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A very nice late Victorian French porcelain paneled carriage clock. The gilt-bronze Cannelee case has an oval beveled viewing window for the balance platform and has nice quality, well drawn colorful porcelain panels to the sides that each depict a maiden frolicking with cupid in a landscape scene. They are particularly appealing because of the vibrant colors and the way the artist filled the entire panel with subject matter rather than posing them within a vast landscape.

The porcelain-paneled dial has the hour's chapter set within a pastoral landscape. It is defined by two gilt concentric circles bordering a white porcelain ground and has well-lettered black Roman numerals for the hours and minute markers and two shaped steel hands.

The eight-day time and strike movement strikes on a gong, retains its original balance platform, has a button to repeat the last hour and is stamped and numbered by the movement maker, 'Ed.M, 178'.

This clock has been completely restored.

Height - 5.5in (h/d) SOLD

An interesting Victorian scroll frame skeleton clock with detached escapement made by Evans of Handsworth. The high-grade inverted single fusee movement with well-balanced scrollwork has particularly thick plates, five turned and screwed pillars, maintaining power, an Evan's pendulum, five and six-spoke wheelwork and sits upon a walnut base with a felt cover.

The silvered and engraved skeletonized dial has Roman numerals for the hours each on a separate shield, steel cut hands and has the seconds chapter with engraved Arabic numbers incorporated into the lower area of the dial.

The half-second Evan's pendulum has a wooden rod and pewter cylindrical bob. At the end of the crutch are both the discharging and impulse pallets that engage the vertically mounted escapement. The escape wheel with 30 teeth is on the same arbor as the seconds bit and since the design of the escapement allows the train to advance every other swing of the pendulum it shows true seconds on the dial. This arrangement necessitates the train to be inverted and required the going barrel and the fusee to be connected by an extra long chain.

With this piece Evans obviously wished to transcend the gap between decorative skeleton clocks and regulators. The exceptional quality of the movement along with the special pendulum, maintaining power and a detached escapement that shows true seconds places this piece squarely in the world of accurate timekeepers.

The whole has been completely restored, but sadly it is now missing its shade due to an unfortunate shipping accident. If anyone does have a shade that they think might fit please let us know.

For a discussion on Evans and his clocks see: Derek Roberts, 'British Skeleton Clocks', pg.126.

Height - 17.5in. w/out shade SOLD

SOLD

SOLD

A very rare early 20th century enameled silver mystery clock by Gubelin, Lucerne. The circular enameled silver case has an enamel dial above, an enameled center section and another enameled band below. Separating the enameled areas are cast silver borders and the whole stands on four cast feet. It still retains the original signed leather traveling/presentation case and key.

The polychrome enamel midsection depicts a landscape scene with both typically Swiss subjects, Lake Geneva and The Alps, along with a charming scene of a horse-drawn carriage racing through the woods with Cupid sitting on the baggage rack.

The engine turned blue enamel dial is bordered by a series of lighter blue dots, has lighter colored Roman numerals with gilt edges for the hours, Fleur d'Lyes for the half-hour markers and stars for the quarter-hour markers. In the center, mounted to a mirror is a carved Ivory cupid standing in a silver Gondola with a gilt-silver spear that indicates the time as the clock runs.

The silver bottom plate is bordered by a wide light-blue engine-turned band and has several stamps that include, '935, Gubelin, Lucerne, Swiss and 57079'.

The eight-day time-only movement has a lever escapement, is signed by the maker, 'Gubelin, Lucern' and is wound, set and adjusted through a swing door.

During the late 19th century and into the early 20th several Swiss makers including Alfred Hof and Gubelin produced exceptional quality enameled mystery clocks. The piece's similarities seem to suggest that the same firm made the cases, but whether that was either of those mentioned or a third is still unclear.

For several similar examples see: Roberts, 'Mystery, Novelty, and Fantasy Clocks', pg. 86.

Overall Diameter - 5.125 in. SOLD

SOLD

A small extremely well cast and finished ormolu Louis XVI mantle clock by the eminent maker Gille L'Ainé A Paris. The superb balloon shaped ormolu case is adorned with a composition of deep, heavy and well defined castings that include floral swags, floral sprays, C-scrolls, sea shells and several different types of decorative matting. Obviously meant to be viewed on all sides, either out in a room or against a mirror, the back is identical to the front in both composition and quality. The sides are fitted with cast and engraved floral frets while the front and back openings are glazed.

The finely lettered white porcelain dial with asymetrical winding holes has a simple molded hinged bezel, black Roman numerals for the hours, black Arabic numbers for the five-minute marks, is signed by the maker, 'GILLE L'AINÉ A PARIS' and has finely cast and finished ormolu hands.

The large flat bottomed twin barrel movement has a large engraved indexed countwheel, is engraved in flowing script on the backplate, 'Gilles L'Ainé a Paris', has the original silk-thread suspension that is adjusted out the front of the clock above the bezel for fast/slow, has a pendulum with a steel rod and plain lenticular bob with an additional screwed adjustment and strikes on a bell.

Pierre II Gille, son of the master horologer Pierre Francois Gille, worked with his father before establishing his own workshop. Elected master in 1746, he produced excellent quality movements that where often cased by some of the great bronzers of the period such as Osmond, Vion and Saint-Germain.

Although the case is unsigned, the superb proportions, quality and known working affiliations of the maker suggest it to have been made by one of the leading bronzers of the period. In 'Vergolten Bronzen' by Ottomeyer and Proschel several similar and one nearly identical model are represented in the section of works signed by St. Germain who became a master in 1748.

The proportions, size, quality, condition and rarity would make this a fine addition to any collection.

Height - 12 in. SOLD

An interesting Victorian scroll frame skeleton clock with detached escapement made by Evans of Handsworth. The high-grade inverted single fusee movement with well-balanced scrollwork has particularly thick plates, five turned and screwed pillars, maintaining power, an Evan's pendulum, five and six-spoke wheelwork and sits upon a walnut base with a felt cover.

The silvered and engraved skeletonized dial has Roman numerals for the hours each on a separate shield, steel cut hands and has the seconds chapter with engraved Arabic numbers incorporated into the lower area of the dial.

The half-second Evan's pendulum has a wooden rod and pewter cylindrical bob. At the end of the crutch are both the discharging and impulse pallets that engage the vertically mounted escapement. The escape wheel with 30 teeth is on the same arbor as the seconds bit and since the design of the escapement allows the train to advance every other swing of the pendulum it shows true seconds on the dial. This arrangement necessitates the train to be inverted and required the going barrel and the fusee to be connected by an extra long chain.

With this piece Evans obviously wished to transcend the gap between decorative skeleton clocks and regulators. The exceptional quality of the movement along with the special pendulum, maintaining power and a detached escapement that shows true seconds places this piece squarely in the world of accurate timekeepers.

The whole has been completely restored, but sadly it is now missing its shade due to an unfortunate shipping accident. If anyone does have a shade that they think might fit please let us know.

For a discussion on Evans and his clocks see: Derek Roberts, 'British Skeleton Clocks', pg.126.

Height - 17.5in. w/out shade SOLD

Height - 38.5in. SOLD

Height - 9.5in SOLD

An extremely rare Early-Twentieth century marble, silver and enameled mystery turtle clock by the silversmiths Eleder-Hickok Co. and the clockmakers Chelsea Clock Co. The twelve-sided case has a black marble top with a molded edge, a green onyx center with a flared bottom and a flat black marble base. A gilt-bronze plate with a shutter aperture for the wind supports the silver tray and a silver cover, stamped 'sterling', is recessed in the base and has a shutter aperture for the fast/slow adjustment.

The engraved dodecagonal silver tray has three polychrome enamel frogs, a rope-turned edge, lily-pads on the bottom, an engraved minutes chapter and raised black enameled Roman numerals separated by a progression of ships that depict the evolution of shipping from the single rowboat to a vintage cruise liner. It is stamped on the underside, 'L, Sterling, 05389'. When filled with water a floating carved turtle mysteriously points to the time.

The time-only eight-day movement is mounted horizontally in the base, has the time-set out the side, is wound through the top and is adjusted for fast/slow out the bottom. It is signed 'Chelsea Clock Co., Boston, USA', is numbered '189414' and has a screwed lever balance mounted to a sub-plate. Instead of Chelsea's normal under dial gear work the motion work ends in a large circular magnet with a gap in the circumference. The turtle contains a strip of metal that always positions it in the opening and consequently to the time.

According to Chelsea's records the movement was shipped January 31,1931 and was identified as the '3D' movement. It was one of only seven movements with that identification and all were sold to the firm Eleder-Hickok Company over a period of several months. Since all the work including the side-set was done at the factory and the only ones with that designation went to Eleder-Hickok it suggest that the designation 3D was used for the movements specifically designed for the turtle clocks.

The Chelsea Clock Company was established in 1897. They made high-grade marine pieces and supplied their movements to high-end manufacturers such as EF Caldwell and Tiffany Studios. The Eleder-Hickok Co. were silversmiths in Newark, New Jersey that completed commissions for Cartier, Gorham and several other important jewelers during the early twentieth-century. The name changed several times and included various combinations of Eleder, Hickok, Mathews and Lebkuecher. The 'L' with the partial circle was an early mark.

The 'Online Encyclopedia of American Silver Marks' lists that particular mark as belonging to Lebkuecher and Co. and notes:

'Lebkuecher & Co. were New Jersey Silversmiths. They are listed in the 1915 edition of the Trademarks of the Jewelry and Kindred Trade as being at 28 Prospect St. in Newark, NJ. The 1934 edition lists the company name as the Eleder-Hickok Co.'

Further information obtained by the New Jersey Historical Society and the Newark Public Library revealed:

'A check of city directories and state industrial directories indicates Eleder-Hickok on Prospect street in Newark about 1920-1931, followed thereby Hickok-Mathews until 1935 and then on Crawford St. to 1967; then in Montville to about 1990.'

Considering the poor economic climate of the period it would seem unlikely they would have made this piece on spec and more likely it was commissioned by either an individual or firm of means. According to Chelsea the two other known examples are simpler and somewhat less decorative. They are both in private hands including one that is owned by a descendant of a past Chelsea Clock Co. president.

A Certificate of Origin from Chelsea is included.

Height - 4.5in.
Width - 6.35in. SOLD

A very nice late 19th century gilt, silvered and patinated bronze animated lighthouse clock. The patinated case is shaped like an early lighthouse with decorative brickwork, gilt-bronze windows and door, a cast gilt-bronze balustrade that is supported by silvered posts and has an animated top. The whole sits upon a circular black Belgian marble base.

In the base is the separate spring driven movement that is wound through the door and rotates the top for approximately six hours per wind. The silvered and gilt-bronze top has a clock, a barometer and two thermometers. The clock has a time only movement with a balance wheel escapement and the fast/slow out the front, a silvered well-lettered dial with Roman numerals for the hours and Arabic five-minute marks, steel cut hands and a sunken gilt bronze center. The aneroid barometer has a silvered circular well-lettered scale, a gilt hand to register the last reading and a steel cut hand to register the current barometric pressure. To the sides are the two thermometer scales each with mercury tubes, one showing the temperature in Fahrenheit while the other in both Centigrade and Reaumur.

The whole clock has been completely restored.

For additional reading on Industrial clocks see: 'Mystery, Novelty and Fantasy Clocks' by Derek Roberts.

Height - 17in. SOLD

A late Victorian black marble patinated metal and gilt-bronze mystery clock. The black marble case has gilt-incised floral decoration and several gilt-bronze mounts that include ringed lions to the sides, a cast egg and dart bezel with a thick beveled glass and four feet with stylized paw feet to the front. All the case mounts are stamped or inscribed with the case number, '1746'. Above stands the patinated metal Nubian princess. She is supported by a gilt-bronze molded platform and from her raised arm hangs the pendulum. It has a threaded steel rod with shaped decorative gilt-bronze turnings and a gilt-bronze lenticular bob with a heavy beveled clear glass center.

The black marble dial has engraved gilt Roman numerals for the hours and gilt bronze spade hands. The typically large eight day time and strike movement is stamped with both the maker's mark, 'GLT', and the movement serial number, '1333'.

The obvious mystery is why does the pendulum move? There is no apparent connection between it and the movement so what keeps it going? The answer is quite ingenious. The gilt-bronze platform on which the statue stands can oscillate side to side since it is mounted to a thick adjustable arbor that is pivoted top and bottom within the case. Perpendicularly screwed to that arbor is another arm that engages the patented escapement mounted on the front end. As the polished tip of that arm gets pushed over by the escapement it rotates the platform and swings the pendulum. The length of the pendulum, like all clocks, controls the rate of the clock. The platform and statue move so little that it is difficult to see without magnification.

For a more detailed discussion on Mystery clocks see, 'Mystery, Novelty & Fantasy Clocks' by Derek Roberts, pg. 241.

Height - 26 in. SOLD

A superb quality Victorian gilt-bronze carriage clock with Limoge panels. The stylized Anglaise case has a flared stepped base, fluted Corinthian columns to the four corners, a molded top, an elaborately turned folding handle and three outstanding blood red polychrome Limoge panels. The two side panels depict aristocratic figures of a man and woman in brightly colored medieval garb.

The Limoge dial has white Roman numerals for the hours, white Arabic numbers for the alarm dial, decorative polychrome spandrels to the top corners, two out-turned Griffins and gilt spade shaped hands.

The eight-day time and strike movement strikes on a gong, is wound set and regulated out the back plate, retains its original balance platform, has a button to repeat the last hour and is stamped '1126' on the movement and 'E62' on the case.

Avidly pursued by knowledgeable collectors, Limoge panels incorporated not only high-end enamel work, but also brightly colored foil that adds a degree of depth and vibrancy absent from the efforts of their competition. Such work helped distinguish the Limoge workers as the premier enamellers of the period.

For other carriage clocks with Limoge panels see: Derek Roberts, 'Carriage Clocks', pg. 186.

Height - 6.125 in. (top of case)SOLD

A very rare early 19th century white mother-of-pearl and Abalone cathedral clock depicting the west-facade of Notre-Dame. The extremely detailed, hand-carved case includes the windows, doors, brickwork and colonnades of the cathedral and uses foil to depict the stained glass windows.

The clock dial, set in the center, has painted black Roman numerals for the hours, minute markers and small steel-cut hands. The whole sits upon a stepped base with a checkerboard pattern of white and Abalone mother-of-pearl.

The eight-day time-only movement is wound through the front, retains its original silk-thread suspension and is set with a watch key.

Although there are many cathedrals throughout Europe, the decorative details, such as the squared off towers surmounted again by small corner towers, suggest this to be a depiction of Notre-Dame. The west façade was completed between 1220 and 1240 and the inspired combination of architectural elements has made it one of the greatest architectural masterpieces of all time. It would certainly be something other artists would want to depict in their own works.

The clock is completely restored and is in particularly nice condition considering the materials and age.

Height - 14in. SOLD

A very rare miniature Austrian 1/4-striking bracket clock. The inlaid pine, walnut and Austrian boxwood case has a broken arch door with inlaid flowers to the upper corners, windows to the sides, stringing, a basket top and bronze mounts that include the handle, finials and feet.

The broken arch dial has an engraved and matted backplate, silvered and engraved chapters and applied gilt-bronze spandrels. The hour's chapter has Roman numerals for the hours, decorative 1/2-hour marks and an arcaded minutes ring. Above are the strike/silent adjustments and the name boss, Leopold Trahinger, Wien.

The one-day three-train movement, accessed through a slide up door in the back, has an engraved backplate, a fusee on the time train and going barrels on the striking trains, still retains the original crownwheel escapement, and strikes the quarters and the hour. The quarters are struck on the high bell, one for each, while at the hour the four quarters are followed by the low bell that counts off the hours.

Although the larger Austrian bracket clocks are much more common, small examples in such nice condition are particularly rare.

Size- 9.75in.(w/out handle), 3 3/8 in. diameter chapter ring SOLD

An extremely rare mid-nineteenth century Japanese dual time gilt-bronze and silver pocket watch displayed in a wonderful Shitan wood case. The fine quality watch case has two gilt-bronze octagonal shaped plates connected by eight curved and molded brackets, a matching glazed bezel hinged to the front and a wonderfully turned pendant. The silver back and all eight fabric backed silver pierced frets are engraved with scrolling foliage and chrysanthemums.

The hinged one-day gilt-brass movement is accessed through the front. It has superbly turned pillars, a finely pierced and engraved back cock with a steel end stop, a separate fast/slow indicator, a verge escapement, fusee on the time train, a going barrel for the strike train and an elaborately engraved backplate. It follows the Japanese striking sequence of striking two series of nine to four alternating one and two strikes at the 'half-hours'. The movement is wound and set out the back and through the bell that is mounted to the back of the case.

The most unusual and rare feature is the way it indicates the time. There are two separate dials, one for western time and the other for Japanese temporal time. The inner gilt-bronze traditional dial rotates clockwise while the steel cut hand remains stationary. It has adjustable engraved silver plaques for the 'hours' and shikudo 'half hour' plaques. There is a second longer steel cut hand that rotates clockwise and shows western time on an engraved silvered dial. A square on the center arbor sets both dials.

The watch hangs in a superb Shitan wood display case with a paneled front, chamfered top, slide out back door and a drawer for the key. Silver engraved shaped pierced frets are at the sides and the front and it has a cast silver carrying handle above.

Considering it is extremely rare even to find a striking Japanese watch, the dual time and superb overall quality of both cases make this piece one of the best Japanese timepieces we have owned.

Height of case - 4.75 in. without handle
Width of watch - 2.375 in. SOLD

A wonderful French Victorian figural gilt-bronze and white marble mantle clock. The superbly cast and finished case depicts a nymph being chased by cupid around a marble column over a cascading stream. The clock sits upon the eternal flame and is surmounted by another smaller cupid hovering above his quiver set amongst scrolling foliage.

The eight day time and strike movement strikes on a bell and is signed inside the back plate 'G. Chevillier A Paris, Fnt'. The finely lettered white porcelain dial has black Arabic numbers for the hours, red numbers for the 15-minute markers, polychrome garlands and gilt-bronze scissor hands each terminating with a fleur-de-lye.

Although the subject matter is interesting and the quality superb, they are only part of what makes this clock so attractive. The designer, rather than follow tradition and arrange the subjects and symbols in a more static display, chose to capture a specific moment - the point just shy of resolution when the impending outcome is still uncertain.

His success at modeling the figures brings movement to the piece that is lacking in most pieces of this period and the quality of the castings and the wonderful gold work only add to the realistic nature of the piece.

It was quite possibly inspired by the story of Alpheus and Arethusa. The myth tells of how the god of the river, Alpheus, fell in love with the nymph Arethusa when she was bathing in his waters. She fled and he pursued her over hill and dale only for her to be saved at the last moment by Diana who changed her into a stream to trickle away underground. Often during this period cupid is substituted for one of the subjects since he represented a popular and recognizable theme during the late Victorian era - love.

The whole has been completely restored.

Height - 18.5in. SOLD

A large and impressive gilt-bronze late Victorian mantle clock retailed by Ht. T. Cox & Co., New York. It depicts two soldiers dressed in Roman military garb shooting dice. One leans on his elbow and watches as the other throws the dice. The soldiers are resting on a flowing fabric that is supported by two cornices that terminate in burnished volutes. The cornices are in turn supported by four military trophies that include assorted weapons, flags, drums, etc.

The white porcelain dial has black gothic style Roman numerals for the hours, minute markers, two stylized steel-cut hands and has a fast/slow adjustment arbor above and a pendulum start arbor below.

The time and strike eight-day movement has a Brocot escapement, strikes on a bell and has the start lever on the backplate.

Height - 14 in. SOLD

An extraordinary French Louis XVI ormolu multi-color marble Temple d'Amour clock. The case has a round shaped white marble base, a matching mid-section that is supported by four gray marble columns and a round white marble lid. The ormolu mounts include Doric capitals, two doves nestled amongst flowing clouds, a detailed balustrade, extensive beading and twisted rope and a large charming putti standing amongst scrolling clouds and supporting a dove with his shirt.

The exposed eight-day time and strike movement is horizontally mounted, wound and set through the top, supported by four posts on a circular star shaped plate, has finely executed wheelwork, countwheel striking on a bell and most unusually has a vertically mounted pinwheel escapement. The pendulum has a Gorgon bob and is suspended by a silk thread suspension that has the fast slow knob mounted directly above.

The two rotating annular dials, minutes and hours, have individual white porcelain plaques with distinguishing blue edges that are pinned to the circular brass frames. The hour's ring has black Roman numerals while the minute's ring has black Arabic numbers for the five-minute marks and dots for the individual minute marks. The '60' plaque has the maker's name in black, 'Baracourt', while the '30' plaque has 'à Paris'.

Temple d'Amour clocks are thought to be inspired by the popular monuments that were found in most 18th century gardens and are a subset of clocks commonly referred to as either Annular or Pendule à Cercles Tournants. Although all have rotating rings, the Temple d'Amour clocks appeal to both those interested in classical ornamentation and those who are horologically minded and appreciate the exposed movement.

This clock is particularly interesting because the maker, instead of using the more common Tic-Tac or crownwheel escapements, incorporated a pinwheel escapement.

It is not only a fine example of the decorative nature of the Louis XVI period, but has a welcome nod to the technical part of horology.

Height - 14.5 in. SOLD

This model, originally titled 'La Liseuse' or 'The Reader', is one of the most popular models of the Empire period. It depicts a female figure reading by oil lamp seated at a table with draped sides and claw feet supported by a Verde Antico marble base with unusually bold ormolu feet.

The eight-day twin barrel movement strikes on a bell and still retains its original silk thread suspension that is regulated for fast/slow at the backcock.

The well-lettered porcelain dial has black Roman numerals, Arabic 15-minute marks, steel-cut Breguet style hands and is signed by the maker, 'Bault et Cie, à Paris'.

The model 'La Liseuse' was originally designed by the famous bronzer Reiche who submitted the drawings to the Academy in 1805. Unlike earlier clocks it does not pay tribute to classical themes, but is a tribute to knowledge and learning.

As Cochin is quoted in 'French Bronze Clocks', pg.86:
"The figure is that of a young woman because that is the best age of the acquisition of knowledge, the oil lamp is the emblem for alertness and prudence, two important qualities for studying and the books which are the source from which the sciences take."

For a copy of the original drawing and a similar example see: 'Vergolten Bronzen', pg. 374.

For a similar example and description see 'French Bronze Clocks', pg. 86.

Height - 12.5 in. SOLD

A rare, enameled annular globe clock by Antoine Redier. The vibrant polychrome enameled globe shows the continents, oceans, countries, cities and numerous other geographical locations, in French, is gimbaled in a gilt-bronze frame that stands on a red marble base, and rotates once per day. It is monogrammed within a Cartouche by the maker, Redier, and is dated, 1873, between the cartouche and 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 '97' 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

A late 19th century brass globe timepiece. The brass circular base and turned cast column support the globe, dial and the ball on the screwed bent rod that represents the sun. The eight inch globe is labeled in English, has longitude and latitude lines, is very detailed and has 'Patent 19460, The Empire Clock, Cable' on an oval shaped label. Secured by the top knurled shaped finial and at the south pole is a brass pointer that can be adjusted to a specific meridian. The silvered and engraved dial serves as the equator and has black waxed Roman numerals for the nighttime hours and red ones for the daytime.

The eight day time only movement is housed in the base, has a lever escapement and is wound, set and adjusted out the bottom. Stamped into the bottom plate are double 'S. Smith and Sons, Ltd' and single 'Made in France', and '248'.

These pieces were made in France for the English market and retailed by and established firms like Smith and Sons.

Height - 16in. SOLD

A late 19th century brass globe timepiece. The brass circular base and turned fluted column supports the globe and dial above and the shaped sphere on the screwed bent rod that represents the sun. The globe is labeled in English, has longitude and latitude lines, is very detailed and has 'Patent 19460, The Empire Clock, Cable' on an oval shaped boss. Secured by the top knurled shaped finial is a brass pointer that can be adjusted to a specific meridian. The silvered and engraved dial serves as the equator and has black waxed Roman numerals for the eight-day time only movement is housed in the base, has a lever escapement and is wound, set and adjusted out the bottom. Stamped into the bottom plate are, 'S. Smith and Sons, Ltd', 'Made in France', and '678'.

These pieces were made in France for the English market and retailed by established firms like Smith and Sons.

Height - 12in. SOLD

A very rare miniature gilt-bronze carriage clock with exceptional silver champlevee panels. The miniature case has a folding handle above, molded edges throughout and a heavily engraved base. The five intricate Egyptian themed polychrome silver champlevee panels are all on dark patinated silver grounds. Each has a decorative white border and the subjects include flowers, an Ibis, a vulture, a Scarab beetle and a bird of prey.

The silver champlevee dial has a natural silver ground with a blue decorative pattern in the center, black Roman numerals for the hours and finely cut-steel hands.

The high-quality eight-day time-only movement winds and sets through the back, has a silvered backplate, is number '633', is stamped by the maker with three initials within a heart, 'VFW', and still retains the original balance platform. The silvered platform has a bimetallic balance wheel with adjusting screws, a flat balance and a fast-slow lever regulated at the backplate.

The heart shaped mark surrounding the initials VBW is mentioned in Charles Allex's book, 'Carriage clocks', pg.434 as unknown, but quite possibly Victorien Bousset.

Carriage clocks are generally valued on condition, quality and rarity, either of the movement or the decorative materials. This clock's panels are both extremely rare and aesthetically pleasing and we have yet to find another example using the same materials in this manner.

Height - 2.75 in. (handle-down) SOLD

A massive mid-nineteenth century striking stick clock or 'Shaku-Dokei'. The mulberry wood case has a removable glazed hood with a lift-out front door, two fabric-backed gilt-bronze pierced and engraved frets to each side, a large scale at the front and a drawer for the key at the bottom.

Mounted to the backboard is the gilt-brass going movement with finely cut and spoked gearwork, turned brass baluster columns at the corners, a skeletonized front plate that is pierced and engraved with chrysanthemums and a verge escapement with a pendulum.

A separate key wound striking mechanism acts as the weight and drives the one-day time mechanism. The striking mechanism itself, however, will strike for two full days on a single wind.

The engraved gilt-bronze time scale is fastened top and bottom by two large turned screws, has silvered and engraved 'hour' characters on rectangular plates and shikudo 'half-hour' markers.

The pierced and engraved hand is carried by the striking mechanism and points to the different characters as it descends through the day. The backs of the 'numerals' extend into the case and trip the striking mechanism at the proper intervals. It follows the Japanese sequence of striking two series of nine to four alternating one and two strikes at the 'half-hours'. An acceptable explanation for this method is still unknown although several theories have been proposed.

In the many years we've been selling Japanese clocks this is the largest striking example we have seen anywhere.

Height - 47 in. SOLD