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 c.1895 Gilt- Bronze, Porcelain and White Marble Annular Dial Clock, P. Grennon, France.

An exceptional small, gilt-bronze, white marble and porcelain annular dial clock by Paul Grennon, Paris. The main body and removable lid of the urn are white porcelain decorated with colorful floral elements. The whole is in absolutely pristine condition. The time is indicated by the snake rising from the white marble base. Unlike many small annular clocks with single piece hour rings this model has multi-piece annular rings for both the hours and the minutes. The eight-day time-only movement retains its original balance wheel escapement and is wound and regulated through the top once the lid is removed. The whole sits upon a custom made figured marble base of equivalent quality to the piece. This is the first small urn clock in porcelain that we have owned. Paul Grennon, listed 1900-14, was one of the successors to Farcot. Height 13in.
SOLD
c.1873 French Gilt-Bronze, Red Marble and Enameled Annular Globe Clock, Antoine Redier, No. 220.

A rare, enameled annular globe clock by Antoine Redier. The colorfully enameled globe shows the continents, oceans, countries, cities and numerous other geographical locations, in English, is gimbaled in a gilt-bronze frame on a red marble base, and rotates once per day. It is monogrammed within a Cartouche by the maker, Redier, and is dated, 1873, above the cartouche and underneath the equatorial band. The stationary steel pointer has an applied sun, originates from the North Pole and indicates the time on a gilt-bronze segmented equatorial band that has individually applied porcelain Arabic numbers arranged in two sequences of 1-12 running from east to west.
The time-only eight-day movement has a balance wheel escapement and is wound by inserting the special key through the lower frame into the globe and then rotating the globe until wound.
The clock is numbered 220 in several places including the gilt-bronze frame, the equatorial ring and the balance platform.
Antoine Redier is listed in several reference works including Tardy’s Dictionary of Clockmakers. This is truly a unique and original piece in completely restored condition.
Overall Height – 7.75in.
SOLD
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

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

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.
SOLD

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

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
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
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
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 
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
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

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
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
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

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