon to lower edge, with scroll pierced steel hands and winged cherub mask and leafy scroll cast spandrels to angles, now in a fruitwood case with generous ogee moulded cornice and plain frieze over hinged glazed dial aperture applied with Doric three-quarter columns to front angles, the rear with conforming quarter columns set against the rear edge, the trunk with concave throat over rectangular caddy-moulded door, on plinth base with concave top moulding and bracket feet with shaped apron between.
209cm (82.5ins) high, 53.5cm (21ins) wide, 28cm (11ins) deep.
Provenance:
The inside of the trunk door is pasted with a label inscribed in ink This clock was brought from Ednovean in the year 1738 - Davies Gilbert 1834 .
Davis Gilbert (1767-1839) was born Davies Giddy at St. Earth in Cornwall; he adopted the surname of his wife, Mary Anne Gilbert, on their marriage in 1808 in order for them to inherit extensive property in Sussex. Davis Gilbert was an engineer who was elected to the Royal Society in 1791 and served as President from 1827-30. He was also High Sheriff of Cornwall from 1792-93, was elected as Member of Parliament for Helston from 1804-06 then Bodmin 1806-32. Gilbert was an early supporter of the pioneering Cornish chemist, Humphry Davy, and his mathematical skills were sought by the likes of Richard Trevithick and Thomas Telford. He also had an interest in Cornish culture publishing A Parochial History of Cornwall in 1822.
Edward Clement is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in London to Andrew Prime in 1662, gaining his freedom of the Clockmakers' Company in 1671. He took in an apprentice, Francis Harding, in 1673 but did not pay quarterage from 1674. He is thought to have spent most of his time in Exeter around this time before finally leaving London by 1681. His first of at least six children, a son called Francis, was baptised at St. Martin's Church, Exeter, in 1682, with subsequent baptisms and infant burials taking place at St. Lawrence's.
Loomes suggests the Edward Clement was probably related to the celebrated maker, William Clement, possibly being his son. He may also have worked from Shaftsbury during his final years as a clock signed 'Edward Clement Shaston' is known. Clement died in 1720 and was buried at St. John's Exeter.
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A REGENCY BRASS INLAID MAHOGANY BRACKET TIMEPIECE
YONGE, LONDON, CIRCA 1825
The four columnar pillar single fusee movement with anchor escapement regulated by heavy disc bob pendulum and arch-shaped plates measuring 6.75 by 4 inches fitted with a pendulum holdfast to the backplate, the 4 inch circular silvered Roman numeral dial signed Yonge, LONDON to centre and with steel moon hands set behind a hinged convex glazed cast brass bezel, in a rectangular case with brass pineapple finial to the hipped gadroon-carved superstructure set on a brass line-edged upstand, over cavetto cornice and ebonised fluted frieze, the front inlaid with brass foliate spandrel ornaments over star-shaped motif flanked by foliate decoration towards the lower margin, the sides with gilt brass twin cornucopia ring handles and the flush rear with rectangular glazed door, on brass line decorated skirt base with gadroon carved upper moulding and bun feet.
37.5cm (14.75ins) high, 19.5cm (19.5cm) wide, 12cm (4.75ins) deep.
A George Yonge is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'fine maker' working in London 1776-1815. Online sources indicate that he worked from 131 Strand, took his son into partnership in 1820 and worked up until 1832.
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Y A REGENCY MAHOGANY BRACKET CLOCK
BARWISE, LONDON, CIRCA 1825
The five pillar twin fusee bell striking movement with ogee-shouldered plates and anchor escapement regulated by a lenticular bob pendulum incorporating graduated stirrup-type screw regulation to shaft, the backplate signed Barwise, LONDON above the pendulum holdfast, the 8 inch circular convex white painted Roman numeral dial signed Barwise, LONDON to centre, with blued steel moon hands and Strike/Silent selection lever at twelve o'clock, set behind a hinged convex glazed cast brass bezel, the arched case with ebony line edged front incorporating shaped cockbead outline panel beneath the dial, the sides with arched brass fish scale sound frets and the rear with arched glazed door set within the frame of the case, the base with reeded band over a slender skirt and brass ball feet.
42cm (16.5ins) high, 26cm (10.25ins) wide, 16cm (6.25ins) deep.
The life of John Barwise and his family are outlined by A.D. Stewart in his article Barwise & Sons: Watchmakers to the King, A brief history of family and firm published in the March 2014 issue of ANTIQUARIAN HOROLOGY (Vol IIIV No. 1 pages 621-34). Stewart notes that John Barwise was born into a clockmaking family in Cockermouth, Cumberland in around 1756. By 1780 he had moved to London where he opened a watch retailing business. Ten years later he married Elizabeth Weston with his address being recorded as 29 St. Martin's Lane where he remained until his death in 1820. Of their eleven children two (possibly three) died in infancy and two, John II (born 1795) and Weston (born 1793), subsequently joined their father in the family business. In 1800, such was his success, John Barwise I purchased a second house in Dulwich.
In 1805 John Barwise I was one of the fifteen watchmakers appointed by The Board of Longitude to adjudicate in the dispute between John Arnold and Thomas Earnshaw regarding 'the respective merits of their chronometers'. On the 14th February 1811 Barwise was the victim of five highwayman who relieved him of a 'gold watch, greatcoat, and a guinea-and-a-half in cash' whilst en-route from Camberwell to Dulwich. This unfortunate occurrence may well have tempered Barwise's enthusiasm for his house in Dulwich as records indicate it was rented out to tenants by 1813. In around 1816 his sons, John II (who had just turned 21) and Weston, joined him in partnership with the business then becoming 'Barwise & Sons'. Shortly afterwards (probably in 1820) the firm obtained the Royal Warrant as watchmakers to King George IV.
John Barwise senior died in 1820; by this time he was a wealthy man leaving two properties and substantial investments to his widow and children. The business was continued by Weston and John II in partnership, however this only lasted six years as Weston died in 1826 leaving the business in the hands of John II alone. It was at this time that John II married and moved from the family home at St. Martin's Lane to nearby 42 Craven Street; and then in 1840 to a spacious residence called East Lodge, near Acton which at that time was in open countryside. At around the same time John Barwise II entered into an alliance with the highly inventive Scottish Clockmaker Alexander Bain who was in the process of developing the first electric timepiece. Barwise and Bain subsequently filed a patent (No. 8743) for an 'Electro-Magnetic Clock' which was granted in January 1841; an example of which was then subsequently exhibited at the Royal Polytechnic Institution shortly afterwards.
In 1842 John Barwise II was approached by Pierre Frederic Ingold (1787-1878) to assist in the creation of a watch factory which, by employing newly invented machinery, would be able to mass produce high quality watches at a much smaller cost than the prevalent hand-built movements available at the time. Barwise, along with Thomas Earnshaw junior, subsequently became managing directors of the newly established 'British Watch and Clockmaking Company'. Unfortunately the venture failed, and Barwise was declared bankrupt in 1846. With this he lost his house, East Lodge near Acton, but still managed to keep the business afloat. After a few more years of struggling in the business John Barwise II retired leaving it in the hands of the Swiss watchmaker, Jules Rochat, who joined the firm in 1847. John Barwise II was recorded in the 1861 census as being a 'chronometer maker out of business' and presumably still resided at 7 Queen's Row, Camberwell until his death in 1869.
Condition Report:
Movement is essentially in working condition and appears free from visible alteration or noticeable replacements. The mechanism is somewhat tarnished etc hence a gentle clean/service is required before putting to use. The dial retains old surface with overall slight crazing which has probably had the black numerals and text strengthened at some point. Faults are limited to very slight restoration winding holes, a few scratches and small localised chips/losses to the surface. The case is generally in good original condition with faults mostly limited to fading and a few cosmetic blemishes. The front is a little faded and the clasp for the bezel is not operational (requires adjustment of the tab/lock mechanism). The continuous top and sides veneer is also faded to the right-hand side but free from notable shrinkage. The rear has a small veneer patch repair to the veneer overlap adjacent to the lock as well as a very small loss bordering the glass at the base of the arch on the right-hand side. Otherwise faults to the case are limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use.
Clock has a pendulum and a winding key but no case keys.
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A FINE EARLY VICTORIAN WOODEN-DIALLED DROP-DIAL FUSEE WALL TIMEPIECE
VULLIAMY, LONDON, No. 1687 CIRCA 1844/5
The four columnar pillar single fusee movement with thick plates measuring 6 by 5.125 inches secured via brackets and thumbscrews through the bottom pillars onto a seatboard forming part of the internal structure of the case, the train terminating with half-deadbeat escapement regulated by heavy steel-rod lenticular bob pendulum with an effective length of approximately 15 inches, incorporating T-bar suspension and stamped with serial number 1687 to the rear of the bob, the backplate engraved VULLIAMY, LONDON over serial number 1687 , the 12 inch light cream painted wood Roman numeral dial turned integral to the surround and signed VULLIAMY, LONDON to centre, with steel spade hands set behind hinged glazed cast brass bezel onto the ogee moulded-edge dial panel, secured via pegs to the front of the well-constructed drop-trunk box case with doors to each side behind the dial, over flame-figured front and slender waist moulding, the 'chisel' base with hinged angled cockbeaded flap to front.
62cm (24.5ins) high, 38cm (15ins) wide, 16.5cm, (6.5ins) deep.
Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray.
Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); however his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion.
The Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy workbooks still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately, the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067. There is also a third surviving Vulliamy workbook, relating only to repairs and servicing dating to the period 1846-53. Interestingly this volume records at least sixty-five clocks being in the possession of the government 'Office of Works' and another forty being in the possession of Queen Victoria at Buckingham Palace.
Roger Smith in his article titled Vulliamy Clock Numbering, A Postscript published in Antiquarian Horology Vol. 21 No. 5 (Autumn 1994) pages 427-30, used surviving data in the records of the British Horological Institute at Upton Hall and known documented examples to compile a graph from which unrecorded clocks can be fairly accurately dated. According to this chart number 1687 would date to around 1844/5; this date is further corroborated by the recent discovery of Vulliamy number 1630 (see Bruun Rasmussen, Copenhagen, sale of Selected furniture, clocks and carpets 15 th December 2020 lot 2051/8078) which is dated 1844.
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A FINE VICTORIAN FIGURED MAHOGANY LONGCASE REGULATOR
FRODSHAM AND BAKER, LONDON, CIRCA 1860
The substantial six ringed columnar double-screwed pillar movement with tall bottle-shaped plates each measuring 9.5 by 5.872 inches and 6mm thick, enclosing a four-wheel train with six-spoke wheel crossings, Harrison's maintaining power, and Graham-type deadbeat escapement with jewelled pallets, regulated by a glass mercury jar compensated pendulum suspended from a bracket fitted to the case backboard and with impulse provided via a long crutch with banking pins, the seatboard with secondary barrel to allow offset positioning of the weight, the 12 inch circular single-sheet silvered brass dial with subsidiary seconds incorporating 'observatory' markers over signature Frodsham, & Baker, 31 Gracechurch Str't, London and Roman numeral hour dial to centre, within outer minute ring incorporating Arabic five minute annotations, the architectural figured mahogany case with shallow cavetto moulded triangular pediment over square hood door incorporating circular glazed dial aperture enclosing an integral canted silvered fillet bezel to interior, flanked by canted angles and with plain sides, the trunk with slender cavetto throat mouldings over rectangular glazed door enclosing flame figured veneer applied to the very thick backboard applied with a silvered pendulum beat scale to lower margin, flanked by conforming canted angles, on plinth base with slender ogee top moulding and recessed flame figured panel to fascia over a moulded skirt.
196cm (77ins) high, 46cm (18ins) wide, 24cm (9.5ins) deep
Provenance:
The Estate of the Late Dr. Gwyneth Flower; Purchased from Bonhams, London sale of FINE CLOCKS 8 th June 2004 (lot 107) for £10,000.
George Edward Frodsham was born in 1831 the great grandson of William Frodsham. He initially went to work alongside his brother, Henry, within a separate branch of the Frodsham family established by his father, John, trading as 'Frodsham, Son and Company'. However, shortly after joining the firm, he ended-up inheriting the business due to the untimely deaths of his brother in 1848, and his father the following year. The business became 'Frodsham and Baker in 1853 when it is thought the chronometer maker, Edward Baker of 6 Angel Terrace, Pentonville joined the firm. This Partnership traded from 31 Gracechurch Street until 1864 when it reverted back to being just George Edward Frodsham. It then became 'G. E. Frodsham and Company' in 1882 and a Limited Company in 1888. The following year (1889) the business advertised as being clockmakers to the Queen, Prince of Wales, The Royal Observatory and The Lords of the Admiralty and continued under George Edward Frodsham until 1901 when he presumably retired; he died two years later.
The high-grade movement of the present lot is of notably robust construction and finely finished, incorporating beautifully executed maintaining power and jewelled inserts to the pallets. Longcase or floor-standing regulators originating from the Gracechurch Street branch of the Frodsham family appear to be very thin on the ground. However, the business was clearly very highly regarded as they supplied a month duration longcase regulator to the Sydney Observatory in 1859 (see Roberts, Derek ENGLISH PRECISION PENDULUM CLOCKS page 154, Figures 19-20A-E).
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A FINE VICTORIAN EBONISED LONGCASE REGULATOR TIMEPIECE
GEORGE E. BUTCHER, NOTTINGHAM, MID 19 th CENTURY
The high-grade movement with five substantial double-screwed columnar pillars uniting thick plates measuring 9 by 6.75 inches incorporating rounded upper angles, enclosing four-wheel train with Harrison's maintaining power, high pinion counts, six-spoke wheel crossings and deadbeat escapement incorporating jewelled pallets, regulated by glass mercury jar seconds pendulum with T-bar suspension from a bracket applied to the case backboard, calibrated rating nut and fine-beat adjustment to crutch, the plates also containing a barrel to deflect the drop of the weight away from the pendulum, the 11.5 inch circular silvered dial with subsidiary seconds incorporating elongated 'observatory' baton markers and engraved signature Geo. E, Butcher, Nottingham over Roman numeral hour dials to centre, within outer minute ring incorporating Arabic five minute annotations and further extended 'observatory' baton markers, with blued steel hands set within a canted silvered surround, the arched ebonised case with twin hinged movement access flaps to the curved top over full-height glazed door incorporating gilt inscription CORRECT TIME to the glass and quarter-round fillet mouldings to the inside edge to the frame, the interior with foliate rococo scroll carved pendant crest beneath the dial over silvered pendulum beat scale applied to backboard, the sides with tall slender windows, on shallow stepped ogee moulded base.
206cm (81ins) high, 42.5cm (16.75ins) wide, 26.5cm (10.5ins) deep.
A clockmaker with the name George E. Butcher of Nottingham does not appear to be recorded in the usual sources however a quick search reveals various domestic clocks (mostly dating to the second half of the 19 th century) appearing at auction on a relatively regular basis. It is therefore likely that George E. Butcher was a Nottingham based retailer and repairer of clocks, watches and other items and the present lot was most likely his 'shop' regulator.
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A VICTORIAN MAHOGANY NIGHTWATCHMAN'S TELL-TALE BRACKET CLOCK OR NOCTUARY
DENT, LONDON, MID 19 th CENTURY
The four pillar single chain fusee movement with anchor escapement regulated by lenticular bob pendulum and passing strike on a bell mounted to the rear, the backplate with visible motionwork for the 5.25 inch circular silvered brass Roman numeral dial signed DENT, 33 COCKSPUR ST., LONDON to centre with steel spade hands set within recessed circular ring engraved with reversed Roman numeral chapters fitted with push-pins at every half-hour to circumference and rotating anticlockwise against a plunger positioned to the upper margin, the case of rectangular form with recessed brass carrying handle and plunger to top over hinged circular bevel-glazed cast brass bezel flanked by canted angles, the sides with rectangular side windows and the rear flush with rectangular glazed door, on moulded skirt base with block feet.
35cm (13.75ins) high excluding plunger; 38cm (15ins) high overall, 26cm (10ins) wide, 18cm (7ins) deep.
Provenance:
The Michael Finnemore Collection of Fine Clocks, Barometers, Scientific Instruments and Mechanical Music. Included with the lot is correspondence between former owner E. Legg Esq. of Bletchley and Dr. Vaudrey Mercer of Cookham dated April/July 1974 together with a group of monochrome photographs of the clock.
Edward John Dent was a talented horologist who at the age of 17 transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1817 he had become well known as a watch and clockmaker receiving commissions from the Admiralty for a 'Standard Astronomical Clock' and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks. In 1843 the firm expanded taking on a second premises at 33 Cockspur Street, with the Strand premises moving down the road to number 61 by 1851. In 1852 Edward Dent successfully tendered to make the 'great clock' to be housed in Stephen's tower at the New Palace of Westminster. The clock was completed by 1859, apparently at a financial loss to the firm, however it ensured that Dent became a household name synonymous with fine clockmaking. Unfortunately Edward John Dent did not live to see the installation of the 'great clock' as he died in 1853. He was succeeded by his stepson Frederick Rippon Dent, who, in partnership with his brother Richard, continued to expand the business. By 1862 the firm had added 34 Cockspur Street and 34 & 35 Royal Exchange to their list of addresses and, although having seen natural passage of ownership over the intervening years, the business still continues to trade today as Dent & Co.
The night watchman's clock or noctuary was developed as a 'tell-tale' method of recording a night watchman's progress throughout his shift. The dial incorporates a revolving ring to the circumference fitted with pins which are pushed-in by a manually operated plunger fitted to the exterior of the locked case. By having two such timepieces at each end of a watchman's circuit a record of his patrols throughout the night can be recorded. The pins are automatically reset to their raised position by a ramp positioned behind the ring at around the eleven o'clock position. The first basic design of 'Watchman's Noctuary' (see following lot) was subject of a patent submitted by Samuel Day in 1803 however the patent was disputed on the grounds that the Earl of Exeter had been using two such timepieces made by Boulton and Watt since 1799.
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1,800 - 2,500 GBP
A VICTORIAN GOTHIC REVIVAL CARVED OAK QUARTER-CHIMING BRACKET CLOCK WITH ORIGINAL WALL BRACKET
UNSIGNED, PROBABLY LONDON, CIRCA 1870
The substantial four columnar pillar triple chain fusee movement with anchor escapement regulated by a half-seconds lenticular bob pendulum, chiming a choice of two tunes for the quarters on a graduated nest of nine bells and sounding the hour on a coiled gong, the 8 inch wide stepped-arcade topped arched single sheet silvered brass Roman numeral dial with steel spade hands and bold stylised leafy spray engraved motifs to spandrel areas, with the upper continuing to flank the twin CHIME/SILENT and CAMBRIDGE CHIME/CHIME ON 8 BELLS selection dials positioned within arch with conforming engraved infill between, the triangular gabled case with three generous spire finials incorporating foliate caps and projecting arch bases divided by stepped cresting with shallow running arcade mouldings beneath, over glazed ogee-arch shaped front door finely carved with stylised foliage above raised frame mouldings mirroring the stepped canted gilt bezel set behind the glass, flanked by free-standing quadruple cluster columns to the projecting canted angles, the sides with lancet-shaped apertures decorated with foliate-trellis fretwork, the rear with triangular top door inset with brass grille sound fret, on stepped skirt base with blind Gothic arcade and projecting front angles over ogee mouldings and ebonised pad feet; the wall bracket with conforming projecting canted angles to the cavetto edged table over twin ogee outline gothic quatrefoil pierced supports terminating with leaf carved motifs.
The clock on wall bracket 108cm (42.5ins) high, 28.5cm (11.25ins) deep, 51cm (20ins) wide.
Provenance:
The Estate of the Late Dr. Gwyneth Flower.
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786
A LATE VICTORIAN GILT BRASS MOUNTED MAHOGANY QUARTER-CHIMING BRACKET CLOCK OF SMALLER PROPORTIONS
R.H. HALFORD AND SONS, LONDON, CIRCA 1890
The four columnar pillar triple chain fusee movement chiming phrases from a choice of two tunes on a nest of eight bells with eight hammers every quarter and sounding the hour on a coiled gong, the going train with anchor escapement regulated by heavy lenticular bob pendulum with pendulum holdfast to the backplate signed HALFORD & SONS, 43 FENCHURCH STREET, LONDON to centre, the 5.25 inch gilt brass ogee-arch top dial with matted centre within silvered Roman numeral Chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes beyond the outer minute track and incorporating curved panels engraved R.H. HALFORD & SONS, 43 FENCHURCH ST., LONDON to inner edge, with pierced blued steel hands and applied gilt winged cherub cast spandrels to angles beneath arch incorporating twin STRIKE/SILENT and CHIMES ON 8 BELLS/CHIMES ON 4 BELLS selection dials flanked by grotesque mask cast foliate mounts, the George III style bell-top case with hinged gilt carrying handle and ball finials over cavetto and ogee top mouldings, the opening front with brass fillet-edged dial aperture beneath conforming inset shaped engraved gilt brass upper quadrant frets flanking a further flush rectangular fret to the apex, flanked by brass stop-fluted canted angles incorporating gilt corbel caps and bases, the sides with conforming brass fillet bordered ogee-arch foliate scroll pierced and engraved sound frets and the rear with rectangular brass grille inset door incorporating conforming brass mounted canted angles, on stepped ogee and cavetto moulded skirt base inset with a gilt brass fluted band over further plain band and shaped bracket feet.
40cm (15.75ins) high with handle down, 25cm (10ins) wide, 19cm (7.5ins) deep.
Robert Hosier Halford is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London in 1881.
Condition Report:
The movement appears complete with no visible evidence of alteration or noticeable replacements. The mechanism is generally discoloured tarnished with sticky lubrication hence requires a gentle clean/overhaul. The going train is running, the strike train will operate when manually 'tripped' however the quarter train will not currently release. The quarter train however appears to be in sound condition hence issue is most likely down to the under-dial work being gummed-up/requiring adjustment. The dial is in very good condition with strong gilding exhibiting minimal wear/discolouration. The silvering to the chapter ring and subsidiaries has patchy/streaky oxidation. The case is generally in very good original condition with notable faults limited to a bruise to the front lip of the top moulding and a few smaller bruises including to the side lip and to the rear lower skirt moulding. Faults to the case are otherwise very much limited to minor age-related bumps, scuffs, shrinkage and slight oxidation to the mounts.
Clock has a case key and a winder.
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A DUTCH WALNUT AND FLORAL MARQUETRY LONGCASE CLOCK WITH MOONPHASE
THE DIAL INSCRIBED FOR RICHARD KEALLY, LONDON, THIRD QUARTER OF THE 18 th CENTURY
The five pillar rack striking movement with anchor 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 13 inch brass break-arch dial with recessed silvered subsidiary seconds dial, calendar aperture and arched plate engraved Rich'd Keally London to the matted centre, within applied silvered Roman numeral chapter ring with foliate scroll engraved half hour markers and Arabic five minutes beyond the arcaded outer minute track, with scroll-pierced steel hands and applied rococo scroll cast spandrels to angles, the left hand edge with N/S strike/silent selection switch, beneath arch incorporating rolling moonphase engraved with age of the moon to the edge of the disc set behind solar mask and terrestrial globe engraved lunettes to lower margin beneath a leafy trail border to the arch, the case with bell-shaped caddy superstructure inlaid with floral trails over conforming inlaid cavetto moulded ogee-arch cornice, centred with a foliate carved crest and with blind fret frieze, over parquetry banded half-columns applied to the foliate trail inlaid hinged glazed dial aperture, the sides with break-arch windows within conforming borders beneath blind fret friezes, the trunk with leaf decorated concave throat moulding over shaped top and bottom caddy moulded door inlaid with urn and bold flowering foliate designs around a central brass lenticle cast with Europa riding Zeus taking the form of a bull, within leafy trail decorated surround flanked by repeating lozenge inlaid canted angles, the sides further inlaid with urns issuing bird inhabited foliage, the plinth base with inlaid stepped ogee top mouldings over scroll profile projecting canted angles flanking the conforming urn centred floral marquetry decorated fascia, on inlaid cavetto skirt base with turned feet.
247cm (97ins) high, 57cm (22.5ins) wide, 31cm (12.25ins) deep.
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A POLISHED FRUITWOOD DUTCH-STRIKING TABLE/BRACKET CLOCK WITH MOONPHASE AND ALARM
SIGNED FOR PAUL RIMBAULT, LONDON, POSSIBLY ANGLO-DUTCH, CIRCA 1770
The five pillar twin fusee movement with verge escapement regulated by short bob pendulum, the strike train sounding the hours on a bell and again via a second hammer on a smaller bell at the half-hour, the alarm powered via a pulley-wound standing barrel and sounding via a vertically pivoted T-shaped hammer on the inside of the larger hour bell, the backplate engraved with symmetrical foliate strapwork within a scribed-line border, the 7 inch gilt brass break-arch dial with silvered Arabic numeral alarm setting disc, calendar aperture and applied arched silvered plate engraved Paul Rimbault, London to the finely matted centre, within applied silvered Roman numeral chapter ring with leafy scroll engraved half hour markers and Arabic five minutes beyond the arcaded minute track, with fine scroll-pierced steel hands, applied gilt brass rococo scroll cast spandrels to angles and S/N strike/silent selection switch at nine o'clock, the arch with rolling moonphase incorporating lunettes painted with billowing clouds beneath a floral trail painted arch interrupted by a slot revealing the date of the lunar month read against a pointer, the inverted bell-top case with hinged brass carrying handle over ogee and cavetto top mouldings, the hinged front applied with crisp raised mouldings bordering the glazed dial aperture beneath leafy scroll cast pierced upper quadrant frets flanked by caddy moulded angles, the sides with arched windows and the rear with break-arch glazed door set within the frame of the case also applied with raised mouldings to the aperture and with brass upper quadrant frets flanked by caddy-moulded angles, on cavetto moulded skirt base with moulded squab feet.
46.5cm (18.25ins) high with handle down, 25.5cm (10ins) wide, 16.5cm (6.5ins) deep.
Provenance:
The property of a gentleman, purchased from Tennants, Leyburn The Autumn Fine Art Sale - Part 2 16 th November 2019 (lot 581) for £7,200.
Paul Rimbault was a clockmaker of Huguenot descent who worked from 9 Denmark Street, St. Giles's, London from about 1770 until his death in 1785. Paul Rimbault and his brother Stephen were known for making complicated musical and automaton clocks for the export market including for the Imperial Chinese Court.
The engraved decoration to the backplate of the present clock can be closely compared to that seen clocks by John Richards, Stephen Rimbault and Robert Henderson illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS on pages 346-47 (Figures 19.10-11). Each of these backplates shares the very unusual detail of having 'rivets' within the bands of strapwork, and the example by Stephen Rimbault (to the left in Figure 19.11) also has dotted hatched infill within the scrollwork. These strong similarities would strongly suggest that this group of backplates were engraved by the same hand.
The specification of the present lot, which includes an alarm, 'Dutch' striking and moonphase, would suggest that it was made for the Dutch market. In addition to this, details such as linkages within the hour hammer assemblies and polychrome decoration to the dial is normally indicative of Dutch practice; hence it is possible that the present clock could have been made as an Anglo-Dutch collaboration.
Condition Report:
The movement is essentially in immaculate working condition having been recently serviced by the vendors clockmaker. All is working as it should except for the alarm which sounds continuously when wound regardless of the position of the setting disc. It would appear that the release detent for the alarm requires adjustment, everything else appears to be in order. The movement has no visible evidence of alteration or noticeable replacements hence has survived in fine original condition. The dial is in fine clean condition with no apparent faults evident. The painted decoration to the lunettes and the lunar disc have probably been retouched but present as being in fine condition. The case is in good original condition. The finish was originally ebonised but has now been polished to reveal the grain of the fruitwood veneers. The mask around the dial (only visible when the front door is open) has some minor chipping to the veneer overlap bordering the dial plate. The lower right-hand corner of the front door has a small veneer loss to the block beneath the corner moulding, and the skirt beneath has a small veneer patch repair at the same corner. The moulding to the arch of the rear door is a replacement which is not so crisply cut as the others. The veneer forming the pad beneath the carrying handle has some slight wear/losses to edges to both front and back on the right-hand side. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage, wear, and other blemishes commensurate with age and use.
Clock is complete with winder and two case keys.
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A WILLIAM III WALNUT AND ARABESQUE MARQUETRY LONGCASE CLOCK OF ONE-MONTH DURATION
PETER GARON, LONDON, CIRCA 1700
The five finned pillar outside countwheel bell striking movement with five-wheel trains and anchor escapement for regulation by a seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the finely matted centre, within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes beyond the minute track and signed Peter Garon, London to lower margin, with scroll-pierced steel hands and winged cherub mask scroll cast spandrels to angles incorporating foliate engraved infill decoration to the plate between, the marquetry veneered case with gilt ovoid finials set on ebonised plinths applied to the domed caddy superstructure decorated with central palm motif flanked by foliate strapwork to fascia, over generous ogee moulded cornice and foliate scroll-pierced fret to frieze and hinged front with glazed dial aperture within foliate Arabesque veneered surround applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set to the rear, the trunk with leafy scroll decorated convex throat moulding over 41.5 inch rectangular door veneered with marquetry foliate strapwork executed in the Berianesque manner inhabited with standing grotesque figures, centred with an oval brass lenticle and with D-section crossgrain edge mouldings, with conforming repeating leafy scroll decoration to surround and the sides veneered with twin line-bordered panels, the plinth base with stepped ogee top mouldings over conforming Arabesque marquetry panel-decorated front, the lower edge applied with a later shallow skirt, (lacking pendulum and weights).
247cm (97ins) high including the finials, 52cm (20.5ins) wide, 27cm (10.5ins) deep.
Peter Garon is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as most likely a French Huguenot immigrant born circa 1671-73. He was apprenticed to Richard Baker in 1687 but was refused freedom of the Clockmakers' Company on completion of his apprenticeship in 1694 due to 'being an alien'. Garon, however, was granted freedom of the City by the Lord Mayor causing him to be made a Freeman of the Clockmakers' Company that year. He initially worked at St. Bartholemew's Lane End, and Loomes notes his marriage to Mary Arpheilhe in 1696. The marriage bore at least six children although one appears to have died in infancy.
In 1697 Peter Garon signed the Clockmakers' Company Oath of Allegiance but was also reprimanded for taking-in unofficial apprentices. He did, however, take-in at least four official apprentices including his son of the same name in 1713. Garon was often in debt with Loomes noting that he was likely bankrupt in 1706. Another bankruptcy is recorded in 1723 with the address listed as being at St. Giles, Cripplegate, but it is not clear whether it is him or his son of the same name who was married that year.
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A FINE AND RARE JAMES I 'FIRST PERIOD' LANTERN CLOCK
UNSIGNED, LONDON, CIRCA 1620
The posted countwheel bell striking movement with separately wound trains incorporating iron walls to the click side of both pulleys, the going now with verge escapement for regulation by a short bob pendulum configured to swing behind the frame to the rear, the strike train sounding the hours on a bell mounted above the frame via a countwheel with overlift provided by a hoop wheel cut with a single slot, the dial with a central unengraved section contained within twin concentric lines enveloped by an engraved band of stylised symmetrical foliate scrolls including unusual curling flower fronds, within applied narrow Roman numeral chapter ring incorporating tied asterisk half hour markers and alternating hatched quarter-hour divisions to inner track, with fine sculpted steel hand and repeating leaf and hatched line engraved infill to the upper quadrants, the lower margin with conforming repeating leaf infill interrupted by vacant areas for a signature with trailed ivy leaves beyond, the frame with turned Doric column corner posts beneath distinctive ovoid vase finials with finely banded waists, the front and sides applied with symmetrical scroll pierced cast brass frets with the front incorporating foliate engraved detail, beneath domed bell bearer capped with a vase finial, the rear with iron hanging hoop over spurs applied to the collar-turned ball feet, (lacking alarm, pendulum, side doors, lines and weights).
39.5cm (15.5ins) high, 15cm (6ins) wide, 20cm (8ins) deep including spurs.
The present clock can be very closely compared to another anonymous example described and illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 81-83 (Figures 7.14-19). This other example would appear to have the same frame castings including the fine turned waist band to the finials, and are of the same dimensions as those of the current lot (as provided by Loomes on page 83). Although these castings appear essentially the same as those used for clocks by Thomas and Robert Harvey (see Loomes page 57, Figure 6.1) and William Bowyer (see Loomes page 79 Figures 7.1-4) there are some crucial detail differences. Most notable amongst these is the turning of the finials - with both the Harvey and Bowyer castings having a more compressed neck to the base section, causing the bodies to have a noticeable taper up to the waist.
In addition to the frames, both the present lot and the anonymous clock described by Loomes also have similarities in the detailing of the chapter ring (tied asterisk half hour markers and alternating hatch divisions to inner ring); the hands are also near identical. Both movements are also very closely related having spur pinions of report, similarly weighted and located hammer stops, and countwheel detents formed/bent upwards to clear the rear movement bar (rather than having a notch cut in the bar as seen on Bowyer's work).
The dial engraving of the current lot is very unusual in that the design incorporates thickly formed scrolls or curling flower fronds. Another clock with related engraved 'curling flower frond' decoration to the dial is illustrated White, George English Lantern Clocks on page 68 (Figures II/53-54), where it is noted that the decoration is 'so similar to early 17 th century needlework that the shading looks like stitches'. It would also appear that the example illustrated by White possibly has the same frame castings (and the same early pattern of fret) as the current lot. A further example (this time constructed with one-piece frame castings) with very closely related dial engraving to that of the clock illustrated by White, is illustrated by Loomes on page 65 (Figure 6.22).
Although this style of engraved decoration would appear to be a rare feature of London made examples similar decoration appears to be a little more prevalent in early West Country work. Indeed related thickly formed scrolls can be seen on the dials of clocks by John Snow of Salisbury (illustrated by White on page 214, Figure V/2) and Thomas Browne of Bristol (see White, Page 223 Figure V/22).
It is unfortunate that the maker of this characterful clock did not sign his work, however the similar example (now with replacement spring-driven movement) illustrated by George White on page 68 (Figure II/53-54) may hold a clue as to a possible maker. White notes that this other example is engraved with the initials R.L. beneath the alarm disc. Reviewing Loomes, Brian Clockmakers of Britain 1286-1700 , the 'best fit' would appear to be Richard Lord who is noted as being admitted to the Clockmakers' Company as a Free Brother in 1632. He apparently signed 'with a mark' suggesting that he could not write, which could well be the reason why the present lot wasn't signed. Lord married in 1618 and had two children in 1622 and 1623/24 hence would have been active at the time the present clock was made.
Loomes in LANTERN CLOCKS & Their Makers illustrates the only known clock signed by Richard Lord (on page 66, Figures 6.24-26). Loomes suggests a date in the 1630's for the signed example, hence if the present lot is by Richard Lord, it would be from an earlier phase in his work which would account for some of the stylistic differences.
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