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c.1880
Extremely Rare English Engraved Gilt-Bronze Double Bird Box, John Manger
& Co., London. An
extremely rare English engraved double bird box or Tabatière by
John Manger and Co., London. The elaborately engraved gilt-bronze case
has pinched corners, an engine-turned and engraved bottom, a hinged door
on the back and an engraved lid on top that depicts two birds amongst
scrolling foliage and conceals an engraved ‘grille’ with not
one, but two birds.
The complex rectangular movement is signed on the bottom, ‘John
Manger & Co., London’, is wound through the base, has a going
barrel that is governed by an endless screw and will play 5-times on a
single winding. When the slide on the front of the case is pushed horizontally
the movement is activated and through a series of cams and levers the
birds come to life. The lid springs open and the handsomely feathered
birds with brass eyes and beaks magically jump from their resting place
and rotate side-to-side as they sing their realistic songs while flapping
their wings, tails and beaks. The bird on the left sings first, the bird
on the right responds and then they perform together just before the lid
slams shut.
While normal bird-box movements are extremely complex mechanisms housed
in a limited space the double bird-box mechanisms are even more incredible
since they are all the more complex, but are housed in the same size cases.
Two-bird boxes or Tabatières are extremely rare with most known
examples in well-known private or museum collections. Originally owned
by the aristocracy, bird-boxes gained popularity in the 18th century as
the European’s interest in exotic birds was combined with two other
interests of the upper class, snuffboxes and automatons. A symbol of wealth
and achievement, double-bird boxes were most likely special order items
that were only owned by a few ‘upper crust’ patrons who frequented
high-end specialty makers.
This is wonderful opportunity to own something very few people have even
had the opportunity to appreciate.
John Manger is listed as working in London from 1875-1881 in Brian Loome’s
Watchmakers and Clockmakers of the World.
He is also listed in The Musical Box by Ord-Hume as emigrating from England
to Switzerland to set up a musical box manufacturing company.
For additional information on bird-boxes see: Flights of Fancy by Christian
Bailly or Mechanical Singing Bird Tabatières by Geoffrey Mayson.
Size: 3.75 x 2 3/8 x 1 3/8 in.
SOLD
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c.
1895 French Mystery Turtle Clock, Planchon, Au Palais Royal. A
very rare late Victorian French inlaid ebony turtle mystery clock by the
eminent maker Mathieu Planchon. The square stepped ebony case has engraved
pewter inlay on all sides, supports a circular pewter tray and stands
on four silvered bracket feet. The engraved pewter tray has Roman numerals
for the hours and is signed by the maker in the center, ‘ Planchon
Horologer, Au Palais Royal’.
The time-only, eight-day movement is mounted to the bottom board, is stamped
and numbered by the maker, ‘ Planchon, Palais Royal, 5484’,
has an engraved brass chapter ring with a magnet affixed to it and still
retains its original balance platform. To adjust the time one turns the
knurled knob mounted to the center arbor until the pointer off to the
side points to the correct time on the brass ring.
Once the tray is filled with water the turtle mysteriously floats to the
proper time and then continues to indicate the passing hours. Even when
pushed to the other side of the tray it eventually will return and dutifully
mark the time.
Mathieu Planchon apprenticed with his father, served several years with
other clockmakers including Robert-Houdin and then went into business
for himself eventually opening his shop at the Palais Royal in 1890. He
was a skilled maker who was influenced by both earlier decorative trends
and the ingenious clocks originally designed by Nicolas Grollier De Servierè
that were illustrated in DeServierè’s catalog first published
in 1719. It is from DeServierè’s catalogue that makers such
as Planchon and Gubelin gained inspiration for the ‘Novelty’
clocks they produced that included the Turtle and Incline Plane clocks.
Completely restored, this piece would make an interesting addition to
any collection.
Overall Height – 6 in.
Overall Width – 9.75 in.
SOLD
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c.
1900 French Rosewood, Kingwood and Gilt-Bronze 30-Day Regulator by L. Cueunieres
Jne. Ebeniste, H. Berges, Clockmaker.
A very rare Louis XVI style thirty-day regulator clock made as a collaboration
between the case maker L. Cueunieres Jne. and the clockmaker H. Berges.
The well-proportioned case, styled after the extremely rare regulators of
the 18th century, is stamped by the case maker in three places, 'L Cueunieres
Jne, Ebeniste' and is a tribute to fine craftsmanship. The clock is veneered
in a combination of kingwood and rosewood that is carefully arranged in
patterns that compliment and accentuate the form. The interior is completely
veneered in kingwood and is the only place where the veneer is not arranged
in a design. Well-cast and finished gilt-bronze mounts, many of which are
stamped with the makers casting marks, 'L.C.', are also used in the design
and include the acanthus leaf molding at the base, the frame around the
door, the bezel and the laurel leaf wreath on the drum shaped hood. The
particularly high quality movement was made by the clockmaker H. Berges.
His signature appears on the back of the dial, ' H. Berges, Octobre, 1900',
the dial plate, 'H Berges, 8bre 1900, 1044' and the edge of the bezel '
H. Berges, ?'. Both the movement and the pendulum are mounted to a decorative
cast iron bracket that is bolted to the thick oak backboard. The massive
four screwed pillar thirty-day regulator movement is attached to the bracket
by two large screws with brass knurled heads, has a dead-beat escapement
with a sweep, maintaining power, a massive pendulum and is driven by a brass
reeded weight which travels down the side of the case. The nine-rod gridiron
pendulum is suspended from a brass bracket attached by four screws to the
iron bracket. It has a steel suspension with a safety pin, a screwed beat
adjustment, oval rods and a grading nut with adjusting holes along its edge
located above the large bob. There is an adjustable indicator hand that
shows degrees of compensation on a silvered, engraved scale that reads in
addition to the actual degrees the words Dilation and Condensation. The
white porcelain dial has blue Roman numerals, an Arabic minutes chapter,
two gilt-bronze well-cast and finished hands and a steel sweep-second hand.
The whole is original and complete and is a testament to the quality produced
by the finest craftsmen at the end of the 19th century. H. Berger is listed
in Tardy's supplement as working in Paris in 1890. Whether this is the same
person is presently unknown, but we feel it is difficult to read his signature
and a mistake could have been made producing the directory. Jeaune L. Cueunieres
is listed in Ledoux Lebard's Les Ebenistes Du XIX Siecle 1795-1889, pg.
142 as working 1870-?. Height 7ft.
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c.1775 English Mahogany Architectural Tallcase, Justin
Vulliamy, London. A
rare Georgian mahogany tallcase by the eminent maker Francois Justin Vulliamy.
The well-proportioned, classically inspired mahogany case has an architectural
hood, fluted columns with brass stop fluting and capitals flanking both
the waist and the hood, and wonderfully figured mahogany on both the waist
door and the raised panel below. The twelve-inch silvered and engraved
dial is signed ‘Just Vulliamy, London’, has a seconds bit,
calendar aperture, nicely pierced steel hands and a strike/no strike above
the XII. The high quality eight-day time and strike five-pillared movement
has an anchor escapement, is regulated by a pendulum with an unusually
shaped ebonized rod and a massive brass bound bob and is driven by two
brass bound weights. The whole is in restored condition and would be a
welcome addition to any collection.
The Vulliamys first came to London in about 1730 when Francois Justin
(1712-1797) emigrated from Switzerland. He was a gifted horologist who
quickly achieved a reputation for excellence that was continued and strengthened
through subsequent generations. In 1742 he went into a partnership with
Benjamin Gray, which lasted until 1764 when Gray died. It was then that
the dial signatures changed to ‘Just Vulliamy, London’ and
remained that way until the early 1780’s when his son, Benjamin,
took over the business. In about 1778 a numbering system was employed,
but most believe Justin never actually numbered any of his clocks and
only those made by Benjamin were included.
For a very similar clock see: Antiquarian Horology, Dec.1985,
pg. 552.
For a brief biography of Francois Justin Vulliamy see – Antiquarian
Horology, March 1956, pg.142.
Height - 84.25in.
SOLD
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c.1810
Rare French Ormolu and Patinated Blackamoor Clock, Pigoisard Horologer.
A
very rare French blackamoor clock originally inspired by the novel ‘Paul
and Virginia’ written in 1788 by Bernardin de Saint-Pierre. The
well modeled patinated figures with ormolu dresses and porcelain eyes
carry the ormolu platform with Paul and Virginia on their shoulders. Paul
and Virginia are accompanied by their dog and are clothed in typical European
dress, but with a nod to nature remain barefooted. The blackamoor figures
stand upon an ormolu rockwork ground that sits upon a shaped patinated
and ormolu base standing on four elaborate bun feet. It has ormolu floral
appliqués framing a fan shaped recessed plaque of two figures sailing
a boat in a turbulent ocean. Suspended from the platform are vines covered
in berries, a jug, a basket of flowers and the clock.
The finely lettered porcelain dial has Roman numerals for the hours, Arabic
15-minute marks, cast ormolu hands and a cast ormolu bezel.
The eight-day two-train movement still retains its original silk-thread
suspension and strikes on a bell. Both the back cock and back plate is
stamped with the maker’s name, ‘Pigoisard Horologer’.
Much like the other blackamoor clocks of the time, the native figures
are portrayed as strong powerful figures with the porcelain eyes and silvered
earrings adding to their realistic nature. Like many of the most popular
French clocks it seems to capture a moment in time. The figures are in
mid-stride, the dog is leaping and Paul and Virginia are in mid conversation.
‘Paul and Virginia’ was written in 1788 by the well-known
novelist Bernardin de Saint-Pierre. Along with the other philosophers
and novelists of the period he advocated that society merely corrupted
people and that it is the life closer to nature, in attitude and in practice,
that produces the good, natural man. Since the natives were closer to
nature they were in turn closer to God and to be respected. Since Paul
and Virginia lived on the island of Mauritius they too were removed from
the influences of French society and were closer to nature so were also
to be respected and admired. Since the novel was so popular and written
before any of the blackamoor clocks were made one can assume it influenced
the majority of clockmakers and bronzers of the period. The novel itself
was a love story with a philosophical message and was Napoleon’s
favorite book.
For photograph’s of similar clocks see: ‘French Bronze Clocks’,
pg. 152 ‘La Pendule Francais’, pg. 358.
Height – 18.25in.
SOLD
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An
English Regency Rolling Ball Skeleton Timepiece in a Glazed Gilt-Wood Case,Attributed
to Joseph Moxon, London.
A very rare English
Regency rolling ball skeleton timepiece first patented by Sir William
Congreve in 1808 in a seemingly original glazed gilt-wood case with adjustable
feet. The lacquered brass frame has four round corner columns with squared
bases, turned finials and feet, a 15-second tray below and a peaked, skeletonized
movement above with three silvered, engraved dials. The fifteen-second
tray pivots on knife-edges that are supported by two decorative, curvilinear
brackets.
The tray’s degrees of inclination are adjusted by a finely threaded
adjustment mounted to an extended arbor out the back of the movement and
are indicated on a silvered, engraved scale by a steel pointer. Although
on 30-second trays the adjustment for the angle of the tray is mounted
on the second’s hand arbor, fifteen-second trays require an additional
reduction so it is mounted on the arbor of an additional wheel.
The seconds are indicated in 15-second sequences on a four-sided silvered
scale that shows through a brass arcaded framework that follows the grooves
on the tray. As the clock runs the ball rolls along the groove passing
under the advancing seconds until it slams into a brass lever that reverses
both the tilt of the tray and the direction of the ball, rotates the seconds
scale to indicate the next 15-second sequence and advances the hands by
15-seconds.
The single fusee movement has maintaining power, four large, screwed pillars
with a strap above, winds through the front, and has finely cut five-spoke
wheels throughout. The time, hours, minutes and seconds, is indicated
by three simple steel hands on three slender silvered engraved chapters.
Although most fusee movements have 16 grooves cut into the fusees, this
piece has only 14 and consequently runs just short of 8-days. Unfortunately
an explanation is as of yet unknown, but we actively seek imput to further
enlighten us on the motivation of such a design decision.
The whole sits upon a seemingly original stepped felt covered gilt-wood
base that has four adjustable bun feet, a silvered engraved plaque that
reads, ‘ Invented by William Congreve, London, 1808’, and
a glazed lift-off cover. The back of the plaque is inscribed ‘Moxon’
and is from where the attribution originates.
This clock is completely restored and does run as designed, but the rate
does actually change slightly depending on the weather. On clear days
with low humidity the clock runs slightly faster while on days with high
humidity it runs slightly slower. One would assume that left in an environmentally
controlled environment such differences would be reduced. Keeping the
ball polished and the tray clean seem to be essential to approach accurate
timekeeping.
This is an exceedingly rare clock since complete, restored examples rarely
surface.
Although little is known about John Moxon, he is listed in Britten’s
as working the first quarter of the 19th century. Our understanding is
that Moxon signed very few pieces, but did make several Rolling Ball Clocks.
The most notable are in the Royal Collection.
For more information about William Congreve or his designs see: British
Skeleton Clocks by Derek Roberts, pg. 79.
For a recent example at auction see: Christie’s, London, Prof. Hall
Sale, Lot 138, July 11, 2003.
Height – 23.5in w/case.
SOLD
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c.
1815 Ormolu Mantel Clock
A very nice well cast
empire ormolu mantle clock with cupid, Amor, sleeping on a daybed under
a cast canopy supported by four quivers. Located in the center is the very
nicely lettered white porcelain dial. The eight-day two-train movement strikes
on a bell and retains its original silk-thread suspension which is adjusted
at the back of the movement. Height 15in.
SOLD |
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c.1830
French Burled Wood and Ormolu Portico Clock, Clockmaker Trincat a Paris,
Casemaker A. Decaux.
A large burled wood Charles X portico clock with pinwheel escapement by
the clockmaker Trincat and the ebeniste A. Decaux. The elaborately burled
veneer, possibly elm, is accented by nicely cast ormolu mounts including
the stylized acanthus leaf Corinthian capitals, moldings on the top and
bottom, the feet and the bezel. The wood-burnt stamped signature, 'A DECAUX',
is located on the underside. The white porcelain dial has black lettering,
steel Breguet style hands, Roman numerals and is signed by the clockmaker
' Trincat a Paris'. The eight-day, twin-train movement has a pinwheel escapement,
a steel suspension, a heavy gridiron pendulum and strikes on a bell. Although
portico clocks in general are quite common, it is rare to find the larger
models in specialty woods that are signed by the casemaker and paired with
such nice quality movements. Height 23.5
SOLD
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c.1790
French Ormolu, Patinated Bronze and Marble Musical Mantle Clock, Le Brun
à Givet.
A very rare and exceptionally well-cast
Louis XVI musical ormolu, patinated bronze and marble mantle clock by
Le Brun à Givet. Flanking the dial and the high quality carillon
are two pilasters with outset corbels that are surmounted by patinated
sphinxes and are adorned with several ormolu mounts that include urn form
finials, female terms, beading and foliate appliqués. Below the
drum cased clock is an ormolu drapery while above is a black marble pedestal
surmounted by an ormolu eagle atop a rockwork base with a patinated snake.
The whole sits upon a breakfront base with cast feet, inset ormolu female
masks and an inset freeze that depicts putti in various pursuits of work
and play.
The finely lettered porcelain dial is signed by the maker, ‘LeBrun
à Givet’, has superbly cast and finished ormolu hands and
bezel, Roman numerals for the hours and Arabic numbers for the 31-day
calendar with the days indicated by a steel calendar hand.
The superior quality eight-day flat-bottom twin-barrel movement has finely
turned pillars, large triangular end cocks, finely spoked wheels with
heavy collets and large steel pinions, a countwheel with a particularly
finely cut center star and great steelwork that includes a shaped arbor
for the lift arm that activates the music.The tic-tac escapement still
retains its original silk-thread suspension that is regulated by a knob
off the backcock. A separate wheel off the motion work, not merely an
arm off the spring barrel, advances the 31-day calendar hand.
Of equally fine quality is the manually adjusted 6-tune musical movement
that is activated by the clock each hour. The finely lettered semi-circular
porcelain selection dial is signed by the maker, ‘Le Brun à
Givet’, shows the six tunes and also the dial’s function,
‘Changement des Aires’. The movement has skeletonized plates,
Geneva stops, finely crossed out wheels, twin spring barrels, an adjustable
flywheel and a pinned cylinder that triggers 18 hammers on 9 bells.
The vanes of the flywheel are adjustable to change the playing speed of
the mechanism. They are, however, not merely friction set, but have small
spring set clicks that positively lock the vanes in pre-determined positions.
The mechanism also has a stackfreed arrangement to regulate the speed
of the tunes as the springs unwind. There is a cam mounted to the stopwork
with an adjustable arm riding along its edge. Resting on that arm is another
adjustable arm that at its end has a steel spring resting against the
next arbor off the flywheel. As the spring runs down and the Geneva Stop
turns, less pressure and in turn less friction is placed against the train.
Such a device compensates for the uneven force distributed by the spring
as it unwinds and theoretically becomes weaker.
The maker was obviously concerned with the music playing consistently
over the week. The Geneva Stops control which portion of the springs entire
power output is to be used, the vanes on the fly control the speed at
which the mechanism plays and the stackfreed compensates for the differences
in the springs force as it unwinds.
The 7 5/8 inch pinned cylinder has adjustments for both up/down and side-to-side.
It activates the eighteen hardened steel hammers that are suspended between
steel tension springs mounted to the brass plates by steel screws with
large conical washers.
This clock is extremely rare for several reasons including quality, form
and condition. The extraordinary quality is consistent throughout from
the castings and finishing work of the case to the exceptional quality
of both the clock movement and the musical movement. While this form of
case style is not particularly rare we know of no other restored examples
with a carillon.
This clock was sold at: Sotheby’s London, Clock and Watch Sale,
Thursday June 11, 1998, Lot 294.
Height – 25.25in.
SOLD
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c.1865
Round Japanese Bracket Clock with Original Case A
very rare, small Meiji period Japanese bracket clock with its original
display case. The round ormolu one-day movement has turned pillars, a
fusee on the time train, a going barrel on the strike train, a crown escapement
regulated by solid brass balance wheel and strikes the temporal ‘hours’
and ‘½ hours’ on a bell mounted above.
The front plate has elaborate floral engraving, apertures for the sexgenary
calendar and carries the rotating dial. The dial has a turned sunken center,
adjustable silvered engraved markers for the temporal ‘hours’
and Shokudo markers for the ‘½ hour’ marks.
The engraved ‘hour’ characters are not those normally found
on most Japanese clocks. Instead of the traditional characters that represent
the actual numbers, nine through four, the maker decided to use the characters
of the zodiacs associated with each number.
The engraved backplate has blued steel click wheels with an elaborate
click spring and carries the traditional Japanese countwheel.
The movement plates are flattened top and bottom and are sandwiched between
two rectangular plates with turned posts to the corners. The whole sits
upon a Shitan wood base with applied moldings and a drawer in the back
and sits within its original display case.
The Shitan wood case has finely cut molded edges, is glazed on four sides,
has ormolu frets backed with fabric to allow the bell sound to be more
easily heard, has two sliding doors and an ormolu handle. Japanese cases
are particularly rare and when found they are usually in appalling condition.
Although most Japanese woodworking is defined by its joinery, the clock
cases seemed to rely most heavily on simple miter joints held together
with hide glue. They are generally made from numerous pieces and as they
age the glue crystallizes, the pieces become loose and the case begins
to disintegrate quite rapidly.
The condition, originality, shape and size make this piece particularly
exceptional. Small bracket clocks with round movements and their original
cases in such pristine condition are considered rare and would make a
nice addition to any collection.
Overall Size – 7.25in. handle-up
Size of clock on base- 5in.
SOLD
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c.1820 English Mahogany Pagoda Topped Tallcase, Pinkess,
Brigg. An
attractive early nineteenth century North Country mahogany pagoda topped
tallcase clock. The hood has a traditionally shallow pagoda with a satinwood
inlayed shell in the center and reeded columns with brass Corinthian capitals.
The case has attached wooden reeded columns, inlays of superbly figured
mahogany bordered by mitered cross-grained veneer, inlayed geometrical
patterns above and below the waist and a door with a pagoda shaped top
that mimics the hood. Unusually the lock, along with the ivory escutcheon,
is located in the center of the door rather that at the edge. The broken
arch painted dial has a moon dial, calendar, seconds-bit, an Arabic chapter
for the hours and cast and engraved brass hands. The well-painted spandrels
are portraits of Lord Nelson from several angles. The eight-day time and
strike movement has an anchor escapement and strikes the hours on a bell.
Somebody at one time wiped away the signature located just below the calendar,
but upon close examination the name is still visible. Brigg is only about
15 miles south of Hull, which explains the strong similarity in design
elements to the Hull clocks. Lord Nelson is considered the greatest hero
in British naval history, an honor earned after defeating Napoleon’s
fleet at Trafalgar in 1805.
Height - 89in.
SOLD
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c.1850
Mahogany Ship’s Barometer, Spencer, Browning & Co., London
A very nice mid-19th century English brass-bound
gimbaled barometer by Spencer, Browning and Co, London. The brass gimbal
with a turned post and four oversized setscrews allows the barometer to
remain vertical while the ship sways. The nicely colored mahogany case
has a flat front and back with curved sides and a rounded top, engraved
ivory scales, a turned cylindrical brass cistern cover and a thermometer
in the center.
The thermometer has engraved ivory scales with markings for both Fahrenheit
and Reamur, a mercury filled tube that is positioned from the rear of
the scale, brass hold-downs and a glazed rounded bezel.
The engraved barometric scales are inward angled and signed ‘Spencer,
Browning & Co, London’. The one on the right is numbered 27-31
with tenth increments and has a vernier that is adjusted by rack and pinion
and is set by a removable knob. The other scale has the appropriate weather
indications and both, as well as the mercury tube, are protected by a
glazed rounded brass bezel.
The cylindrical boxwood cistern screws into the multi-piece brass cistern
cover and has a screwed locking adjustment that is accessed by removing
the lower segment of the outside cover.
The whole is in restored condition.
Spencer, Browning & Co. are listed in several reference books including:
‘Directory of British Scientific Instrument Makers, 1550-1851’
by Gloria Clifton where they are listed as working from 1840-1870.
SOLD
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c.
1790 Ebonized Belltop Bracket Clock, Edward Stevens, Boston.
A nicely proportioned American ebonized belltop bracket clock by the maker
Edward Stevens, Boston. The ebonized case with molded chamfered front corners
is fitted with wooden side frets and brass front frets, finials and a handle.
The silvered engraved broken arch dial has a strike/silent dial in the arch,
a false pendulum aperture, a calendar aperture, a time chapter with Roman
numerals and five-minute markers and steel cut hands. The eight-day double-fusee
movement strikes and repeats on a bell and has a crown wheel escapement.
The back plate has elaborate engraving which includes a fisherman fishing
before a lighthouse and a swimming swan. Edward Stevens is listed in The
American Clock pg. 336 as working in 1790 in West Springfield, Mass. The
other clocks that we have seen by Stevens were identical models and were
signed exactly as our example. Height 18.25 in.(handle down)
SOLD |
