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c.1810 Ormolu and Green Marble Mantle Clock, 'La Liseuse'.

This model, originally titled 'La Liseuse', 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. It sits upon a green marble base with unusually bold ormolu feet. The white porcelain dial is very nicely lettered and the eight-day two-train movement strikes on a bell. The movement was updated in the Victorian period and now has a steel spring suspension. The clock was originally designed by the famous bronzer Reiche who submitted the drawings to the Academy in 1805. For similar models see Vergolten Bronzen, pg. 374; French Bronze Clocks, pg. 86. Height 12in. SOLD

A very rare Empire ormolu and patinated Blackamoor clock that is part of the subgroup known as “negre au travail”. The well-cast and modeled male figure, with original patination and glass eyes, has an ormolu dress and feathered headdress and stands beside the clock that is housed in a shipping bail. In his outstretched arm he holds an ormolu Parrot and scattered about are the other wares to be traded including an ormolu jewelry box, rug, and a bow and quiver. The whole stands upon a patinated base with four bold feet and a freeze that with the addition of an appropriately dressed European trader echoes the scene above. The very finely lettered porcelain dial has Roman numerals with Arabic fifteen-minute markers, an engine turned bezel and cast ormolu hands. The twin-barrel eight-day movement strikes on a bell and still retains its original silk-thread suspension.
‘Blackamoor’, ‘Au bon Savage’ or ‘pendule au savage’ are rare in any form, but this particular model is rarely seen outside of Europe.
For a more detailed explanation of the Blackamoor clocks see - French Bronze Clocks, pg. 140. For a similar model see pg.159.
Height - 15in.
SOLD

c.1860 Massive English Oak Cathedral Style Eight-Bell Bracket Clock with a Music Box, Retailed by c.F. Hancock, 39 Bruton St., London.

A very rare mid 19th century oak cathedral-style eight-bell bracket clock that activates a six-tune music box housed in the base at the hour every three hours. The large lancet shaped gothic-style oak case has applied frets throughout, numerous carvings, a painted crest and a base with sliding sides that afford access to a Swiss musical movement. The gilt-bronze dial is skillfully pierced and engraved and is inscribed by the retailer, ‘c.F. Hancock, 39 Bruton Street’, has stylized Roman numerals inspired by gothic design, a strike/silent feature and cut steel fleur de lis hands. The large eight-day triple-fusee quarter-striking movement has a nest of eight bells, six pillars, a dead-beat escapement, an unusually large and heavy pendulum and strikes the hour on a gong. The movement has two controls out the side of the case. One is the start/stop for the pendulum and the other is to activate the repeat. The backplate has the engraved and filled signature of the retailer, ‘C.F. Hancock, 39 Bruton St., London.’
Every three hours the clock activates the six-tune Swiss movement that has a thirteen-inch cylinder, a tune-change, a manual start and an instant stop all of which is listed on two silvered engraved plaques on a removable panel. The movement will play every three hours for two full days on a complete wind.
Charles Frederick Hancock (1802-1881) established his retail premises at 39 Bruton St. in 1849. The relationships established as a partner at the prestigious firm Hunt and Roskell quickly earned the new firm the Royal warrants only a few months after it’s founding. Hancocks participated in all the major exhibitions through the 19th century including The Great Exhibition of 1851 and staked a permanent claim in history when they were commissioned in 1856 to make both the Devonshire Parure and the Victoria Cross.
c.F. Hancock was the retailer for many of Thomas Cole’s timepieces thus proving their commitment to quality horology. Although they signed the pieces they sold they also still allowed the actual makers to sign their pieces in less obvious places. William Edmead, the clockmaker, engraved his name and address, ‘W Edmead, 14 Gower St. North’, around the center arbor on the front plate. He is listed as working at that address in Britten’s from 1858-64 and 1867-75.
The crest is that of the family Chichester, of Hall, in Bishop’s Tawton, Devonshire.
From White’s Devonshire Directory of 1850 ‘Robt. Chichester, Esq., owns Accot, Hall, Pill, and Halmeston estates, and is now building a large and handsome mansion, in the Elizabethan style, at Hall, the ancient seat of the Hall family, whose heiress brought the estate to the Chichesters.’ The motto of the family, as repeated on the crest, is ‘Firm en Foi’.
One could assume that this magnificent clock was meant to have a prestigious place within the newly built hall. If one also considers not only the exceptional design, but also the individuals involved in the commission and the overall level of quality and complexity this would be an extraordinary addition to any collection.
Height 30.5in.
SOLD

A rare mahogany Biedermeier thirty-day regulator clock. The case has nicely colored and figured mahogany veneer, as best observed on the backboard, and well detailed and modeled carvings around the glazed openings of the front door, at the top and the bottom. The two-piece porcelain dial has black Roman numerals, nicely cut steel hands and a cast ormolu bezel. The time-only thirty-day high quality movement is weight-driven, has a deadbeat escapement and sits upon its original seatboard that slides into two cheeks that are mortised into the backboard. The brass bound weight hangs from a nicely spoked brass pulley. The pendulum hangs by a knife-edge suspension that is mounted to the backboard, has a steel rod and a brass bound lenticular bob. The clock also still retains its original hold-downs, silvered beat scale and ivory handled crank.
This clock is unusual because it is an example of the transitional period between the simpler earlier Viennese clocks with six-panes of glass and the later clocks that had more carvings and only three panes of glass. Inspired by the new designs, but not quite ready to embrace them completely, it has the best of both periods making it both rare and attractive.
Height – 39.5in.
SOLD

An extremely rare gilt-wood eighteenth-century swinging lyre clock with numerous complications that was probably the masterpiece of Johann Hoff. The classically inspired lyre shaped gilt-wood case is decorated with oak and acanthus leaves, has an animated sun and is identical front and back. The eight-day skeletonized Dutch striking movement has a pinwheel escapement that is powered through a remontoir. The large strike train spring is wound each week. When the clock strikes it winds the smaller time spring that in turns drives the time side. Activated by the countwheel and located above the movement is the Perpetual calendar mechanism that rotates the moon on a 29.5-day cycle and indicates the day, month and date on graduated porcelain annular dials. Both the lyre shaped pendulum and the sun above are suspended on knife-edge suspensions and swing in opposite directions while the clock runs. The porcelain dial is signed by the maker, has finely lettered black vertical Roman Numerals for the hours chapter, Arabic five-minute markers, decorative gold dots for the minute marks, wonderful cast and engraved ormolu hands and a sweep second hand. The three porcelain date rings are equally as decorative and fine.
This clock is particularly rare because it combines a skeletonized precision movement with a perpetual calendar, lunar indication and animation all within an attractive case equally as beautiful from the front or the back.
Johan Hoff later became the clockmaker of Frankfurt.
Height- 26in.
SOLD

A very nicely modeled and cast Empire ormolu chariot clock. It depicts an appropriately dressed classical soldier, his spear and shield beside him, driving a chariot pulled by two well cast and particularly animated horses. They all sit upon a double stepped base with four unusually shaped feet and applied mounts all relating to war and victory. The clock is housed in the chariot. The cast dial with Roman numerals and Breguet style hands serves as the wheel and a similarly cast piece on the back continues the illusion. The eight-day twin-barrel movement still retains its original silk-thread suspension, has the fast/slow control knob on the backplate and strikes on a bell.
Stamped on the frontplate of the movement is ‘Cailly ainee’ who were probably the movement makers. This piece was completely restored and is in excellent condition.
Height - 17in.
SOLD

A very high-quality French gilt-bronze gorge-cased miniature carriage clock with enamel panels. The miniature case has particularly fine and crisp engraving throughout all on a finely chased background. The exceptionally detailed Japanesque-style enamel panels, complete with silver and gold gilt, are on a cream colored background and are particularly rare because they are enamel panels meant to resemble the more common porcelain panels of the same design. The enamel dial has stylized Roman numerals, steel spade hands and has the center decorated with chrysanthemum flowers. There are beveled glasses on three sides, the front, top and back door. The eight-day time only movement with original lever balance platform is signed and numbered by the retailer, ‘Leroy & Fils, Paris No. 13140’. It is also has the stamp of the actual maker, Henri Jacot, in the lower right corner of the backplate and is numbered, 3904, on both the movement and the case.
Henri Jacot is listed in several places in Carriage Clocks by Charles Alex as a maker responsible for the production of superb carriage clocks.
The history of L Leroy and Fils is also discussed and interestingly he mentions another clock made by Jacot with Leroy and Fils on the dial.
Height 3in handle down.
3.75in handle up.
SOLD