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Lot 111
A rare and impressive mid 19th century brass quarter striking skeleton clock in the form of St Paul's Cathedral, with deadbeat escapement, twin-jar mercury pendulum and wheels of six crossings, under a glass shade Attributable to Smiths of Clerkenwell. 2
Withdrawn
Amended
13 July 2023, 14:00 BST
London, New Bond Street£10,000 - £15,000
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A rare and impressive mid 19th century brass quarter striking skeleton clock in the form of St Paul's Cathedral, with deadbeat escapement, twin-jar mercury pendulum and wheels of six crossings, under a glass shade
Attributable to Smiths of Clerkenwell.
The large pierced frame based on the iconic Cathedral, it's central cupola flanked by towers over windows and niches containing four brass guards, the centre cast as a twelve-petalled flower framed by stylised fleur de lys, all held together by six distinctive turned pillars with large central knop, on an architectural lower section set on a heavy brass plate on a green-velvet covered plinth with silvered mount of flowing foliate scrolls (presentation plaque now lacking), on a variegated white marble plinth and later brass baseplate, together with a (later?) glass shade comprising of six panels held within brass castings. The elaborate skeletonised dial with each of the twelve Roman numeral cartouches surmounted by a crown and framed by a shaped minute ring which includes quatrefoils and hanging foliage, with bold blued steel matching hands.
The triple chain fusee movement with wheels of six crossings out throughout, the going train with maintaining power to the deadbeat escapement and pendulum with twin jars of mercury and screw adjustment, the hours stuck on a large coiled blued steel rectangular-section gong mounted on a substantial upright at the rear, the quarters struck on two sets of four graduated bells running across the top of the movement plates, the various steel strike work levers shaped and fettled with unusual designs, the brass clicks similarly treated with a ribbed effect, silent/chime is effected via a lever behind II engraved S and C within a bell. Ticking, striking and chiming. The frame 59cms (23ins), total height of the clock including the marble base 71cms (28ins); total height including the glass shade 73cms (29ins) high. (2)
The large pierced frame based on the iconic Cathedral, it's central cupola flanked by towers over windows and niches containing four brass guards, the centre cast as a twelve-petalled flower framed by stylised fleur de lys, all held together by six distinctive turned pillars with large central knop, on an architectural lower section set on a heavy brass plate on a green-velvet covered plinth with silvered mount of flowing foliate scrolls (presentation plaque now lacking), on a variegated white marble plinth and later brass baseplate, together with a (later?) glass shade comprising of six panels held within brass castings. The elaborate skeletonised dial with each of the twelve Roman numeral cartouches surmounted by a crown and framed by a shaped minute ring which includes quatrefoils and hanging foliage, with bold blued steel matching hands.
The triple chain fusee movement with wheels of six crossings out throughout, the going train with maintaining power to the deadbeat escapement and pendulum with twin jars of mercury and screw adjustment, the hours stuck on a large coiled blued steel rectangular-section gong mounted on a substantial upright at the rear, the quarters struck on two sets of four graduated bells running across the top of the movement plates, the various steel strike work levers shaped and fettled with unusual designs, the brass clicks similarly treated with a ribbed effect, silent/chime is effected via a lever behind II engraved S and C within a bell. Ticking, striking and chiming. The frame 59cms (23ins), total height of the clock including the marble base 71cms (28ins); total height including the glass shade 73cms (29ins) high. (2)
Footnotes
The West front of St Pauls Cathedral is one of the most iconic architectural facades in the world, the dome a symbol of British strength and unity. The first clock using the form for inspiration was displayed by Smiths in the 1851 Great Exhibition.
Comparative literature:
Roberts, D. (1987) Skeleton Clocks, Britain 1800-1914. Woodbridge. Antique Collectors Club, pp74-76. Figure 2/34 is very similar to the current lot - the profile of the chapter ring is identical although the current example appears to have stronger engraved details. It is interesting to note too, that both clock bases have open centres to accommodate a presentation plaque.
Saleroom notices
Please note that this lot has been withdrawn.