A rare French provincial silver chocolate pot. Paul Albar,Perpignan, 1762-1763. The baluster body raised on three pad feet to a turned wooden side handle, the hinged cover designed with a swivel-action flower finial and the spout with fluting to lower half, approx.18cm high, approx. weight 16.3ozt Footnotes: Paul Albar (1724-1792) came from a family of Perpignan silversmiths and was the third generation of his family to work in the trade. He registered as a maker in 1749 before embarking on a Grand Tour of France. He is known to have made both religious and secular items, including the silver crown worn by the Virgin Mary in a group of figures from the Château de Cuxou (The Dormition of the Virgin) and a chalice from the parish church of Ille sur Têt. See Pg. 526, Mémoires d'orfèvres: L'orfèvrerie classée Monument historique des églises du Languedoc-Roussillon Condition Report: Some general scratching, pitting and nicking commensurate with age. Scratches to the hinged lid corresponding to the path of the swivelling finial. Hinge bracket pushing in slightly through cover and a small split noted to the inside of cover. Some old solder to hinge bracket. A small patch to the rim above handle. The lid sits slightly raised. Slightly wobbly on its feet. One foot pushing in. Splitting to both sides of the spout. Spout is slightly misshapen with some dings. Scratching to the base. Hallmarks are clear, only a slight bit of rubbing. There is an engraved coat of arms to the body which is slightly worn/rubbed. Chips and scratches to the turned wooden handle. Additional images are available to download via this link: https://we.tl/t-X26WinTmUe
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Two 20th century silver tea sets.Various dates and makers.One set comprising a teapot, sugar and milk jug, all designed with reeded banding to shoulders, Birmingham, 1918, Charles S. Green & Co., the teapot with wooden handle and finial, the second set of lobed design, Birmingham, 1902, E. J. Partridge, also comprising teapot with wooden handle and finial, sugar and milk jug, total weight approx. 47.9ozt (6)
A late Victorian silver gilt sugar vase and cover. Holland, Aldwinckle & Slater, London, 1899. The shaped body raised on a square base and decorated with flowers, ears of wheat and a vacant, scroll-bordered cartouche, the pull-off cover with spoon aperture and cone finial, 17cm high; together with a gilded copper salver engraved with the Royal coat of arms, probably 19th century, with a floral scroll border and three bracket feet, 25.7cm dia., weighable silver approx. 10.4ozt (2)Provenance: Property from a UK private collection. Condition Report: Sugar vase: good condition commensurate with age. Some minor scratching and nicking. Gilding generally in good condition - very slightly worn at high points eg. corners of base. Cover fits fairly snugly but wobbles depending on orientation (and some gaps around border when in place). A small split near aperture on cover and slightly misshapen here. Very slightly wobbly on base. A few small repairs to border. Maker's mark a little rubbed. Marked to side of body and cover. Slight thinness to cartouche - probable erasure. Decoration in good condition. Salver: gilding worn in places. Steady on feet. Thinness to metal in centre. Further images available to download via this link: https://we.tl/t-tajzPTRW36
A small group of Georgian silver including a teapot.Rebecca Emes and Edward Barnard I,London, 1809. Of rounded form, with an ebonised wooden handle and finial to hinged lid, 10.5cm high (inc. handle), together with a George III cream boat by William Skeen, London, 1769, raised on three pad feet, the body engraved with lion crest, 8.8cm high (inc. handle), and a Georgian silver marrow scoop, marks indistinct, engraved with crest to reverse of bowl, 22.2cm long, total weight approx. 16.4ozt (3)
An 18th century Dutch silver caster. Casper Janszonius (active 1723-1770),Haarlem, c.1750. Probably converted from a tea caddy, the campana-shaped body raised on a square foot with canted corners and decorated with bells and garlands around the shoulder, the pierced cover with an elongated, knopped finial, 15.5cm high, approx. weight 4.5ozt Footnotes: cf: For a similar example please see: Lot 396, Sotheby's, 18th September 2007, European Collections: Paintings, Ceramics, Glass, Furniture and other Works of Art https://www.sothebys.com/en/auctions/ecatalogue/2007/european-collections-paintings-ceramics-glass-furniture-and-other-works-of-art-am1028/lot.396.html
An 18th century Dutch silver teapot.Indistinct marks.Probably c.1765. Of inverted pear-shaped form, the fluted sides to a hinged cover with engraved border and knopped finial, the scrolling wooden handle to scroll sockets, stamped to cover and base with hatchet mark, indistinctly marked to base, 12.5cm high, approx. weight 11oztFootnotes: For a similar example see: Antique Silver, Ian Pickford, pg. 75
A pair of assembled George III silver entrée dishes. Bases by John Gwyn Holmes (probably), London, 1806.Of shaped, rectangular form, with gadrooned borders and cast sphinx handles by William Pitts, c.1805, the covers hallmarked London, 1800, probably William Stroud, both the bases and covers engraved with the arms and motto of the Humfrey/Humphrey family of Cavanacor, Co. Donegal, accession numbers 77.22.51.1a and 77.22.51.2a to bases (formerly in the collection of the Minneapolis Institute of Art), bases approx. 22.2 x 26cm, total weight approx. 89.7ozt (2) Footnotes: Provenance: Ex-museum. Formerly in the collection of the Minneapolis Institute of Art. Purchased by the vendor at Millea Bros, Boonton NJ, 5th December 2024 (Lot 2334). Condition Report: Good condition commensurate with age. Some general scratching, nicking and minor pitting noted. A few small dings noted and a few small, old repairs to undersides of borders. Cast finial handles in good condition. One associated cover fits well, the other sits slightly raised at one corner. Some dark marks to interior which have not been removed by a light polish. Heavier scratching to interior of dishes commensurate with use. Marks to one dish rubbed, maker's mark a little rubbed to the other dish. Both with museum accession number in red to bases and covers. Further images available to download via this link: https://we.tl/t-9chF2m3o0M
A George III silver coffee pot. Abraham Portal, London, 1764. Of baluster form, the pot raised on a gadrooned, circular foot and designed with a wooden scroll handle and foliate capped spout, the hinged cover with gadrooned border and knopped finial, engraved with crest to side, 28cm high, approx. weight 30.8ozt
An Italian silver soup tureen and cover. Stamped 800. 20th century.Of circular form, the tureen raised on a circular foot and designed with foliate twin handles and a pull-off cover with bud finial, approx. 28.5cm high, approx. weight 51.9ozt Condition Report: The tureen is in good condition. Some minor surface scratching and nicking but no damage or repairs noted. Cover fits snugly. Slightly wobbly on foot. Handles firm. Stamped 800 and with Italian marks beneath foot. Some nicks and bruising to handles. Overall a nice piece in good condition. Further images available to download via this link: https://we.tl/t-gTzEmRMwpY
A 'Lincoln Imp' George VI silver spoon. James Dixon & Sons, Sheffield, 1948. The terminal of the dessert spoon with cast finial designed as the Lincoln Imp, 17.8cm long, together with a Victorian provincial silver dessert spoon by James Barber, York, 1853, the Fiddle pattern stem and terminal decoratively engraved with foliage and scrolls framing a monogram, 17.8cm long, total weight approx. 2.6ozt (2) Footnotes: The Lincoln Imp is a 14th century carving in Lincoln Cathedral. A legend states that the Imp was sent to the cathedral by the Devil to spread mischief but it was turned to stone by an Angel. An 1899 reproduction was placed on the wall of Lincoln College, Oxford and although that one is now inside the college, a copy has been installed in its place. The use of the image on silver is associated with the prominent Lincoln citizen James Ward Usher (1845-1921) who inherited a Jewellers and Watchmakers business in the City. In the late 19th century he acquired the sole right to reproduce the Lincoln Imp on jewellery and silver and letters addressed to ‘The Silversmith who makes and sells the Lincoln Imp’ and one with only a sketch of the Imp found their way to him. Usher's personal art collection was left to the City as 'The Usher Gallery' and from 2005 has been merged with the other museums in the City
A pair of Regency silver salt cellars. Rebecca Emes & Edward Barnard I, London, 1818. Of circular form, the cellars raised on three shell feet with figural shoulders, the sides and borders decorated with shell, floral and foliate motifs, liners deficient, 9.5cm dia., 5cm high, together with a Regency silver mustard, London, 1818, Solomon Royes & John East Dix, raised on four scrolling feet, the body richly repousse decorated with lowers, scrolls and foliage, the hinged cover with flower finial, liner deficient, 9cm high (inc. handle), total weight approx. 20.5ozt (3)
A mahogany 'grandmother' longcase clock, 19th century, the swanneck pediment with brass vase finial above 8inch brass dial with rocking ship to the arch, mask spandrels and engraved centre, arched top trunk door, with twin barrel bell striking 5 pillar movement 168cm highCracks to top of hood door, which is a little stiff to remove where catching on backboard. New lock to the trunk door. Has pendulum and 2 weights but not tested. Appears complete. See photos.
A Meissen teapot and cover, circa 1760-70, the bullet-shaped body painted in green with Watteauesque scenes of a courting couple in a garden, with wishbone handle and the spout modelled as a mythical serpent, blue crossed swords mark, 20cm widechips to flower finial on lid, chips to inner rim of lidrubbing to gilded rimfiring fault to base
A Bow 'frill' vase and cover, circa 1765, of baluster shape, the pierced domed cover with a finial modelled in the form of a bird perched on a branch, applied with mask head handles and garlands of colourful flowers in puce, yellow and blue, painted with scattered insects to the shoulder, the lower section with a band of petals above a border of painted roses29cm highsurface dirt generallychips to 5 flowers on the body2 chips to petals above the mask on one side.firing crack to interior of lid and loss of probably two flowers to one area, with chips to 3 others, minor chip to inside of lid (not visible)please see further images for condition
A Cantonese porcelain large double gourd vase and cover, Qing Dynasty, 19th century, moulded in relief with a blue silk cord at the waist, painted with panels of Manchu courtiers within a dense foliate ground, the domed cover with fo dog finial48cm highLid - rubbing to gilding on finial, crack through to the rimbody - wear to the gilding in places and losses to the enamel
An Edwardian mahogany chiming three train table clock, the arched case with gilt brass urn finial and four corner gilt metal finials, above engraved gilt brass dial with chime/silent and Whittington/Westminster subsidiaries, unsigned silvered chapter ring, triple fusee movement chiming on 8 bells or 4 gongs and striking on a further gong, arched pierced side frets, all on gilt metal winged paw feet 54cm high
A Chinese famille verte porcelain large vase and cover, Qing Dynasty, Kangxi Emperor, circa 1700, the baluster body painted with four bracketed reserves of baskets brimming with flowers, the domed cover with butterflies, 60cm high, on a later associated gilt bronze triple-scroll stand77cm high overallBase diam = 27.5cmlid - broken in half and poorly glued with small chips to rim, finial has been rebuilt in plaster, nigggles around rim.body - has been broken into large pieces and glued, neck has been restored. losses to the rim, but pieces seem to be largely complete.
William IV three piece silver tea service, George Hunter II, London, 1835, comprising teapot with hinged lid, flower bud finial and capped scrolled handle to an embossed squat body, raised on four folded feet, 28cm handle to spout, together with matching twin handled sucrier and cream jug with gilt wash interior, weight 49.6 tr.oz.Please note for delivery to the UK the handle will have to be removed as it contains ivory.
A small collection of silver - to include a Continental silver gilt spoon with lion's head stem and decorative finial, marked 830, 15.5cm. long; together with a pair of Continental silver miniature buckets with gilt wash interiors, maker's marks; silver fob chain, maker's mark M&M, 33cm. long, three silver/white metal Continental perfume bottles, weight 7.6 tr.oz. (7)
A cased pair of 54 bore rifled percussion target pistols by Matthias Nowotny, Leitmeritz, Circa 1830, the browned octagonal swamped twist barrels signed 'Nowotny' in gold to top line, engraved breech with inlaid gold and platinum lines, engraved percussion bolsters with pierced platinum plugs, engraved case hardened breech tangs with adjustable back-sight, numbered in gold for each pistol, case hardened locks, signed with border and foliate decoration, fitted with long spurred hammers, blued set triggers, figured walnut stock with carved beast mask to fore-end and chequered butts, engraved case hardened steel mounts, side and lock plates inscribed 'a Leitmeritz', spurred trigger-guards with engraved borders, martial trophy and pineapple finial, in a lined and fitted walnut veneered case with accoutrements, barrels refinished, fore-sight replaced. * Provenance: Thomas Del Mar Ltd, June 201, original purchase receipt. ** Please note Martel Maides are not experts in this field, please satisfy yourself regarding authenticity before purchase.
flintlock duelling pistol by Wogdon London, circa 1790, the octagonal barrel with proof marks & stamped 'RW', signed 'Wogdon London' to the sighting flat, engraved tang, 'Wogdon' to lock plate, engraved butt-cap and trigger-guard with acorn finial, overall 38cm. (surface rust to barrel) * Martel Maides are not expert in this field, please satisfy yourself regarding authenticity prior to purchase. ** Providence: Sothebys purchase receipt lot 146.
A Bohemian side-by-side double trigger percussion pistol by J. Ollischer of Podiebrad, circa 1850, with tapering browned Damascus barrels, a brass fore-sight on the sighting flat and three inlaid silver lines near the breech, engraved blued breech and extended tang inscribed 'WH' in gothic script, border and foliate engraved flat locks inscribed 'J. Ollischer' to the right and 'In Podiebrad' to the left, with engraved blued long spurred hammers, steel mounts comprising an engraved spurred double trigger-guard with finial, oval butt-cap and plain fore-end cap receiving the brass tipped ramrod, the walnut full-stock with finely chequered grip, barrels 6 ½in. (16.5cm.). *Podiebrad also Podêbrady, Czech Republic. **Provenance: Sotheby's July 1996, Lot 199, original purchase receipt four guns (photocopy available) ***Martel Maides are not experts in this field, please satisfy yourself regarding authenticity prior to purchase.
Theo Faberge 'Eternity Egg', turned wooden egg, St Petersburg Collection Ltd' in turned bubinga wood, with an imperial crown finial, set with cabochon ruby, gilt decoration, interior ring tray, engraved beneath 'No 242' of limited edition of 750, 13cm high. Lacking certificate of authenticity and presentation case.
An early 20th Century 1821 pattern British Light Cavalry officers presentation sword. The sword having dome shaped pommel with ball finial and a x3 bar hilt. The ricasso stamped with proof star and blade etched ' Presented To Company Commander J. A Newsom , M.A By The Epsom & Ewell Platoons ' D ' Company 9th Battalion, Surrey V.T.C September 1915 '. Measures approx 109cm.
A FINE GEORGE II/III MAHOGANY MERCURY STICK BAROMETER WITH LARGE SCALE THERMOMETERJOHN BENNETT, LONDON, MID 18th CENTURYThe break-arch case with central brass Classical bust finial over cavetto cornice and hinged brass-framed arch glazed door enclosing silvered Vernier scale calibrated in barometric inches to right hand side opposing the usual observations to the left beneath signature Bennett, LONDON to upper section, the caddy moulded trunk applied with a tall shaped-top silvered Fahrenheit Scale alcohol thermometer incorporating drilled brass shield to the bulb and with annotations ranging from Extreme Cold to Extreme Hot, over rounded base applied with a hemispherical cistern cover and incorporating level adjustment screw to underside.101cm (39.5ins) high overall 16.5cm (6.5ins) wide. Provenance:The Dr. Castle Collection of barometers and other weather instruments. Purchased at Sotheby's, London sale of Important Clocks, Watches & Wristwatches 14th December 2006 (lot 7) for £4,322.50. John Bennett (III) is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as gaining his Freedom of the Clockmakers' Company in 1733, and working from Hatton Wall, London, until 1746, when he relocated to Old Bailey before finally moving to Fleet Street in 1751. Nicholas Goodison in ENGLISH BAROMETERS 1680-1860 notes that John Bennett worked up until 1768 and illustrates an undated trade card indicating that he was located at 'The Globe, Crown Court, between St. Ann's, Soho, and Golden Square'. Bennett was a fine maker who held warrants to three members of the Royal Family and most likely had a working relationship with the eminent scientific instrument maker Jonathan Sisson.
AN UNUSUAL FRENCH RENAISSANCE STYLE CAST AND PATINATED BRASS REPEATING CARRIAGE/MANTEL CLOCK UNSIGNED, LATE 19th CENTURYThe rectangular eight-day two train gong striking movement with platform lever escapement regulated by sprung bimetallic balance, the backplate stamped with serial number 37540 to lower left hand corner, the circular white enamel Roman numeral dial with Arabic five minutes beyond the outer minute track, with blued steel fleur-de-lys hands and set within rectangular cast and pierced brass bezel decorated in the 16th century manner with stylised dolphins flanking a vacant enamel roundel to apron and strapwork scrolls to upper quadrants, the case with pierced dome surmount incorporating push-repeat button to the top of the vase-shaped finial, over four curved sections forming the cupola each decorated with an urn planted with flowering foliage, set on a platform enclosed by a baluster gallery with paired spire finials to angles, over architectural entablature decorated with grotesque masks and foliate scrolls to frieze incorporating projections positioned beneath each of the finials at the angles, the corner uprights cast with paired stylised Baroque female terms flanking glazed dial aperture panel to the front, the sides and rear each with copper-oxide patinated panels cast in relief with Renaissance style armoured warriors on horseback, the rear panel hinged with opening enabled via a push-button clasp to the underside of the case, on moulded skirt base with lions paw feet.23.5cm (9.25ins) high, 13cm (5ins) square at the base.
A FINE GEORGE III BRASS MOUNTED FIGURED MAHOGANY MUSICAL TABLE/BRACKET CLOCKPRINCE AND CATTLES, YORK, CIRCA 1800The substantial six pillar triple chain fusee bell-striking movement with plates measuring 7.5 by 5.25 inches and verge escapement regulated by lenticular bob pendulum incorporating stirrup-type regulation adjustment to the rod, the musical train playing a choice of seven tunes on twelve bells with twelve hammers, via a 4 inch long 2.75 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, at every hour after the sounding of the hour bell, the backplate engraved with a continuous geometric border incorporating foliate spray spandrel decoration to the angles and fitted with a pendulum holdfast clip to lower margin, the 8 inch arched cream japanned Roman numeral dial with fine herringbone engraved gilt brass spade hands beneath arch with twin subsidiary CHIME/SILENT and TINK A TINK/EASTER HYMN/LIFE LET US CHERISH/BLUE BELL OF SCOTLAND/CARRY OWEN/LOVELY NANCY/GALLEY SLAVE tune selection dials with conforming engraved gilt brass pointers and with signature Prince & Cattles, YORK to apex between, the flame figured mahogany case with brass ball finial to the concave-sided pyramidal upstand set on a platform faced with brass fish scale sound frets, over complex break-arch top mouldings applied with four further brass ball finials at the corners, the break-arch hinged glazed front door inset with brass fillet mouldings to the edge of the aperture and flanked by brass stop-fluted canted angles, the sides with hinged brass carrying handles over rectangular brass fish scale sound frets, the rear matching the front and on generous cavetto moulded skirt base fitted with substantial cast brass ogee bracket feet.64cm (25.25ins) high, 37.5cm (14.75ins) wide, 25.5cm (10ins) deep. John Prince is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born in York in 1763. He was apprenticed to the scientific instrument maker and cutler Thomas Willans in 1778 and died in 1835. Robert Cattle was born in 1767, he was a watchmaker and silversmith who served as High Sheriff of York in 1816, was Lord Mayor in 1841, and died the following year in 1842. Prince and Cutler formed a partnership, alongside fellow clockmaker and gunsmith John Hampston, in around 1777 which continued up until around 1810.
Y A FINE GEORGE III FIGURED MAHOGANY BOWFRONTED 'FLAT-TO-THE-WALL' MERCURY STICK BAROMETERRAMSDEN, LONDON, CIRCA 1795With ebonised shouldered urn finial to the concave-sided upstand and cavetto cornice, over rectangular bow-glazed silvered Vernier scale calibrated in barometric inches to the right hand side opposing the usual observations to the left, the lower left corner signed Ramsden, London, the trunk of the same bowed profile incorporating Vernier setting square beneath the cavetto throat moulding over fine figured veneers line-edged in ebony, the base with turned ebonised half vase cistern cover flanked by canted angles inlaid with ebony 'flutes' over cavetto moulded underside.103cm (43ins) high, 11cm (4.25ins) wide. Jesse Ramsden is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from several addresses in London 1762 until his death in 1800, however by 1782 both his workshop and principal retail outlet were on Piccadilly. He was one of the finest instrument makers of the period being particularly well known for his invention of a dividing engine and subsequent equatorial telescope stands. Condition Report: Tube is filled with no apparent airlocks (mercury column will rise all the way to the top of the tube when instrument is tilted). The silvering is in fine condition with nice even colour and the Vernier slide is in working condition. The case is generally in fine condition with faults very much limited to very minor age-related wear. There is no setting key for the Vernier/cistern level included with the instrument. Condition Report Disclaimer
A FINE EARLY VICTORIAN SCOTTISH MAHOGANY BOWFRONTED MERCURY STICK BAROMETERADIE AND SON, EDINBURGH, CIRCA 1835With domed gadroon carved domed caddy surmount over concave cornice and glazed rectangular silvered Vernier scale calibrated in barometric inches to right hand side opposing the usual observations to the left beneath signature Adie & Son, Edinburgh to upper margin, with straight bowfronted trunk beneath terminating in an conforming inverted reeded caddy cistern cover with stepped ogee top mouldings and leafy bud pendant incorporating a level adjustment disc to underside.107cm (42ins) high, 10cm (4ins) wide. Alexander Adie is recorded in Goodison, Nicholas ENGLISH BAROMETERS 1680-1860 as born 1774 and apprenticed to his uncle, the eminent Scottish instrument maker John Miller, in 1789. In 1804 his uncle took him into partnership under the name of Miller and Adie which continued until after Miller's death in 1815. Adie was particularly interested in meteorological instruments and is perhaps best known as the inventor of the Sympiesometer in 1818. In recognition of his work he was elected a Fellow of the Royal Society of Edinburgh in 1819. He was appointed optician to William IV and later Queen Victoria and took one of his sons, John, into partnership in 1835. Two of his other sons set up businesses; Robert in Liverpool and Patrick in London. Unfortunately John Adie was prone to 'fits of despondency' which resulted in him shooting himself in 1857, Alexander Adie died the following year - no doubt expediated by the stress of his son's demise. Condition Report: Instrument is generally in very fine condition. The tube is filled with no apparent airlocks however the mercury column will almost reach the top of the tube when the instrument is reclined slightly suggesting the presence of a very small amount of air. The scale is in fine condition with nice slightly mellowed colour to the silvering; the Vernier slide is in working order. The case is in very fine condition with the only notable fault being some edge wear to the small section of cavetto moulding applied to the left-hand upper edge of the cistern assembly. The finial is probably a replacement; faults are otherwise very much limited to very light age related wear and blemishes. Condition Report Disclaimer
A GEORGE II/III POSTED THIRTY-HOUR WEIGHT-DRIVEN WALL ALARM TIMEPIECEUNSIGNED, SOUTHERN ENGLAND, MID 18th CENTURYThe posted frame with rectangular section corner uprights rivetted to both the top and bottom plates enclosing three-wheel going train incorporating anchor escapement for regulation by long pendulum swinging behind the frame to the rear, with crown-wheel weight-driven alarm mechanism applied to the inside of brass backplate sounding on bell mounted above the top-plate via a t-shaped vertically pivoted hammer, the rectangular dial with silvered Arabic alarm setting disc to the rococo foliate scroll engraved centre within 5.75 inch applied silvered Roman numeral chapter ring with diamond lozenge half hour markers, with steel fleur-de-lys hand beneath applied pierced and engraved dolphin fret and a bell surmounted by a brass ball-and-spire finial, mounted on a later mahogany wall bracket with break-arch back panel applied with shaped side brackets supporting a rectangular table over double-scroll outline base.The clock 24.5cm (9.75ins) high, 14.5cm (5.75ins) wide, 13.5cm (5.25ins) deep including pendulum crutch, the clock on bracket 41cm (16.25ins) high, 18cm (7ins) wide, 14cm (5.5ins) deep. Although unsigned the style engraving to the centre of the dial would suggest that the present timepiece was made in Southern England during the middle of the 18th century. Indeed, related engraving seen on table clock backplates is described in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 within the chapter titled Vine Engraving, 1740-1770 (pages 337-357). Condition Report: The trains both appear all-original with the only exception being the escape wheel collet suggesting that the wheel has been off its arbor at some time (possibly to make an adjustment for wear?) The pinions show noticeable wear however timepiece is in working order although a precautionary gentle clean/service is advised; the pendulum crutch is probably a replacement. The hand, fret, bell and finial are later replacements; each side of the top plate has two spare threaded holes suggesting that side frets were also fitted. Single pin holes to the centre of both sides of the top and bottom plates also indicate that side panels were also fitted (pinned into place) at some point. The wall bracket has residue form parcel tape (used by a previous removal company) which should be fairly straightforward to remove. Timepiece has weights for both the strike and alarm trains but no pendulum. Condition Report Disclaimer
A FINE GEORGE III GILT BRASS MOUNTED JAPANNED MUSICAL TABLE CLOCK MADE FOR THE 'OTTOMAN' MARKETJ. AND M. BROCKBANK, LONDON, CIRCA 1780The six pillar triple chain fusee bell-striking movement with plates measuring 7.5 by 5.25 inches and verge escapement regulated by short bob pendulum, the musical train playing a choice of six tunes on eight bells with twelve hammers, via a 3 inch long 1.75 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with an arrangement of symmetrical rococo scrollwork around a central signature Brockbank, London beneath a small basket of flowers within a scribed-line outer border, the 6 inch arched dial with circular fired white enamel 'Turkish' numeral chapter disc signed J. & M., BROCKBANK, LONDON to centre and with conforming five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands, set beneath twin fired enamel subsidiary dials for CHIME/NOT CHIME selection and BENI SAIKIT/USCHAE DEUR/SABAC HAFIF/SAMAHE tune selection dials with fine engraved brass arrow-shaped pointers, set into a mid-blue painted background polychrome decorated with musical trophy and floral spray infill to spandrel areas and between the subsidiaries, the arched case brown japanned to resemble tortoiseshell and extensively applied with fine chased gilt brass mounts, with flambeau-urn finial to the domed superstructure applied with rosette decorated diamond lattice segment frets between floral scrolls over brass a fillet edged shaped skirt, set on a platform with gilt cavetto moulding and scroll-cast fret infill flanked by further flambeau urn finials set on projecting acanthus cast scrolls, the front with scallop shell-centred scroll crest and conforming shoulder mounts over hinged repeating lappet leaf cast gilt brass glazed door flanked by husk edged front angles, the sides applied with ribbon-tied swags to shoulders over fine scroll-cast break-arch sound frets set within half-round moulded frames and projecting outwards at the base to follow the profile of the swollen lower margins fronted by foliate cast mounts, the rear matching to the front except for having an arched wooded door inset with brass fillet moulding to the glazed aperture, on generous scroll cast bracket feet with leaf cast apron mount between.52cm (20.5ins) high, 29cm (11.5ins) wide, 18cm (7ins) deep. John Brockbank gained his freedom of the Clockmakers' Company in 1769 and immediately took his brother, Myles, in as an apprentice who subsequently gained his freedom in 1776. The brothers entered into partnership in around 1780, working from an address at Cowper's Court, London, which continued until the death of John Brockbank in 1806. The Brockbank brothers employed Thomas Earnshaw who, by 1780, had produced two watches with 'detached escapements...' as well as developing his famous bimetallic compensation balance. Indeed, through the employment of the likes of Thomas Earnshaw, Robert Best and James Petto, the firm of Brockbanks became one of the most important makers of marine chronometers during the early post-Harrison era. In addition to marine chronometers Brockbanks also specialised in the making of clocks and watches for the Chinese and other export markets with several noted in Pagani, Catherine Eastern Magnificence and European Ingenuity: Clocks of the Late Imperial China. Amongst these was a 'magnificent Imperial gilt-bronze musical clock, signed by John Brockbanks and numbered No. 19 which formed part of a group ordered by a Guangdong official as a tribute to Emperor Qianlong; and a 'large gilt bronze vase of jewelled flowers set atop large rectangular base containing the clockface and having painted moving scenes, ca. 1770' by Brockbanks which is noted as being listed in Lu Zanzhen's Qinggong zhongbiao zhencang or Precious Collection of Qing Dynasty Palace Clocks on page 121.After the death of John, Myles Brockbank took brothers Samuel and Elliott Atkins into partnership consequently the firm became known as Brockbanks and Atkins from circa 1815. The present clock is unusual in that it plays tunes of Ottoman/Turkish origins rather than British compositions; and that the case has a japanned finish coloured to resemble red/brown tortoiseshell. The 'vine engraved' decoration to the backplate can be closely compared (except for the lack of a signature) to that of a clock by John Scott, London illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 361 (Figure 20.5). Condition Report: CONDITION REPORT AVAILABLE FROM THE DEPARTMENT ON REQUEST.Condition Report Disclaimer
A BRASS QUARTER-CHIMING LANTERN CLOCKTHE FRAME AND DIAL BY WILLIAM RAYMENT, STOWMARKET, CIRCA 1700, THE MOVEMENT SECOND HALF OF THE 19th CENTURYThe four columnar pillar triple chain fusee movement with anchor escapement regulated by short lenticular bob pendulum, sounding a choice of two tunes for the quarters on a graduated nest of eight bells set above the top plate, and the hour on the large bell mounted within the superstructure, fitted behind the earlier dial signed W. Rayment, Stow Market over symmetrical acanthus scrollwork to centre, within applied Roman numeral chapter ring with cruciform half hour markers, now with two sculpted steel hands and the angles with leafy motif engraved infill, the frame with column-turned corner posts beneath dolphin and foliate scroll pierced frets, vase finials and domed bell bearer surmounted by a further finial, the sides and rear with hinged doors, on four ball feet.40.5cm (16ins) high, 18cm (7ins) wide, 16.5cm (6.5ins) deep. William Rayment is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as probably related to Richard Rayment, and notes his marriage to Rebecca Richardson in Coombs, Suffolk, in 1706. He later moved to the nearby village on Onehouse, where he was buried in December 1760. Condition Report: Movement is complete but in dirty/neglected condition. The going train is running, the quarter train will just about run but is very lazy/prone to stopping and the strike train will not operate unless further force is applied to the train. The mainspring appears to have tension but there are two bent teeth on the strike train greatwheel which will either require strengthening or replacing. Movement requires a clean/service and repairs to the teeth of the strike greatwheel as a minimum, but no other damage or losses are apparent with a visual examination. The dial and case are in good overall condition with no apparent breaks or repairs to the castings however the clock is generally very dirty/oxidised throughout. Clock is complete with pendulum and a winding key. Condition Report Disclaimer
A FRENCH OXIDISED AND GILT BRASS NOVELTY AUTOMATON WINDMILL TIMEPIECE ATTRIBUTED TO ANDRE ROMAIN GUILMET, LATE 19th CENTURYThe eight-day single train circular timepiece movement with platform cylinder escapement regulated by monometallic balance vertically planted on the backplate next to stamped serial number 1776, the 2.25 inch circular silvered brass Roman numeral dial with recessed gilt centre and blued steel hands set behind hinged bevel-glazed bezel, positioned beneath an aneroid barometer with conforming gilt centre and silvered scale calibrated in barometric inches and with the usual observations set behind conforming bevelled glass incorporating a recording pointer, the case modelled as a windmill tower with conical roof over arrangement of four revolving sails powered by a spring-barrel driven movement positioned within the base of the structure, the slightly flared cylindrical upright rendered with bonded blocks and applied with mercury tube FAHRENHEIT opposing incomplete CENTIGRADE and REAUMUR scale thermometers to the sides, the circular plinth base with foliate pierced brass gallery over hinged miniature door enclosing the winding square for the windmill sail movement flanked by dummy windows, with moulded brass skirt set on a circular black marble plinth, (one thermometer tube lacking).The tower 41cm (16.25ins) high, 47cm (18.5ins) high overall, 17cm (6.75ins) diameter at the base. Andre Romain Guilmet was born on the 10th of December 1827 in La Ferte-Gaucher, France. He was a credited as a watchmaker and inventor who specialised in producing novelty and mystery clocks for which he applied for a number of patents for designs. Amongst his other Patents was that for a bicycle where the driving chain was set below the seat. He is best known for his 'mysterieuse' figural clock with glass pendulum, this takes the form of a woman holding pendulum in her outstretched hand and arm over a marble base containing the clock below. The pendulum is impulsed by the mechanism underneath her that moves the figure imperceptibly from side to side (see following lot). Guilmet's industrial series of clocks, which includes the current lot, features automated clocks in the form of windmills, lighthouses, automobiles, boats, steam hammers, boilers, etc.; another 'windmill' automaton timepiece from this series is illustrated in Roberts, Derek Mystery, Novelty and Fantasy Clocks figure 22-28. Condition Report: The timepiece movement is in relatively clean working condition with no visible evidence of alteration or replacements. The windmill-sail motor is also in working condition however both this and the timepiece movement would probably benefit from a gentle clean/service. We have been unable to 'bag test' the barometer as one of the screws that hold it in place will not withdraw when turned hence cannot be easily removed form the case. However the reading appears not to have moved whilst it has been with us and reading is on the low side - hence we suspect that the aneroid chamber is compromised and will need calibration at the very least. The right-hand thermometer tube is intact and filled with mercury; the left hand is missing. The case is lacking its finial and there is some bending/delamination to the structure of the sails. The marble plinth has a few slight edge chips otherwise the case is in sound unrestored condition but with historic rubbing and heavy oxidation to the finish throughout.Timepiece has two winding keys. Condition Report Disclaimer
A George III silver ewer, John Robins, London 1774, of vase form, with alternate fluted textured and polished decoration, wicker-bound intertwined snake handle, the domed cover with seated female figure finial, applied with a ribbon tied cartouche engraved with a crest, on a raised square foot with medallions and a husk border, 32cm high, approximately 1030gOverall condition good.
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